91 research outputs found
A Stochastic Model of Economic Growth in Time-Space
No full textWe deal with an infinite horizon, infinite dimensional stochastic optimal control problem arising in the study of economic growth in time-space. Such a problem has been the object of various papers in deterministic cases when the possible presence of stochastic disturbances is ignored (see, e.g., [P. Brito, The Dynamics of Growth and Distribution in a Spatially Heterogeneous World, working paper 2004/14, ISEG-Lisbon School of Economics and Management, University of Lisbon, 2004], [R. Boucekkine, C. Camacho, and G. Fabbri, J. Econom. Theory, 148 (2013), pp. 2719--2736], [G. Fabbri, J. Econom. Theory, 162 (2016), pp. 114--136], and [R. Boucekkine, G. Fabbri, S. Federico, and F. Gozzi, J. Econom. Geography, 19 (2019), pp. 1287--1318]). Here we propose and solve a stochastic generalization of such models where the stochastic term, in line with the standard stochastic economic growth models (see, e.g., the books [A. G. Malliaris and W. A. Brock, Stochastic Methods in Economics and Finance, Advanced Textbooks in Economics 17, North Holland, 1982, Chapter 3] and [H. Morimoto, Stochastic Control and Mathematical Modeling: Applications in Economics, Cambridge Books, 2010, Chapter 9]), is a multiplicative one, driven by a cylindrical Wiener process. The problem is studied using the dynamic programming approach. We find an explicit solution of the associated HJB equation, use a verification type result to prove that such a solution is the value function, and find the optimal feedback strategies. Finally, we use this result to study the asymptotic behavior of the optimal trajectories
Carlo Gozzi, La Marfisa bizzarra: edizione critica e storia del testo
No full textIl presente lavoro, suddiviso in due tomi allo scopo di rendere più agevole la lettura, consiste in un'edizione critica del poema faceto di Carlo Gozzi La Marfisa bizzarra. Il primo tomo comprende:
l'analisi della storia compositiva dell'opera; un apparato genetico; un commento, principalmente di
carattere linguistico-filologico con rimandi al contesto storico-culturale, e un'appendice contenente
diverso materiale documentario. Il secondo offre invece il testo nella sua interezza.
Nella prima parte della tesi viene analizzato il farsi dell'opera, dalla genesi, alla prima edizione fino alla progettazione di una seconda, mai uscita vivente l'autore, dando spazio ai materiali emersi dal recente rinvenimento del Fondo Gozzi i quali, unitamente ai testimoni già noti, permettono di ricostruire nel dettaglio il modus operandi gozziano. Il testo critico riproduce l'ultima volontà dell'autore, si è quindi scelto di adottare, per la prima redazione, quello della stampa Colombani emendato di eventuali errori, mentre per le
interpolazioni, in prosa e poesia, e le correzioni della seconda si è optato per la lezione apografa,presente nel manoscritto che fu anche antigrafo dell'edizione Colombani. Tale lezione è attribuibile a Raffaele Todeschini, amico e notaio di fiducia di Carlo. Il manoscritto fa parte di una delle nuove acquisizioni del Fondo Gozzi. Le varianti tra le due principali redazioni sono fornite in un apparato a piè di pagina.The present work, divided into two tomes for a simpler reading, consists of a critical edition of facetious poem La Marfisa bizzarra by Carlo Gozzi. The first tome incudes: an analysis of the history of poem composition, a genetic apparatus, a mainly linguistic-philologic comment with hystorical-cultural links and a documentarial appendix. The second one presents the complete poem. In the first part, the poem composition was analysed from the ideation through the first edition and until the second one project, even if this latter was not pubblished during Gozzi's life. New materials recently discovered in Fondo Gozzi, togheter with already known witnesses, allow the recostruction of Gozzi's modus operandi.
The critical test presents the last author's will, thus for the first editing, the Colombani print is chosen, amending the eventual mistakes, while for the additions and the corrections of the second one, the apograph text, attributed to Raffaele Todeschini, Gozzi's friend and notary, was used. This latter is found in Fondo Gozzi and it is present in the same manuscript, which was used as a model for Colombani print, and after was incremented by Todeschini. The variants between the two main redactions are presented in an apparatus at the foot of the page
Interest in politics modulates neural activity in the amygdala and ventral striatum.
No full textStudies on political participation have found that a person's interest in politics contributes to the likelihood that he or she will be involved in the political process. Here, we looked at whether or not interest in politics affects patterns of brain activity when individuals think about political matters. Using functional magnetic resonance imaging (fMRI), we scanned individuals (either interested or uninterested in politics based on a self-report questionnaire) while they were expressing their agreement or disagreement with political opinions. After scanning, participants were asked to rate each political opinion presented in the scanner for emotional valence and emotional intensity. Behavioral results showed that those political opinions participants agreed with were perceived as more emotionally intense and more positive by individuals interested in politics relative to individuals uninterested in politics. In addition, individuals interested in politics showed greater activation in the amygdala and the ventral striatum (ventral putamen) relative to individuals uninterested in politics when reading political opinions in accordance with their own views. This study shows that having an interest in politics elicits activations in emotion- and reward-related brain areas even when simply agreeing with written political opinions
Cross-sections for some TpT photoproducts
No full textThe kinetics and cross-sections (probability σ of a photon to give rise to the photochem. event) of some photoproducts of TpT (thymidylylthymidine) irradiated by UV light were studied, based on the reaction scheme of G. E. Johns, et al. (1964). The optical absorbance variations of 2 wavelengths (2650 anad 3250 Å) were measured as a function of the incident dose at 2450 Å. At small doses, a rapid dimer formation and a slower formation of product TpT4 were obsd. The equil. percentage of dimers was calculated to be 12%. The equil. between products TpT4 aad TpT3 was studied by the optical absorbance changes at 3250 Å as a function of the dose at different wavelengths. The cross-section values for TpT4 → TpT3 and TpT3 → TpT4 were calcd. as σ4,3 = 0.24 and σ3,4 = 1.7 cm2μEinstein, resp. The σ4,3 was detd. as a function of the irradn. wavelength and was similar to the TpT4 absorption spectrum. Thus, the quantum yield .vphi.4,3 is nearly const. in the obsd. range. The effect of UV radiation on DNA is discussed
Habits and demand changes after COVID-19
No full textIn this paper, we investigate how a transitory lockdown of a sector of the economy may have changed our habits and, therefore, altered the goods’ demand permanently. In a two-sector infinite horizon economy, we show that the demand of the goods produced by the sector closed during the lockdown could shrink or expand with respect to their pre-pandemic level depending on the lockdown’s duration and the habits’ strength. We also show that the end of a lockdown may be characterized by a price surge due to a combination of strong demand of both goods and rigidities in production
Sobre los elementos trágicos de Bianca, Contessa di Melfi ossia il Maritaggio per vendetta
No full textEn este estudio se analizan los elementos trágicos de la adaptación llevada a cabo por Carlo Gozzi de la obra de Rojas Zorrilla Casarse por vengarse
Per l’edizione de «I due fratelli nimici» di Carlo Gozzi
No full textEl presente trabajo está centrado en el análisis de la tragicomedia en tres actos I due fratelli nimici de Carlo Gozzi (1720-1806), que se estrenó en Venecia en enero de 1773 y fue publicada en el mismo año, haciendo, en su primera parte, una lectura comparativa con el texto original, la comedia famosa. Hasta el fin nadie es dichoso (1654) de don Agustín Moreto y Cabaña, con relación a los intercambios y las influencias culturales entre España e Italia – en los que se inserta la mediación francesa – durante los siglos XVII y XVIII. Gozzi reinventa el enredo del modelo español y lo adapta a las exigencias de la compañía cómica Sacchi y al gusto del público de la época, a las circunstancias histórico-ideológicas; introduce las máscaras de la Comedia del arte e interviene a nivel de los análisis y matices psicológicos, de la serie de analogías y metáforas y de las variaciones sinonímicas, presentes en los diálogos de los personajes nobles, y de las descripciones de los ambientes reales donde se desarrolla la acción dramática. En general, trasciende la fuerte sensibilidad barroca del teatro de Moreto, atenúa los rasgos más literarios del discurso, la compostura del lenguaje, como resulta en la transposición de las relaciones de los personajes del mundo caballeresco, y hace recortes sustanciales en las escenas triviales de los villanos para insertar tres soliloquios. El motivo de la ‘colaboración’ entre el autor veneciano y el «siervo de corte» Brighella es original: dejado el papel de simple personaje, la máscara originaria de Bérgamo es introducida en calidad de observador irónico que comenta durante la obra los acontecimientos en la corte de Aragón, haciendo críticas sobre su tono novelesco, cuyas referencias a la trama de la comedia de Moreto marcan el ingreso de esta última en la tragicomedia, para convertirse en materia del mismo teatro de Gozzi; finalmente, desempeña de manera magistral el rol del literato que anota sus consideraciones para la redacción de una novela, convertida en el tercer acto en un drama flébil (con un evidente llamamiento a la polémica de Gozzi sobre ambos géneros), reemplazándose de hecho al dramaturgo (al respecto, dentro de la ‘reescritura’ se definen el utilizo de la figura retórica de la metalepsis y los modelos de la tradición literaria de referencia, en primer lugar Ariosto y Cervantes) y proponiéndose como redactor del desenlace final de la tragicomedia. En la segunda parte del trabajo, se presenta la edición de I due fratelli nimici, según la impresión Colombani (se considera también la Zanardi, es decir la copia descripta de la primera), y observando cuánto establecido por las Normas de la «Edizione Nazionale delle opere di Carlo Gozzi» [Edición Nacional de las obras de Carlo Gozzi]. El texto está acompañado por una detallada ‘Nota al texto’ y un ‘Aparato’ que trae las variantes sustanciales halladas en el testigo manuscrito del Fondo Gozzi 5.2, conservado en la Biblioteca Nazionale Marciana, a las que hay que añadir las obtenidas del antígrafo Colombani del Fondo Gozzi 5.4; cierran la edición los ‘Apéndices’, donde se entrega la transcripción del resumen («Spoglio») [Sinopsis] de la obra española en la base de la composición de la tragicomedia, que precede por lo tanto a la fase de versificación y redacción de los diálogos, acompañada por una breve ‘Introducción’, ‘Nota al texto’ y ‘Aparato’, y, al fin, la transcripción de dos escenas (Fondo Gozzi 5.2) que difieren notablemente de las correspondientes en la redacción definitiva.Il presente lavoro è focalizzato sull’analisi della tragicommedia in tre atti I due fratelli nimici di Carlo Gozzi (1720-1806), andata in scena a Venezia nel gennaio del 1773, e pubblicata nel medesimo anno, affrontando, nella prima parte, una lettura comparativa con il testo-fonte, la comedia famosa. Hasta el fin nadie es dichoso (1654) di don Agustín Moreto y Cabaña, in relazione a scambi e influssi culturali tra Spagna e Italia – in cui si inserisce la mediazione francese – durante i secoli XVII e XVIII. Gozzi risemantizza l’intreccio del modello spagnolo e lo adatta alle esigenze della compagnia comica Sacchi e al gusto del pubblico dell’epoca, alle contingenze storico-ideologiche; introduce le maschere della Commedia dell’arte e interviene a livello delle sfumature psicologiche, della serie di analogie e metafore e delle variazioni sinonimiche, presenti nei dialoghi dei personaggi nobili, e delle descrizioni degli ambienti reali in cui si svolge l’azione drammatica. Trascende, in generale, la forte sensibilità barocca del teatro di Moreto, attenua le caratteristiche più letterarie del discorso, la compostezza del linguaggio, come risulta nella trasposizione delle relaciones dei personaggi del mondo cavalleresco, e opera tagli sostanziali alle scene triviali dei villani per inserire tre soliloqui. Originale è il motivo della ‘collaborazione’ tra l’autore veneziano e il «servo in corte» Brighella: smessi i panni di semplice personaggio, la maschera bergamasca è introdotta come ironico osservatore che commenta in corso d’opera gli accadimenti della corte d’Aragona, esprimendo critiche sui loro toni romanzeschi, i cui riferimenti alla trama della comedia di Moreto segnano l’ingresso di quest’ultima nella tragicommedia, per divenire materia del teatro gozziano stesso; riveste, infine, magistralmente il ruolo di letterato che annota le proprie considerazioni per la stesura di un romanzo, nel terzo atto divenuto un dramma flebile (con evidente richiamo alla polemica di Gozzi su entrambi i generi), sostituendosi a tutti gli effetti al drammaturgo (a questo proposito si definiscono all’interno della ‘riscrittura’ l’uso della figura retorica della metalessi e i modelli della tradizione letteraria di riferimento, in primis Ariosto e Cervantes) e proponendosi come estensore dello scioglimento finale della tragicommedia. Nella seconda parte del lavoro, è presentata l’edizione de I due fratelli nimici, secondo la stampa Colombani (è tenuta presente anche la Zanardi, ovvero la copia descripta della prima), e osservando quanto stabilito dalle norme dell’«Edizione Nazionale delle opere di Carlo Gozzi». Il testo è accompagnato da una dettagliata ‘Nota al testo’ e un ‘Apparato’ che riporta le varianti sostanziali riscontrate nel testimone manoscritto del Fondo Gozzi 5.2, conservato presso la Biblioteca Nazionale Marciana, a cui si devono aggiungere quelle rilevate nell’antigrafo Colombani del Fondo Gozzi 5.4; chiudono l’edizione le ‘Appendici’, ove si fornisce la trascrizione del riassunto («Spoglio») dell’opera spagnola alla base della composizione della tragicommedia, che precede dunque la fase di versificazione e stesura dei dialoghi, accompagnata da una breve ‘Introduzione’, ‘Nota al testo’ e ‘Apparato’, e, infine, la trascrizione di due scene del testimone del Fondo Gozzi 5.2, che differiscono notevolmente dalle corrispettive nella redazione definitiva.The present work aims at analysing the three-act tragicomedy I due fratelli nimici by Carlo Gozzi (1720-1806), performed in Venice in January 1773, and published in the same year. In the first part it deals with a bilingual comparative reading of the comedia famosa. Hasta el fin nadie es dichoso (1654) by Don Agustín Moreto y Cabaña, concerning cultural exchanges and influences between Spain and Italy during the 17th and 18th centuries, in which French mediation also plays a part. Gozzi reimagines the Spanish plot model and adjusts it to the needs of Sacchi’s comedy company and the audience’s taste of the time, and to historical and ideological junctures. It introduces the Commedia dell’arte’s masks and intervenes in psychological undertones, in the series of analogies and metaphors, and in the synonymic variations occurring in noble characters’ dialogues and the descriptions of royal circles where dramatic action takes place. Generally, it transcends the high Baroque sensitivity of Moreto’s theatre, mitigating the most literary features of speech and the composition of language, as shown in the transposition of the chivalrous world’s characters’ relaciones. He also makes substantial cuts in trivial villain scenes to insert three soliloquies. The theme of the ‘collaboration’ between the Venetian author and the «court servant» Brighella is very original: leaving behind the role of a simple character, the Bergamo mask is introduced as an ironic observer who throughout the work comments on the events that take place in the Aragon court. The mask criticizes their fictional tones, whose references to Moreto’s comedia plot mark its entry into the tragicomedy to become a subject itself of Gozzi’s theatre. Finally, he masterfully plays the role of an intellectual who takes note of his observations for the draft of a novel, which itself becomes a feeble drama in the third act – with a clear reference to Gozzi’s controversy on both genres – effectively replacing the dramaturg. In this regard, the use of the figure of speech called “matalepsis” and the models of referential literary tradition, in primis Ariosto and Cervantes, are defined inside the ‘rewrite’ – and offering himself up as writer of the final dénouement of the tragicomedy. The second part of the work presents the edition of I due fratelli nimici, according to the Colombani print – the Zanardi is also taken into consideration, i.e. the copia descripta of the first – and as established by the «Edizione Nazionale delle opere di Carlo Gozzi» [National Edition of Carlo Gozzi’s works] standards. A detailed ‘Text note’ and an ‘Apparatus’ containing the substantial variations found in the manuscript witness of the Fondo Gozzi 5.2, preserved in the Biblioteca Nazionale Marciana, accompany the text. In addition, there are those identified in the Colombani’s antigraph of the Fondo Gozzi 5.4. The edition closes with various ‘Appendices’ including the transcription of the Spanish work’s summary («Spoglio»), which is the basis of the versification and draft of the dialogues, a brief ‘Introduction’; ‘Text notes’; and ‘Apparatus’, and to close, the transcription of two scenes (Fondo Gozzi 5.2) that vary considerably when compared to the corresponding scenes present in the actual text
Carlo Gozzi : a study of the playwright, his major works, and the times in which he lived
No full textEighteenth Century Venice witnessed the rise to popularity of Carlo Gozzi, a playwright whose life and works have provoked a spectrum of controversial opinions ranging from the over-enthusiastic evaluation of the German Romantics and the harsh criticisms
of more realistic Italians, to the temperate judgements of modern literary critics.
To understand why this prolific dramatist and dedicated opponent of the Enlightenment aroused such diverse impressions, one must study the period in which he lived and, with this in mind, proceed to examine his political, social, and moral views as they are expressed in his works, then attempt to reconstruct the personality of the author himself.
Accordingly, I have included in this thesis a brief summary
of the Enlightenment and the influence it had upon Italian cultural life. Against this historical background, I have presented
the essential opinions of the author in order to determine
his reasons for so resolutely opposing the concepts of the Enlightenment.
These socio-political views are closely bound to the medium
he chose. It, therefore, proves worthwhile to study his ideas on the theatre, its purpose, its rights and responsibilities,
its actors and dramatists, and the genre which Gozzi used in his works, the commedia dell'arte. Although his plays are our most obvious and direct source of information, his memoirs
and his treatise on the theatre are also essential. In them
he describes the state of Italian theatre as he found it, his desire
to rejuvenate its proud theatrical tradition, improvised comedy, his polemical and didactical reasons for writing plays, and his means of achieving the effects he believed every play should have on an audience. Gozzi's ideas also come to light in his criticism of his theatrical rival, Carlo Goldoni, whose plays reflected current social change.
The fact that, until recently, literary critics judged Gozzi mainly on his theatrical productions has led them away from the fascinating personality of the author. Modern studies emphasize Gozzi, the man, as he reveals himself in the Memorie inutili, his last and most intimate work. The memoirs reveal the inner conflict
of a man caught between past and future, torn between a dying culture of which he was a part, and a new one in which he could find no place.
In conclusion, I maintain that only by considering his theatrical
works in the light of the Memorie inutili and the Ragionamento ingenuo can one hope to give a comprehensive evaluation of Carlo Gozzi - dramatist and man.Arts, Faculty ofFrench, Hispanic, and Italian Studies, Department ofGraduat
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