1,705 research outputs found
The Content of CLIL and beyond: classifying typologies of microlanguages for teaching and learning purposes
No full textWhen content is conceived as language and language is not the direct content of the learning process, the question of a language education extended to all school levels, all branches of academic disciplines and all professions is central to the development of a metalinguistic awareness which otherwise would escape most non-linguists. Matteo Santipolo proposes a detailed classification of the continuum of specialised discourse, which has the advantage of precisely indicating where CLIL Language can be located, i.e., between “Mediated” and “Didactic Jargon”. Santipolo even suggests replacing CLIL with JIL (Jargon Integrated Learning), the specific microlanguage used in communication between language and discipline instructors and neophytes. Aside from the didactic implications of this shift discussed by the author, his “modest proposal” seems to agree with a long-time cherished persuasion on the part of CLIL trainers and trainees, which is primarily advocated by the University Language Centres in Italy, that in CLIL contexts the L1/L2 needed is nothing but a professional language demanding its own dedicated certification rather than the ones for General Language
La costruzione della forma : il Palazzo dei Ricevimenti e dei Congressi all'E42 di Adalberto Libera
No full textRaffaele Regio: commento alle metamorfosi di Ovidio: In Ovidii metamorphosin enarrationes (libri I-IV)
No full textUnmixed Graphs that are Domains
No full textWe extend a theorem of Villareal on bipartite graphs to the class of all graphs. On the way to this result, we study the basic covers algebra
of an arbitrary graph G. We characterize with purely combinatorial methods the cases when 1)
is a domain and 2) G is unmixed and
is a domain
The Participatory Turn at Local Level in Time of Crisis: Processes, Conflicts and Paradoxical Effects
No full textIn the past decades, private, civil society and third sector organizations, or even the citizens, have been more and more involved within the decision-making processes. In the case of welfare policies, participation has gradually been considered a positive strategy at contrasting the crisis of legitimacy of the welfare states, to ameliorating the policy implementation in dealing with the new societal challenges, and to exploiting the informal resources of the grass-roots organizations.
Nevertheless, some controversial issues must be taken into consideration, because to date it is still hard to understand why participation has become so significant in public discourses, in which ways it affects the policy processes, what will be the effects of the economic downturn, which role will participation have to deal with its challenges.
The paper investigates these kind of issues in the case of the Tuscany (Italy) welfare reforms, strongly oriented to the participatory turn, and its developments in the urban area of Pisa, revealing a kind of participation that could be described as an ephemeral-decorative factor of the “new” institutional design, with a declining capability to move the institutional attention towards the various effects of the economic crisis and the other ongoing transformations of the urban context
Application of a random pore model with distributed pore closure to the carbonation reaction
No full textOn the dual graph of Cohen–Macaulay algebras
No full textGiven an equidimensional algebraic set X⊆Pn, its dual graph G(X) is the graph whose vertices are the irreducible components of X and whose edges connect components that intersect in codimension one. Hartshorne's connectedness theorem says that if (the coordinate ring of) X is Cohen-Macaulay, then G(X) is connected. We present two quantitative variants of Hartshorne's result: (1) If X is a Gorenstein subspace arrangement, then G(X) is r-connected, where r is the Castelnuovo-Mumford regularity of X. (The bound is best possible. For coordinate arrangements, it yields an algebraic extension of Balinski's theorem for simplicial polytopes.) (2) If X is an arrangement of lines no three of which meet in the same point, and X is canonically embedded in Pn, then the diameter of the graph G(X) is less than or equal to codimPnX. (The bound is sharp; for coordinate arrangements, it yields an algebraic expansion on the recent combinatorial result that the Hirsch conjecture holds for flag normal simplicial complexes.) On the way to these results, we show that there exists a graph which is not the dual graph of any simplicial complex (no matter the dimension)
Hamiltonian paths, unit-interval complexes, and determinantal facet ideals
No full textWe study d-dimensional generalizations of three mutually related topics in graph theory: Hamiltonian paths, (unit) interval graphs, and binomial edge ideals. We provide partial high-dimensional generalizations of Ore and Posa's sufficient conditions for a graph to be Hamiltonian. We introduce a hierarchy of combinatorial properties for simplicial complexes that generalize unit-interval, interval, and co-comparability graphs. We connect these properties to the already existing notions of determinantal facet ideals and (tight and weak) Hamiltonian paths in simplicial complexes. Some important consequences of our work are:
(1) Every unit-interval strongly-connected d-dimensional simplicial complex is traceable. (This extends the well-known result "unit-interval connected graphs are traceable".)
(2) Every unit-interval d-complex that remains strongly connected after the deletion ofdor less vertices, is Hamiltonian. (This extends the fact that "unit-interval 2-connected graphs are Hamiltonian".)
(3) Unit-interval complexes are characterized, among traceable complexes, by the property that the minors defining diagonal term order which is compatible with the traceability of the complex. (This corrects a recent theorem by Ene et al., extends a result by Herzog and others, and partially answers a question by Almousa-Vandebogert.)
(4) Only the d-skeleton of the simplex has a determinantal facet ideal with linear resolution. (This extends the result by Kiani and Saeedi-Madani that "only the complete graph has a binomial edge ideal with linear resolution".)
(5) The determinantal facet ideals of all under-closed and semi-closed complexes have a square-free initial ideal with respect to lex. In characteristic p, they are even F-pure
Le chiavi del Paradiso. Primato petrino e devozione mariana di Sisto IV tra Cappella Sistina e S. Maria della Pace
No full textIl volume è strutturato in due parti distinte con una postfazione, un indice dei nomi e n. 55 Tavole a colori fuori testo, valide per entrambe le parti del volume. I. PARTE (di Lorenzo Cappelletti) A partire dalla esplicita indicazione che l’ignoto architetto, collocato sul fianco destro dell’affresco sistino della Consegna delle chiavi di Perugino, fa dell’edificio a pianta centrale che campeggia sullo sfondo, viene operata una completa rilettura iconografica e iconologica dell’intero affresco. Tenendo conto di tutta la migliore bibliografia sul tema e grazie anche alla considerazione di fonti inedite o mai considerate in relazione a tale affresco –– vengono riletti in particolare i due episodi evangelici sullo sfondo, la teoria dei dodici apostoli e dei personaggi dell’attualità di fine Quattrocento e soprattutto il gesto della consegna delle chiavi a Simon Pietro da parte di Gesù.
La rilettura si allarga necessariamente anche alla Punizione di Core, Datan e Abiram, l’affresco di Botticelli posto in chiave tipologica dirimpetto alla Consegna delle chiavi, e alla serie dei 30/32 papi affrescati nel cleristorio.
Lo studio non manca di offrire inoltre spunti per una comprensione più adeguata anche degli altri affreschi quattrocenteschi della sistina. II PARTE (di Simona Benedetti) Nell’ambito della revisione di lettura iconologica e iconografica dell’affresco della Consegna delle chiavi di Perugino nella Cappella Sistina, svolta da Lorenzo Cappelletti, si torna a riflettere anche sul significato dell’architettura dell’edificio rappresentato al centro dell’affresco. In questo senso nel contributo di Simona Benedetti, in primo luogo, si ripercorrono i riferimenti alla trattatistica quattrocentesca in materia di edifici sacri, che possono aver influito nella determinazione dell’edificio ottagonale.
In seconda istanza, si considerano le principali fabbriche a pianta ottagonale costruite precedentemente all’edificio dipinto, che possono aver costituito un fondato riferimento per il Perugino nella Consegna delle chiavi.
In particolare tra le architetture, che possono avere avuto un’influenza determinante nella definizione iconografica della fabbrica ottagonale presente nell'affresco, la chiesa di S. Maria della Pace è quella su cui si concentra il presente studio. L'opera si realizzò nel cuore pulsante della Roma rinascimentale proprio contemporaneamente all’affresco in esame, con esso trova degli innegabili punti di tangenza e corrispondenze, sia storiche che figurative. A questo riguardo interessantissima risulta la connessione tra il motivo dell’edificazione della fabbrica e i fatti storici, i personaggi, gli eventi prodigiosi e le pratiche devozionali, che condizionarono lo svolgersi del cantiere del Templum Pacis negli ultimi anni del pontificato di Sisto IV. La storicità del gesto della consegna delle chiavi a Pietro - avvenimento che si protrae nel tempo ad ogni elezione pontificia nello spazio fisico della Cappella Sistina - costituisce la centralità del messaggio iconografico dell'affresco del Perugino in cui, anche l’architettura, insieme ai personaggi rappresentati, strutturano una narrazione reale, estranea alle simbologie decontestualizzate dall’epoca propriamente sistina. Segue una postfazione di Francesco Andreani dal titolo Enigma del Quattrocento, saggio nel quale si sviluppano considerazioni sulle personalità degli architetti e maestranze attive nella Roma del tardo Quattrocento e negli anni di inizio della fabbrica di S. Maria della Pace. Il volume si conclude con l'indice dei nomi (a cura di Gemma Fusciello)I (of Lorenzo Cappelletti) Starting from the unknown architect’s forefinger pointed to the central plan building found in the background of the Sistine Perugino’s fresco The Keys of the Kingdom of Heaven, the author offers a new interpretation of the entire fresco at both an iconographical and iconological level.
Having considered the most important studies about this fresco and taking into account a number of unpublished and unconsidered sources, the author rereads in particular the meaning of the central plan building, as well as the two Gospel episodes in the background; and he rereads also the grouping of the Twelve, along with the fifteenth century historical personages painted among them, in the foreground.
The author’s vision necessarily broodens also to comprehend Botticelli’s fresco named The Punishment of Corah, Dathan and Abiram which is placed on the opposite wall as a typological prefiguration of The Keys of the Kingdom of Heaven; and it broodens moreover to reconsider the series of 30/32 popes frescoed in the upper register of the Sistine Chapel.
The essay also offers hints for a more complete comprehension of the other fifteenth century frescoes of the Sistine Chapel.
II. (of Simona Benedetti) As part of the review of iconological and iconographic reading about the fresco of the “Delivery of the keys” by Perugino in the Sistine Chapel, conducted by Lorenzo Cappelletti, you go back and think about the significance of the building architecture depicted in the center of the fresco. In this sense, the contribution of Simona Benedetti, first, retraces the references to the fifteenth-century treatises concerning sacred buildings, which may have affected the determination of the octagonal building. Secondly, we consider the main factories octagonal building constructed previously painted, that may have been an established reference for the Perugino in the “Delivery of the keys”. Especially between architectures, which may have had a decisive influence in defining the iconographic factory octagonal present in the fresco, the church of St. Mary of Peace is the one on which this study focuses. The work was realized in the heart of Renaissance Rome just simultaneously fresco concerned, although it is undeniable points of contact and correspondence, both historical and figurative. In this regard are interesting connections between the reason of building the factory, the historical facts, the characters and the miraculous events and devotional, which has conditioned the unfolding of the construction site of the Templum Pacis in the last years of the pontificate of Sixtus IV. The historicity of the act of handing over the keys to Peter, that continues over time in the physical space of the Sistine Chapel, is the centrality of the iconographic message of the fresco by Perugino; so even the architecture, along with the characters represented, the real narrative structure, far from to the symbolism belonging to the Sistine period properly
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