997 research outputs found
Il contributo di Sergio Torsello alla renaissance salentina del primo quindicennio del 2000
No full textQuesto contributo mira a descrivere le tre “anime” di Sergio Torsello – Direttore Artistico del Festival La Notte della Taranta, Consulente Scientifico dell’Istituto Diego Carpitella, e Mediatore Culturale tra e per i talenti artistici del suo territorio. Il punto di partenza della narrazione è un articolo di Sergio Torsello, pubblicato nel 2011 in un volume di cui l’autore della narrazione è stato curatore. L’autore sottolinea la stretta connessione tra le tre anime di Sergio Torsello, che emerge non solo dal suo articolo del 2011 ma anche dalle numerose interazioni avvenute tra Sergio Torsello e l’autore. La descrizione del rilievo scientifico della figura di Sergio Torsello è sicuramente parziale, circoscritta nel tempo (gli 8 anni, dal 2007 al 2015 in cui ha interagito con l’autore) e nello spazio (inteso come insieme di argomenti delle loro conversazioni scientifiche e culturali). Ma rende merito del cruciale contributo di Sergio Torsello alla renaissance culturale salentina degli anni dal 2001 al 2015.This contribution aims to describe the three “souls” of Sergio Torsello – Artistic Director of “La Notte della Taranta” Festival, Scientific Consultant of “Diego Carpitella” Institute, and Cultural Mediator
between and for the artistic talents of his territory. The starting point of the description is an article by Sergio Torsello, published in 2011 in a book of which the author of the description was the editor. The author highlights the close connection between the three souls of Sergio Torsello, which emerges not only from the above-mentioned article, but also from the numerous interactions between Sergio Torsello and the author. The description of the scientific significance of Sergio Torsello’s figure is certainly partial, limited in time (the 8 years, from 2007 to 2015, in which he interacted with the author) and in space (in terms of set of topics of their scientific and cultural conversations). But it gives merit to Sergio Torsello’s key contribution to the cultural renaissance of Salento in the years from 2001 to 2015
Cromatismo, ritmo, memoria: sulla narrativa di Sergio Atzeni
No full textSergio Atzeni’s works are many and really heterogeneous, both in style and contents. But if we dig up deeply into his texts, we discover that the currents followed by the author are always the same, and that texts that are apparently different have actually significant common aspects.Le opere di Sergio Atzeni sono numerose e molto eterogenee, sia nello stile che nei contenuti. Ma se andiamo a scavare nel profondo, ci rendiamo conto che i filoni seguiti dall’autore sono sempre gli stessi, e che esiti testuali apparentemente distinti hanno in realtà importanti aspetti in comune
Sergio Lenci - L'opera architettonica 1950-2000/ Sergio Lenci - Architectural works 1950-2000 (prefazioni/prefaces L. V. Barbera, M. Rebecchini) Italian and English texts
No full textNel curare questa raccolta di architetture progettate in un arco di
mezzo secolo la scelta è stata quella di esporre i progetti e le realizzazioni
in senso cronologico per far assumere alla compilazione il
significato di una documentazione temporale. A conclusione dell’attività
redazionale intrapresa mi sono accorto con chiarezza che
le risposte progettuali fornite sono tutte state formulate intorno a
cruciali tematiche compositive. Tra queste emerge quella del rapporto
organico e al contempo neoplastico che il progetto instaura
tra lo spazio interno ed esterno dell’edificio. Se la “corte” verrà dall’autore
combattuta nelle opere e negli scritti a favore di una composizione
più articolata di quella del blocco che genera la rue corridor,
il suo posto sarà occupato dall’incessante ricerca di una
cavità spaziale tutta interna al volume.
Questo tema, già affrontato nel Centro Sociale di Rimini (1958),
affida a uno spazio a doppia altezza la conformazione del progetto
che trova attuazione procedendo in senso centrifugo. Ciò
diventa pienamente compiuto nel progetto per la sede della ITER
(ex Rescoop) a Lugo di Romagna (1974) dove, intorno a una tripla
altezza centrale, viene realizzata una composizione di masse ora
ortogonali ora impostate sulla linea obliqua. Nel primo progetto per
il Centro Sociale “Garofano Rosso” (1978) lo spazio centrale non
è solo una doppia altezza connettiva, ma assume un ruolo specifico
configurandosi come una cavea per 800 persone totalmente
aperta al resto dell’edificio, così da formare un’architettura “fluida”.
Altro grande tema è rappresentato dall’articolazione dei volumi
visti come oggetti metafisici: masse monolitiche che, come grandi
dolmen, compongono l’architettura. Il progetto del Palazzo di
Giustizia di Brindisi (1957) è eseguito su questi principi, non differentemente
da quello della Tête Défense (1983) nel quale, in
aggiunta, vi è la perdita dell’ortogonalità planimetrica e della compattezza
volumetrica a favore di una dilatazione centrifuga che
corrisponde alle esigenze urbanistiche e rappresentative del sito.
Il tema della ricerca di una struttura binata che spesso dà luogo
a setti di ordine gigante, è ricorrente nei progetti del Palazzo di
Giustizia di Lecce (1961), di Brescia (1964), di Napoli (1971), nonché
nel progetto per l’autorimessa dell’isola del Tronchetto a
Venezia (1983).
La composizione articolata su un insieme architettonico unico
come incontro tra un volume ad andamento orizzontale di forma
triangolare o curva dal quale si innalza una torre sfaccettata con
tagli più o meno profondi a 45°, caratterizza la ricerca portata
avanti nel progetto degli edifici di ingresso per le Case
Circondariali di Spoleto (1970) e di Livorno (1974).
La ricerca di una plasticità scultorea di tipo sottrattivo, operata su
un volume inizialmente puro che viene scavato alla base come
avverrebbe se questo fosse una roccia corrosa dal fluire delle
acque, trova una felicissima realizzazione nel progetto dell’unità
abitativa nel Rione Guasco S. Pietro ad Ancona.
Si può poi notare la ricorrenza di uno studio svolto sul tema della
volta a botte in vetro, che, nel progetto di concorso per l’Opera
de La Bastille (1983) dà luogo a continue “cascate” contenute tra
le maglie di un “pettine” di ordine gigante, in quello per il completamento
del museo Guggenheim Ca’ Venier dei Leoni a Venezia
(1985) crea nuove coperture formate da due porzioni di volta a
botte che entrano in sintonia con la curvatura della cupola della
vicina Chiesa della Salute del Longhena. Questo tema si esprime
pienamente nella realizzazione della pensilina di accesso all’autorimessa
interrata di piazza Matteotti ad Assisi (1993).
Vi è poi una ricerca trasversale, quella della rotazione e dei tagli a
45°, che appartiene a diversi progetti: al Palazzo di Giustizia di
Brescia, al quartiere Zen a Palermo, ancora alla sede della ITER
(ex Rescoop) a Lugo di Romagna e al centro culturale Garofano
Rosso, al complesso per infrastrutture portuali a Ravenna (1978),
all’area Scientifico-Tecnologica di Trieste (1982), alla nuova sede
della CMC a Ravenna (1985), alle strutture di accoglienza e uffici
per l’Ospedale S. Carlo di Potenza (1999). Un’altra costante trasversale
è costituita dalla ricerca del modulo, elemento prediletto
di una metrica sempre chiaramente espressa.
La complessità nell’unitarietà dell’opera architettonica, qualità
che a mio avviso emerge dai progetti contenuti in questo volume,
potrà essere pienamente colta nelle pagine che seguono e venire
di volta in volta verificata da un riscontro con i tre saggi introduttivi
e con queste brevi note.The choice that was made in editing this collection of designs and
built projects, carried out over fifty years, was to allow the architecture
to speak for itself in a chronological and not thematic sense.
Only at the end of the work did I fully realize that all the planning
responses have been formulated with regard to particular compositional
themes. Among these, in my view, there stands out the
organic neo-plastic relationship that the project creates between
the internal and external space of the building.
Whilst the courtyard building was fought against by the author in
his works and articles in favour of an articulated composition, its
place was taken up by an incessant search for a central space
which was however never to become a yard.
This problem is tackled in the project for the Social Centre in
Rimini (1958), where the volumes are structured centrifugally
around a double level of the space. This is carried even further in
the pro ject for the ITER building (ex Rescoop) at Lugo di
Romagna (1974) where a composition of orthogonal and prismatic
volumes is created around triple central levels. In the first pro -
ject for the ‘Garofano Rosso’ Social Centre (1978) the central
space did not simply consist of two interconnecting levels, but
took on a spe cific function in the form of a cavea for 800 people,
completely open to the rest of the building, so as to form a fluid
overall design.
Another important subject is the articulation of volumes seen as
metaphysical objects: monolithic masses which form the build -
ing like huge dolmens. The project for the Law Courts in Brindisi
(1957) is built on these principles, not unlike the Tête Défense
(1983) in which planimetric orthogonality and volumetric compactness
are sacrificed in the interest of a centrifugal expansion
of the whole construction, to harmonize with the surrounding
buildings.
The concern for a twin structure, often with enormous partitions,
is a recurrent feature in the projects for the Law Courts in Lecce
(1961), Brescia (1964) and Naples (1971), as well as in the pro -
ject for the car-park on the island of Tronchetto in Venice (1983).
The entrance buildings for the District Penitentiary of Spoleto
(1970) and Leghorn (1974) are notable for their articulated composition
of a single architectural whole, through a meeting be -
tween a volume of triangular or curved horizontal extension,
from which a many-sided tower rises with 45° angles of varying
profundity.
In the project for a residential building in the Guasco S. Pietro district
of Ancona there is a plastic effect, as if the architect were a
sculptor chipping away at the stone, reducing the original monolithic
volume like a rock worn away by water.
One can observe a recurrent interest also in the subject of glassworked
barrel vaults.
In the competition project for La Bastille Opera House (1983) the
result was a series of cascades contained between the teeth of a
gigantic ‘comb’. In the one for the completion of the Guggenheim
Ca’ Venier dei Leoni Museum in Venice (1985) a new roof was
created consisting of two half-barrel vaults which harmonized
with the curve of the dome of Longhena’s Chiesa della Salute
nearby. It achieved fullest expression in the creation of the arched
shelter-roof of the access to the underground car-park in Piazza
Matteotti, Assisi (1993).
There is also a constant interest in transversal effects through
rotation and 45° angles. This can be seen in various projects,
including: the Law Courts of Brescia, the Zen low income housing
development in Palermo, ITER (ex-Rescoop) building at Lugo di
Romagna, the ‘Garofano Rosso’ cultural centre, the complex for
the port infrastructures in Ravenna (1985), Trieste’s Scientific and
Technological area (1982), the new CMC building in Ravenna
(1985), and the reception buildings and offices of the San Carlo
Hospital in Potenza (1999)
Towards a Common European Border Service? CEPS Working Document No. 331, June 2010
No full textWhat should be the future institutional configurations of the second generation of the EU’s Integrated Border Management strategy for the common external borders? The Stockholm Programme endorsed by the European Council on December 2009 and the European Commission’s action plan implementing it published in April 2010 have brought back to the EU policy agenda the feasibility of setting up a European system of border guards as a long-term policy vision. This Working Document examines the origins of this proposal and aims at thinking ahead by asserting that any future discussion and study in this context should be refocused by initially addressing two central questions: First, what kind of 'border guard' and what kinds of 'border controls' does the EU need in light of the current EU acquis on external border crossings and the Schengen Borders Code? Second, what would be the 'added value' of any new institutional arrangement at the current stage of European integration? Author Sergio Carrera, CEPS Research Fellow, argues that these questions could presage the establishment of a common European border service aimed at i) guaranteeing a uniform implementation and high-standard application of EU border law and the materialisation of a European approach to external border controls; ii) ensuring the respect of fundamental rights and guarantees in all external border control-related activities; iii) facilitating the (de)politicisation and accountability of external border controls; and iv) addressing issues of solidarity and mutual trust building across the external borders in an enlarged EU
Ethnology of Sergio Baptista da Silva
No full textRESUMO:
Neste artigo apresentarei uma breve síntese de alguns dos trabalhos mais recentes do antropólogo Sergio Baptista da Silva e tentarei mostrar, partindo de uma leitura crítica e analítica destas obras, como o autor promove uma ruptura com a dita “barreira” existente entre a etnologia clássica e os estudos sobre o contato entre sociedades indígenas e a sociedade nacional. Para tanto, a partir de um breve exame de sua trajetória acadêmica, busco apontar suas afiliações teóricas mais evidentes, as associações por ele realizadas entre arqueologia pré-colonial e etnologia e seu posicionamento no escopo mais amplo da “antropologia brasileira”.
ABSTRACT:
In this paper I will offer a brief synthesis about some of the most recent works of the anthropologist Sergio Baptista da Silva and try to show, from a critical and analytical reading of these works, how this author promotes a rupture with the so called “barrier” between the classical ethnology and the studies of contact between indigenous societies and the Brazilian society. To do so I will start with a brief analysis of his academic career, from where I will highlight his most evident theoretical affiliations, the associations he delineates between pre-colonial archaeology and ethnology and his standing in the larger frame of the “Brazilian anthropology”.In this paper I will offer a brief synthesis about some of the most recent works of the anthropologist Sergio Baptista da Silva and try to show, from a critical and analytical reading of these works, how this author promotes a rupture with the so called “barrier” between the classical ethnology and the studies of contact between indigenous societies and the Brazilian society. To do so I will start with a brief analysis of his academic career, from where I will highlight his most evident theoretical affiliations, the associations he delineates between pre-colonial archaeology and ethnology and his standing in the larger frame of the “Brazilian anthropology”
“I PROMESSI SPOSI” DI GUIDO DA VERONA: APPUNTI SULLA LINGUA E SULLO STILE
No full textNel dare alle stampe la sua parodia dei Promessi Sposi (1930), Guido da Verona non immaginava di compiere delitto di lesa maestà nei confronti del totem manzoniano né che sarebbe stato oscurato dal controllo igienico fascista. Nel saggio si sostiene infatti, anche sulla base di evidenze ricavate dall'analisi del manoscritto, che la sua intenzione non fosse satirica, bensì ludico-parodica. Il cuore del saggio si incentra sull'analisi comparativa tra la versione daveroniana e l'ipotesto manzoniano, con particolare attenzione alle scaturigini del comico. Oltre che mettere in evidenza i tratti caratterizzanti la prosa di da Verona, captante e alluvionata di wits linguistici, il saggio descrive le strategie comiche usate dall'autore, quelle basate sul carattere e sulle situazioni e quelle del discorso vero e proprio. Nel corso dell'analisi si evidenzia come sia il comico del significante sia l'infrazione dei legami logici e di successione cooperino a incrinare la visione ordinata del mondo e della lingua strenuamente voluta e ottenuta da Alessandro Manzoni. When the parody of Promessi Sposi (1930) was sent to press, Guido da Verona did not imagine he was committing the crime of lese-majesty with regard to the Manzonian totem, nor that it would be blacklisted by the Fascist regime. This paper shows that, based on the analysis of the manuscript, the author's intention was not satirical, but a playful parody. It is a comparative analysis between the da Verona version and the Manzonian hypertext, with particular attention placed on the origin of the comic. Besides highlighting the traits that characterize the text brimming with linguistic wit by da Verona, the paper describes the comedic strategies used by the author based on the characters and situations, as well as in the discourse itself. The analysis shows how the comic meaning and the breaking of logical and temporal links crack the orderly vision of the world and the language carefully chosen and utilized by Alessandro Manzoni.</p
“Mettimi giù due righe”: Sergio Caputo tra scrittura musicale e letteraria
No full textThe article focuses on the Roman singer-songwriter Sergio Caputo, known for his eclectic crossover between jazz and pop and his inventive and linguistically rich lyrics. A literary author since 2008, Caputo has developed an articulated dialogue between the two artistic identities – writer and musician. Here, I intend mostly to discuss the already literature-oriented nature of Caputo’s song lyrics, how they informed his actual literary works, and how, in turn, the latter tell us something about his songwriting. In between, Caputo’s specific literary influences, particularly the Beat Generation, and their role in both musical and literary writing, will be also discussed.The article focuses on the Roman singer-songwriter Sergio Caputo, known for his eclectic crossover between jazz and pop and his inventive and linguistically rich lyrics. A literary author since 2008, Caputo has developed an articulated dialogue between the two artistic identities – writer and musician. Here, I intend mostly to discuss the already literature-oriented nature of Caputo’s song lyrics, how they informed his actual literary works, and how, in turn, the latter tell us something about his songwriting. In between, Caputo’s specific literary influences, particularly the Beat Generation, and their role in both musical and literary writing, will be also discussed.L\u27articolo si concentra sul cantautore romano Sergio Caputo, noto per il suo eclettico crossover tra jazz e pop e per i suoi testi fantasiosi e linguisticamente ricchi. Autore letterario dal 2008, Caputo ha sviluppato un dialogo articolato tra le due identità artistiche: scrittore e musicista. Qui, intendo principalmente discutere la natura già orientata alla letteratura dei testi delle canzoni di Caputo, come questi abbiano informato le sue opere letterarie reali e come, a loro volta, queste ultime ci dicano qualcosa sulla sua scrittura. Nel contempo, verranno discusse anche le specifiche influenze letterarie di Caputo, in particolare la Beat Generation, e il loro ruolo nella scrittura sia musicale che letteraria.The article focuses on the Roman singer-songwriter Sergio Caputo, known for his eclectic crossover between jazz and pop and his inventive and linguistically rich lyrics. A literary author since 2008, Caputo has developed an articulated dialogue between the two artistic identities – writer and musician. Here, I intend mostly to discuss the already literature-oriented nature of Caputo’s song lyrics, how they informed his actual literary works, and how, in turn, the latter tell us something about his songwriting. In between, Caputo’s specific literary influences, particularly the Beat Generation, and their role in both musical and literary writing, will be also discussed
Evidence for effects on thermoregulation after acute oral exposure to type I and type II pyrethroids in infant rats
No full textMost pyrethroid (PYR) insecticides may be classified either as type-I compounds, which produce whole body tremors and hyperthermia, or type-II compounds, which produce salivation, choreoathetosis, and hypothermia (i.e., producing T and CS neurobehavioral syndromes, respectively). This classification is based on clinical observations in adult rats and mice after intracerebroventricular or intravascular administration of highly effective acute (bolus) doses. PYR neurotoxicity in infant animals is not characterized as much as in adult animals. Endpoints informing on vital determinants ofmammal'smaturation, such as body temperature may help recognizing age-related differences in susceptibility to PYRs. In this work, body temperature (Tb) was monitored at 30-min intervals after acute oral exposure to T-syndrome PYR bifenthrin (BIF), CS-syndrome PYR cypermethrin (CYPM), and a BIF?CYPM mixture in weanling rats by using a subcutaneous temperature monitoring system. In both single-compound assays, a time- and dose-related decline of TTb was the most evident impact on thermoregulation observed starting at ~2-3 h after dosing. Moreover, 15-18 mg/kg BIF induced a mild increase in TTb before the hypothermic action was apparent. The lowest effective dose for temperature perturbationwas 15 mg/kg for BIF and 10 mg/kg for CYPM, and moderate neurobehavioral alterations were evident at 12 and 10 mg/kg, respectively. When low effective doses of BIF and CYPM were co-administered mild behavioral effects and a transient increase in TTb (p=0.02) were observed at 1-2 h, and no Tb decline was apparent afterwards compared to control animals. Noteworthy, the hypothermic action of BIF in infant ratswas quite different from the hyperthermia consistently reported in studies usingmature animals. Our results suggest that body temperaturemonitoring may be useful as a complementary assessment to reveal qualitative age-specific pesticide effects in rats.Fil: Bardullas, Ulises. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales; Argentina. Universidad Autónoma de Baja California Sur; MéxicoFil: Sosa Holt, Carla Solange. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales; ArgentinaFil: Pato, Alejandro Martin. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales; ArgentinaFil: Nemirovsky, Sergio Ivan. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales; ArgentinaFil: Wolansky, Marcelo Javier. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Ciudad Universitaria. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales. Universidad de Buenos Aires. Facultad de Ciencias Exactas y Naturales. Instituto de Química Biológica de la Facultad de Ciencias Exactas y Naturales; Argentin
Stories of Dictatorship. Sergio Ramirez´s First Tales
No full textThe first stories of the Nicaraguan writer Sergio Ramírez present elements that form the main features of individual and social life during the Somoza´s dictatorship (1936 - 1979). Some of the problems that appear are power, violence, political, social and economic dependence. Their treatment is accentuated or modified between one publication and another. These texts also questioned the role of art and the intellectual within the liberation struggles led by the Sandinista National Liberation Front. I propose a series of stories included in Cuentos (1963), Nuevos Cuentos (1969) and Charles Atlas también muere (1976) in wich I review the stance on art and the intellectual in this context by the autofiguration of the author. Then, I explore some elements that shape those narrative worlds. They function as a political-social denunciation, while they imagine and claim a new nation in tune with the postulates present in the revolutionary struggles
Some considerations on the corporate social responsibility
No full textThis article refers to the dissemination and importance that has taken the social responsibility of companies or corporations. He points out its criteria, its fields of action and attention, where the values underlying their basic purpose. Explores some of the definitions which serve as a support to the questioning that makes social responsibility when it pursues qualitative and quantitative benefits. The content of the text leads to several conclusions which the author hopes to point the meaning of corporate social responsibility, criteria, their values and their recognized importance in contemporary society.)P TVIWIRXI EVXuGYPS WI VI½IVI E PE divulgaci n e importancia que ha tomado la responsabilidad social de las empresas o cor-poraciones. Se ala sus criterios, sus campos de acci n y atenci n, los valores en los cuales se fundamenta su prop sito b sico. Indaga EPKYREW HI WYW HI½RMGMSRIW PEW GYEPIW WMVZIR de punto de apoyo al cuestionamiento que se le hace a la responsabilidad social cuando GSR IPPE WI TIVWMKYIR FIRI½GMSW GYEPMXEXMZSW y cuantitativos. El contenido del texto con-duce a varias conclusiones con las cuales su EYXSV IWTIVE TYRXYEPM^EV IP WMKRM½GEHS HI PE responsabilidad social empresarial, sus crite-rios, sus valores y su reconocida importancia en la sociedad contempor nea
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