1,720,973 research outputs found
Sustainable Wellbeing via Habitat and Citizenship - Prologue
No full textCultures of Sustainability and Wellbeing: Theories, Histories and Policies examines and assesses the interdependence between sustainability and wellbeing by drawing attention to humans as producers and consumers in a post-human age. Why wellbeing ought to be regarded as essential to sustainable development is explored first from multifocal theoretical perspectives encompassing sociology, literary criticism and socioeconomics, second in relation to institutions and policies, and third with a focus on specific case studies across the world. Wellbeing and its sustainability are defined in terms of biological and cultural diversity; stages of advancement in science and technology; notions of citizenship and agency; geopolitical scenarios and environmental conditions.
Wellbeing and sustainability call for enquiries into human capacities in ontological, epistemological and practical terms. A view of sustainability that revolves around material and immaterial wellbeing is based on the assumption that life quality, comfort, happiness, security, safety always posit humans as both recipients and agents. Risk and resilience in contemporary societies define the intrinsically human ability to make and consume, to act and adapt, driving the search for and fruition of wellbeing. How to sustain the dual process of exploitation and regeneration is a task that requires integrated approaches from the sciences and the humanities, jointly tracing a worldwide cartography with clear localisations
Origins as a Paradigm in the Sciences and in the Humanities
No full textThe assumption that origins can be defined as a hermeneutic paradgm in the humanities and in the sciences is explored in relation to specific theoretical frameworks and research methodologies. By investigating how origins have been conceptualised in different domains of knbowledge a double movement has been generated: towards the very core of each discipline and beyond disciplinaries boundaries
Pillars and Circles. Wellbeing at the Core of Sustainability
No full textIn the last few decades, the notion of sustainable development has acquired a wide assortment of meanings. Appropriated and exploited, it has become ubiquitous, high-sounding and formulaic. Mentioned de rigueur as the primary goal for ensuring the future of humankind, it serves rhetorical and instrumental purposes as well as arouses criticism. Definitions of sustainability have been affected by constraints deriving from a tripartite model, in which economics stands out as the chief domain, while the environment and society are forever engaged in confrontation.
The Circles of Sustainability have introduced a broader and more balanced view by presupposing a quadripartite structure that includes economics, ecology, politics and culture (Hawkes, The Fourth Pillar of Sustainability; James et al.). While the production, use, and management of resources is still a major object of enquiry, over the last decade increasing attention has been directed towards
the role of humans as producers, users and custodians of cultures which demand to be sustained (UNESCO).
The claim that sustainability and wellbeing should be integrated within a cultural discourse presupposes a view of humans as makers and consumers in a post-human
age. This very view has generated an interdisciplinary dialogue between the authors, a literary scholar and an ecological economist who share the assumption that sustainable development and wellbeing are interrelated because they comprehend the duties as well as the rights of humankind to sustain and enjoy nature and culture. We support cross-fertilisations between positivist and interpretivist methods of enquiry and propose a methodological framework formed by three parts: theoretical and historical approaches; discussion of policies and institutions; presentation of a wide range of case studies across the world and from diverse disciplinary fields
Science et technologie en France
No full textEvoluzione delle scienze e delle tecniche in Francia, con particolare riferimento all'emergere in campo scientifico del "modello macchina" con Descartes nel Seicento, e all'affermarsi in campo tecnico di saperi matematicamente fondati con le scuole (militari e civili) di ingegneria nel Settecento. Si tratta di trasformazioni culturali che incidono in vari ambiti, dall'economia alla politica e forniscono anche nuove dimensioni alla progettualità utopica
The Enemy's Point of View in Charlotte Perkins Gilman's Utopian Dreams and 'Practical Utopias'
No full textThe Germ. Thoughts towards Nature in Poetry, Literature and Art
No full textNel presentare la rivista The Germ. Thoughts towards Nature in Poetry, Literature and Art, pubblicata in quattro numeri nel 1850 a Londra presso la casa editrice Aylott & Jones, si deve specificare che si tratta della prima edizione italiana.
La si è definita la rivista dei Preraffaelliti, perché nel 1848 i pittori William Holman Hunt, John Everett Millais e Dante Gabriel Rossetti e lo scultore Thomas Woolner, la cui età era compresa fra i diciannove e i ventitré anni, si erano incontrati alla Royal Academy e insieme al critico e poeta William Michael Rossetti, fratello di Dante Gabriel, al pittore James Collinson e al critico e pittore Frederick George Stephens avevano fondato la Pre-Raphaelite Brotherhood, che perseguiva l’ambizioso progetto di rinnovare le arti figurative recuperando l’autenticità delle espressioni pittoriche del Medioevo e del primo Rinascimento italiani. Della Confraternita Preraffaellita The Germ divenne il manifesto.
L’idea di proporre The Germ nasce innanzitutto da considerazioni relative alla lontana datazione, alla sporadicità e alla modesta qualità critica delle riedizioni apparse dall’epoca vittoriana ad oggi. Non solo il numero di ristampe è esiguo, ma le più recenti tra esse risalgono agli anni Settanta: da trent’anni, dunque, The Germ non è più ripubblicato. In tali riedizioni manca inoltre un solido apparato critico.
Nella presente ristampa anastatica dei quattro numeri di The Germ sono racchiuse opere in prosa e in versi di Dante Gabriel Rossetti, William Michael Rossetti, Christina Georgina Rossetti, Coventry Patmore, John Lucas Tupper, John Orchard, Frederick George Stephens, Thomas Woolner, Walter Howell Deverell, James Collinson, William Bell Scott e Major Calder Campbell. La pagina di copertina è seguita da un’incisione, che reca la firma di William Holman Hunt nel primo numero, di Collinson nel secondo, di Ford Madox Brown nel terzo, e di Deverell nel quarto.
La scelta di presentare i quattro numeri della rivista integralmente e in lingua originale è motivata dalla considerazione che, fino ad ora, la fruizione dell’opera è stata condizionata dalla ripubblicazione di alcuni contributi di Dante Gabriel oppure di Christina Rossetti in ampie raccolte antologiche genericamente dedicate ai Preraffaelliti, ma spesso povere di indicazioni circa il contesto originale e poco attente alla collocazione diacronica. Alla consapevolezza che la conoscenza acquisita su The Germ dopo un secolo e mezzo dalla sua fondazione è vaga e parziale, si unisce la convinzione che ognuno dei quattro numeri costituisce un oggetto di interesse critico non solo per gli specialisti della cultura anglosassone, ma anche per studiosi di altre discipline quali la storia dell’arte, la storia delle idee e il comparatismo fra le arti. E naturalmente fra i destinatari della rivista preraffaellita vi sono anche i cultori del Preraffaellitismo, che si recano non solo in Gran Bretagna, ma in tutta Europa, per visitare esposizioni dedicate agli artisti preraffaelliti, oppure, più sovente negli ultimi due decenni, volte a ripresentare artisti attivi nel secondo Ottocento europeo ed accomunati dalla definizione di Simbolisti.
Fu William Michael Rossetti il primo a riesaminare gli obiettivi della rivista, a interrogarsi sulle reazioni contrastanti da essa suscitate nel 1850, e a ricostruirne la ricezione critica nei cinquant’anni successivi. Nel saggio scritto nel 1899 e presentato come Introduction all’edizione di The Germ pubblicata da Elliot Stock nel 1901, egli fornisce indicazioni significative circa il rapporto articolato e talvolta contraddittorio che i giovani artisti stabilirono tra la chiarezza della visione e la veridicità della rappresentazione. La certezza che lo studio di W.M. Rossetti rappresenta un prezioso strumento per comprendere la genesi del Preraffaellitismo ha indotto le curatrici a scegliere di ripubblicare l’edizione del 1901
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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