196,289 research outputs found
Azinobis(ethylidyne-p-phenylene) Dipropionate, C22 H24 N2 04
M r= 380.4, monoclinic, P21/e, a=
19.836(3), b=5.450(1), c=24.068(3)A, fl=
128.37 (15) °, V= 2040 (4) A 3, Z=4, Din=
(flotation) = 1.23, D x = 1.23 gcm -3, 2(Cu Kct) =
1.54178 A, g = 6.6 cm -1, F(000) = 808, T= 298 K,
R = 0.055 for 875 observed independent reflections.
The independent structural unit is formed by two
crystallographically unrelated half-molecules. Both
crystallographically independent molecules assume an
almost planar conformation, the phenyl rings being
slightly rotated with respect to the average molecular
plane
Contributi italiani all’architettura argentina. Progetti e opere tra il XIX e il XX secolo/Aportes italianos a la arquitectura argentina. Proyectos y obras en los siglos XIX y XX
I saggi raccolti nel volume mostrano come lo stretto rapporto che unisce Italia e Argentina abbia potuto lasciare segni duraturi nel tessuto urbano, nel patrimonio architettonico e, più in generale, nella cultura artistica argentina. I nostri emigranti – oltre un milione solo tra il 1860 e il 1900 – trovarono in Argentina una seconda patria. Architetti, carpentieri e muratori s’impegnarono a trasformare le città argentine, tra cui Buenos Aires – la “gran aldea” (il grande villaggio) come allora veniva chiamata – in moderni centri urbani capaci di competere architettonicamente con le maggiori capitali europee. È un lungo processo iniziato nell’800 che prosegue fino ai nostri giorni e che ha non solo trasferito oltre oceano conoscenze e mestieri ma ha anche saputo valorizzare le risorse del territorio e della cultura locale
Mario Palanti architetto visionario tra Italia e Argentina / Mario Palanti arquitecto visionario entre Italia y Argentina
Con le sue opere, caratterizzate da una concezione visionaria fatta di progetti fantastici, architetture virtuosistiche e monumentali cariche di intense e molteplici valenze simboliche, Mario Palanti è uno tra i protagonisti del singolare rapporto che dalla fine dell’Ottocento lega Milano a Buenos Aires. Chiamato da Gaetano Moretti per progettare il Padiglione Italiano per il Centenario della Rivoluzione di Maggio, arriva nella capitale argentina già nel 1910, a un anno dalla laurea, e vi resta, con alcune interruzioni, per quasi due decenni. Nel Paese sudamericano porta i principi del tardo romanticismo, del risorgimentalismo, dell’accademismo e persino del neomedievalismo appresi durante la sua formazione presso l’Accademia di Brera e poi nella Scuola Superiore del Politecnico di Milano diretta da Boito, aggiungendo di suo l’esaltazione del genio creatore dell’architetto. Le sue opere, come palazzo Barolo (1919-23) a Buenos Aires e palazzo Salvo (1922-28) a Montevideo, sono destinate soprattutto a una clientela privata formata da immigrati italiani che hanno fatto fortuna nel nuovo mondo. Attraverso di esse cerca di costruire uno “stile moderno” rappresentativo dell’epoca e del luogo, ma che attinge anche largamente al repertorio dell’architettura medievale, esprimendo così la ricchezza economica di un paese e simboli di un progresso a cui hanno partecipato anche alcuni emigranti italiani divenuti uomini di successo.With his works, characterized by a visionary concept made of fantastic projects, monumental and virtuosic architecture full of intense and multiple symbolic meanings, Mario Palanti is among the protagonists of the unique relationship that in the late nineteenth century binds Milan and Buenos Aires. Invited by Gaetano Moretti to design the Italian Pavilion for the centenary of the May Revolution, he arrives in the capital of Argentina in 1910, a year after his graduation, and remains there, with some interruptions, for nearly two decades. He brings to Argentina the principles of late Romanticism, the “Risorgimental” style, the academicism and even the neo-medievalism learned during his training at the Academy of Brera and then at the Scuola Supeiore of the Polytechnic of Milan directed by Boito and to this he adds from his own an exaltation of the genius-creator of the architect. His works, such as Palazzo Barolo (1919-23) in Buenos Aires and Palazzo Salvo (1922-28) in Montevideo, are
Syrian refugees in Lebanon: gendered impacts of a multi-layered crisis
Tuzi I, Ghabash W. Syrian refugees in Lebanon: gendered impacts of a multi-layered crisis. In: McAuliffe M, Bauloz C, eds. Research Handbook on Migration, Gender and Covid-19. Cheltenham: Edward Elgar Publishing; 2024: 154-167
Agency, structure, and reflexivity in displacement: The experience of Syrian refugees in Lebanon and Germany
This article, based on 18 months of fieldwork in Lebanon and Germany, proposes a theoretical conceptualization of the interactions between agency, structure, and reflexivity in displacement. The research on which this paper is based looks at Syrian displaced families and explores the specificities of refugees’ agency. I argue that the specific conditions within which Syrian refugees act in Lebanon and Germany make them experience a suspended life. This condition is expressed by the concept of ‘liminality’, which functions as a non-structure and creates a framework in which alternative dimensions of agency and reflexivity can be exercised
Forced Migration and Gender Relations: Structure, Agency and Reflexivity among Syrian Refugees in Lebanon and Germany
This research explores the effects of forced migration on gender roles and gender relations among Syrian families displaced in Lebanon and Germany. It aims at analysing the interaction of structure, agency and reflexivity in shaping forced migration gendered outcomes. The literature about gender and forced migration has highlighted how displacement and humanitarian crises have often led to the empowerment of people. Nonetheless, agency in displacement functions within a context in which the action is structured. Given that conflict-induced forced migration entails various gender roles transformation in men and women, this research questions to what extent pre-existing gender dynamics and patterns undergo changes; what role the receiving society has in shaping those changes; and how refugees deal with gender roles transformation in terms of agency and reflexivity. Specifically, I question how structural factors as challenging living conditions, a changing legal status, a fractured relationship with the home country, and a sometimes - conflicting one with the host country, may foster or constrain gendered practices among Syrian refugees. I claim that displacement has a great impact in (re)shaping conventional ideas of gender roles, as well as in challenging traditional gender beliefs. In Lebanon and Germany displaced Syrian men and women are now renegotiating their masculinity and femininity identities within a new field. In order to enable more systematic analysis, I outline a series of gendered attitudes in displacement some of them being the rejection of traditional gender roles and the development of new gender practices; and the conservation of traditional gender roles and the refusal to adapt to new gender roles. My results indicate that despite the structures of displacement, many refugees succeed in attaining aspirations when renegotiating their gender roles in the household and in society. In particular, they succeed in mobilizing social, financial, intellectual and cultural capital by developing their own typologies of agency. In this sense, in order to understand how the interaction of agency, structure and reflexivity can inform our understanding of the dynamics on the field, I identify varieties of doing gender among refugees, including overplayed femininity, contested masculinity, suspended habitus and religious reflexivity. Primary data were collected in Lebanon and Germany between 2018 and 2019. Individual semi-structured interviews were carried out on the nature of the difficulties men and women experienced in forced migration, their own perception of those, and the coping strategies they employed to overcome those difficulties. The sample was composed of 45 nuclear, extended and single-headed households where their members had been displaced for at least one year
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