"Water users must be efficient producers". Women's access to and use of land in Chókwè irrigation scheme, Mozambique

The irrigation scheme Eduardo Mondlane, situated in Chókwè District - in the Southern part of the Gaza province and within the Limpopo River Basin - is the largest in the country, covering approximately 30,000 hectares of land. Built by the Portuguese colonial administration in the 1950s to exploit the agricultural potential of the area through cash-cropping, after Independence it became one of Frelimo’s flagship projects aiming at the “socialization of the countryside” and at agricultural economic development through the creation of a state farm and of several cooperatives. The failure of Frelimo’s economic reforms, several infrastructural constraints and local farmers resistance to collective forms of production led to scheme to a state of severe degradation aggravated by the floods of the year 2000. A project of technical rehabilitation initiated after the floods is currently accompanied by a strong “efficiency” discourse from the managing institution that strongly opposes the use of irrigated land for subsistence agriculture, historically a major livelihood strategy for smallfarmers, particularly for women. In fact, the area has been characterized, since the end of the XIX century, by a stable pattern of male migration towards South African mines, that has resulted in an a steady increase of women-headed households (both de jure and de facto). The relationship between land reform, agricultural development, poverty alleviation and gender equality in Southern Africa is long debated in academic literature. Within this debate, the role of agricultural activities in irrigation schemes is particularly interesting considering that, in a drought-prone area, having access to water for irrigation means increased possibilities of improving food and livelihood security, and income levels. In the case of Chókwè, local governments institutions are endorsing the development of commercial agriculture through initiatives such as partnerships with international cooperation agencies or joint-ventures with private investors. While these business models can sometimes lead to positive outcomes in terms of poverty alleviation, it is important to recognize that decentralization and neoliberal reforms occur in the context of financial and political crisis of the State that lacks the resources to efficiently manage infrastructures such as irrigation systems. This kind of institutional and economic reforms risk accelerating processes of social and economic marginalisation, including landlessness, in particular for poor rural women that mainly use irrigated land for subsistence production. The study combines an analysis of the historical and geographical context with the study of relevant literature and original fieldwork. Fieldwork was conducted between February and June 2007 (where I mainly collected secondary data, maps and statistics and conducted preliminary visit to Chókwè) and from October 2007 to March 2008. Fieldwork methodology was qualitative and used semi-structured interviews with central and local Government officials, technical experts of the irrigation scheme, civil society organisations, international NGOs, rural extensionists, and water users from the irrigation scheme, in particular those women smallfarmers members of local farmers’ associations. Thanks to the collaboration with the Union of Farmers’ Associations of Chókwè, she has been able to participate to members’ meeting, to education and training activities addressed to women farmers members of the Union and to organize a group discussion. In Chókwè irrigation scheme, women account for the 32% of water users of the familiar sector (comprising plot-holders with less than 5 hectares of land) and for just 5% of the private sector. If one considers farmers’ associations of the familiar sector (a legacy of Frelimo’s cooperatives), women are 84% of total members. However, the security given to them by the land title that they have acquired through occupation is severely endangered by the use that they make of land, that is considered as “non efficient” by the irrigation scheme authority. Due to a reduced access to marketing possibilities and to inputs, training, information and credit women, in actual fact, risk to see their right to access land and water revoked because they are not able to sustain the increasing cost of the water fee. The myth of the “efficient producer” does not take into consideration the characteristics of inequality and gender discrimination of the neo-liberal market. Expecting small-farmers, and in particular women, to be able to compete in the globalized agricultural market seems unrealistic, and can perpetuate unequal gendered access to resources such as land and water.

Technology acquisition through licensing. Implications for firm strategy

Nowadays licensing practices have increased in importance and relevance driving the widespread diffusion of markets for technologies. Firms are shifting from a tactical to a strategic attitude towards licensing, addressing both business and corporate level objectives. The Open Innovation Paradigm has been embraced. Firms rely more and more on collaboration and external sourcing of knowledge. This new model of innovation requires firms to leverage on external technologies to unlock the potential of firms’ internal innovative efforts. In this context, firms’ competitive advantage depends both on their ability to recognize available opportunities inside and outside their boundaries and on their readiness to exploit them in order to fuel their innovation process dynamically. Licensing is one of the ways available to firm to ripe the advantages associated to an open attitude in technology strategy. From the licensee’s point view this implies challenging the so-called not-invented-here syndrome, affecting the more traditional firms that emphasize the myth of internal research and development supremacy. This also entails understanding the so-called cognitive constraints affecting the perfect functioning of markets for technologies that are associated to the costs for the assimilation, integration and exploitation of external knowledge by recipient firms. My thesis aimed at shedding light on new interesting issues associated to in-licensing activities that have been neglected by the literature on licensing and markets for technologies. The reason for this gap is associated to the “perspective bias” affecting the works within this stream of research. With very few notable exceptions, they have been generally concerned with the investigation of the so-called licensing dilemma of the licensor – whether to license out or to internally exploit the in-house developed technologies, while neglecting the licensee’s perspective. In my opinion, this has left rooms for improving the understanding of the determinants and conditions affecting licensing-in practices. From the licensee’s viewpoint, the licensing strategy deals with the search, integration, assimilation, exploitation of external technologies. As such it lies at the very hearth of firm’s technology strategy. Improving our understanding of this strategy is thus required to assess the full implications of in-licensing decisions as they shape firms’ innovation patterns and technological capabilities evolution. It also allow for understanding the so-called cognitive constraints associated to the not-invented-here syndrome. In recognition of that, the aim of my work is to contribute to the theoretical and empirical literature explaining the determinants of the licensee’s behavior, by providing a comprehensive theoretical framework as well as ad-hoc conceptual tools to understand and overcome frictions and to ease the achievement of satisfactory technology transfer agreements in the marketplace. Aiming at this, I investigate licensing-in in three different fashions developed in three research papers. In the first work, I investigate the links between licensing and the patterns of firms’ technological search diversification according to the framework of references of the Search literature, Resource-based Theory and the theory of general purpose technologies. In the second paper - that continues where the first one left off – I analyze the new concept of learning-bylicensing, in terms of development of new knowledge inside the licensee firms (e.g. new patents) some years after the acquisition of the license, according to the Dynamic Capabilities perspective. Finally, in the third study, Ideal with the determinants of the remuneration structure of patent licenses (form and amount), and in particular on the role of the upfront fee from the licensee’s perspective. Aiming at this, I combine the insights of two theoretical approaches: agency and real options theory.

"Narrativa di frontiera". Fenomenologia di una forma aperta.

«Fiction of frontier». Phenomenology of an open form/voice. Francesco Giustini’s PhD dissertation fits into a genre of research usually neglected by the literary criticism which nevertheless is arousing much interest in recent years: the relationship between Literature and Space. In this context, the specific issue of his work consists in the category of the Frontier including its several implications for the XX century fiction. The preliminary step, at the beginning of the first section of the dissertation, is a semantic analysis: with precision, Giustini describes the meaning of the word “frontier” here declined in a multiplicity of cultural, political and geographical contexts, starting from the American frontier of the pioneers who headed for the West, to the exotic frontiers of the world, with whose the imperialistic colonization has come into contact; from the semi-uninhabited areas like deserts, highlands and virgin forests, to the ethnic frontiers between Indian and white people in South America, since the internal frontiers of the Countries like those ones between the District and the Capital City, the Centre and the Outskirts. In the next step, Giustini wants to focus on a real “ myth of the frontier”, able to nourish cultural and literary imagination. Indeed, the literature has told and chosen the frontier as the scenery for many stories; especially in the 20th Century it made the frontier a problematic space in the light of events and changes that have transformed the perception of space and our relationship with it. Therefore, the dissertation proposes a critical category, it traces the hallmarks of a specific literary phenomenon defined “ Fiction of the frontier” ,present in many literary traditions during the 20th Century. The term “Fiction” (not “Literature” or “Poetics”) does not define a genre but rather a “procedure”, focusing on a constant issue pointed out from the texts examined in this work : the strong call to the act of narration and to its oral traditions. The “Fiction of the Frontier” is perceived as an approach to the world, a way of watching and feeling the objects, an emotion that is lived and told through the story- a story where the narrator ,through his body and his voice, takes the rule of the witness. The following parts, that have an analytic style, are constructed on the basis of this theoretical and methodological reflection. The second section gives a wide range of examples into we can find the figure and the myth of the frontier through the textual analysis which range over several literary traditions. Starting from monographic chapters (Garcia Marquez, Callado, McCarthy), to the comparative reading of couples of texts (Calvino and Verga Llosa, Buzzati and Coetzee, Arguedas and Rulfo). The selection of texts is introduced so as to underline a particular aspect or a form of the frontier at every reading. This section is articulated into thematic voices which recall some actions that can be taken into the ambiguous and liminal space of the frontier (to communicate, to wait, to “trans-culturate”, to imagine, to live in, to not-live in). In this phenomenology, the frontier comes to the light as a physical and concrete element or as a cultural, imaginary, linguistic, ethnic and existential category. In the end, the third section is centered on a more defined and elaborated analysis of two authors, considered as fundamental for the comprehension of the “Fiction of the frontier”: Joseph Conrad and João Guimarães Rosa. Even if they are very different, being part of unlike literary traditions, these two authors show many connections which are pointed by the comparative analysis. Maybe Conrad is the first author that understand the feeling of the frontier , freeing himself from the adventure romance and from the exotic nineteenthcentury tradition. João Guimarães Rosa, in his turn, is the great narrator of Brazilian and South American frontier, he is the man of sertão and of endless spaces of the Centre of Brazil. His production is strongly linked to that one belonged to the author of Heart of Darkness.

La "barbarie glorieuse" pendant la Renaissance européenne

The thesis deals with the notion of "barbarian/barbarism" from Greek and Roman antiquity to the European Renaissance history and theatre. From a methodological point of view, though the notion of "barbarian" is analysed from an interdisciplinary perspective, the hermeneutic approach of the history of ideas and New Historicism are privileged. The main idea of the thesis is that during the XVIth century in Europe the interpretation of barbarism as a historical and cultural event has shifted from a negative position to a more positive one. The idea of “glorious barbarism” tries to explain such a change in European thought. The thesis is divided into four chapters. In the first chapter the notion of barbarism is analysed from Greek and Roman antiquity to the Renaissance. The second chapter deals with the development of cartography during the XVIth century in Europe and its relation to the redefinition of Europe’s borders. This chapter also deals with the study of some European political treatises developing a reflection on the barbaric past of Europe. The third chapter deals with the analysis of European XVIth century theatre and its relation to the representation of barbarism, with particular attention to Italian, English and Spanish plays staging a conflict between civilization and barbarism. Finally, the forth chapter deals with the analysis of the myth of Amazons during the XVIth century both in the arts and in literature. The Amazons are interpreted as the female translation of the figure of the barbarian. This cultural, artistic and political process emerges particularly in representation of female characters in European XVIth century theatre.

«L’impero portatile» dei portoghesi: articolazione e figure narrative nell’immaginario coloniale portoghese.

A partire da una ricognizione storica sull’ultimo impero coloniale portoghese, la tesi intende analizzare come il mito dell’impero abbia contribuito a definire l’identità nazionale del Portogallo e il suo patrimonio culturale e letterario. Il mito viene indagato in particolar modo nella sua componente linguistica e discorsiva, come modalità peculiare di costruire “costellazioni” di immagini. In questo contesto la letteratura assume una rilevanza specifica, poiché le sue risorse formali le permettono di contrapporre alla fissità del mito una potente articolazione in grado di scardinare gli automatismi legati ad una translatio imperii volta a reiterare l’immaginazione del centro. L’analisi di un corpus letterario afferente a quella che potremmo chiamare la letteratura “dei retornados”, che si concentra soprattutto sulla definizione della focalizzazione narrativa e sulla rielaborazione delle figure narrative, intende ricercare le diverse forme di assumere criticamente il canone imperiale e di oltrepassarlo.

Il museo Wilhelm Lehmbruck: paradigma della nuova modernità nella Germania del secondo dopoguerra

Oggetto della ricerca è il museo Wilhelm Lehmbruck di Duisburg, un'opera dell'architetto Manfred Lehmbruck, progettata e realizzata tra il 1957 e il 1964. Questa architettura, che ospita la produzione artistica del noto scultore Wilhelm Lehmbruck, padre di Manfred, è tra i primi musei edificati ex novo nella Repubblica Federale Tedesca dopo la seconda guerra mondiale. Il mito di Wilhelm Lehmbruck, costruito negli anni per donare una identità culturale alla città industriale di Duisburg, si rinvigorì nel secondo dopoguerra in seno ad una più generale tendenza sorta nella Repubblica di Bonn verso la rivalutazione dell'arte moderna, dichiarata “degenerata” dal nazionalsocialismo. Ricollegarsi all'arte e all'architettura moderna degli anni venti era in quel momento funzionale al ridisegno di un volto nuovo e democratico del giovane stato tedesco, che cercava legittimazione proclamandosi erede della mitica e gloriosa Repubblica di Weimar. Dopo anni di dibattiti sulla ricostruzione, l'architettura del neues Bauen sembrava l'unico modo in cui la Repubblica Federale potesse presentarsi al mondo, anche se la realtà del paese era assai più complessa e svelava il “doppio volto” che connotò questo stato a partire dal 1945. Le numerose dicotomie che popolarono presto la tabula rasa nata dalle ceneri del conflitto (memoria/oblio, tradizione/modernità, continuità/discontinuità con il recente e infausto passato) trovano espressione nella storia e nella particolare architettura del museo di Duisburg, che può essere quindi interpretato come un'opera paradigmatica per comprendere la nuova identità della Repubblica Federale, un'identità che la rese capace di risorgere dopo l' “anno zero”, ricercando nel miracolo economico uno strumento di redenzione da un passato vergognoso, che doveva essere taciuto, dimenticato, lasciato alle spalle.

Salomé et Jean Baptiste. Réinvestissements symboliques et récritures d'un mythe dans la littérature et dans l'art (1870-1914)

La publication de nombreuses œuvres, à la fois littéraires et picturales, entre 1870 et 1914, inspirées par l’épisode biblique du meurtre de Jean Baptiste par Salomé, s’inscrit dans une crise qui touche à cette époque, en Europe, aussi bien le sujet que la notion de représentation. Le mythe de Salomé permet de poursuivre une réflexion de nature littéraire, historique et esthétique concernant le processus d’autonomisation de l’art. À partir des sources bibliques et antiques, dans lesquelles Salomé et Jean Baptiste incarnent respectivement le monde païen en conflit avec le monde chrétien, ces deux personnages font graduellement leur entrée dans l’univers de la fiction. Ils sont au cœur de la transition d’une lecture transcendante — reliée particulièrement à la tradition catholique — de l’épisode tragique qui les unit, à une lecture immanente qui en fait deux instances purement esthétiques. La danseuse et le dernier des prophètes émergent dans la littérature et dans l’art occidentaux comme deux pôles symboliques, liés l’un à l’autre par différents types de relation, susceptibles d’être librement réinvestis par de nouvelles significations et à l’écart des conventions. Si, dans la première partie du XIXe siècle, Salomé et Jean Baptiste sont encore liés à leur sens orthodoxe, au tournant du siècle ils finissent par s’autonomiser de l’Écriture et donnent lieu à de multiples récritures et à des adaptations inattendues. Celles-ci ressortissent alors moins du blasphème à proprement parler que d’un témoignage emblématique d’une transformation du rapport que l’artiste entretient avec son œuvre. Celui-ci, en s’identifiant avec le prophète décollé, se mesure à l’œuvre d’art, qui est incarnée par Salomé. La relation entre Salomé et Jean Baptiste, dans ces diverses représentations, exprime et reflète le moment où art et littérature se reconnaissent comme fictions.