Minori rumeni tra percorsi migratori e rappresentazioni. Nè soli, nè accompagnati a Bologna

The thesis deals with the heterogenous category of the “unaccompanied minors”, concentrating the scientific work on those who migrate from Romania to the Italian city of Bologna. Between different migratory routes that include Romanian minors, I chose to explore the ones linked with the underground and illegal contexts. In order to analyse the reasons and the morphology of their migratory career, I used the multisituated field research which allowed me to consider the social policies in both the Romanian and the Italian environment. The main debate on the situation of the “unaccompanied children” refers to the extent to which these minors leave their country of origin “accompanied” by different adult figures and it also involves the role played by these adults. The first chapter is dedicated to a brief theoretical and methodological introduction to the main arguments of the thesis such as Romanian migration to Italy, trafficking in human beings, transnationality of migrant’s migration and decentered cooperation as a means of contrasting illegal migration and trafficking. Each field of research is characterized by a specific methodological approach, but they are all linked by the anthropological perspective I adopted throughout the entire work. The Romanian context, analized from a diachronic and a synchronic perspective represents the object of the second chapter. Some aspects of the Regime policies and other characteristics of the Romanian poscomunist period of “transition” are useful frameworks that become a background of the migration flows outside the country. The third chapter focuses on the Romanian patterns of migration. The reconstruction of some past attitudes that Romanians adopted towards migration are relevant in order to reveal the continuity with the present migratory practices. A consistent part is dedicated to a concrete example based on a field research in Bologna on a group of Romanian roma migrating from the south of Romania. The contact with these persons opened a debate on the limits between legal and illegal migration practices among the Romanians. The conclusion is that minors’ migration to Italy follows the adult patterns and flows. The nucleus of the field researches is included in the fourth and the fifth chapter. Before presenting the settings and the itineraries of the field researches, some deconstructive reflections are made on the representations that common sense and social sciences create on concepts as “child”, “minor” and “childhood”. A first perspective on the Romanian migrant minors emerges from a research concentrated on a group of roma teenagers engaged in Bologna in activities like windscreen washing, pocket-picking, begging and street prostitution. The aim of the research was to gain access to their daily life, to observe their relationship with the adults who “accompany” them and the strategies they activate in order to take some material profit out of their migratory experience. A parallel field research focuses on the Romanian minors who are part of the roma group coming from the south of Romania. Most of them are reunited with their family in Bologna, but according to the Italian law, they are all living as illegal migrants. Others are only temporary sheltered by these families and they meanwhile dedicate to illegal survviving practices. An interesting point of my participant observation was to reveal the motivations that these minors give when asked about the refusal to start a legal career inside the local Centres dedicated to the “non accompanied minors”. Their autoreflexivity brings some light on the controversy regarding the adequacy of the local and national care system and the migratory projects the minors have. In this respect, a small part of the research is dedicated to the phenomena of minors’ street prostitution in Bologna, as a useful contribution to the fragmented vision researchers have on the “unaccompanied” or “separated” children. The last chapter focuses on a decentered cooperation project that emerged as an alternative response the local administration from Bologna had chosen for facing the presence of numerous migrants coming from the south of Romania. The group of Romanian roma who was also the object of my field research became the starting point for the cooperation proposals between the city of Bologna and the city of Craiova. Although there are three projects involving the two administrations, throughout a period of stage in the Romanian city of Craiova I chose to analyse, only the one dedicated to the “urgent measures” requested in order to contrast the illegal migration and the trafficking in minors. This final part of the thesis highlightens the possible contribution that such a project might bring to the study of a complex and in some parts contradictory phenomena as that of the “unaccompanied” migrant minors.

Multi-pollutants impact on modern cement built heritage

It is well known that the deposition of gaseous pollutants and aerosols plays a major role in causing the deterioration of monuments and built cultural heritage in European cities. Despite of many studies dedicated to the environmental damage of cultural heritage, in case of cement mortars, commonly used in the 20th century architecture, the deterioration due to air multipollutants impact, especially the formation of black crusts, is still not well explored making this issue a challenging area of research. This work centers on cement mortars – environment interactions, focusing on the diagnosis of the damage on the modern built heritage due to air multi-pollutants. For this purpose three sites, exposed to different urban areas in Europe, were selected for sampling and subsequent laboratory analyses: Centennial Hall, Wroclaw (Poland), Chiesa dell'Autostrada del Sole, Florence (Italy), Casa Galleria Vichi, Florence (Italy). The sampling sessions were performed taking into account the height from the ground level and protection from rain run off (sheltered, partly sheltered and exposed areas). The complete characterization of collected damage layer and underlying materials was performed using a range of analytical techniques: optical and scanning electron microscopy, X ray diffractometry, differential and gravimetric thermal analysis, ion chromatography, flash combustion/gas chromatographic analysis, inductively coupled plasma-optical emission spectrometer. The data were elaborated using statistical methods (i.e. principal components analyses) and enrichment factor for cement mortars was calculated for the first time. The results obtained from the experimental activity performed on the damage layers indicate that gypsum, due to the deposition of atmospheric sulphur compounds, is the main damage product at surfaces sheltered from rain run-off at Centennial Hall and Casa Galleria Vichi. By contrast, gypsum has not been identified in the samples collected at Chiesa dell'Autostrada del Sole. This is connected to the restoration works, particularly surface cleaning, regularly performed for the maintenance of the building. Moreover, the results obtained demonstrated the correlation between the location of the building and the composition of the damage layer: Centennial Hall is mainly undergoing to the impact of pollutants emitted from the close coal power stations, whilst Casa Galleria Vichi is principally affected by pollutants from vehicular exhaust in front of the building.

Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Essays on European economic and monetary integration

This thesis focuses on two aspects of European economic integration: exchange rate stabilization between non-euro Countries and the Euro Area, and real and nominal convergence of Central and Eastern European Countries. Each Chapter covers these aspects from both a theoretical and empirical perspective. Chapter 1 investigates whether the introduction of the euro was accompanied by a shift in the de facto exchange rate policy of European countries outside the euro area, using methods recently developed by the literature to detect "Fear of Floating" episodes. I find that European Inflation Targeters have tried to stabilize the euro exchange rate, after its introduction; fixed exchange rate arrangements, instead, apart from official policy changes, remained stable. Finally, the euro seems to have gained a relevant role as a reference currency even outside Europe. Chapter 2 proposes an approach to estimate Central Bank preferences starting from the Central Bank's optimization problem within a small open economy, using Sweden as a case study, to find whether stabilization of the exchange rate played a role in the Monetary Policy rule of the Riksbank. The results show that it did not influence interest rate setting; exchange rate stabilization probably occurred as a result of increased economic integration and business cycle convergence. Chapter 3 studies the interactions between wages in the public sector, the traded private sector and the closed sector in ten EU Transition Countries. The theoretical literature on wage spillovers suggests that the traded sector should be the leader in wage setting, with non-traded sectors wages adjusting. We show that large heterogeneity across countries is present, and sheltered and public sector wages are often leaders in wage determination. This result is relevant from a policy perspective since wage spillovers, leading to costs growing faster than productivity, may affect the international cost competitiveness of the traded sector.

Leopoli-Cencelle beyond virtual reality Documentazione, interpretazione e comprensione di una città medievale

La città medievale di Leopoli-Cencelle (fondata da Papa Leone IV nell‘854 d.C. non lontano da Civitavecchia) è stata oggetto di studio e di periodiche campagne di scavo a partire dal 1994. Le stratigrafie investigate con metodi tradizionali, hanno portato alla luce le numerose trasformazioni che la città ha subìto nel corso della sua esistenza in vita. Case, torri, botteghe e strati di vissuto, sono stati interpretati sin dall’inizio dello scavo basandosi sulla documentazione tradizionale e bi-dimensionale, legata al dato cartaceo e al disegno. Il presente lavoro intende re-interpretare i dati di scavo con l’ausilio delle tecnologie digitali. Per il progetto sono stati utilizzati un laser scanner, tecniche di Computer Vision e modellazione 3D. I tre metodi sono stati combinati in modo da poter visualizzare tridimensionalmente gli edifici abitativi scavati, con la possibilità di sovrapporre semplici modelli 3D che permettano di formulare ipotesi differenti sulla forma e sull’uso degli spazi. Modellare spazio e tempo offrendo varie possibilità di scelta, permette di combinare i dati reali tridimensionali, acquisiti con un laser scanner, con semplici modelli filologici in 3D e offre l’opportunità di valutare diverse possibili interpretazioni delle caratteristiche dell’edificio in base agli spazi, ai materiali, alle tecniche costruttive. Lo scopo del progetto è andare oltre la Realtà Virtuale, con la possibilità di analizzare i resti e di re-interpretare la funzione di un edificio, sia in fase di scavo che a scavo concluso. Dal punto di vista della ricerca, la possibilità di visualizzare le ipotesi sul campo favorisce una comprensione più profonda del contesto archeologico. Un secondo obiettivo è la comunicazione a un pubblico di “non-archeologi”. Si vuole offrire a normali visitatori la possibilità di comprendere e sperimentare il processo interpretativo, fornendo loro qualcosa in più rispetto a una sola ipotesi definitiva.

Per un'archeologia del lavoro in eta' protobizantina. Organizzazione e committenza del cantiere edilizio attraverso i marchi dei marmorari

La ricerca riguarda lo studio del cantiere edilizio protobizantino, con particolare riferimento al ciclo della lavorazione del marmo. Quest’ultimo viene analizzato sotto il profilo amministrativo, tecnico, sociale ed artigianale. L’elemento guida della ricerca sono i marchi dei marmorari, sigle apposte da funzionari e maestranze durante il processo produttivo. Dapprima, fonti letterarie ed epigrafiche, tra cui le sigle di cava e officina su marmo, vengono esaminate per ricostruire il sistema alto-imperiale di amministrazione delle cave e di gestione dei flussi marmorei, nonché l’iter tecnico-artigianale adottato per la produzione dei manufatti. Il confronto con i dati disponibili per la tarda antichità, con particolare riferimento alle cave di Proconneso, evidenzia una sostanziale continuità della prassi burocratico-amministrativa, mentre alcuni cambiamenti si riscontrano nell’ambito produttivo-artigianale. Il funzionamento degli atelier marmorari viene approfondito attraverso lo studio dei marchi dei marmorari. Si tratta di caratteri greci singoli, multipli o monogrammi. Una ricognizione sistematica delle sigle dalla pars Orientalis dell’impero, reperite in bibliografia o da ricognizioni autoptiche, ha portato alla raccolta di circa 2360 attestazioni. Per esse si propone una classificazione tipologica tra sigle di cava, stoccaggio, officina. Tra le sigle di cava si annoverano sigle di controllo, destinazione/committenza, assemblaggio/posizionamento. Una particolare attenzione è riservata alle sigle di officina, riferibili ad un nome proprio di persona, ovvero al πρωτομαΐστωρ, il capo-bottega che supervisionava il lavoro dei propri artigiani e fungeva da garante del prodotto consegnato alla committenza. Attraverso lo studio comparato delle sigle reperite a Costantinopoli e in altri contesti si mette in luce la prassi operativa adottata dagli atelier nei processi di manifattura, affrontando anche il problema delle maestranze itineranti. Infine, sono analizzate fonti scritte di varia natura per poter collocare il fenomeno del marmo in un contesto socio-economico più ampio, con particolare riferimento alle figure professionali ed artigianali coinvolte nei cantieri e al problema della committenza.

Cultura materiale ed espansione di Roma: Il caso dell'Ager Gallicus

Lo scritto ha l’obiettivo di definire dinamiche e cronologie di quel complesso processo espansionistico che portò Roma alla conquista dei territori dell’Ager Gallicus, partendo dall’analisi dettagliata della cultura materiale e dei rispettivi contesti di provenienza emersi dalle recenti indagini archeologiche realizzate dal Dipartimento di Storia Culture Civiltà dell’Università degli Studi di Bologna nella città di Senigallia. In armonia con quanto testimoniato dalle sequenze stratigrafiche documentate, si delineano quattro principali fasi di vita dell’abitato: la prima preromana, la seconda riferibile alla prima fase di romanizzazione del sito, la terza inerente allo sviluppo dell’insediamento con la fondazione della colonia romana e l’ultima riferibile all’età repubblicana. Emerge con chiarezza la presenza già dalla fine del IV-inizio III a.C., di un insediamento romano nel territorio della città, sviluppatosi con la fondazione di un’area sacra e la predisposizione di un’area produttiva. La scelta del sito di Sena Gallica fu strategica: un territorio idoneo allo sfruttamento agricolo e utile come testa di ponte per la conquista dei territori del Nord Italia. Inoltre, questo centro aveva già intrecciato rapporti commerciali con gli insediamenti costieri adriatici e mediterranei. La presenza di ceramica di produzione locale, il rinvenimento di elementi distanziatori e le caratteristiche geomorfologiche del sito, fanno ipotizzare la presenza in loco di un’officina ceramica. Ciò risulta di grande importanza dato che tutte le attestazioni ceramiche prodotte localmente e rinvenute nel territorio, fino ad oggi sono attribuite alle officine di Aesis e Ariminum. Dunque Sena Gallica sarebbe stata un centro commerciale e produttivo. La precoce presenza di ceramica a Vernice Nera di tipo romano-laziale prodotte localmente prima dell’istituzione ufficiale della colonia, che permette di ipotizzare uno stanziamento di piccoli gruppi di Romani in territori appena conquistati ma non ancora colonizzati, attestata a Sena Gallica, trova riscontro anche in altri centri adriatici come Ariminum, Aesis, Pisaurum, Suasa e Cattolica.