Light energy management in peach: utilization, photoprotection , photodamage and recovery. Maximizing light absorption in orchard is not always the best solution

The relation between the intercepted light and orchard productivity was considered linear, although this dependence seems to be more subordinate to planting system rather than light intensity. At whole plant level not always the increase of irradiance determines productivity improvement. One of the reasons can be the plant intrinsic un-efficiency in using energy. Generally in full light only the 5 – 10% of the total incoming energy is allocated to net photosynthesis. Therefore preserving or improving this efficiency becomes pivotal for scientist and fruit growers. Even tough a conspicuous energy amount is reflected or transmitted, plants can not avoid to absorb photons in excess. The chlorophyll over-excitation promotes the reactive species production increasing the photoinhibition risks. The dangerous consequences of photoinhibition forced plants to evolve a complex and multilevel machine able to dissipate the energy excess quenching heat (Non Photochemical Quenching), moving electrons (water-water cycle , cyclic transport around PSI, glutathione-ascorbate cycle and photorespiration) and scavenging the generated reactive species. The price plants must pay for this equipment is the use of CO2 and reducing power with a consequent decrease of the photosynthetic efficiency, both because some photons are not used for carboxylation and an effective CO2 and reducing power loss occurs. Net photosynthesis increases with light until the saturation point, additional PPFD doesn’t improve carboxylation but it rises the efficiency of the alternative pathways in energy dissipation but also ROS production and photoinhibition risks. The wide photo-protective apparatus, although is not able to cope with the excessive incoming energy, therefore photodamage occurs. Each event increasing the photon pressure and/or decreasing the efficiency of the described photo-protective mechanisms (i.e. thermal stress, water and nutritional deficiency) can emphasize the photoinhibition. Likely in nature a small amount of not damaged photosystems is found because of the effective, efficient and energy consuming recovery system. Since the damaged PSII is quickly repaired with energy expense, it would be interesting to investigate how much PSII recovery costs to plant productivity. This PhD. dissertation purposes to improve the knowledge about the several strategies accomplished for managing the incoming energy and the light excess implication on photo-damage in peach. The thesis is organized in three scientific units. In the first section a new rapid, non-intrusive, whole tissue and universal technique for functional PSII determination was implemented and validated on different kinds of plants as C3 and C4 species, woody and herbaceous plants, wild type and Chlorophyll b-less mutant and monocot and dicot plants. In the second unit, using a “singular” experimental orchard named “Asymmetric orchard”, the relation between light environment and photosynthetic performance, water use and photoinhibition was investigated in peach at whole plant level, furthermore the effect of photon pressure variation on energy management was considered on single leaf. In the third section the quenching analysis method suggested by Kornyeyev and Hendrickson (2007) was validate on peach. Afterwards it was applied in the field where the influence of moderate light and water reduction on peach photosynthetic performances, water requirements, energy management and photoinhibition was studied. Using solar energy as fuel for life plant is intrinsically suicidal since the high constant photodamage risk. This dissertation would try to highlight the complex relation existing between plant, in particular peach, and light analysing the principal strategies plants developed to manage the incoming light for deriving the maximal benefits as possible minimizing the risks. In the first instance the new method proposed for functional PSII determination based on P700 redox kinetics seems to be a valid, non intrusive, universal and field-applicable technique, even because it is able to measure in deep the whole leaf tissue rather than the first leaf layers as fluorescence. Fluorescence Fv/Fm parameter gives a good estimate of functional PSII but only when data obtained by ad-axial and ab-axial leaf surface are averaged. In addition to this method the energy quenching analysis proposed by Kornyeyev and Hendrickson (2007), combined with the photosynthesis model proposed by von Caemmerer (2000) is a forceful tool to analyse and study, even in the field, the relation between plant and environmental factors such as water, temperature but first of all light. “Asymmetric” training system is a good way to study light energy, photosynthetic performance and water use relations in the field. At whole plant level net carboxylation increases with PPFD reaching a saturating point. Light excess rather than improve photosynthesis may emphasize water and thermal stress leading to stomatal limitation. Furthermore too much light does not promote net carboxylation improvement but PSII damage, in fact in the most light exposed plants about 50-60% of the total PSII is inactivated. At single leaf level, net carboxylation increases till saturation point (1000 – 1200 μmolm-2s-1) and light excess is dissipated by non photochemical quenching and non net carboxylative transports. The latter follows a quite similar pattern of Pn/PPFD curve reaching the saturation point at almost the same photon flux density. At middle-low irradiance NPQ seems to be lumen pH limited because the incoming photon pressure is not enough to generate the optimum lumen pH for violaxanthin de-epoxidase (VDE) full activation. Peach leaves try to cope with the light excess increasing the non net carboxylative transports. While PPFD rises the xanthophyll cycle is more and more activated and the rate of non net carboxylative transports is reduced. Some of these alternative transports, such as the water-water cycle, the cyclic transport around the PSI and the glutathione-ascorbate cycle are able to generate additional H+ in lumen in order to support the VDE activation when light can be limiting. Moreover the alternative transports seems to be involved as an important dissipative way when high temperature and sub-optimal conductance emphasize the photoinhibition risks. In peach, a moderate water and light reduction does not determine net carboxylation decrease but, diminishing the incoming light and the environmental evapo-transpiration request, stomatal conductance decreases, improving water use efficiency. Therefore lowering light intensity till not limiting levels, water could be saved not compromising net photosynthesis. The quenching analysis is able to partition absorbed energy in the several utilization, photoprotection and photo-oxidation pathways. When recovery is permitted only few PSII remained un-repaired, although more net PSII damage is recorded in plants placed in full light. Even in this experiment, in over saturating light the main dissipation pathway is the non photochemical quenching; at middle-low irradiance it seems to be pH limited and other transports, such as photorespiration and alternative transports, are used to support photoprotection and to contribute for creating the optimal trans-thylakoidal ΔpH for violaxanthin de-epoxidase. These alternative pathways become the main quenching mechanisms at very low light environment. Another aspect pointed out by this study is the role of NPQ as dissipative pathway when conductance becomes severely limiting. The evidence that in nature a small amount of damaged PSII is seen indicates the presence of an effective and efficient recovery mechanism that masks the real photodamage occurring during the day. At single leaf level, when repair is not allowed leaves in full light are two fold more photoinhibited than the shaded ones. Therefore light in excess of the photosynthetic optima does not promote net carboxylation but increases water loss and PSII damage. The more is photoinhibition the more must be the photosystems to be repaired and consequently the energy and dry matter to allocate in this essential activity. Since above the saturation point net photosynthesis is constant while photoinhibition increases it would be interesting to investigate how photodamage costs in terms of tree productivity. An other aspect of pivotal importance to be further widened is the combined influence of light and other environmental parameters, like water status, temperature and nutrition on peach light, water and phtosyntate management.

Forme e modelli di diafonia nella musica tradizionale italiana

La tesi di Dottorato espone i risultati dell’analisi condotta su alcune tipologie di canto profano a due parti, osservate nella tradizione orale di specifiche aree rurali: le espressioni diafoniche oggetto di indagine sono state individuate in diverse regioni, prevalentemente nell’Italia centro-meridionale e in Sicilia, con alcune propaggini nell’Italia nord-orientale e in alcune aree europee abitate da minoranze italiane (Istria slovena e croata). I documenti analizzati sono stati reperiti grazie alla ricerca sul campo e rintracciati anche nelle pubblicazioni discografiche, nei cataloghi dei più importanti archivi pubblici e privati italiani. Sono stati definiti i caratteri formali dei repertori e l’indagine realizzata ha inoltre condotto a una mappatura attestante la presenza di repertori vocali simili in diverse sub-aree della Penisola, confermando la estesa diffusione di pratiche diafoniche tradizionali in Italia. Sulla base di analogie e ricorrenze è stato rilevato che le espressioni diafoniche italiane possono essere attribuite a una remota tradizione comune: sebbene le peculiarità relative a ciascun repertorio siano in molti casi abbastanza marcate, le connotazioni strutturali e i modi performativi che distinguono tali repertori pare vogliano indicare di essere di fronte a testimonianze di una tradizione musicale arcaica, in cui è possibile individuare procedure e attitudini diafoniche simili e condivise. L’ultima parte dell’indagine espone alcune riflessioni emerse dal confronto tra le forme diafoniche analizzate e repertori polifonici conservati nella tradizione scritta, prendendo come punto di partenza gli studi di Nino Pirrotta: ne emergono considerazioni per l’individuazione e l’analisi di possibili comuni occorrenze all’interno di pratiche performative localmente convergenti, pur se subordinate a modi di trasmissione diversi (tradizione scritta e non scritta della musica).

Analisi critico-comparativa delle traduzioni italiane di Un amour de Swann di Marcel Proust

Affrontare l’analisi critica delle traduzioni italiane di Un amour de Swann di Marcel Proust implica necessariamente un attento esame dello stile esemplare di un autore, che ha modificato, in larga misura, la concezione del romanzo e della scrittura stessa; in secondo luogo significa considerare l’altrettanto complesso lavorio intellettuale rappresentato dalla traduzione, in qualità di atto critico fondamentale. Prenderemo in esame nel capitolo primo la genesi del TP, le sue specificità narratologiche e la ricezione critica francese e italiana, per comprendere appieno l’originalità di Proust rispetto al panorama letterario dell’epoca. Nella seconda parte del primo capitolo delineeremo un excursus lungo la storia di tutte le traduzioni italiane del romanzo, accordando particolare attenzione alla figura di ogni traduttore: Natalia Ginzburg (1946), Bruno Schacherl (1946), Armando Landini (1946), Oreste Del Buono (1965), Giovanni Raboni (1978), Maria Teresa Nessi Somaini (1981), Gianna Tornabuoni (1988), Eurialo De Michelis (1990) e il traduttore, rimasto anonimo, della casa editrice La Spiga Languages (1995). Nel secondo capitolo analizzeremo la peculiarità stilistica più nota dell’autore, la sintassi. I lunghi periodi complicati da un intreccio di subordinate e sciolti solo con il ricorso a vari nessi sintattici contribuiscono a rendere la sintassi proustiana una delle sfide maggiori in sede traduttiva. Nel capitolo successivo accorderemo attenzione all’eteroglossia enunciativa, espressa nei diversi idioletti del romanzo. In sede contrastiva affronteremo la questione della trasposizione dei niveaux de langue, per poter valutare le scelte intraprese dai traduttori in un ambito altamente complesso, a causa della diversità diafasica intrinseca dei due codici. All’interno del medesimo capitolo apriremo una parentesi sulla specificità di una traduzione, quella di Giacomo Debenedetti, effettuata seguendo una personale esegesi dello stile musicale e armonico di Proust. Riserveremo al capitolo quarto lo studio del linguaggio figurato, soffermandoci sull’analisi delle espressioni idiomatiche, che vengono impiegate frequentemente da alcuni personaggi. Rivolgeremo uno sguardo d’insieme alle strategie messe in atto dai traduttori, per cercare un equivalente idiomatico o per ricreare il medesimo impatto nel lettore, qualora vi siano casi di anisomorfismo. Analizzeremo nel quinto capitolo la terminologia della moda, confrontando il lessico impiegato nel TP con le soluzioni adottate nei TA, e aprendo, inevitabilmente, una parentesi sulla terminologia storica del settore. A compimento del lavoro presenteremo la nostra proposta traduttiva di un capitolo tratto dal saggio Proust et le style di Jean Milly, per mettere in luce, tramite la sua parola autorevole, la genialità e la complessità della scrittura proustiana e, conseguentemente, il compito ardimentoso e ammirevole che è stato richiesto ai traduttori italiani.

Rafael Moneo: la complessità del vuoto. Dalle matrici formali dell'opera di Oteiza e Chillida

The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.

Luis Arana e i veterani di Euzkeldun Batzokija: la corrente ortodossa del nazionalismo basco

La tesi di Marco Perez intitolata “Luis Arana e i veterani di Euzkeldun Batzokija: la corrente ortodossa del nazionalismo basco”, può essere considerata come la biografia politica di uno dei personaggi più importanti del nazionalismo basco. Il lavoro di ricerca si centra fondamentalmente sull'ispiratore del nazionalismo euskaldun (e cofondatore del Partido Nacionalista Vasco) e della corrente che ne accompagnò e sostenne l'azione politica. Euzkeldun Batzokija fu il nome dato al primo circolo del PNV, fondato da Luis e Sabino Arana nel 1894. Successivamente, gli statuti del circolo e i suoi membri veterani furono presi come modello del nazionalismo primordiale (che si pretendeva definire sull'esempio dell'Ordine gesuita). Sul piano organizzativo la tesi si divide in sette capitoli che ricostruiscono il percorso politico di Luis Arana, dai primi documenti del 1879 fino alle ultime lettere inviate negli anni quaranta. Si tratta di un lungo periodo, che comprende momenti diversi della storia spagnola (dalle guerre carliste alla Guerra Civile spagnola) e del movimento aranista. In questo senso, sulla base di una generale e comparata riflessione sul nazionalismo, si analizza il movimento basco nei suoi rapporti con la modernità. Una realazione costruita attraverso concetti “diacronicamente” legati a un passato mitico e leggendario e comunque subalterna ai rapporti di forza tra le correnti del PNV. La corrente ortodossa fece sempre riferimento al nazionalismo “originario” (definito dai fratelli Arana nei primi anni del movimento) che fu un'espressione regionale del nazionalcattolicesimo spagnolo. Fu proprio Luis Arana a ricordare la finalità religiosa ed etnica del nazionalismo basco, respingendo qualsiasi aggiornamento teorico e organizzativo del PNV, intesi come una grave violazione dell'ortodossia aranista.

Strumenti finanziari partecipativi e "nuovi" canali di finanziamento delle societa' per azioni

Il lavoro affronta il tema degli strumenti finanziari partecipativi e non partecipativi che possono essere emessi dalle società per azioni, alla luce della disciplina introdotta dalla riforma del diritto societario. Lo studio è diretto a fornire un inquadramento sistematico di queste modalità di finanziamento rispetto alla dicotomia azioni-obbligazioni, anche sotto il profilo contabile, per poi individuare le conseguenti implicazioni in termini di disciplina applicabile. Affrontando il dibattito dottrinale sulla collocazione complessiva degli strumenti ibridi rispetto alle forme di finanziamento tradizionali, si sposa l’opinione secondo cui tutti gli strumenti finanziari non possono essere ricompresi in una categoria unitaria, ma occorre mantenere distinti gli strumenti finanziari partecipativi indicati dall’art. 2346, comma 6, c.c., dagli altri strumenti finanziari ex art. 2411, comma 3, c.c., riconoscendo nei primi delle modalità di raccolta assimilabili al capitale di rischio e nei secondi delle forme di provvista di capitale di debito. Il connotato distintivo tra strumenti finanziari partecipativi e non partecipativi viene individuato non nell’attribuzione di diritti amministrativi – che possono anche non essere assegnati ai titolari di strumenti di cui all’art. 2346, comma 6 – bensì nell’assenza o nella presenza di un obbligo di rimborso dell’apporto fornito all’impresa. Il lavoro esamina inoltre vari profili di disciplina di entrambe le categorie di strumenti, concentrandosi prevalentemente sui diritti patrimoniali ad essi attribuibili, tra cui la partecipazione agli utili e alle perdite e i diritti in sede di liquidazione. Infine si esaminano le previsioni recentemente introdotte dal d.l. n. 83/2012 in tema di titoli obbligazionari, al fine di valutarne l’impatto sull’impianto complessivo della disciplina vigente. In particolare, viene data attenzione alle nuove disposizioni relative alle obbligazioni subordinate e/o partecipative che possono essere emesse dalle società non quotate, mettendo in evidenza le criticità dal punto di vista sistematico in tema di possibile partecipazione agli utili degli obbligazionisti.

Gli obbligazionisti subordinati e la risoluzione bancaria nel contesto italiano

Il lavoro affronta le problematiche emerse per gli obbligazionisti subordinati a seguito dall'applicazione nel contesto italiano della nuova disciplina in materia di gestione delle crisi bancarie. Nella prima parte del lavoro sono stati analizzati gli orientamenti della Commissione europea in merito ai criteri adottati per valutare la compatibilità dell’intervento pubblico nel settore bancario e la loro evoluzione; sono inoltre illustrati i nuovi strumenti introdotti per gestire le crisi degli istituti creditizi operanti sul mercato unico. Nella seconda parte del lavoro, lo studio si è concentrato sull’analisi dello strumento obbligazionario e, in particolar modo, delle obbligazioni bancarie subordinate, in quanto, in caso di crisi dell’istituto di credito emittente, i sottoscrittori di questo strumento saranno – verosimilmente – la prima categoria di creditori chiamata a sopportare i costi della ristrutturazione. L’ultima parte del lavoro è dedicata all’esame del grado e di tutela offerto dall’ordinamento italiano ai creditori coinvolti nei dissesti di alcune banche italiane. Oltre alle decisioni adottate dalla magistratura italiana in merito, l’analisi ha riguardato anche le misure di indennizzo adottate dal legislatore a tutela dei risparmiatori danneggiati dalla crisi degli istituti in cui investirono.

L'italiano neostandard nella lingua a scuola: il caso dell'alternanza fra indicativo e congiuntivo.

Il lavoro descritto in questo elaborato indaga la presenza dei tratti dell’italiano neostandard in un corpus di produzioni scolastiche scritte, con particolare attenzione all’uso di indicativo e congiuntivo nelle frasi completive. In particolare, delle tendenze di ristandardizzazione selezionate si osservano gli usi linguistici di alunni/e, le correzioni imposte dai/dalle docenti e le indicazioni delle grammatiche per la scuola; questa ricognizione permette di tracciare un quadro generale degli atteggiamenti della scuola nei confronti dei tratti del neostandard. La seconda parte dell’elaborato è dedicata a un’analisi dell’alternanza modale nelle subordinate completive; in primo luogo, si espone una revisione della letteratura sulla complementazione, sulla modalità e sul congiuntivo in italiano, con un focus particolare sulla sua recessione; in seguito, si procede all’analisi del fenomeno sulla base dei dati appositamente raccolti nelle scuole che hanno partecipato all'indagine. In secondo luogo, l’accettabilità dell’indicativo pro congiuntivo in testi scritti a scuola viene ulteriormente indagata tramite la somministrazione di un compito di correzione ai/alle docenti. L’ultima parte dell’elaborato accoglie un’analisi approfondita delle grammatiche per la scuola, la cui trattazione del congiuntivo è messa in relazione con le osservazioni della letteratura specialistica; ciò permette di completare il quadro riguardo agli atteggiamenti della scuola e di proporre riflessioni di natura glottodidattica.