La partecipazione femminile al giornalismo politico-letterario. Italia e Francia tra Otto e Novecento.

By examining seven major reviews (the French “Revue des deux Mondes”, the “Revue de Paris” and the “Nouvelle Revue”; the Italian “Nuova Antologia”, the “Rassegna Nazionale”, the “Rivista europea” and the “Revue internationale”) this thesis investigate the female participation in high quality journalism in Italy and France between the 1870s and the First World War. The aim is to show that despite some obvious limitations, women found room in that apparently very ‘male’ space of culture and emerged on a considerable scale in all walks of the profession. Many women regularly published on high quality reviews. Some of them even rose to high positions on editorials board. With the exception of a few fields of knowledge – albeit fundamental to the journals’ overall structure – such as economics, finance and matters to do with the army and the colonies, women contributors covedered nearly all the range of subjects contained in this periodicals: not only fiction, but also literary criticism, travelogues, politics and others. Quality and cultural journals offered women writers a considerable space for entering the public sphere, as both authors and readers. It may thus construed on a dual plane: as an opportunity for women writers to join the new professional ranks of modern publishing, but also as an important terrain for acknowledgment of their standing as intellectuals.

Conoscenza e consapevolezza sugli effetti biologici degli ultrasuoni nella pratica clinica in Italia: risultati di una inchiesta con questionario tra ecografisti della socetà italiana di ultrasonologia in medicina e biologia (S.I.U.M.B.)

Background New potential hazards in the use of ultrasound (US) are implied in new diagnostic applications of US, such as contrast enhanced US. Aim To assess the level of awareness and knowledge on safety issues of clinical use of US among physicians who are members of the Italian National Society for Ultrasound (SIUMB) Materials and methods A questionnaire including 11 multiple choice quiz was sent by e-mail to members of SIUMB, who preliminarly agreed to participate in this initiative. The answers were received anonimously and statistically analyzed. Results The number of returned valid questionnaires was 97 (8 were considered not valid for less than 10 answers filled). Mean age of the responders was 44 years old, and the average time the physician has been performing ultrasound examinations was 13 years. The principal workplace (70%) was a public Hospital. Physicians seemed to know the general definitions of principal safety-parameters, but few of them knew the definition of specific indexes. There was a general knowledge about the safe use of ultrasound in obstetrics, but there was a poor knowledge of biological effects of US: only about 37% answered correctly to questions about damage of vasculature of lung by high Mechanical Index US investigation and about the increase of temperature under the probe, according to the thermal indexes. Conclusion In conclusion the present findings indicate that greater efforts of National Ultrasound Societies are warranted in disseminating knowledge about the bio-effects of diagnostic ultrasound modalities among their members to prevent possible hazards.

Analisi e razionalizzazione dei flussi di materiale in ingresso e dei trasporti in un'ottica di logistica integrata: il caso Denso Manufacturing Italia S.p.A.

Negli ultimi anni è emerso chiaramente come la logistica rivesta un’importanza fondamentale per le aziende e costituisca un ottimo strumento per assicurarsi e mantenere un solido vantaggio competitivo. Inoltre, osservando l’ambiente attuale si evince come il sistema logistico sia caratterizzato da un progressivo aumento di complessità, sia in seguito alle maggiori esigenze dei mercati e sia come conseguenza della globalizzazione. In questo quadro evolutivo è mutato profondamente il ruolo ricoperto dalla logistica all’interno delle organizzazioni. Rispetto alla concezione tradizionale, che considerava la logistica come una funzione esclusivamente interna all’azienda, si è assistito al progressivo coinvolgimento dei fornitori e dei clienti ed è emersa la necessità di coordinare gli sforzi dell’intera supply chain, con l’obiettivo di migliorare il livello di servizio globalmente offerto e di ridurre i costi logistici totali. Tali considerazioni sono state il filo conduttore dell’analisi presentata di seguito, basata su uno studio svolto presso la DENSO Manufacturing Italia S.p.A., finalizzato all’analisi dei flussi in ingresso ed in particolar modo alla razionalizzazione degli imballi e dei trasporti, in un’ottica di integrazione con i fornitori. In particolare, la prima parte della trattazione introduce gli argomenti dal punto di vista teorico. Infatti, nel primo capitolo verrà illustrato il tema della logistica integrata e della sua evoluzione nel tempo, in relazione all’ambiente competitivo attuale ed alle nuove richieste dei mercati, approfondendo il tema della logistica in ingresso e del trasporto merci. Quindi, nel secondo capitolo verrà trattato il tema degli imballi, analizzandone le ripercussioni sull’intera catena logistica ed offrendo una panoramica dei metodi che permettono l’integrazione tra gli imballaggi ed i sistemi di trasporto, movimentazione e stoccaggio. Invece, la seconda parte dello studio sarà dedicata alla presentazione dell’azienda in cui è stato realizzato il progetto di tesi. Nel terzo capitolo verranno introdotte sia la multinazionale giapponese DENSO Corporation che la sua consociata DENSO Manufacturing Italia S.p.A., specializzata nella produzione di componenti per il mercato automotive, presso cui si è svolto lo studio. Nel quarto capitolo verrà descritto il layout dell’impianto, per poi presentare la logistica in ingresso allo stabilimento, ponendo maggiore attenzione ai flussi provenienti dal nord Italia – ed in particolare dal Piemonte – su cui si incentra il lavoro di tesi. Quindi, nella terza ed ultima parte verrà presentata in dettaglio l’analisi condotta durante lo studio aziendale. In particolare, il quinto capitolo tratta dei flussi di materiale provenienti dall’area piemontese, con l’analisi degli imballi utilizzati dai fornitori, delle consegne e delle modalità di trasporto. Infine, nel sesto capitolo saranno proposte delle soluzioni migliorative relativamente a tutte le criticità emerse in fase di analisi, valutandone gli impatti sia in termini economici che in relazione all’efficienza del flusso logistico.

Monumenti funerari romani ad edicola in Italia settentrionale

La ricerca ha analizzato i monumenti funerari ad edicola in Italia settentrionale, una categoria funeraria monumentale diffusa ed importante; sono stati presi in considerazione sia quelli in ottimo stato di conservazione sia quelli attestati da poche membrature superstiti, per un totale di circa quaranta esemplari. La schedatura del materiale è servita per comprendere diversi aspetti inerenti alla diffusione di questa importante forma architettonica nel territorio preso in esame: le numerose varianti architettoniche adottate, specificatamente quella a edicola quadrangolare e quella a tholos circolare; la diffusione geografica in senso assoluto e rapportata alle diverse varianti, approfondita anche per alcune caratteristiche decorative singolari; la diffusione cronologica; la committenza che si è rivolta a questo genere di monumenti funerari; l’influenza esercitata e subita rispetto ad altre forme coeve e successive di sepolture.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Dalla Francia all'Italia: impegno politico, inchiesta e transfers culturali alle origini della sociologia del lavoro in Italia

Sociology of work in Italy revived at the end of WWII, after thirty years of forced oblivion. This thesis examines the history of discipline by considering three paths that it followed from its revival up to its institutionalization: the influence of the productivity drive, the role of trade unions and the activity of early young researchers. European Productivity Agency's Italian office Comitato Nazionale per la Produttività propagandised studies on management and on the effects of the industrialization on work and society. Academicians, technicians, psychologists who worked for CNP started rethinking sociology of work, but the managerial use of sociology was unacceptable for both trade unions and young researchers. So “free union” CISL created a School in Florence with an eager attention to social sciences as a medium to become a new model union, while Marxist CGIL, despite its ideological aversion to sociology, finally accepted the social sciences lexicon in order to explain the work changes and to resist against the employers' association offensive. On the other hand, political and social engagement led a first generation of sociologists to study social phenomenon in the recently industrialized Italy by using the sociological analysis. Finally, the thesis investigate the cultural transfers from France, whose industrial sociology (sociologie du travail) was considered as a reference in continental Europe. Nearby the wide importance of French sociologie, financially aided by planning institutions in order to employ it in the industrial reconstruction, other minor experiences such as the social surveys accomplished by worker-priests in the suburbs of industrial cities and the heterodox Marxism of the review “Socialisme ou Barbarie” influenced Italian sociology of work.

Metodologie per il miglioramento delle stime di pericolosità sismica in Italia

In questo lavoro di dottorato sono stati analizzati differenti strumenti impiegati per le stime di pericolosità sismica. Facendo riferimento alla Mappa di Pericolosità Sismica Italiana MPS04 (Gruppo di Lavoro MPS, 2004), redatta dall’Istituto Nazionale di Geofisica e Vulcanologia (INGV) e adottata come mappa di riferimento per il territorio nazionale ai sensi dell’Ordinanza PCM 3519 del 28 aprile 2006, All. 1b, è stato approfondito il calcolo dei tassi di sismicità attraverso la relazione di Gutenberg e Richter (1944). In particolare, si è proceduto attraverso un confronto tra i valori ottenuti dagli autori della Mappa (Gruppo di Lavoro MPS, 2004) e i valori ottenuti imponendo un valore costante e unico al parametro b della relazione (Gutenberg e Richter, 1944). Il secondo tema affrontato è stato l’analisi della presenza di eventi di origine non tettonica in un catalogo. Nel 2000 Wiemer e Baer hanno proposto un algoritmo che identifica e rimuove gli eventi di origine antropica. Alla metodologia di Wiemer e Baer (2000) sono state apportate delle modifiche al fine di limitare la rimozione di eventi naturali. Tale analisi è stata condotta sul Catalogo Strumentale della Sismicità Italiana (CSI 1.1; Castello et al., 2006) e sui cataloghi Europei disponibili online: Spagna e Portogallo, Francia, Nord Europa, Repubblica Ceca, Romania, Grecia. L’ultimo argomento trattato ha riguardato la presunta correlazione tra i meccanismi di fagliazione e il parametro b della relazione di Gutenberg e Richter (1944). Nel lavoro di Schorlemmer et al. (2005), tale correlazione è dimostrata calcolando il b-value su una griglia a scala mondiale raggruppando i terremoti in funzione dell’angolo di rake: i valori maggiori del parametro sono misurati per i terremoti che si originano in un regime distensivo, seguono quelli in un regime trascorrente mentre i valori minori si registrano nelle aree a regime compressivo. Il principale ostacolo per una applicazione del metodo al territorio italiano è rappresentato dal numero ridotto di terremoti per i quali è possibile avere indicazioni circa il meccanismo focale della sorgente: la correlazione è stata così valutata calcolando il b-value all’interno delle zone sismogenetiche definite per la realizzazione di MPS04 (Gruppo di Lavoro MPS, 2004), alle quali è stato nuovamente assegnato un meccanismo di fagliazione prevalente attraverso la somma del tensore momento. Sono inoltre allegati lavori altri lavori prodotti nell’ambito della pericolosità sismica.