Italy's urban waste metabolism

The problem of waste management is causing growing concern due to increasing generation rates, the emissions into soil, water and air, the social conflicts derived from the election of disposal sites and the loss of resources and energy among others. In this work, an innovative methodology is used to enable a better understanding of the waste generation and management system in Italy. Two new waste indicators are built to complement the conventional indicators used by official statistics. Then a multi-scale analysis of the Density of Waste Disposed (DWD) is carried out to highlight the territorial diversity of waste performances and test its contribution to detect plausible risky areas. Starting from Italian regions, the scale down goes on to the provincial level and, only for the region of Campania, the municipal one. First, the analysis shows that the DWD is able to complement the information provided by the conventional waste indicators. Second, the analysis shows the limitations of using a unique institutional solution to waste management problems. In this sense the multi-scale analysis provides with a more realistic picture of Italian waste system than using a single scale.

Consumption heterogenity over the business cycle

We study consumption heterogeneity over the business cycle. Using household panel data from 1984 to 2010 in the US we find that the welfare cost of the business cycle is non-negligible, once agents heterogeneity is taken into account, and sums to about 1% of yearly consumption. This is due to the structure of comovements between the different parts of the consumption distribution, in particular the tails are highly volatile and negatively related to each other. We also find that business cycle fluctuations originating from exogenous financial shocks only hit the top end of the consumption distribution and therefore reduce consumption inequality.

The Effects of government spending on the distribution of consumption

We study the effects of government spending on the distribution of consumption. We find a substantial degree of heterogeneity: consumption increases at the bottom and falls at the top of the distribution, implying a significant temporary reduction of consumption inequality. The effects of the shock display correlations of around -0.7/-0.9 with the percentage of stockholders within the decile. We interpret the results as in line and yielding support to models of limited participation where, while the Ricardian equivalence holds for rich households, for poor household, with no access to capital markets, the Keynesian multiplier is at work.

Computing infinite plans for LTL goals using a classical planner

Classical planning has been notably successful in synthesizing finite plans to achieve states where propositional goals hold. In the last few years, classical planning has also been extended to incorporate temporally extended goals, expressed in temporal logics such as LTL, to impose restrictions on the state sequences generated by finite plans. In this work, we take the next step and consider the computation of infinite plans for achieving arbitrary LTL goals. We show that infinite plans can also be obtained efficiently by calling a classical planner once over a classical planning encoding that represents and extends the composition of the planningdomain and the B¨uchi automaton representingthe goal. This compilation scheme has been implemented and a number of experiments are reported.

"Il corpo de'pensieri" : la versificazione dei "Canti" leopardiani

L'objet de la thèse est l'étude de l'endecasillabo dans l'oeuvre poétique de Giacomo Leopardi. D'un point de vue méthodologique, ce travail s'appuie sur la recherche de Marco Praloran et Arnaldo Soldani dédiée à l'endecasillabo de Pétrarque. L'auteur a comparé les Canti de Leopardi avec la production des plus grands écrivains de la fin du XIXème siècle et du début du XXème siècle Melchiorre Cesarotti (Poesie di Ossian), Giuseppe Parini (Il Mattino), Vittorio Alfieri (Le Rime e il Saul), Vincenzo Monti (l'ouvre poétique), Ugo Foscolo (Le Rime) et Alessandro Manzoni (l'oeuvre poétique). Nous avons là un répertoire de plusieurs milliers de vers qui ont été scandés non pas par l'intermédiaire d'un ordinateur, mais un à un en fonction de leur intonation. La première partie de la thèse est dédiée à l'analyse du rythme des différents auteurs, à des statistiques générales qui permettent de comparer ces données entre elles et avec les anciens auteurs italiens tels Dante, Pétrarque, Arioste, etc. De cette façon, nous pouvons avoir une vision globale de la prosodie italienne des origines jusqu'au XIXème siècle -vision qui permet de focaliser de manière exhaustive la technique de Leopardi. Dans la deuxième partie, l'auteur propose texte après texte la scansion de toute l'oeuvre poétique de Leopardi. Nous avons donc une lecture interprétative du rythíne de tous les poèmes qui tient compte de l'année de composition et les différentes typologies métriques des textes : par exemple, les canzoni, les idilli, les canti pisano-recanatesi. Dans cette deuxième partie, il faut souligner l'effort de lier la partition du rythme au contenu des différents textes.

The varieties of regional change

Many metropolitan areas have experienced extreme boom-bust cycles over the past century. Some places, like Detroit, grew enormously as industrial powerhouses and then declined, while other older cities, like Boston, seem quite resilient. Education does a reasonable job of explaining urban resilience. In this paper, we present a simple model where education increases the level of entrepreneurship. In this model, human capital spillovers occur at the city level because skilled workers produce more product varieties and thereby increase labor demand. We decompose empirically the causes of the connection between skills and urban success and find that skills are associated with growth in productivity or entrepreneurship, not with growth in quality of life, at least outside of the West. We also find that skills seem to have depressed housing supply growth in the West, but not in other regions, which supports the view that educated residents in that region have fought for tougher land-use controls. We also present evidence that skills have had a disproportionately large impact on unemployment during the current recession.

Asymmetric information and trade policy

Economists understand protectionism as a costly mechanism to redistribute from the average citizen to special-interest groups; yet political platforms that deviate from free trade have surprising popular appeal. I present an explanation based on heterogeneous information across citizens whose voting decision has an intensive margin. For each politician and each sector, the optimal trade-policy choice caters to the preferences of those voters who are more likely to be informed of that proposal. An overall protectionist bias emerges because in every industry producers are better informed than consumers. This asymmetry emerges in equilibrium because co-workers share industry-specific knwoledge, and because producers have greater incentives to engage in costly learning about their sector. My model implies that more widespread information about trade policy for an industry is associated with lower protection. Cross-sectoral evidence on U.S. non-tariff barriers and newspaper coverage is consistent with this prediction.

Chopin & Leopardi : dues sensibilitats bessones

Aquest treball vol estudiar les relacions que s'estableixen entre dos artistes d'un mateix període estètic: Frédéric Chopin i Giacomo Leopardi. Ho fa analitzant 7 parelles de música i poesia, analitzades per descobrir què és allò que les uneix. Després d'una reflexió al voltant de l'art, el treball reflexiona sobre què aporta a l'estudi d'un període artístic, d'unes determinades obres o a l'escolta d'un concert, la combinació de dues o més disciplines artístiques. Chopin & Leopardi: dues sensibilitats bessones, doncs, que acaben connectant també amb nosaltres, descobrint en l'art l'expressió de quelcom universal que uneix artista, intèrpret i públic.

Intellectual property rights and efficient firm organization

I show that intellectual property rights yield static efficiency gains, irrespective oftheir dynamic role in fostering innovation. I develop a property-rights model of firmorganization with two dimensions of non-contractible investment. In equilibrium, thefirst best is attained if and only if ownership of tangible and intangible assets is equallyprotected. If IP rights are weaker, firm structure is distorted and efficiency declines:the entrepreneur must either integrate her suppliers, which prompts a decline in theirinvestment; or else risk their defection, which entails a waste of her human capital. Mymodel predicts greater prevalence of vertical integration where IP rights are weaker,and a switch from integration to outsourcing over the product cycle. Both empiricalpredictions are consistent with evidence on multinational companies. As a normativeimplication, I find that IP rights should be strong but narrowly defined, to protect abusiness without holding up its potential spin-offs.

Social capital, government expenditures, and growth

Countries with greater social capital have higher economic growth. We show that socialcapital is also highly positively correlated across countries with government expenditureon education. We develop an infinite-horizon model of public spending and endogenousstochastic growth that explains both facts through frictions in political agency whenvoters have imperfect information. In our model, the government provides servicesthat yield immediate utility, and investment that raises future productivity. Voters aremore likely to observe public services, so politicians have electoral incentives to underprovidepublic investment. Social capital increases voters' awareness of all governmentactivity. As a consequence, both politicians' incentives and their selection improve.In the dynamic equilibrium, both the amount and the efficiency of public investmentincrease, permanently raising the growth rate.

Heterogeneous information and trade policy

Protectionism enjoys surprising popular support, in spite of deadweight losses. At thesame time, trade barriers appear to decline with public information about protection.This paper develops an electoral model with heterogeneously informed voters whichexplains both facts and predicts the pattern of trade policy across industries. In themodel, each agent endogenously acquires more information about his sector of employment. As a result, voters support protectionism, because they learn more about thetrade barriers that help them as producers than those that hurt them as consumers.In equilibrium, asymmetric information induces a universal protectionist bias. Thestructure of protection is Pareto inefficient, in contrast to existing models. The modelpredicts a Dracula effect: trade policy for a sector is less protectionist when there ismore public information about it. Using a measure of newspaper coverage across industries, I find that cross-sector evidence from the United States bears out my theoreticalpredictions.

Stare decisis: Rhetoric and substance

Stare decisis allows common law to develop gradually and incrementally. We show howjudge-made law can steadily evolve and tend to increase efficiency even in the absence ofnew information. Judges' opinions must argue that their decisions are consistent withprecedent: this is the more costly, the greater the innovation they are introducing. As aresult, each judge effects a cautious marginal change in the law. Alternative models inwhich precedents are either strictly obeyed or totally discarded would instead predictabrupt large swings in legal rules. Thus we find that the evolution of case law isgrounded not in binary logic fixing judges' constraints, but in costly rhetoric shapingtheir incentives. We apply this finding to an assessment of the role of analogicalreasoning in shaping the joint development of different areas of law.

Forme e funzioni del coro tragico in Italia (1524-1824)

Ce travail n'a pas pour but d'établir une histoire du choeur tragique pour ainsi dire 'd'anthologie', mais bien plutôt de tracer un parcours sélectif et dynamique, en suivant l'évolution de ses formes et de ses fonctions dans la tragédie italienne, à partir du début du XVIe siècle jusqu' à la production alfiérienne et au retour du choeur dans le théâtre de Manzoni ; à cela s'ajoute un exercice en dehors du genre dramatique tel que le Dialogo di Federico Ruysch e delle sue mummie dans les Operette morali di Giacomo Leopardi. Dans la première partie - la plus ample et complexe, portant sur l'emploi du choeur dans la tragédie de la Renaissance - on essaye de cerner le contexte qui favorise la persistance d'un espace choral en examinant plusieurs commentaires de la Poétique aristotélicienne, et des essais de théorie dramaturgique comme Della poesia rappresentativa de Angelo Ingegneri, ou le Discorso intorno al comporre de Giambattista Giraldi Cinzio. À côté de la discussion sur le rôle du choeur on envisage aussi le profil formel des sections chorales, en s'appuyant sur l'analyse métrique, dans le cadre plus général du 'petrarchismo metrico', et en particulier de la réception de la chanson pétrarquesque. Interroger la présence de trois constantes thématiques - par exemple la forme de l'hymne à Éros - signifie en suite relever l'importance de Sophocle pour le théâtre de la Renaissance dans la perspective du choeur. Cette première section est complétée par un chapitre entièrement consacré à Torquato Tasso et à son Re Torrismondo, qui présente un troisième chant choral de grande épaisseur philosophique, central dans l'économie du drame et analysé ici à travers un exercice de lecture qui utilise à la fois les instruments de la stylistique, de l'intertextualité, et de l'intratextualité concernant l'entier corpus poétique et philosophique tassien, de ses Rime aux Dialoghi. La deuxième section, qui commence par une exploration théorique de la question du choeur, conduite par exemple sur les textes de Paolo Beni e Tommaso Campanella, a pour cible principale de expliquer comment le choeur assume le rôle d'un vrai 'personnage collectif' dans le théâtre de Federico Della Valle : un choeur bien installé dans l'action tragique, mais conservant au même temps les qualités lyriques et philosophiques d'un chant riche de mémoire culturelle et intertextuelle, de la Phaedra de Sénèque à la Commedia dantesque dans la Reina di Scozia, centre principal de l'analyse et coeur du catholicisme contreréformiste dellavallien. Dans la troisième partie le discours se concentre sur les formes de la métamorphose, pour ainsi dire, du choeur : par exemple la figure du confident, conçu comme un substitut du groupe choral dans les discussions des théoriciens et des auteurs français - voir Corneille, D'Aubignac, Dacier - et italiens, de Riccoboni à Calepio et Maffei. Cependant dans cette section il est surtout question de la définition de l'aria mélodramatique compris comme le 'nouveau choeur' des Modernes, formulée par Ranieri Calzabigi et par Metastasio. Il s'agit donc ici de mettre en relation l'élaboration théorique contenue dans la Dissertazione de Calzabigi et dans l'Estratto de l'Arte poetica de Metastasio avec le premier et unique essai tragique de jeunesse de ce dernier, le Giustino, et le livret de son Artaserse. On essaye de montrer le profond lien entre l'aria et l'action dramatique : donc c'est le dramma musicale qui est capable d'accueillir la seule forme de choeur - l'aria - encore possible dans le théâtre moderne, tandis que le choeur proprement tragique est désormais considéré inutilisable et pour ainsi dire hors-contexte (sans toutefois oublier qu'à la fin du siècle Vittorio Alfieri essayait de ne pas renoncer au choeur dans sa traduction des Perses d'Eschyle ; et surtout dans un essai tragique comme l'Alceste seconda ou dans sa tramelogedia, l'Abele). Comme conclusion une section contenant des remarques qui voudrait juste indiquer trois possibles directions de recherche ultérieure : une comparaison entre Manzoni et Leopardi - dans la perspective de leur intérêt pour le choeur et de la différence entre le sujet lyrique manzonien et celui léopardien ; une incursion dans le livret du mélodrame verdien, afin de comprendre la fonction du choeur manzonien et sa persistance dans le texte pour l'opéra ; et enfin quelque note sur la réception du choeur manzonien et du Coro di morti léopardien dans le XXe siècle, en assumant comme point d'observation la poésie de Carlo Michelstaedter, Andrea Zanzotto et Franco Fortini. Il lavoro non intende tracciare una storia 'da manuale' del coro tragico, ma piuttosto indicare un percorso selettivo e dinamico, seguendo l'evoluzione delle sue forme e delle sue funzioni nella tragedia italiana, a partire dall'inizio del sedicesimo secolo per arrivare alla produzione alfieriana e al ritorno del coro nel teatro di Manzoni; a ciò si aggiunge una prova estranea al genere drammatico come il Dialogo di Federico Ruysch e delle sue mummie nelle Operette morali di Giacomo Leopardi. Nella prima parte - la più ampia e complessa, riguardante l'impiego del coro nella tragedia rinascimentale - si cerca di ricostruire il contesto che favorisce la persistenza dello spazio corale attraverso l'esame di diversi commenti alla Poetica aristotelica, e di alcuni saggi di teoria drammaturgica come Della poesia rappresentativa di Angelo Ingegneri, o il Discorso intorno al comporre di Giambattista Giraldi Cinzio. La discussione sul ruolo del coro è affiancata dall'esame del profilo formale delle sezioni corali, grazie a un'indagine metrica nel quadro del più ampio petrarchismo metrico cinquecentesco, e in particolare nel quadro della ricezione della formacanzone petrarchesca. Interrogare la presenza di tre costanti tematiche - per esempio la forma dell'inno a Eros - significherà in seguito rilevare l'importanza di Sofocle per il teatro rinascimentale anche nella prospettiva angolata del coro. Questa prima sezione è completata da un capitolo interamente dedicato a Torquato Tasso e al suo Re Torrismondo, che presenta un terzo canto corale di grande spessore stilistico e filosofico, centrale nell'economia del dramma e analizzato qui attraverso un esercizio di lettura che si serve degli strumenti della stilistica e dell'intertestualità, oltre che del rapporto intratestuale fra i vari luoghi del corpus tassiano, dalle Rime ai suoi Dialoghi. La seconda sezione, che si avvia con un'esplorazione teorica della questione del coro nel Seicento - condotta per esempio sui testi di Paolo Beni e Tommaso Campanella - ha per fulcro la descrizione di un coro quale 'personaggio collettivo' nelle tragedie di Federico Della Valle: un coro ben inserito nell'azione tragica, ma che conserva allo stesso tempo le qualità liriche e filosofiche di un canto ricco di memoria culturale e intertestuale, dalla Fedra di Seneca alla Commedia dantesca, nella sua Reina di Scozia, centro dell'analisi e cardine del cattolicesimo controriformista dellavalliano. Nella terza sezione il discorso si concentra sulle forme della metamorfosi, per così dire, del coro: per esempio la figura del confidente, interpretato come un sostituto del gruppo corale nelle discussioni di teorici e autori francesi - Corneille, D'Aubignac, Dacier - e italiani, da Riccoboni a Calepio e Maffei. Ma qui ci si rivolge anzitutto alla definizione dell'aria melodrammatica, sentita quale 'nuovo coro' dei Moderni da Ranieri Calzabigi e Pietro Metastasio. Si tratterà dunque di mettere in relazione l'elaborazione teorica svolta nella Dissertazione di Calzabigi e nell'Estratto dell'arte poetica di Metastasio con il primo e unico - e giovanile - tentativo tragico di quest'ultimo, il Giustino, e con il libretto del suo Artaserse. L'intenzione è quella di mostrare il profondo legame tra l'aria e l'azione drammatica: è perciò il dramma musicale che è capace di accogliere la sola forma di coro - l'aria - ancora possibile nel teatro moderno, mentre il vero e proprio coro tragico si rassegna ormai a essere considerato inutile e per così dire fuori contesto (senza dimenticare, tuttavia, che al chiudersi del secolo Vittorio Alfieri tentava di non rinunciare al coro nella sua traduzione dei Persiani di Eschilo; e soprattutto in un tentativo tragico come la sua Alceste seconda o nella tramelogedia Abele). In conclusione una più veloce sezione che vorrebbe semplicemente indicare qualche altra possibile direzione di ricerca: un confronto fra Manzoni e Leopardi - nella prospettiva del coro interesse per il coro, e della differenza fra il soggetto lirico manzoniano e quello leopardiano; un'incursione nel libretto del melodramma verdiano, per misurarvi la funzione del coro manzoniano e la sua persistenza nel testo operistico; e infine qualche appunto sulla ricezione del coro manzoniano e del Coro di morti di Leopardi nel Novecento, assumendo quale punto d'osservazione la poesia di Carlo Michelstaedter, Andrea Zanzotto e Franco Fortini.