Arquitetura em cidades “sempre novas”: modernismo, projeto e patrimônio

Arquitetura em cidades “sempre novas”: modernismo, projeto e patrimônio. Com essa chamada, a 4ª edição do encontro DOCOMOMO Norte-Nordeste, realizado na Universidade Federal do Rio Grande do Norte, em Natal, no período de 29 de maio a 02 de junho de 2012, reuniu um conjunto de trabalhos, mesas e conferências para pensar o processo de renovação arquitetônica e urbana de nossas cidades partindo da questão central de que o gosto pelo novo, pela novidade, torna rapidamente obsoleto aquilo que, quando surgiu, também era novo, moderno. O encontro contemplou uma diversidade de enfoques distribuída em três eixos temáticos:1) A arquitetura moderna como projeto; 2) experiências de conservação e transformação; e 3)narrativas historiográficas, na observação da especificidade da arquitetura, do urbanismo e do paisagismo no Brasil. Este livro, se organiza segundo cinco abordagens que estão subjacentes aos três eixos temáticos acima mencionados: a) trajetórias profissionais; b) a presença modernista em cidades brasileiras; c) a documentação, conservação, projeto e restauro; d) reflexões sobre a produção modernista e, finalmente, e) a tecnologia e desempenho. Para cada abordagem, foram selecionados alguns trabalhos representativos apresentados na ocasião. Espera-se contribuir, com esse livro, para o debate sobre a aparente – ou, para muitos, real – contradição entre a necessidade de renovação constante de nosso ambiente construído – afinal, a arquitetura e a cidade são por natureza dinâmicas – e a necessidade de preservação, particularmente do legado modernista inscrito em nossa paisagem urbana, ameaçado de extinção pelo descaso, pelo abandono ou pela transformação descabida.

Operatori lineari su spazi di Hilbert

La trattazione che segue fornisce un'introduzione agli operatori lineari. Il primo capitolo contiene dei cenni sugli spazi di Hilbert di dimensione infinita, in modo da poter lavorare con operatori definiti non solo su spazi finito dimensionali, che sono generalmente rappresentati da matrici. Nel secondo capitolo si prosegue con lo studio degli operatori lineari limitati, proponendo come esempio l'operatore di proiezione. Viene definito anche l'importante concetto di operatore aggiunto, generalizzato nel capitolo successivo. Il capitolo finale tratta gli operatori non limitati, che possono essere analizzati con più facilità se soddisfano una proprietà topologica, che è la chiusura. Si affronta anche il concetto di spettro di un operatore, soprattutto nel caso di un operatore autoaggiunto, concludendo con l' esempio di un importante operatore, cioè l'operatore differenziale, fondamentale in meccanica quantistica.

Culture in Transfer: Translation and Transcultural Communication International Conference

It is widely acknowledged that interpreters need to have knowledge of the cultures represented by the languages they work with (e.g. Roy 2002, Angelelli 2004, Wadensjŏ 2008). However, it is not clear what interpreters are expected to do with this knowledge. Some scholars recommend that interpreters be cultural mediators (e.g. Katan 2004 & 2014). As an attempt to examine existing guidelines on interpreters’ roles in the face of cultures/cultural issues, the research reported in this paper compares and contrasts the codes of conduct for interpreters from a number of associations and institutions in the UK, the US and China. The research has collected three different sets of data and has sought to investigate (1) in what ways interpreters are expected to do with their knowledge of cultures; (2) to what extent interpreters’ role as cultural mediators is referred to or defined in these codes of conduct; and (3) whether or not relevant guidelines are practically helpful for interpreters to deal with the range of cultural issues they may encounter in interpreting. Data analysis suggests that while cultural knowledge is a requisite for interpreters, the expectation for them to be cultural mediators may depend on the types of interpreting setting they work with and further guidelines are needed so that interpreters are clear on what they are required to do in dealing with cultural issues. The paper then discusses the implications of these findings and points to some directions for future research. Key references Brunette, L., G Bastin, I. Hemlin and H. Clarke (ed.). The Critical Link 3: Interpreters in the Community. Amsterdam/Philadephia: John Benjamins. Hale, S. 2007. Community Interpreting. Hampshire, New York: Palgrave Macmillan. The International Association of Conference Interpreting, 2015. Interpreting Explained. Available from: http://aiic.net/; accessed on 24 June 2015 Katan, David, --- 2004. Translating Cultures: An Introduction for Translators, Interpreters and Mediators. St Jerome. --- 2014. Workshop: Translation at the cross-roads: time for the transcreational turn? University College London. Martín, Mayte C. & Mary Phelan, 2009. Interpreters and Cultural Mediators – different but complementary roles. In: Translocations: Migration and Social Change. ISSN Number: 2009-0420 (online) McDonough Dolmaya, Julie, (2011. Moral ambiguity: Some shortcomings of professional codes of ethics for translators. In: The Journal of Specialised Translation. Issue 15, January 2011 (online). Pöchhacker, F., 2008. Interpreting as Mediation. In: (ed.) Valero Garcés, C. and Martin, A, Crossing Borders in Community Interpreting: definitions and dilemmas, pp. 9-26. John Benjamins Amsterdam and Philadelphia. Roy, Cynthia B., 2002. The Problem with Definitions, Descriptions, and the Role Metaphors of Interpreters. In: (ed.) Pöchhacker, Franz & Miriam Shlesinger, The Interpreting Studies Reader. Routledge. Wadensjö 1998. Interpreting as Interaction. New York: Addison Wesley Longman Inc.

Petrus Hispanus O.P. Auctor Summularum (III) ¿”Petrus Alfonsi” o “Petrus Ferrandi”?

Este artículo pretende ser complemento y continuación de mis anteriores trabajos sobre la figura de Petrus Hispanus O. P., Auctor Summularum. Comienzo presentando algunos nuevos documentos relacionados con las cuestiones ya examinadas en mis artículos de 1997 y 2001. A continuación, me ocupo de las cuestiones aplazadas en el artículo de 2001: los problemas relativos a la figura de “Petrus Ferrandi” y su posible relación con el “auctor Summularum”, así como los argumentos de Tugwell contra la hipótesis de la posible identidad de estas dos figuras, examinados ahora desde la perspectiva del autor de la Legenda prima. Tras analizar testimonios procedentes de muy diversos ámbitos, afirmo, por una parte, que la hipótesis de la identidad entre “Petrus Ferrandi” y “Petrus Hispanus” podría ser correcta y, por otra parte, que no hay argumentos concluyentes que obliguen a afirmar con seguridad que el autor de la Legenda prima es Pedro Ferrando. Aunque los análisis no permiten por el momento determinar si es “Petrus Alfonsi” o “Petrus Ferrandi” el “auctor Summularum”, los testimonios recogidos y las conexiones establecidas contribuirán, sin duda, a orientar futuras investigaciones en torno a la figura de “Petrus Hispanus”.

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

'That Puissant City': John Milton's Roman Sojourns 1638-1639

John Milton’s sojourns in Rome (1638-9) are attested by his comments in Defensio Secunda, by the minutes of the English College, by Latin encomia which he received from Roman academicians, and, not least, by his Latin letter to Lucas Holstenius (19/29 March 1639), and several Latin poems which he composed in the course of his residency in the capital city: Ad Salsillum, and three Latin epigrams extolling the praises of the virtuosa soprano, Leonora Baroni. Read together, these texts serve to reveal much about Milton’s participation in, and reaction to, the ‘Puissant City’, (History of Britain, Bk 2).

The present monograph presents fresh evidence of Milton's integration into the academic and cultural life of seventeenth-century Rome. It argues that his links with two Roman academies: the Accademia dei Fantastici and Accademia degli Umoristi constitute a sustained participation in an academic community paralleling that of his independently attested performance in Florentine academies (on which I have published extensively). It also investigates his links with Alessandro Cherubini, David Codner, Giovanni Batista Doni, and the Baroni circle hymned in three published anthologies.

Chapter 1: Milton and the Accademia dei Fantastici investigates the cultural climate surrounding Milton's Ad Salsillum by examining two of that academy's publications: the Poesie dei Signori Accademici Fantastici di Roma (Rome, 1637) and the Academia Tenuta da Fantastici a. 12 di Maggio 1655 (Rome, 1655), the latter celebrating the creation of Fabio Chigi as Pope Alexander VII on 5 April 1655. Read in a new light, Milton’s self-fashioning, it is argued, takes its place not only alongside Salzilli’s encomium in Milton's honour, and his Italian sonnets in the 1637 Poesie, but also in relation to other poems in that collection, and the academy's essentially Catholic eulogistic trend. The chapter also provides fresh evidence of Salzilli’s survival of the illness described in Milton’s poem by his epistolary correspondence with Tomaso Stigliani.

Chapter 2: Milton and the Vatican argues for links between Milton’s Latin letter to Holstenius and a range of Holstenius’ published works: his edition of the axioms of the later Pythagoreans gifted by him to Milton, and his published neo-Platonic works. This is achieved by mutual appropriation of Similitudes in a series of Miltonic similes, the anabasis/katabasis motifs in a reworking of the Platonic theory of the transmigration of souls, and allusion to etymological details highlighted in Holstenius’ published editions. The chapter also reveals Milton’s alertness to typographical procedures and, by association, to Holstenius’ recent role (1638) as Director of the press of the Biblioteca Vaticana.

Chapter 3: Milton and the Accademia degli Umoristi argues for Milton’s likely participation in this Roman academy, as suggested by his links with its members. His three Latin epigrams in praise of Leonora Baroni, the only female member of the Umoristi, have hitherto been studied in relation to the 1639 Applausi in her honour. In a new reading, Milton, it is suggested, invokes and interrogates Catholic doctrine before a Catholic audience only to view the whole through the lens of a neo-Platonic Hermeticism (by echoing the phraseology of the sixteenth-century Franciscan Hannibal Rosselli) that refreshingly transcends religious difference. Crucially, the hitherto neglected L’Idea della Veglia (Rome, 1640) includes further encomiastic verse, sonnets to, and by Leonora, and details of the conversazioni hosted by her family at the precise time of Milton’s Roman sojourns. Milton may well have been a participant. The chapter concludes in an assessment of his links with the youthful prodigy Alessandro Cherubini, and of his audience with Francesco Barberini.

Chapter 4: Milton at a Roman Opera analyses the potential impact of ‘Chi Soffre, Speri’, which he attended on 18/28 February 1639, mounted by Francesco Barberini to inaugurate the recently completed theatre of the Palazzo Barberini. A detailed analysis of the opera's libretto, music, and theatricality casts a backward glance to Milton's Comus, and a forward glance to Paradise Lost. It also assesses Milton’s musical interests at this time, as attested by his links with Doni, and his purchase of works by Monteverdi and others.

Chapter 5: Milton’s English Connections in Rome develops the work of Miller and Chaney by investigating Milton’s co-diners at the English College in Rome on 30 October 1638, and by analysing his links between David Codner (alias Matteo Selvaggio), and the family of Jane Savage, Marchioness of Winchester, lamented by Milton in 1631. It also assesses his potential relations with the Englishman Thomas Gawen, who ‘accidentally sometimes fell into the company of John Milton’ (Antony Wood).

No todo es obra nueva en nuestra vida profesional. En: Revista Arqymas, n° 8, año 3

Es una constante que los edificios del Movimiento Moderno de Misiones, provincia del Noreste argentino, se han internalizado de tal forma en la población aledaña, que pasa frente a ellos, los exploran y los usan sin tomar conciencia de su valor patrimonial. Es así como en nuestras presentaciones aparecen sus usuarios contándonos: “Paso todos los días delante de ese edificio y era importante y no lo sabía…” o “vivo a la vuelta y nunca reparé en él…”

Il Vestibolo di Piazza d'Oro - Rilievi per la modellazione 3D ed il texturing

Il caso studio del vestibolo ottagonale di Villa Adriana ha dato la possibilità di applicare ad un edificio di notevole valore storico e artistico tecniche di restituzione digitale e di modellazione tridimensionale basate su applicativi di modellazione geometrica, con lo scopo di generarne il modello 3D digitale fotorealistico e polifunzionale. Nel caso specifico del vestibolo, un modello tridimensionale di questo tipo risulta utile a fini documentativi, a sostegno di ipotesi costruttive e come strumento per la valutazione di interventi di restauro. Il percorso intrapreso ha permesso di valutare le criticità nelle tecniche di acquisizione, modellazione e foto-modellazione tridimensionale applicate in ambito archeologico, tecniche usate abitualmente anche in settori quali l’architettura, il design industriale ma anche nel cinema (effetti speciali e film d’animazione) e in ambito videoludico, con obiettivi differenti: nel settore del design e della progettazione industriale il Reverse Modeling viene impiegato per eseguire controlli di qualità e rispetto delle tolleranze sul prodotto finale, mentre in ambito cinematografico e videoludico (in combinazione con altri software) permette la creazione di modelli realistici da inserire all’interno di film o videogiochi, (modelli non solo di oggetti ma anche di persone). La generazione di un modello tridimensionale ottenuto tramite Reverse Modeling è frutto di un processo opposto alla progettazione e può avvenire secondo diverse strategie, ognuna delle quali presenta vantaggi e svantaggi specifici che la rendono più indicata in alcuni casi piuttosto che in altri. In questo studio sono state analizzate acquisizioni tridimensionali effettuate tramite Laser Scan e tramite applicazioni Structure from Motion/Dense Stereo View.

I terremoti di epoca moderna a Sansepolcro. Analisi di fonti archivistiche e indagini morfologiche sui tessuti edilizi per la comprensione del rapporto tra eventi storici e definizione degli interventi

Il presente lavoro di tesi affronta diverse tematiche riguardanti la valutazione della vulnerabilità sismica del centro storico di Sansepolcro, con particolare riferimento all’analisi di fonti storiche perlopiù inedite e a indagini morfologiche sui tessuti edilizi. La zona della Valtiberina toscana è stata interessata da numerosi eventi sismici che spesso hanno raggiunto intensità elevate e che hanno provocato molti danni. Il susseguirsi di tali eventi ha fatto si che si sviluppasse una certa esperienza nell’affrontare le conseguenze dell’evento sismico. Ne sono testimonianza i documenti conservati presso l’Archivio Storico Comunale di Sansepolcro che riguardano gli eventi sismici del 1781 e del1789. Dalla corrispondenza tra le autorità di Firenze e di Sansepolcro è stato possibile ricostruire la cronologia delle azioni principali compiute nella gestione dell’emergenza. Tra le lavorazioni eseguite, molti furono i presidi antisismici utilizzati. Nell’ambito dell’analisi delle fonti di archivio si sono analizzati anche documenti più recenti, in particolare gli elaborati del Genio Civile conservati presso l’Archivio di Stato di Arezzo riguardanti gli eventi sismici del 1917 e 1919. Parallelamente alle ricerche archivistiche si è cercato di stabilire una correlazione tra la morfologia dei tessuti e la vulnerabilità sismica degli aggregati edilizi in relazione al loro processo evolutivo e al loro periodo storico di formazione. Una volta stabilita, per ogni aggregato, la fase di impianto, ci si è avvalsi del metodo di calcolo speditivo dell’indice di vulnerabilità in pianta (TPS). Lo scopo è quello di elaborare delle considerazioni generali per singoli aggregati campione, per poi estenderle agli aggregati omogenei. A conclusione del lavoro si è preso in considerazione il caso del Palazzo Aloigi-Luzzi e se ne sono calcolati gli indici analitici globali di vulnerabilità sismica, per avere un riscontro concreto di un singolo caso.

Arquitectura em Terra

A presente dissertação tem como tema central um modelo construtivo de arquitectura em terra, designadamente o tabique. Este modelo construtivo ancestral de alvenarias reserva na sua génese inúmeras particularidades, que vão desde as mais variadas formas de concepção do modelo por parte dos diferentes povos espalhados pelo mundo aos valiosos contributos sociais e ambientais. Na sua essência, o tabique foi muito utilizado por pessoas de parcos recursos económicos em soluções, por vezes muito engenhosas, levando-as a recorrer à mãe natureza para extrair dela os materiais necessários para a construção das suas casas. Um pouco por todo o mundo existem exemplares deste modelo tradicional contribuindo activamente para o enriquecimento dum vasto espólio de arquitectura em terra, matéria esta que tem vindo a ganhar um novo alento de acordo com as actuais “políticas" ecológicas. Deste modo e ao abrigo dos princípios gerais da conservação e restauro do património, o tabique detém informação relevante no que respeita à sustentabilidade do planeta, tornando o tema mais apelativo ao debate e à planificação de novas acções, envolvendo cada vez mais os profissionais em prol de um objectivo que garanta ao planeta um futuro mais próspero e equilibrado.

Projeto em Áreas Consolidadas de Patrimônio Cultural: Propostas para a Construção de uma Metodologia de Ensino

Le thème du patrimoine culturel architectural et urbain continue d avoir une place importante dans le milieu technique et scientifique. Le concept s est élargi et aujourd hui comprend différentes procédures de projets d intervention. L importance accordée au thème amène à l inclusion de la matière de techniques rétrospectives et aux contenus qui en sont liés: conservation, restauration, restructuration et reconstruction d édifices et ensembles urbains, dans les parcours des cours d architecture et d urbanisme au Brésil établies par le Ministère de l Education Nationale (MEC) dans les années quatre-vingt-dix, postérieurement incorporés dans les directrices disciplinaires nationales. Nous partons des discussions théoriques et conceptuelles du Domaine du Patrimoine Culturel, ainsi que des principales théories pédagogiques d enseignements et d apprentissage articulées au projet. Dans ce contexte les objectifs principaux de cette thèse consistent à systématiser et à analyser les principales procédures méthodologiques contribuant pour la construction de méthodes d enseignement tournée vers des activités pratiques dans ce domaine. Pour cela, la recherche a été systématisée dans une approche à deux niveaux. En ce qui concerne le premier, basé sur des données secondaires, neuf cours d architecture et urbanisme ont étés identifiés entre institutions publiques d enseignement supérieur dont huit brésiliennes et une française, considérées représentatives en ce qui concerne les pratiques d enseignement de projet et de patrimoine culturel. Trente disciplines dédiées à la matière ont été également reconnues initialement, et postérieurement, cinq disciplines qui possèdent un emploi du temps dédié à la pratique de projet ont aussi été reconnues. Dans le deuxième cas, basée sur des données primaires, ont étés analysées les méthodologies et les stratégies d enseignement de projet basées sur les définitions des matières et des autres éléments des plans de travail avec des observations, des entrevues et des questionnaires en trois ateliers. Par rapport aux résultats nous avons constaté que toutes les écoles possèdent les contenus de la matière, mais peu d entre elles privilégient la relation du projet appliqué au patrimoine culturel. Nous avons constaté que les questions des projets dans ce contexte, même s elles sont considérées complexes, ont privilégié le listage et l analyse du site. L atelier qui intègre les fondements des théories de préservation, l histoire de l architecture et urbanisme et techniques anciennes et actuelles, est mis en valeur comme un modèle cohérent avec les propositions d intégration des connaissances théoriques et pratiques du projet appliqué à la discipline. Basé sur ces constatations il est possible de démontrer quatre étapes du projet appliqué au patrimoine culturel: 1ª) les fondements généraux qui concernent les bases théoriques sur la préservation, histoire et technique rétrospective, par exemple, l appropriation de lois et normes et la sensibilisation de l élève sur les questions de patrimoine culturel; 2ª) le contacte avec la réalité qui inclut l appropriation du problème à partir de ces acteurs, de ces échelles, de cette lecture de site et l analyse de l objet d étude; 3ª) le développement de la proposition qui inclut programmes (fonctions existantes et propositions), définitions du partit (types d intervention), conception (hypothèse et discussion) et définition de proposition; 4ª) la finalisation du projet qui consiste à développer la proposition avec sa représentation graphique et sa présentation finale. Nous concluons que le projet en Domaine du Patrimoine Culturel demande une attention spéciale et doit être présent dans les cursus considérant les principes généraux nécessaires à la formation de l élève. Le binôme projet / patrimoine signifie avoir dans le cursus universitaire les contenus et questions nécessaires les connaissances, les variables et possibilités existantes dans le projet appliqué au patrimoine culturel de façon à ce que ces connaissances soient incorporées dans l exercice de projet et n apparaissent pas comme un simple contenu théorique sans articulation avec la pratique. Naturellement ces conclusions n épuisent pas la réflexion sur la question. Nous espérons que les analyses faites contribuent à définir des méthodologies d enseignements capables d êtres vérifiées et testées dans la pratique en salle de cours, et puisse collaborer avec les nouvelles recherches surtout celles qui ont pour but des nouvelles théories pédagogiques d enseignement apprentissage du projet en Domaine du Patrimoine Culturel

Systems of exchange values as tools for multi-agent organizations

This paper introduces systems of exchange values as tools for the organization of multi-agent systems. Systems of exchange values are defined on the basis of the theory of social exchanges, developed by Piaget and Homans. A model of social organization is proposed, where social relations are construed as social exchanges and exchange values are put into use in the support of the continuity of the performance of social exchanges. The dynamics of social organizations is formulated in terms of the regulation of exchanges of values, so that social equilibrium is connected to the continuity of the interactions. The concept of supervisor of social equilibrium is introduced as a centralized mechanism for solving the problem of the equilibrium of the organization The equilibrium supervisor solves such problem making use of a qualitative Markov Decision Process that uses numerical intervals for the representation of exchange values.

Surgical treatment of papillary thyroid carcinoma without lymph nodal involvement

Background. In the treatment of differentiated thyroid cancer (DTC), in absence of enlarged lymph nodes, the role of routine central lymph node dissection (RCLD) remains controversial. The aim of this study is to analyze data resulting from total thyroidectomy (TT) not combined with RCLD in the treatment of DTC. Methods. We retrospectively evaluated the clinical records of 80 patients treated between January 1996 and December 2003 with TT without RCLND, in absence of suspected enlarged lymph nodes at preoperative ultrasonography and intraoperatively during neck exploration. In this series, 75 patients (93.7%) underwent radioiodine (RAI) ablation, followed by Thyroid Stimulating Hormone (TSH) suppression therapy. In case of locoregional lymph nodal recurrence, a central (VI) and ipsilateral (III-IV) selective lymph node dissection was performed. Results. Incidence of permanent hypoparathyroidism (iPTH < 10 pg/ml) and unilateral temporary vocal fold paralysis were respectively 2.55% and 2.55%. Locoregional recurrence, with positive cervical lymph nodes, after a 10.3 ± 4.7 years mean follow-up was observed in 3 patients (3.75%). They were submitted to a central (VI) and ipsilateral (III-IV) selective neck dissection without significant complications. Conclusions. In our series, TT not combined with RCLD was associated to a low locoregional recurrence rate, even if the lack of a control group treated with RCLD does not allow any generalized assumption. RCLD may be indicated in high risk patients, in whom lymph nodal recurrence is more frequent. More prospective randomized studies are needed to better define the role of RCLD and postoperative radioiodine ablation.

Long-term outcomes following “presumed” total parathyroidectomy for secondary hyperparathyroidism of chronic kidney disease

Aim. The most efficacious surgical treatment for renal hyperparathyroidism is still subject of research. Considering its low incidence rate of long-term relapse, “presumed” total parathyroidectomy without autotrasplantation (TP) may be indicated for secondary hyperparathyroidism (2HPT) in patients with chronic kidney disease (CKD), not eligible for kidney transplantation. The aim of this study was to analyse the TP long-term results in 2HPT haemodialysis (HD) patients. Method. Between January 2004 and October 2009, 25 2HPT HD patients, not eligible for kidney transplantation, underwent TP of at least four parathyroid glands. Clinical status and intact parathyroid hormone (iPTH) serum levels were assessed intraoperatively and during a 36-month follow-up. Results. TP improved the typical clinical symptoms and a significant reduction of iPTH serum levels was achieved in each patient. Aparathyroidism was never observed; in case of severe postoperative hypocalcemia, hypocalcemic seizures were never reported and the long-term recurrence rate was 8%. Only one patient received a kidney transplantation. Postoperative cardiovascular events (hypertension, peripheral artery disease, arrhythmia, coronary or cerebrovascular disease) were observed in 32% of cases and mortality rate was 16%. Conclusions. Considering its low long-term relapse rate and the absence of postoperative aparathyroidism, TP may still be considered the treatment of choice in patients with aggressive forms of 2HPT or of advanced dialytic vintage, with no access to renal transplantation. In case of postoperative hypoparathyroidism, hypocalcaemia can be effectively managed by medical treatment.

The cultural policy in Italy and the innovations of the XXI century

The paper analyzes the development of the first experiences of the sixteenth century cultural policy in Italy until the beginning of the twenty-first century with the institutional reform initiated by the Minister Dario Franceschini. In the pre-unification State it has been many important contributions of several local rulers who imposed conservation policies to prevent the dispersal of works of art. After the unification of Italy (1861) the laws of protection of the national heritage have helped to initiate the first important initiatives that have developed in practice only at the end of the twentieth century. Great institutional innovations and regulatory activated in the twenty-first century and of which this paper provides some important insights and deepening.