The co-ordination of hydro and thermal production: the situation in Italy and the experiences of the Edison Group

Includes bibliography

Os retratos do Paraíso: a desconstrução do mito epopéico : uma análise da expedição Langsdorff através do discurso iconográfico de Hercule Florence

Pós-graduação em Geografia - IGCE

Florence Evelyn Willis Goodson Papers - Accession 298 - M125 (159)

The Florence Evelyn Willis Goodson Papers consist of newspaper clippings, program notes, photographs, postcards, and lecture notes relating to Mrs. Goodson’s nursing training at McLeod Infirmary in Florence, SC.

Showing that Early Childhood Education Works: Lessons from Italy, China, and the USA

Lessons from around the world; What does it matter about early childhood education? Why the controversy about public support for early childhood education? What process or system should be used to determine what works in early education? Can the same process be used to improve services? What is the role of government? Alternatives: 1. Consumers should determine… (What happens when private choices drive the market for early childhood services?) Observed quality of care in four Midwestern states; Parent data: “All things considered, how would you grade the quality of the care your child is receiving from his/her current caregiver?” Role of government What is a Quality Rating System? Ten states have implemented statewide systems (e.g. Colorado, Kentucky, Oklahoma, North Carolina) Findings 2. Objective science should determine… Firm findings from empirical research 3. Something else is needed: Some differences between Italian and American models. Teacher action research (and documentation) from a Reggio-inspired preschool in South Korea by Misuk Kim. Teacher Action Research at the Ruth Staples CDL. Can we now answer our opening questions? What process or system should be used to determine what is best for young children? Can the same process be used to improve the quality of services? Conclusions: The free market does not work well to determine quality in early education and care; Licensing, accreditation, and quality rating systems can help improve the market; Empirical research is useful for measuring what works; Teacher action research (reflective practice) is necessary for fostering continuous quality improvement. The tower of quality.

An integrated stratigraphic record of the Palaeocene-lower Eocene at Gubbio (Italy): new insights into the early Palaeogene hyperthermals and carbon isotope excursions

Terra Nova, 24, 380386, 2012 Abstract A high-resolution, integrated stratigraphic framework (stable isotope stratigraphy, standard calcareous nannofossil and foraminiferal biostratigraphy, magnetostratigraphy) together with geochemical and rock magnetic properties analyses of a complete and well-preserved succession at Contessa Valley (Gubbio, central Italy) have offered an excellent opportunity to identify and constrain the Palaeocene to early Eocene hyperthermals and carbon isotope excursions (CIEs). In addition, we provide the first evidence in the Tethys Ocean of CIEs, previously identified in the Pacific, Atlantic and Southern Oceans, highlighting their global significance and of some unknown CIEs. Their characteristics are compared with those reported for deep-sea cores and other land-based sections to test whether the signature associated with CIEs documented in our composite section might give evidence for tracing them over wider areas. The Contessa composite section thus represents a reference succession also for insight into the magnetobiochronostratigraphy and the magnitude of early Palaeogene hyperthermals and CIEs.

Liver transplantation for transthyretin amyloidosis: experience of a single center in Italy

Liver transplantation is the only definitive treatment for transthyretin amyloidosis, with an excellent 5-year survival in endemic countries where the Met30 mutation is predominant. We report our experience of liver transplantation for transthyretin amyloidosis. We reviewed the clinical records of 17 transplanted patients (11 males, 6 females; age at liver transplant: 45.7±11.7 years). We had a wide spectrum of non-Met30 mutations (52.9%), with a predominance of Gln89 (23.5%). Five-year survival after transplantation was 43.8%; at multivariate analysis, both non-Met30 mutations (HR 17.3, 95% CI 1.03-291.7) and modified BMI (HR 0.50, 95% CI 0.29-0.87) showed significant and independent prognostic roles (P=0.048 and P=0.015, respectively). Five out of the 9 non-Met30 carriers received combined heart transplantation because of severe cardiomyopathy; they showed a trend towards a better prognosis vs. the 4 patients who did not receive combined heart transplantation (although not statistically significant; P=0.095). At follow-up, no significant improvement of transthyretin amyloidosis manifestations was observed. The results of liver transplantation for transthyretin amyloidosis in our population are poorer than those reported in the literature probably because of the high prevalence of non-Met30 mutations.

Essays in Applied Health Economics: Evidence on Health and Health Care in Italy and UK

This thesis is the result of my experience as a PhD student taking part in the Joint Doctoral Programme at the University of York and the University of Bologna. In my thesis I deal with topics that are of particular interest in Italy and in Great Britain. Chapter 2 focuses on the empirical test of the existence of the relationship between technological profiles and market structure claimed by Sutton’s theory (1991, 1998) in the specific economic framework of hospital care services provided by the Italian National Health Service (NHS). In order to test the empirical predictions by Sutton, we identify the relevant markets for hospital care services in Italy in terms of both product and geographic dimensions. In particular, the Elzinga and Hogarty (1978) approach has been applied to data on patients’ flows across Italian Provinces in order to derive the geographic dimension of each market. Our results provide evidence in favour of the empirical predictions of Sutton. Chapter 3 deals with the patient mobility in the Italian NHS. To analyse the determinants of patient mobility across Local Health Authorities, we estimate gravity equations in multiplicative form using a Poisson pseudo maximum likelihood method, as proposed by Santos-Silva and Tenreyro (2006). In particular, we focus on the scale effect played by the size of the pool of enrolees. In most of the cases our results are consistent with the predictions of the gravity model. Chapter 4 considers the effects of contractual and working conditions on selfassessed health and psychological well-being (derived from the General Health Questionnaire) using the British Household Panel Survey (BHPS). We consider two branches of the literature. One suggests that “atypical” contractual conditions have a significant impact on health while the other suggests that health is damaged by adverse working conditions. The main objective of our paper is to combine the two branches of the literature to assess the distinct effects of contractual and working conditions on health. The results suggest that both sets of conditions have some influence on health and psychological well-being of employees.

Teorie e immagini del governo "misto" nel Cinquecento: i casi di Gasparo Contarini, Donato Giannotti, Paolo Paruta e Traiano Boccalini

This doctoral dissertation faces the debated topic of the traditions of Republicanism in the Modern Age assuming, as a point of view, the problem of the "mixed" government. The research therefore dwells upon the use of this model in Sixteenth-Century Italy, also in connection with the historical events of two standard Republics such as Florence and Venice. The work focuses on Donato Giannotti (1492-1573), Gasparo Contarini (1483-1542) and Paolo Paruta (1540-1598), as the main figures in order to reconstruct the debate on "mixed" constitution: in them, decisive in the attention paid to the peculiar structure of the Venetian Republic, the only of a certain dimension and power to survive after 1530. The research takes into account also the writings of Traiano Boccalini (1556-1613): he himself, though being involved in the same topics of debate, sets for some aspects his considerations in the framework of a new theme, that of Reason of State.

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.