Aldo Rossi, autobiografia scientifica: scrittura come progetto. Indagine critica tra scrittura e progetto di architettura

«In altri termini mi sfuggiva e ancora oggi mi sfugge gran parte del significato dell’evoluzione del tempo; come se il tempo fosse una materia che osservo dall’esterno. Questa mancanza di evoluzione è fonte di alcune mie sventure ma anche mi appartiene con gioia.» Aldo Rossi, Autobiografia scientifica. The temporal dimension underpinning the draft of Autobiografia scientifica by Aldo Rossi may be referred to what Lucien Lévy-Bruhl, the well-known French anthropologist, defines as “primitive mentality” and “prelogical” conscience : the book of life has lost its page numbers, even punctuation. For Lévy-Bruhl, but certainly for Rossi, life or its summing up becomes a continuous account of ellipses, gaps, repetitions that may be read from left to right or viceversa, from head to foot or viceversa without distinction. Rossi’s autobiographical writing seems to accept and support the confusion with which memories have been collected, recording them after the order memory gives them in the mental distillation or simply according to the chronological order in which they have happened. For Rossi, the confusion reflects the melting of memory elements into a composite image which is the result of a fusion. He is aware that the same sap pervades all memories he is going to put in order: each of them has got a common denominator. Differences have diminished, almost faded; the quick glance is prevalent over the distinction of each episode. Rossi’s writing is beyond the categories dependent on time: past and present, before and now. For Rossi, the only repetition – the repetition the text will make possible for an indefinite number of times – gives peculiarity to the event. As Gilles Deleuze knows, “things” may only last as “singleness”: more frequent the repetition is, more singular is the memory phenomenon that recurs, because only what is singular magnifies itself and happens endlessly forever. Rossi understands that “to raise the first time to nth forever”, repetition becomes glorification . It may be an autobiography that, celebrating the originality, enhances the memory event in the repetition; in fact it greatly differs from the biographical reproduction, in which each repetition is but a weaker echo, a duller copy, provided with a smaller an smaller power in comparison with the original. Paradoxically, for Deleuze the repetition asserts the originality and singularity of what is repeated. Rossi seems to share the thought expressed by Kierkegaard in the essay Repetition: «The hope is a graceful maiden slipping through your fingers; the memory of an elderly woman, indeed pretty, but never satisfactory if necessary; the repetition is a loved friend you are never tired of, as it is only the new to make you bored. The old never bores you and its presence makes you happy [...] life is but a repetition [...] here is the beauty of life» . Rossi knows well that repetition hints at the lasting stability of cosmic time. Kierkegaard goes on: «The world exists, and it exists as a repetition» . Rossi devotes himself, on purpose and in all conscience, to collect, to inventory and «to review life», his own life, according to a recovery not from the past but of the past: a search work, the «recherche du temps perdu», as Proust entitled his masterpiece on memory. If you want the past time to be not wasted, you must give it presence. «Memoria e specifico come caratteristiche per riconoscere se stesso e ciò che è estraneo mi sembravano le più chiare condizioni e spiegazioni della realtà. Non esiste uno specifico senza memoria, e una memoria che non provenga da un momento specifico; e solo questa unione permette la conoscenza della propria individualità e del contrario (self e non-self)» . Rossi wants to understand himself, his own character; it is really his own character that requires to be understood, to increase its own introspective ability and intelligence. «Può sembrare strano che Planck e Dante associno la loro ricerca scientifica e autobiografica con la morte; una morte che è in qualche modo continuazione di energia. In realtà, in ogni artista o tecnico, il principio della continuazione dell’energia si mescola con la ricerca della felicità e della morte» . The eschatological incipit of Rossi’s autobiography refers to Freud’s thought in the exact circularity of Dante’s framework and in as much exact circularity of the statement of the principle of the conservation of energy: in fact it was Freud to connect repetition to death. For Freud, the desire of repetition is an instinct rooted in biology. The primary aim of such an instinct would be to restore a previous condition, so that the repeated history represents a part of the past (even if concealed) and, relieving the removal, reduces anguish and tension. So, Freud ask himself, what is the most remote state to which the instinct, through the repetition, wants to go back? It is a pre-vital condition, inorganic of the pure entropy, a not-to-be condition in which doesn’t exist any tension; in other words, Death. Rossi, with the theme of death, introduces the theme of circularity which further on refers to the sense of continuity in transformation or, in the opposite way, the transformation in continuity. «[...] la descrizione e il rilievo delle forme antiche permettevano una continuità altrimenti irripetibile, permettevano anche una trasformazione, una volta che la vita fosse fermata in forme precise» . Rossi’s attitude seems to hint at the reflection on time and – in a broad sense – at the thought on life and things expressed by T.S. Eliot in Four Quartets: «Time present and time past / Are both perhaps present in time future, / And time future is contained in time past. / I all time is eternally present / All time is unredeemable. / What might have been is an abstraction / Remaining perpetual possibility / Only in a word of speculation. / What might have been and what has been / Point to one end, which is always present. [...]» . Aldo Rossi’s autobiographical story coincides with the description of “things” and the description of himself through the things in the exact parallel with craft or art. He seems to get all things made by man to coincide with the personal or artistic story, with the consequent immediate necessity of formulating a new interpretation: the flow of things has never met a total stop; all that exists nowadays is but a repetition or a variant of something existing some time ago and so on, without any interruption until the early dawnings of human life. Nevertheless, Rossi must operate specific subdivisions inside the continuous connection in time – of his time – even if limited by a present beginning and end of his own existence. This artist, as an “historian” of himself and his own life – as an auto-biographer – enjoys the privilege to be able to decide if and how to operate the cutting in a certain point rather than in another one, without being compelled to justify his choice. In this sense, his story is a matter very ductile and flexible: a good story-teller can choose any moment to start a certain sequence of events. Yet, Rossi is aware that, beyond the mere narration, there is the problem to identify in history - his own personal story – those flakings where a clean cut enables the separation of events of different nature. In order to do it, he has to make not only an inventory of his own “things”, but also to appeal to authority of the Divina Commedia started by Dante when he was 30. «A trent’anni si deve compiere o iniziare qualcosa di definitivo e fare i conti con la propria formazione» . For Rossi, the poet performs his authority not only in the text, but also in his will of setting out on a mystical journey and handing it down through an exact descriptive will. Rossi turns not only to the authority of poetry, but also evokes the authority of science with Max Plank and his Scientific Autobiography, published, in Italian translation, by Einaudi, 1956. Concerning Planck, Rossi resumes an element seemingly secondary in hit account where the German physicist «[...] risale alle scoperte della fisica moderna ritrovando l’impressione che gli fece l’enunciazione del principio di conservazione dell’energia; [...]» . It is again the act of describing that links Rossi to Planck, it is the description of a circularity, the one of conservation of energy, which endorses Rossi’s autobiographical speech looking for both happiness and death. Rossi seems to agree perfectly to the thought of Planck at the opening of his own autobiography: «The decision to devote myself to science was a direct consequence of a discovery which was never ceased to arouse my enthusiasm since my early youth: the laws of human thought coincide with the ones governing the sequences of the impressions we receive from the world surrounding us, so that the mere logic can enable us to penetrate into the latter one’s mechanism. It is essential that the outer world is something independent of man, something absolute. The search of the laws dealing with this absolute seems to me the highest scientific aim in life» . For Rossi the survey of his own life represents a way to change the events into experiences, to concentrate the emotion and group them in meaningful plots: «It seems, as one becomes older. / That the past has another pattern, and ceases to be a mere sequence [...]» Eliot wrote in Four Quartet, which are a meditation on time, old age and memory . And he goes on: «We had the experience but missed the meaning, / And approach to the meaning restores the experience / In a different form, beyond any meaning [...]» . Rossi restores in his autobiography – but not only in it – the most ancient sense of memory, aware that for at least 15 centuries the Latin word memoria was used to show the activity of bringing back images to mind: the psychology of memory, which starts with Aristotele (De Anima), used to consider such a faculty totally essential to mind. Keith Basso writes: «The thought materializes in the form of “images”» . Rossi knows well – as Aristotele said – that if you do not have a collection of mental images to remember – imagination – there is no thought at all. According to this psychological tradition, what today we conventionally call “memory” is but a way of imagining created by time. Rossi, entering consciously this stream of thought, passing through the Renaissance ars memoriae to reach us gives a great importance to the word and assumes it as a real place, much more than a recollection, even more than a production and an emotional elaboration of images.

Women writing Ireland, 1798 – 1921: il popular novel tra identità nazionale e immaginario religioso nelle autrici cattoliche e protestanti.

La presente tesi si concentra sul romanzo popolare irlandese scritto da donne, nel periodo compreso tra il 1798 e il 1921. Quattro sono le autrici prese in considerazione: Charlotte Elizabeth Tonna, Sydney Owenson (meglio conosciuta come Lady Morgan), Edith Somerville e Katharine Tynan, le cui vite e opere coprono un periodo storico fondamentale per l’uscita dell’Irlanda dal dominio coloniale britannico e la formazione della nazione irlandese nel sud del paese. L’interesse principale è quello di analizzare il modo in cui nei loro testi prende forma la nazione, e in particolare attraverso quali immagini e riferimenti religiosi. Il senso è quello, dunque, di rileggere tali testi prestando maggiore attenzione alla religione, uno dei principali collanti tra autrici e pubblico: all’epoca in cui l’Irlanda stava acquisendo i confini che oggi ancora mantiene, esisteva un terreno d’incontro tra discorso politico e letterario, quello della nazione, e tale terreno veniva attraversato anche dal messaggio religioso. Il fine ultimo è quello di dimostrare che la letteratura popolare non è “seconda” ad altre quanto a valori che è in grado di trasmettere e a messaggi che è in grado di veicolare: trascurarla significa non capire i meccanismi attraverso i quali una società si sviluppa e si modifica.

A numerical study of temperature effects on hot wire measurements inside turbulent channel flows

A way to investigate turbulence is through experiments where hot wire measurements are performed. Analysis of the in turbulence of a temperature gradient on hot wire measurements is the aim of this thesis work. Actually - to author's knowledge - this investigation is the first attempt to document, understand and ultimately correct the effect of temperature gradients on turbulence statistics. However a numerical approach is used since instantaneous temperature and streamwise velocity fields are required to evaluate this effect. A channel flow simulation at Re_tau = 180 is analyzed to make a first evaluation of the amount of error introduced by temperature gradient inside the domain. Hot wire data field is obtained processing the numerical flow field through the application of a proper version of the King's law, which connect voltage, velocity and temperature. A drift in mean streamwise velocity profile and rms is observed when temperature correction is performed by means of centerline temperature. A correct mean velocity pro�le is achieved correcting temperature through its mean value at each wall normal position, but a not negligible error is still present into rms. The key point to correct properly the sensed velocity from the hot wire is the knowledge of the instantaneous temperature field. For this purpose three correction methods are proposed. At the end a numerical simulation at Re_tau =590 is also evaluated in order to confirm the results discussed earlier.

High resolution study of local stress inside alumina - micro mechanical analysis using laser scanning confocal microscope

The aim of this work is to measure the stress inside a hard micro object under extreme compression. To measure the internal stress, we compressed ruby spheres (a-Al2O3: Cr3+, 150 µm diameter) between two sapphire plates. Ruby fluorescence spectrum shifts to longer wavelengths under compression and can be related to the internal stress by a conversion coefficient. A confocal laser scanning microscope was used to excite and collect fluorescence at desired local spots inside the ruby sphere with spatial resolution of about 1 µm3. Under static external loads, the stress distribution within the center plane of the ruby sphere was measured directly for the first time. The result agreed to Hertz’s law. The stress across the contact area showed a hemispherical profile. The measured contact radius was in accord with the calculation by Hertz’s equation. Stress-load curves showed spike-like decrease after entering non-elastic phase, indicating the formation and coalescence of microcracks, which led to relaxing of stress. In the vicinity of the contact area luminescence spectra with multiple peaks were observed. This indicated the presence of domains of different stress, which were mechanically decoupled. Repeated loading cycles were applied to study the fatigue of ruby at the contact region. Progressive fatigue was observed when the load exceeded 1 N. As long as the load did not exceed 2 N stress-load curves were still continuous and could be described by Hertz’s law with a reduced Young’s modulus. Once the load exceeded 2 N, periodical spike-like decreases of the stress could be observed, implying a “memory effect” under repeated loading cycles. Vibration loading with higher frequencies was applied by a piezo. Redistributions of intensity on the fluorescence spectra were observed and it was attributed to the repopulation of the micro domains of different elasticity. Two stages of under vibration loading were suggested. In the first stage continuous damage carried on until certain limit, by which the second stage, e.g. breakage, followed in a discontinuous manner.

Retorica come dissimulazione. Il ritmo della prosa manganelliana

La tesi è incentrata sull'analisi dell'organizzazione retorica della prosa di Giorgio Manganelli, indagando il sistema ritmico attraverso il quale l'autore è in grado di creare un fluire sintattico che sfugge alle classificazioni di genere. Per Manganelli, infatti, il linguaggio è solamente organizzazione di se stesso, e perciò la scrittura ruota attorno a un centro narrativo vuoto, dissimulando l'assenza di necessità. Egli è un retore puntuale dotato di una straordinaria abilità compositiva, che gli consente di mettere in scena l'ambiguità insita nella retorica. Per affrontare questa analisi è stato opportuno avvalersi della critique du rythme ideata da Henri Meschonnic, a partire dalle riflessioni di Emile Benveniste sul concetto eracliteo di ritmo, poiché essa fornisce una prospettiva duttile, dinamica e svincolata da pregiudizi critici. Meschonnic infatti considera il ritmo non come schema metrico ma in quanto organizzazione del senso nel discorso, volto alla signifiance del testo. In quest'ottica si è tentato di costruire un percorso attraverso le opere di Manganelli per descrivere il sistema retorico su cui si fonda la sua scrittura, a partire dai materiali del suo laboratorio (poesie, prose, appunti di diario, scambi epistolari) fino all'ideazione di discorsi pseudo-teologici che si presentano come allegoria stessa della scrittura. Si sono analizzati in particolare la trasposizione letteraria della tecnica musicale della variazione in Nuovo commento (1969), e il ritmo del periodo ipotetico in Rumori o voci (1987), testo emblematico della ricerca di Manganelli sulle potenzialità del linguaggio. Infine la prosa manganelliana è stata messa a confronto con quella di altri importanti autori italiani del Novecento (Pavese, Gadda, Camporesi, Celati), al fine di comparare tra loro diverse organizzazioni ritmiche del linguaggio, e ricollocando così Manganelli al centro del panorama letterario italiano con tutta la sua eversiva marginalità.

"A la búsqueda de nuevos horizontes". La scrittura della migrazione africana in Spagna

La migrazione genera spesso nei soggetti migranti forme di spaesamento, poiché lo spostamento fisico condiziona la sfera emotiva: in loro può emergere il senso di nostalgia verso la patria e il desiderio del ritorno, oppure la volontà di annullare le proprie radici e di conformarsi ai modelli della società ricevente. Spesso tali sensazioni di spaesamento possono essere superate grazie alla pratica creativa della scrittura; è per questo che nelle varie realtà di immigrazione ha preso campo la pratica della scrittura migrante, dove si dà spazio all’altro che cerca di far sentire la propria voce, ricorrendo alla lingua del Paese d’arrivo, senza rinunciare ai tratti distintivi della sfera culturale d’origine, creando testi ibridi, che disegnano un ponte tra le culture. Focus della ricerca è la scrittura della migrazione africana in Spagna, studiata sia in prospettiva generale che specifica, mediante quattro autori e le relative opere selezionate: Laila (2010) della marocchina Laila Karrouch, Las tres vírgenes de Santo Tomás (2008) dell’equatoguineana Guillermina Mekuy, Una vida de cuento (2006) del camerunese Boniface Ofogo, Amina (2006) del senegalese Sidi Seck. L’analisi dei testi è effettuata sulla base di due filoni tematici, la famiglia e il rapporto con la società d’arrivo, ed è corredata dallo studio del lessico relativo ai due temi di riferimento. Leggere fra le righe il microcosmo della famiglia significa porre l’attenzione sulle diverse dinamiche affettive che stanno dietro alla parola “migrazione” e sulle particolari dimensioni familiari che caratterizzano la vita odierna, dove spesso avviene il contatto fra più culture. Un contatto che si riflette nel macrocontesto della realtà ospite dove si ha modo di avviare un dialogo fra nativi e stranieri, poiché spesso le iniziali forme di contrasto si tramutano in sete di conoscenza e volontà di avvicinarsi, facendo emergere l’idea che la diversità non separa ma arricchisce.

Dynamics of small interfering RNA - FRET based integrity measurements of siRNA in the cuvette & inside cells

RNAi ist ein bedeutendes Werkzeug zur Funktionsanalyse von Genen und hat großes Potential für den Einsatz in der Therapie. Obwohl effiziente Knockdowns in der Zellkultur erzielt werden, erweist sich eine in vivo Anwendung als schwierig. Die großen Hürden sind dabei der Transport der siRNA ins Zielgewebe und deren voranschreitende Degradierung.rnMarkierte siRNA kann sowohl zur eigenen Integritätsmessung als auch zur Lokalisierung verwendet werden. Zwei Farbstoffe an den jeweiligen 3’- bzw. -5’-Enden des Sense- bzw. Antisense-Stranges erzeugen ein robustes FRET-System (Hirsch et al. 2012). Das Verhältnis von FRET- zu Donor-Signal, das R/G-Ratio, dient zur sensitiven Klassifizierung des Integritätslevels einer siRNA Probe (Järve et al. 2007; Hirsch et al. 2011; Kim et al. 2010). Mit diesem System kann eine Degradierung von weniger als 5 % in der Küvette und in Zellen nachgewiesen werden.rnDie vorliegende Arbeit beschäftigt sich mit der Evaluierung von potentiellen FRET Farbstoffpaaren hinsichtlich deren Eignung für in vitro und in vivo Anwendung. Verschiedenste FRET-Paare, die das gesamte sichtbare Spektrum abdecken, wurden evaluiert und ermöglichen nun die Auswahl eines geeigneten Paares für die jeweilige Anwendung oder Kombination mit anderen Farbstoffen.rnMit Hilfe von Alexa555/Atto647N siRNA wurde ein erfolgreicher Einschluss von siRNA in Liposomen beobachtet. Eine anschließende Evaluierung der RNase-Protektion ergab für Liposomen, Nanohydrogele und kationische Peptide hervorragende protektive Eigenschaften. Basierend auf den Ergebnisse können diese und andere Transportsysteme nun für eine zelluläre Aufnahme optimiert werden.rnAtto488/Atto590 zeigte die besten Eigenschaften für Echtzeit-Integritätsmessungen in der Lebendzellmikroskopie. Verringerte Bleicheigenschaften und minimaler spektraler “Cross-Talk” ermöglichten es, transfizierte Zellen über einen Zeitraum von bis zu 8 Stunden zu beobachten. Mittels Atto488/Atto590 siRNA wurde die Einschleusung und Freisetzung in Zellen in Echtzeit untersucht. Dabei konnten Freisetzung und Verteilung in einzelnen Zellen beobachtet und analysiert werden. rnAuf eine anfängliche Phase mit hoher Freisetzungsrate folgte eine Phase mit geringerer Rate für den restlichen Beobachtungszeitraum. Die durchschnittliche Verweildauer im Zytosol betrug 24 und 58 Minuten, wobei zwischen lang- und kurzanhaltenden Ereignissen unterschieden werden konnte. Obwohl ein Import von siRNA in den Zellkern beobachtet wurde, konnte kein Schema bzw. genauer Zeitpunkt, in Bezug auf den Transfektionszeitraum für diese Ereignisse bestimmt werden. Die beobachteten Freisetzungsprozesse fanden sporadisch statt und Änderungen in der zellulären Verteilung geschahen innerhalb von wenigen Minuten. Einmal freigesetzte siRNA verschwand mit der Zeit wieder aus dem Zytosol und es blieben nur kleine Aggregate von siRNA mit immer noch geringer Integrität zurück.rn