Lucile Kathryn Delano Papers - Accession 509

The Lucile Kathryn Delano Papers consist of correspondence relating to Dr. Delano, Hallet Abend, and Virgilia Peterson (Princess Sapieha of Poland), an account of her trips to Europe and Mexico City, honors and awards she received, a dissertation presented to the Board of Graduate Studies at Washington University, notes on projected research on William Cullen Bryant, manuscripts, newspaper clippings, and family photographs.

Marguerite Tolbert Papers - Accession 203

Marguerite Tolbert (1893-1982) was a Winthrop alumna (class of 1914), club woman, and administrator with the Opportunity School in Columbia, South Carolina. The Marguerite Tolbert Papers consist of correspondence, manuscripts, galley proofs, biographical sketches, newspaper clippings, and other records relating to the publication of the book, South Carolina’s Distinguished Women of Laurens County. Miss Tolbert served as coordinator for the book project. Also included is an unpublished manuscript written by Clara Yarborough concerning the terms of office of seven former South Carolina governors. Miss Yarborough served as secretary under these governors.

Inesgotável fonte de magia: o poder encantatório da palavra em um conjuro anglo-saxônico

This work aims to analyze the Wið Færstice, a charm from the anglo-saxon literature, translated as Charm for a sudden Stich. Inside of the imaginarium in this context, the refered pain is assigned to a dart shooted by an elf, witch or pagan god. This charm is included in the anglo-saxon medicine manuscripts andwas wrtitten in form of poetry, presenting characteristics of the poetic work, presenting aspects of the poetic do that once considered historical, cultural and artistic issues concerning the people and the Anglo-Saxon culture, indicate a close relationship between poetry as a form of thought and knowledge and magic as a way of interpreting the world. At this respect we call here, for methodological purposes, incantatory power of the word. From the analysis of this referred enchantment, as well as of the elements in the text, is intended to demonstrate how articulates this incantatory power of words and how to give, within the Anglo-Saxon conception of the Sacred, the transformation of reality through the pronouncement of words

Research Training Program: Duke University and Brazilian Society of Cardiology

Background: Research coaching program focuses on the development of abilities and scientific reasoning. For health professionals, it may be useful to increase both the number and quality of projects and manuscripts. Objective: To evaluate the initial results and implementation methodology of the Research and Innovation Coaching Program of the Research on Research group of Duke University in the Brazilian Society of Cardiology. Methods: The program works on two bases: training and coaching. Training is done online and addresses contents on research ideas, literature search, scientific writing and statistics. After training, coaching favors the establishment of a collaboration between researchers and centers by means of a network of contacts. The present study describes the implementation and initial results in reference to the years 2011-2012. Results: In 2011, 24 centers received training, which consisted of online meetings, study and practice of the contents addressed. In January 2012, a new format was implemented with the objective of reaching more researchers. In six months, 52 researchers were allocated. In all, 20 manuscripts were published and 49 more were written and await submission and/or publication. Additionally, five research funding proposals have been elaborated. Conclusion: The number of manuscripts and funding proposals achieved the objectives initially proposed. However, the main results of this type of initiative should be measured in the long term, because the consolidation of the national production of high-quality research is a virtuous cycle that feeds itself back and expands over time. (Arq Bras Cardiol 2012;99(6):1075-1081)

Spray drying microencapsulation of Lippia sidoides extracts in carbohydrate blends

The microencapsulation of Lippia sidoides extracts in blends of carbohydrates was investigated. The extraction conditions were determined through a 2(2) factorial design. The effects of the plant:solvent ratio (A - 7.5:100 and 15:100 m/m) and the extraction time (B - 30 and 90 min) on thymol content of extractive solutions were evaluated, using a 2:1 (v/v) of ethanol:water at a temperature of 50 degrees C, as a solvent system. The selected extract was subjected to spray drying. Blends of maltodextrin and gum arabic at different proportions (4:1; 3:2; 2:3; 0:1) (m/m) were used as encapsulating material. The protective effects of the maltodextrin and gum arabic blends were evaluated by determination of the thymol retention in the dried product, which ranged from 70.2 to 84.2% (related to the content in the extractive solution). An increase in the gum arabic to maltodextrin (DE10) ratio has positive effect on thymol retention. L. sidoides extracts and spray-dried products showed antifungal activity against tested fungal strains (Candida albicans - ATCC 64548, Candida glabrata - ATCC 90030, Candida krusei - ATCC 6258, and Candida parapsilosis - ATCC 22019), evidencing their potential as a natural antifungal agent for medicinal, food, and cosmeceutical purposes. (C) 2012 The Institution of Chemical Engineers. Published by Elsevier B.V. All rights reserved.

Teachers' sick leave due to mental and behavioral disorders and return to work

This manuscript presents a review of the literature about medical leaves due to mental and behavioral disorders and return to work of teachers. There are scarce published manuscripts. Most articles relate with prevalence of mental disorders and factors associated with the work organization, and did not mention intervention proposals and or changes in the work organization and teaching work. Proposed actions are discussed.

O canteiro do poeta-arquiteto: a conduta criativa de João Cabral de Melo Neto à luz de seus manuscritos

Neste artigo repensamos a metáfora do "poeta-engenheiro", ou "poeta-arquiteto", que geralmente caracteriza o processo criativo de João Cabral de Melo Neto, à luz de uma leitura genética de manuscritos de A educação pela pedra. Veremos que o "arquiteto" da metáfora provém da teoria de Le Corbusier, na qual o desenho (a concepção) determina o canteiro (a execução). No entanto, a análise de transformações de estruturas por meio de reformulações textuais nos manuscritos do poeta mostra que, por vezes, o projeto, ou intenção, se transforma nos trabalhos da página-canteiro.

Metáteses árabes da metáfora: desvelar/velar

Um dos mais intrigantes fatos semânticos da língua árabe é a metátese, transposição de fonemas dentro de uma palavra, frequentemente com relação de sentido entre as formas metatéticas. Em m-th-l, a raiz triconsonantal para a palavra “metáfora”, as metáteses são imensamente sugestivas: Th-L-M and L- Th-M; a ambígua função da metáfora: mostrar e ocultar. A partir desse fato, o artigo discute esses aspectos da metáfora

Em direção ao máximo e além: Milton Nascimento e as tradições ocidental e árabe da virtude

Na tradição ocidental, a virtude tem sido sempre considerada a plenitude do ser humano, como resume Tomás de Aquino: ultimum potentiae, ou, em linguagem de hoje, o máximo do que se pode ser. Curiosamente essa mesma concepção ocorre em outras culturas, como a Tupi. Milton Nascimento compôs uma canção que expressa o próprio cerne dessa tradição. A língua árabe dá um passo além: a virtude excede!

Studies of Inorganic Layer and Framework Structures Using Time-, Temperature- and Pressure-Resolved Powder Diffraction Techniques

This thesis is concerned with in-situ time-, temperature- and pressure-resolved synchrotron X-ray powder diffraction investigations of a variety of inorganic compounds with twodimensional layer structures and three-dimensional framework structures. In particular, phase stability, reaction kinetics, thermal expansion and compressibility at non-ambient conditions has been studied for 1) Phosphates with composition MIV(HPO4)2·nH2O (MIV = Ti, Zr); 2) Pyrophosphates and pyrovanadates with composition MIVX2O7 (MIV = Ti, Zr and X = P, V); 3) Molybdates with composition ZrMo2O8. The results are compiled in seven published papers and two manuscripts. Reaction kinetics for the hydrothermal synthesis of α-Ti(HPO4)2·H2O and intercalation of alkane diamines in α-Zr(HPO4)2·H2O was studied using time-resolved experiments. In the high-temperature transformation of γ-Ti(PO4)(H2PO4)·2H2O to TiP2O7 three intermediate phases, γ'-Ti(PO4)(H2PO4)·(2-x)H2O, β-Ti(PO4)(H2PO4) and Ti(PO4)(H2P2O7)0.5 were found to crystallise at 323, 373 and 748 K, respectively. A new tetragonal three-dimensional phosphate phase called τ-Zr(HPO4)2 was prepared, and subsequently its structure was determined and refined using the Rietveld method. In the high-temperature transformation from τ-Zr(HPO4)2 to cubic α-ZrP2O7 two new orthorhombic intermediate phases were found. The first intermediate phase, ρ-Zr(HPO4)2, forms at 598 K, and the second phase, β-ZrP2O7, at 688 K. Their respective structures were solved using direct methods and refined using the Rietveld method. In-situ high-pressure studies of τ-Zr(HPO4)2 revealed two new phases, tetragonal ν-Zr(HPO4)2 and orthorhombic ω-Zr(HPO4)2 that crystallise at 1.1 and 8.2 GPa. The structure of ν-Zr(HPO4)2 was solved and refined using the Rietveld method. The high-pressure properties of the pyrophosphates ZrP2O7 and TiP2O7, and the pyrovanadate ZrV2O7 were studied up to 40 GPa. Both pyrophosphates display smooth compression up to the highest pressures, while ZrV2O7 has a phase transformation at 1.38 GPa from cubic to pseudo-tetragonal β-ZrV2O7 and becomes X-ray amorphous at pressures above 4 GPa. In-situ high-pressure studies of trigonal α-ZrMo2O8 revealed the existence of two new phases, monoclinic δ-ZrMo2O8 and triclinic ε-ZrMo2O8 that crystallises at 1.1 and 2.5 GPa, respectively. The structure of δ-ZrMo2O8 was solved by direct methods and refined using the Rietveld method.

Le Antichità di Bologna di Bartolomeo della Pugliola

For a long time, the work of a Franciscan Friar who had lived in Bologna and in Florence during the 13th and 14th centuries, Bartolomeo Della Pugliola, was thought to have been lost. Recent paleographic research, however, has affirmed that most of Della Pugliola’s work, although mixed into other authors, is contained in two manuscripts (1994 and 3843), currently kept at University Library in Bologna. Pugliola’s chronicle is central to Bolognese medieval literature, not only because it was the privileged source for the important work of Ramponis’ chronicle, but also because Bartolomeo della Pugliola’s sources are several significant works such as Jacopo Bianchetti’s lost writings and Pietro and Floriano Villolas’ chronicle (1163-1372). Ongoing historical studies and recent discoveries enabled me to reconstruct the historical chronology of Pugliola’s work as well as the Bolognese language between the 13th and 14th century The original purpose of my research was to add a linguistic commentary to the edition of the text in order to fill the gaps in medieval Bolognese language studies. In addition to being a reliable source, Pugliola’s chronicle was widely disseminated and became a sort of vulgate. The tradition of chronicle, through collation, allows the study of the language from a diachronic point of view. I therefore described all the linguistics phenomena related to phonetics, morphology and syntax in Pugliola’s text and I compared these results with variants in Villola’s and Ramponis’ chronicles. I also did likewise with another chronicle by a 16th century merchant, Friano Ubaldini, that I edited. This supplement helped to complete the Bolognese language outline from the 13th to the 16th century. In order to analize the data that I collected, I tried to approach them from a sociolinguistic point of view because each author represents a different variant of the language: closer to a scripta and the Florentine the language used by Pugliola, closer to the dialect spoken in Bologna the language used by Ubaldini. Differencies in handwriting especially show the models the authors try to reproduce or imitate. The glossary I added at the end of this study can help to understand these nuances with a number of examples.

Componenti spaziali della rappresentazione cognitiva della grandezza del numero

The humans process the numbers in a similar way to animals. There are countless studies in which similar performance between animals and humans (adults and/or children) are reported. Three models have been developed to explain the cognitive mechanisms underlying the number processing. The triple-code model (Dehaene, 1992) posits an mental number line as preferred way to represent magnitude. The mental number line has three particular effects: the distance, the magnitude and the SNARC effects. The SNARC effect shows a spatial association between number and space representations. In other words, the small numbers are related to left space while large numbers are related to right space. Recently a vertical SNARC effect has been found (Ito & Hatta, 2004; Schwarz & Keus, 2004), reflecting a space-related bottom-to-up representation of numbers. The magnitude representations horizontally and vertically could influence the subject performance in explicit and implicit digit tasks. The goal of this research project aimed to investigate the spatial components of number representation using different experimental designs and tasks. The experiment 1 focused on horizontal and vertical number representations in a within- and between-subjects designs in a parity and magnitude comparative tasks, presenting positive or negative Arabic digits (1-9 without 5). The experiment 1A replied the SNARC and distance effects in both spatial arrangements. The experiment 1B showed an horizontal reversed SNARC effect in both tasks while a vertical reversed SNARC effect was found only in comparative task. In the experiment 1C two groups of subjects performed both tasks in two different instruction-responding hand assignments with positive numbers. The results did not show any significant differences between two assignments, even if the vertical number line seemed to be more flexible respect to horizontal one. On the whole the experiment 1 seemed to demonstrate a contextual (i.e. task set) influences of the nature of the SNARC effect. The experiment 2 focused on the effect of horizontal and vertical number representations on spatial biases in a paper-and-pencil bisecting tasks. In the experiment 2A the participants were requested to bisect physical and number (2 or 9) lines horizontally and vertically. The findings demonstrated that digit 9 strings tended to generate a more rightward bias comparing with digit 2 strings horizontally. However in vertical condition the digit 2 strings generated a more upperward bias respect to digit 9 strings, suggesting a top-to-bottom number line. In the experiment 2B the participants were asked to bisect lines flanked by numbers (i.e. 1 or 7) in four spatial arrangements: horizontal, vertical, right-diagonal and left-diagonal lines. Four number conditions were created according to congruent or incongruent number line representation: 1-1, 1-7, 7-1 and 7-7. The main results showed a more reliable rightward bias in horizontal congruent condition (1-7) respect to incongruent condition (7-1). Vertically the incongruent condition (1-7) determined a significant bias towards bottom side of line respect to congruent condition (7-1). The experiment 2 suggested a more rigid horizontal number line while in vertical condition the number representation could be more flexible. In the experiment 3 we adopted the materials of experiment 2B in order to find a number line effect on temporal (motor) performance. The participants were presented horizontal, vertical, rightdiagonal and left-diagonal lines flanked by the same digits (i.e. 1-1 or 7-7) or by different digits (i.e. 1-7 or 7-1). The digits were spatially congruent or incongruent with their respective hypothesized mental representations. Participants were instructed to touch the lines either close to the large digit, or close to the small digit, or to bisected the lines. Number processing influenced movement execution more than movement planning. Number congruency influenced spatial biases mostly along the horizontal but also along the vertical dimension. These results support a two-dimensional magnitude representation. Finally, the experiment 4 addressed the visuo-spatial manipulation of number representations for accessing and retrieval arithmetic facts. The participants were requested to perform a number-matching and an addition verification tasks. The findings showed an interference effect between sum-nodes and neutral-nodes only with an horizontal presentation of digit-cues, in number-matching tasks. In the addition verification task, the performance was similar for horizontal and vertical presentations of arithmetic problems. In conclusion the data seemed to show an automatic activation of horizontal number line also used to retrieval arithmetic facts. The horizontal number line seemed to be more rigid and the preferred way to order number from left-to-right. A possible explanation could be the left-to-right direction for reading and writing. The vertical number line seemed to be more flexible and more dependent from the tasks, reflecting perhaps several example in the environment representing numbers either from bottom-to-top or from top-to-bottom. However the bottom-to-top number line seemed to be activated by explicit task demands.

Indagine sulla nozione di fatto urbano ne L'architettura della città di Aldo Rossi

Questa tesi di dottorato di ricerca ha come oggetto la nozione di fatto urbano elaborata e presentata da Aldo Rossi nel libro L’architettura della città edito nel 1966. Ne L’architettura della città sono molteplici le definizioni e le forme con cui è enunciata la nozione di fatto urbano. Nel corso della tesi si è indagato come la costruzione nel tempo di questo concetto è stata preceduta da diversi studi giovanili intrapresi dal 1953, poi riorganizzati e sintetizzati a partire dal 1963 in un quaderno manoscritto dal titolo “Manuale di urbanistica”, in diversi appunti e in due quaderni manoscritti. Il lavoro di ricerca ha ricostruito la formulazione della nozione di fatto urbano attraverso gli scritti di Rossi. In questa direzione la rilevazione della partecipazione di Rossi a dibattiti, seminari, riviste, corsi universitari o ricerche accademiche è apparsa di fondamentale importanza, per comprendere la complessità di un lavoro non riconducibile a dei concetti disciplinari, ma alla formazione di una teoria trasmissibile. Il tentativo di comprendere e spiegare la nozione di fatto urbano ha condotto ad esaminare l’accezione con cui Rossi compone L’architettura della città, che egli stesso assimila ad un trattato. L’analisi ha identificato come la composizione del libro non è direttamente riferibile ad un uso classico della stesura editoriale del trattato, la quale ha tra i riferimenti più noti nel passato la promozione di una pratica corretta come nel caso vitruviano o un’impalcatura instauratrice di una nuova categoria come nel caso dell’Alberti. La mancanza di un sistema globale e prescrittivo a differenza dei due libri fondativi e il rimando non immediato alla stesura di un trattato classico è evidente ne L’architettura della città. Tuttavia la possibilità di condurre la ricerca su una serie di documenti inediti ha permesso di rilevare come negli scritti a partire dal 1953, sia maturata una trattazione delle questioni centrali alla nozione di fatto urbano ricca di intuizioni, che aspirano ad un’autonomia, sintetizzate, seppure in modo non sistematico, nella stesura del celebre libro. Si è così cercato di mettere in luce la precisazione nel tempo della nozione di fatto urbano e della sua elaborazione nei molteplici scritti antecedenti la pubblicazione de L’architettura della città, precisando come Rossi, pur costruendo su basi teoriche la nozione di fatto urbano, ne indichi una visione progressiva, ossia un uso operativo sulla città. La ricerca si è proposta come obiettivo di comprendere le radici culturali della nozione di fatto urbano sia tramite un’esplorazione degli interessi di Rossi nel suo percorso formativo sia rispetto alla definizione della struttura materiale del fatto urbano che Rossi individua nelle permanenze e che alimenta nella sua definizione con differenti apporti derivanti da altre discipline. Compito di questa ricerca è stato rileggere criticamente il percorso formativo compiuto da Rossi, a partire dal 1953, sottolinearne gli ambiti innovativi e precisarne i limiti descrittivi che non vedranno mai la determinazione di una nozione esatta, ma piuttosto la strutturazione di una sintesi complessa e ricca di riferimenti ad altri studi. In sintesi la tesi si compone di tre parti: 1. la prima parte, dal titolo “La teoria dei fatti urbani ne L’architettura della città”, analizza il concetto di fatto urbano inserendolo all’interno del più generale contesto teorico contenuto nel libro L’architettura della città. Questo avviene tramite la scomposizione del libro, la concatenazione delle sue argomentazioni e la molteplicità delle fonti esplicitamente citate da Rossi. In questo ambito si precisa la struttura del libro attraverso la rilettura dei riferimenti serviti a Rossi per comporre il suo progetto teorico. Inoltre si ripercorre la sua vita attraverso le varie edizioni, le ristampe, le introduzioni e le illustrazioni. Infine si analizza il ruolo del concetto di fatto urbano nel libro rilevando come sia posto in un rapporto paritetico con il titolo del libro, conseguendone un’accezione di «fatto da osservare» assimilabile all’uso proposto dalla geografia urbana francese dei primi del Novecento. 2. la seconda parte, dal titolo “La formazione della nozione di fatto urbano 1953-66”, è dedicata alla presentazione dell’elaborazione teorica negli scritti di Rossi prima de L’architettura della città, ossia dal 1953 al 1966. Questa parte cerca di descrivere le radici culturali di Rossi, le sue collaborazioni e i suoi interessi ripercorrendo la progressiva definizione della concezione di città nel tempo. Si è analizzato il percorso maturato da Rossi e i documenti scritti fin dagli anni in cui era studente alla Facoltà di Architettura Politecnico di Milano. Emerge un quadro complesso in cui i primi saggi, gli articoli e gli appunti testimoniano una ricerca intellettuale tesa alla costruzione di un sapere sullo sfondo del realismo degli anni Cinquanta. Rossi matura infatti un impegno culturale che lo porta dopo la laurea ad affrontare discorsi più generali sulla città. In particolare la sua importante collaborazione con la rivista Casabella-continuità, con il suo direttore Ernesto Nathan Rogers e tutto il gruppo redazionale segnano il periodo successivo in cui compare l’interesse per la letteratura urbanistica, l’arte, la sociologia, la geografia, l’economia e la filosofia. Seguono poi dal 1963 gli anni di lavoro insieme al gruppo diretto da Carlo Aymonino all’Istituto Universitario di Architettura di Venezia, e in particolare le ricerche sulla tipologia edilizia e la morfologia urbana, che portano Rossi a compiere una sintesi analitica per la fondazione di una teoria della città. Dall’indagine si rileva infatti come gli scritti antecedenti L’architettura della città sviluppano lo studio dei fatti urbani fino ad andare a costituire il nucleo teorico di diversi capitoli del libro. Si racconta così la genesi del libro, la cui scrittura si è svolta nell’arco di due anni, e le aspirazioni che hanno portato quello che era stato concepito come un “manuale d’urbanistica” a divenire quello che Rossi definirà “l’abbozzo di un trattato” per la formulazione di una scienza urbana. 3. la terza parte, dal titolo “La struttura materiale dei fatti urbani: la teoria della permanenza”, indaga monograficamente lo studio della città come un fatto materiale, un manufatto, la cui costruzione è avvenuta nel tempo e del tempo mantiene le tracce. Sul tema della teoria della permanenza è stato importante impostare un confronto con il dibattito vivo negli anni della ricostruzione dopo la guerra intorno ai temi delle preesistenze ambientali nella ricostruzione negli ambienti storici. Sono emersi fin da subito importanti la relazione con Ernesto Nathan Rogers, le discussioni sulle pagine di Casabella-Continuità, la partecipazione ad alcuni dibatti e ricerche. Si è inoltre Rilevato l’uso di diversi termini mutuati dalle tesi filosofiche di alcune personalità come Antonio Banfi e Enzo Paci, poi elaborati dal nucleo redazionale di Casabella-Continuità, di cui faceva parte anche Rossi. Sono così emersi alcuni spostamenti di senso e la formulazione di un vocabolario di termini all’interno della complessa vicenda della cultura architettonica degli anni Cinquanta e Sessanta. 1. Si è poi affrontato questo tema analizzando le forme con cui Rossi presenta la definizione della teoria della permanenza e i contributi desunti da alcuni autori per la costruzione scientifica di una teoria dell’architettura, il cui fine è quello di essere trasmissibile e di offrire strumenti di indagine concreti. Questa ricerca ha permesso di ipotizzare come il lavoro dei geografi francesi della prima metà del XX secolo, e in particolare il contributo più rilevante di Marcel Poëte e di Pierre Lavedan, costituiscono le fonti principali e il campo d’indagine maggiormente esplorato da Rossi per definire la teoria della permanenza e i monumenti. Le permanenze non sono dunque presentate ne L’architettura della città come il “tutto”, ma emergono da un metodo che sceglie di isolare i fatti urbani permanenti, consentendo così di compiere un’ipotesi su “ciò che resta” dopo le trasformazioni continue che operano nella città. Le fonti su cui ho lavorato sono state quelle annunciate da Rossi ne L’architettura della città, e più precisamente i testi nelle edizioni da lui consultate. Anche questo lavoro ha permesso un confronto dei testi che ha fatto emergere ne L’architettura della città l’uso di termini mutuati da linguaggi appartenenti ad altre discipline e quale sia l’uso di concetti estrapolati nella loro interezza. Presupposti metodologici Della formulazione della nozione di fatto urbano si sono indagate l’originalità dell’espressione, le connessioni presunte o contenute negli studi di Rossi sulla città attraverso la raccolta di fonti dirette e indirette che sono andate a formare un notevole corpus di scritti. Le fonti dirette più rilevanti sono state trovare nelle collezioni speciali del Getty Research Institute di Los Angeles in cui sono conservati gli Aldo Rossi Papers, questo archivio comprende materiali inediti dal 1954 al 1988. La natura dei materiali si presenta sotto forma di manoscritti, dattiloscritti, quaderni, documenti ciclostilati, appunti sparsi e una notevole quantità di corrispondenza. Negli Aldo Rossi Papers si trovano anche 32 dei 47 Quaderni Azzurri, le bozze de L’architettura della città e dell’ Autobiografia Scientifica. Per quanto riguarda in particolare L’architettura della città negli Aldo Rossi Papers sono conservati: un quaderno con il titolo “Manuale d’urbanistica, giugno 1963”, chiara prima bozza del libro, degli “Appunti per libro urbanistica estate/inverno 1963”, un quaderno con la copertina rossa datato 20 settembre 1964-8 agosto 1965 e un quaderno con la copertina blu datato 30 agosto 1965-15 dicembre 1965. La possibilità di accedere a questo archivio ha permesso di incrementare la bibliografia relativa agli studi giovanili consentendo di rileggere il percorso culturale in cui Rossi si è formato. E’ così apparsa fondamentale la rivalutazione di alcune questioni relative al realismo socialista che hanno portato a formare un più preciso quadro dei primi scritti di Rossi sullo sfondo di un complesso scenario intellettuale. A questi testi si è affiancata la raccolta delle ricerche universitarie, degli articoli pubblicati su riviste specializzate e degli interventi a dibattiti e seminari. A proposito de L’architettura della città si è raccolta un’ampia letteratura critica riferita sia al testo in specifico che ad una sua collocazione nella storia dell’architettura, mettendo in discussione alcune osservazioni che pongono L’architettura della città come un libro risolutivo e definitivo. Per quanto riguarda il capitolo sulla teoria della permanenza l’analisi è stata svolta a partire dai testi che Rossi stesso indicava ne L’architettura della città rivelando i diversi apporti della letteratura urbanistica francese, e permettendo alla ricerca di precisare le relazioni con alcuni scritti centrali e al contempo colti da Rossi come opportunità per intraprendere l’elaborazione dell’idea di tipo. Per quest’ultima parte si può precisare come Rossi formuli la sua idea di tipo in un contesto culturale dove l’interesse per questo tema era fondamentale. Dunque le fonti che hanno assunto maggior rilievo in quest’ultima fase emergono da un ricco panorama in cui Rossi compie diverse ricerche sia con il gruppo redazionale di Casabella-continuità, sia all’interno della scuola veneziana negli anni Sessanta, ma anche negli studi per l’ILSES e per l’Istituto Nazionale d’Urbanistica. RESEARCH ON THE NOTION OF URBAN ARTIFACT IN THE ARCHITECTURE OF THE CITY BY ALDO ROSSI. Doctoral candidate: Letizia Biondi Tutor: Valter Balducci The present doctoral dissertation deals with the notion of urban artifact that was formulated and presented by Aldo Rossi in his book The Architecture of the City, published in 1966. In The Architecture of the City, the notion of urban artifact is enunciated through a wide range of definitions and forms. In this thesis, a research was done on how the construction of this concept over time was preceded by various studies started in 1953 during the author’s youth, then re-organized and synthesized since 1963 in a manuscript titled “Manual of urban planning” and in two more manuscripts later on. The work of research re-constructed the formulation of the notion of urban artifact through Rossi’s writings. In this sense, the examination of Rossi’s participation in debates, seminars, reviews, university courses or academic researches was of fundamental importance to understand the complexity of a work which is not to be attributed to disciplinary concepts, but to the formulation of a communicable theory. The effort to understand and to explain the notion of urban artifact led to an examination of the meaning used by Rossi to compose The Architecture of the City, which he defines as similar to a treatise. Through this analysis, it emerged that the composition of the book is not directly ascribable to the classical use of editorial writing of a treatise, whose most famous references in the past are the promotion of a correct practice as in the case of Vitruvio’s treatise, or the use of a structure that introduces a new category as in the Alberti case. Contrary to the two founding books, the lack of a global and prescriptive system and the not immediate reference to the writing of a classical treatise are evident in The Architecture of the City. However, the possibility of researching on some unpublished documents allowed to discover that in the writings starting from 1953 the analysis of the questions that are at the core of the notion of urban artifact is rich of intuitions, that aim to autonomy and that would be synthesized, even though not in a systematic way, in his famous book. The attempt was that of highlighting the specification over time of the notion of urban artifact and its elaboration in the various writings preceding the publication of The Architecture of the City. It was also specified that, despite building on theoretical grounds, Rossi indicates a progressive version of the notion of urban artifact, that is a performing use in the city. The present research aims to understand the cultural roots of the notion of urban artifact in two main directions: analyzing, firstly, Rossi’s interests along his formation path and, secondly, the definition of material structure of an urban artifact identified by Rossi in the permanences and enriched by various contributions from other disciplines. The purpose of the present research is to revise the formation path made by Rossi in a critical way, starting by 1953, underlining its innovative aspects and identifying its describing limits, which will never lead to the formulation of an exact notion, but rather to the elaboration of a complex synthesis, enriched by references to other studies. In brief, the thesis is composed of three parts: 1. The first part, titled “The Theory of urban artifacts in The Architecture of the City”, analyzes the concept of urban artifact in the more general theoretical context of the book The Architecture of the City. Such analysis is done by “disassembling” the book, and by linking together the argumentations and the multiplicity of the sources which are explicitly quoted by Rossi. In this context, the book’s structure is defined more precisely through the revision of the references used by Rossi to compose his theoretical project. Moreover, the author’s life is traced back through the various editions, re-printings, introductions and illustrations. Finally, it is specified which role the concept of urban artifact has in the book, pointing out that it is placed in an equal relation with the book’s title; by so doing, the concept of urban artifact gets the new meaning of “fact to be observed”, similar to the use that was suggested by the French urban geography at the beginning of the 20th century. 2. The second part, titled “The formation of the notion of urban artifact 1953-66”, introduces the theoretical elaboration in Rossi’s writings before The Architecture of the City, that is from 1953 to 1966. This part tries to describe Rossi’s cultural roots, his collaborations and his interests, tracing back the progressive definition of his conception of city over time. The analysis focuses on the path followed by Rossi and on the documents that he wrote since the years as a student at the Department of Architecture at the Politecnico in Milan. This leads to a complex scenario of first essays, articles and notes that bear witness to the intellectual research aiming to the construction of a knowledge on the background of the Realism of the 1950s. Rossi develops, in fact, a cultural engagement that leads him after his studies to deal with more general issues about the city. In particular, his important collaboration with the architecture magazine “Casabella-continuità”, with the director Ernesto Nathan Rogers and with the whole redaction staff mark the following period when he starts getting interested in city planning literature, art, sociology, geography, economics and philosophy. Since 1963, Rossi has worked with the group directed by Carlo Aymonino at the “Istituto Universitario di Architettura” (University Institute of Architecture) in Venice, especially researching on building typologies and urban morphology. During these years, Rossi elaborates an analytical synthesis for the formulation of a theory about the city. From the present research, it is evident that the writings preceding The Architecture of the City develop the studies on urban artifacts, which will become theoretical core of different chapters of the book. In conclusion, the genesis of the book is described; written in two years, what was conceived to be an “urban planning manual” became a “treatise draft” for the formulation of an urban science, as Rossi defines it. 3. The third part is titled “The material structure of urban artifacts: the theory of permanence”. This research is made on the study of the city as a material fact, a manufacture, whose construction was made over time, bearing the traces of time. As far as the topic of permanence is concerned, it was also important to draw a comparison with the debate about the issues of environmental pre-existence of re-construction in historical areas, which was very lively during the years of the Reconstruction. Right from the beginning, of fundamental importance were the relationship with Ernesto Nathan Rogers, the discussions on the pages of Casabella-Continuità and the participation to some debates and researches. It is to note that various terms were taken by the philosophical thesis by some personalities such as Antonio Banfi and Enzo Paci, and then re-elaborated by the redaction staff at Casabella-Continuità, which Rossi took part in as well. Through this analysis, it emerged that there were some shifts in meaning and the formulation of a vocabulary of terms within the complex area of the architectonic culture in the 1950s and 1960s. Then, I examined the shapes in which Rossi introduces the definition of the theory of permanence and the references by some authors for the scientific construction of an architecture theory whose aim is being communicable and offering concrete research tools. Such analysis allowed making a hypothesis about the significance for Rossi of the French geographers of the first half of the 20th century: in particular, the work by Marcel Poëte and by Pierre Lavedan is the main source and the research area which Rossi mostly explored to define the theory of permanence and monuments. Therefore, in The Architecture of the City, permanencies are not presented as the “whole”, but they emerge from a method which isolates permanent urban artifacts, in this way allowing making a hypothesis on “what remains” after the continuous transformations made in the city. The sources examined were quoted by Rossi in The Architecture of the City; in particular I analyzed them in the same edition which Rossi referred to. Through such an analysis, it was possible to make a comparison of the texts with one another, which let emerge the use of terms taken by languages belonging to other disciplines in The Architecture of the City and which the use of wholly extrapolated concepts is. Methodological premises As far as the formulation of the notion of urban artifact is concerned, the analysis focuses on the originality of the expression, the connections that are assumed or contained in Rossi’s writings about the city, by collecting direct and indirect sources which formed a significant corpus of writings. The most relevant direct sources were found in the special collections of the Getty Research Institute in Los Angeles, where the “Aldo Rossi Papers” are conserved. This archive contains unpublished material from 1954 to 1988, such as manuscripts, typescripts, notebooks, cyclostyled documents, scraps and notes, and several letters. In the Aldo Rossi Papers there are also 32 out of the 47 Light Blue Notebooks (Quaderni Azzurri), the rough drafts of The Architecture of the City and of the “A Scientific Autobiography”. As regards The Architecture of the City in particular, the Aldo Rossi Papers preserve: a notebook by the title of “Urban planning manual, June, 1963”, which is an explicit first draft of the book; “Notes for urban planning book summer/winter 1963”; a notebook with a red cover dated September 20th, 1964 – August 8th, 1965; and a notebook with a blue cover dated August 30th, 1965 – December 15th, 1965. The possibility of accessing this archive allowed to increase the bibliography related to the youth studies, enabling a revision of the cultural path followed by Rossi’s education. To that end, it was fundamental to re-evaluate some issues linked to the socialist realism which led to a more precise picture of the first writings by Rossi against the background of the intellectual scenario where he formed. In addition to these texts, the collection of university researches, the articles published on specialized reviews and the speeches at debates and seminars were also examined. About The Architecture of the City, a wide-ranging critical literature was collected, related both to the text specifics and to its collocation in the story of architecture, questioning some observations which define The Architecture of the City as a conclusive and definite book. As far as the chapter on the permanence theory is concerned, the analysis started by the texts that Rossi indicated in The Architecture of the City, revealing the different contributions from the French literature on urban planning. This allowed to the present research a more specific definition of the connections to some central writings which, at the same time, were seen by Rossi as an opportunity to start up the elaboration of the idea of type. For this last part, it can be specified that Rossi formulates his idea of type in a cultural context where the interest in this topic was fundamental. Therefore, the sources which played a central role in this final phase emerge from an extensive panorama in which Rossi researched not only with the redaction staff at Casablanca-continuità and within the School of Venice in the 1960s, but also in his studies for the ILSES (Institute of the Region Lombardia for Economics and Social Studies) and for the National Institute of Urban Planning.

I concerti per due violini di Vivaldi (con edizione di RV 513, 521, 528, 764 e ricostruzione di RV 520, 526)

In the whole of Europe the most important composer of concertos for two violins is indubitably Vivaldi (1678-1741), who produced almost thirty works of this type during almost the full length of his creative career. The dissertation examines this particular side of Vivaldi’s activity, starting with an examination of the concerto in Rome, Bologna, and Venice at the turn of the seventeenth and eighteenth centuries. The aspects investigated include the ‘conceptual’ origins of the double concerto for two violins in Vivaldi, the nature, distribution and interrelationship of their sources (particular attention being given to compositional revisions in the autograph manuscripts) and an analysis of the works themselves that takes in form, tonal structure, technical-instrumental character and performance practice. The concertos that have come down in particularly problematic non-autograph sources are discussed in detail and presented in critical editions. A reconstruction is offered of the two works (RV 520 and 526) that have survived only in incomplete form, lacking the part of the first soloist. The concertos for two violins composed in Germany by Telemann and J. S. Bach, the contemporaries of Vivaldi who paid greatest attention to the double concerto genre, are then described and analysed. The thesis ends with a complete list of modern editions of Vivaldi’s concertos for two violins and a select discography.

La miniatura a Bologna sotto i Bentivoglio

Il lavoro tratta della produzione miniata a Bologna sotto la signoria dei Bentivoglio, tra il quinto decennio del Quattrocento ed il secondo decennio del secolo successivo.