Il concetto di sezione nel metodo compositivo di Aldo Rossi.

Purpose of this research is to deepen the study on the section in architecture. The survey aims as important elements in the project Teatro Domestico by Aldo Rossi built for the XVII Triennale di Milano in 1986 and, through the implementation on several topics of architecture, verify the timeliness and fertility in the new compositional exercises. Through the study of certain areas of the Rossi’s theory we tried to find a common thread for the reading of the theater project. The theater is the place of the ephemeral and the artificial, which is why his destiny is the end and the fatal loss. The design and construction of theater setting has always had a double meaning between the value of civil architecture and testing of new technologies available. Rossi's experience in this area are clear examples of the inseparable relationship between the representation of architecture as art and design of architecture as a model of reality. In the Teatro Domestico, the distinction between representation and the real world is constantly canceled and returned through the reversal of the meaning and through the skip of scale. At present, studies conducted on the work of Rossi concern the report that the architectural composition is the theory of form, focusing compositional development of a manufacturing process between the typological analysis and form invention. The research, through the analysis of some projects few designs, will try to analyze this issue through the rules of composition both graphical and concrete construction, hoping to decipher the mechanism underlying the invention. The almost total lack of published material on the project Teatro Domestico and the opportunity to visit the archives that preserve the drawings, has allowed the author of this study to deepen the internal issues in the project, thus placing this search as a first step toward possible further analysis on the works of Rossi linked to performance world. The final aim is therefore to produce material that can best describe the work of Rossi. Through the reading of the material published by the same author and the vision of unpublished material preserved in the archives, it was possible to develop new material and increasing knowledge about the work, otherwise difficult to analyze. The research is divided into two groups. The first, taking into account the close relationship most frequently mentioned by Rossi himself between archeology and architectural composition, stresses the importance of tipo such as urban composition reading system as well as open tool of invention. Resuming Ezio Bonfanti’s essay on the work of the architect we wanted to investigate how the paratactic method is applied to the early work conceived and, subsequently as the process reaches a complexity accentuated, while keeping stable the basic terms. Following a brief introduction related to the concept of the section and the different interpretations that over time the term had, we tried to identify with this facility a methodology for reading Rossi’s projects. The result is a constant typological interpretation of the term, not only related to the composition in plant but also through the elevation plans. The section is therefore intended as the overturning of such elevation is marked on the same plane of the terms used, there is a different approach, but a similarity of characters. The identification of architectural phonemes allows comparison with other arts. The research goes in the direction of language trying to identify the relationship between representation and construction, between the ephemeral and the real world. In this sense it will highlight the similarities between the graphic material produced by Ross and some important examples of contemporary author. The comparison between the composition system with the surrealist world of painting and literature will facilitate the understanding and identification of possible rules applied by Rossi. The second part of the research is characterized by a focus on the intent of the project chosen. Teatro Domestico embodies a number of elements that seem to conclude (assuming an end point but also to start) a curriculum author. With it, the experiments carried out on the theater started with the project for the Teatrino Scientifico (1978) through the project for the Teatro del Mondo (1979), into a Laic Tabernacle representative collective and private memory of the city. Starting from a reading of the draft, through the collection of published material, we’ve made an analysis on the explicit themes of the work, finding the conceptual references. Following the taking view of the original materials not published kept at Aldo Rossi's Archive Collection of the Canadian Center for Architecture in Montréal, will be implemented through the existing techniques for digital representation, a virtual reconstruction of the project, adding little to the material, a new element for future studies. The reconstruction is part of a larger research studies where the current technologies of composition and representation in architecture stand side by side with research on the method of composition of this architect. The results achieved are in addition to experiences in the past dealt with the reconstruction of some of the lost works of Aldo Rossi. A partial objective is to reactivate a discourse around this work is considered non-principal, among others born in the prolific activities. Reassessment of development projects which would bring the level of ephemeral works most frequented by giving them the value earned. In conclusion, the research aims to open a new field of interest on the part not only as a technical instrument of representation of an idea but as an actual mechanism through which composition is formed and the idea is developed.

La représentation du pathétique masculin dans le roman sentimental européen: une réflexion sur l'imaginaire littéraire

Ce travail est une analyse de la représentation du pathétique masculin dans le roman dit sentimental dans la deuxième moitié du dix-huitième siècle en Europe, ou plutôt dans les littératures anglaise, française, allemande et italienne. La thèse soutenue est celle de la dérivation du pathétique romanesque de l’âge des Lumières des pratiques de prédication religieuse du siècle précédent et donc de la valeur normative du roman sentimental à ses débuts : celui-ci aurait relayé le rôle des manuels de conduite des siècles précédents et se serait posé comme un répertoire d’exempla comportementaux adaptés aux différentes situations de la vie. Nous avons suivi les évolutions historiques du genre à travers l’analyse thématique du motif des larmes masculines. Pour ce faire, nous avons examiné la complexe proxémique de représentation de l’émotion et la diégèse qui en résulte, qui peut être nuancée, selon une terminologie récente, en pathétique attendrissant, sentimental et spectaculaire. Cela a entraîne la prise en compte de diverses formes artistiques, de la peinture au théâtre. La méthodologie utilisé conjugue l’histoire des idées et l’étude des formes de l’imaginaire, le pathétique appartenant au domaine de la philosophie autant qu’à celui de la représentation artistique : le concept glisse au dix-huitième siècle du champ rhétorique et stylistique à une dimension esthétique et anthropologique. Le travail a donc été divisé en trois grandes parties qui analysent les trois dimensions anthropologiques fondamentales : l’imaginaire religieux et l’héritage des anciens, c’est–à-dire le rapport que l’époque établit avec la tradition culturelle qui la précède ; l’imaginaire amoureux, qui se concentre sur les rapports entre les deux sexes et sur la « féminisation » du héros romanesque sentimental ; l’imaginaire familial, qui aborde les conséquences de ce changement dans la représentation de la masculinité au sein de la représentation de la famille et des rapports intergénérationnels.

La narrazione spettacolare. Nuove forme dello storytelling: dai testi narrativi al teatro.

Il lavoro di tesi parte da un presupposto di osservazione empirica. Dopo aver rilevato la ricorrenza da parte di registi teatrali del panorama internazionale all’adattamento di testi non drammatici, ma narrativi per la scena, si è deciso di indagare come la natura narrativa dei testi di partenza si adatti, permanga o muti nel passaggio dal medium narrativo a quello spettacolare. La tesi si suddivide in tre parti. Nella parte intitolata “Della metodologia” (un capitolo), viene illustrato il metodo adottato per affrontare l’analisi degli spettacoli teatrali. Facendo riferimento alla disciplina semiotica teatrale, si è definito l’oggetto empirico di studio come testo spettacolare/performance text. La seconda parte della tesi, “Della comparazione dei modelli comunicativi”, (due capitoli), procede nella definizione: 1) dell’elemento teorico da indagare nei testi spettacolari, ovvero, la “narratività”; 2) dei modelli comunicativi della narrazione e dello spettacolo teatrale e delle loro intersezioni o differenze. Nella terza parte della tesi, “Della critica”, (due capitoli), vengono analizzate alcune delle opere del regista Jurij Ljubimov (Russia), Eimuntas Nekrošius (Lituania), Alvis Hermanis (Lettonia). La scelta è ricaduta sulle opere di questi registi in base a una considerazione: 1) culturale: si è deliberatamente circoscritta la sfera di indagine alla produzione teatrale russa e post-sovietica; 2) estetica: è stato osservato che la linea registica inaugurata da Jurij Ljubimov va permeando l’attività registica di registi più giovani come Nekrošius e Hermanis; 3) statistica: Ljubimov, Nekrošius, Hermanis hanno scelto di mettere in scena testi non drammatici con una elevata frequenza. La tesi è corredata da un’ampia appendice iconografica. Per l’analisi dei testi spettacolari si è fatto riferimento alla visione degli spettacoli in presa diretta in Italia e all’estero.

Visual-somatosensory interactions in mental representations of the body and the face

The body is represented in the brain at levels that incorporate multisensory information. This thesis focused on interactions between vision and cutaneous sensations (i.e., touch and pain). Experiment 1 revealed that there are partially dissociable pathways for visual enhancement of touch (VET) depending upon whether one sees one’s own body or the body of another person. This indicates that VET, a seeming low-level effect on spatial tactile acuity, is actually sensitive to body identity. Experiments 2-4 explored the effect of viewing one’s own body on pain perception. They demonstrated that viewing the body biases pain intensity judgments irrespective of actual stimulus intensity, and, more importantly, reduces the discriminative capacities of the nociceptive pathway encoding noxious stimulus intensity. The latter effect only occurs if the pain-inducing event itself is not visible, suggesting that viewing the body alone and viewing a stimulus event on the body have distinct effects on cutaneous sensations. Experiment 5 replicated an enhancement of visual remapping of touch (VRT) when viewing fearful human faces being touched, and further demonstrated that VRT does not occur for observed touch on non-human faces, even fearful ones. This suggests that the facial expressions of non-human animals may not be simulated within the somatosensory system of the human observer in the same way that the facial expressions of other humans are. Finally, Experiment 6 examined the enfacement illusion, in which synchronous visuo-tactile inputs cause another’s face to be assimilated into the mental self-face representation. The strength of enfacement was not affected by the other’s facial expression, supporting an asymmetric relationship between processing of facial identity and facial expressions. Together, these studies indicate that multisensory representations of the body in the brain link low-level perceptual processes with the perception of emotional cues and body/face identity, and interact in complex ways depending upon contextual factors.

The bulk transition of many-flavour QCD and the search for a UVFP at strong coupling

We explore the nature of the bulk transition observed at strong coupling in the SU(3) gauge theory with Nf=12 fermions in the fundamental representation. The transition separates a weak coupling chirally symmetric phase from a strong coupling chirally broken phase and is compatible with the scenario where conformality is restored by increasing the flavour content of a non abelian gauge theory. We explore the intriguing possibility that the observed bulk transition is associated with the occurrence of an ultraviolet fixed point (UVFP) at strong coupling, where a new theory emerges in the continuum.

Social Context and Economic Biases in Representation

This article explores the role of political context in shaping economic biases in representation-the degree to which wealthy citizens' views are more strongly represented than poorer citizens' views in the choices of policymakers. I develop a general model that explains why poorer citizens will be better represented relative to the rich in certain political contexts than others, arguing that the relative representation of the poor will be stronger in contexts that make the views of the poor relevant and accessible to policymakers. I then derive several specific hypotheses that flow from this model and test these hypotheses through a study of the dyadic relationships between citizens and their representatives in the U.S. Congress. The results show that poorer citizens are better represented relative to the rich in Congressional districts that are electorally competitive, have low median incomes, have relatively equal distributions of incomes, have a significant organized labor presence, and are represented by Democrats.

Problem of Tragedy and Tragic Consciousness in Russia at the turn of the 19th Century

This project intertwines philosophical and historico-literary themes, taking as its starting point the concept of tragic consciousness inherent in the epoch of classicism. The research work makes use of ontological categories in order to describe the underlying principles of the image of the world which was created in philosophical and scientific theories of the 17th century as well as in contemporary drama. Using these categories brought Mr. Vilk to the conclusion that the classical picture of the world implied a certain dualism; not the Manichaean division between light and darkness but the discrimination between nature and absolute being, i.e. God. Mr. Vilk begins with an examination of the philosophical essence of French classical theatre of the XVII and XVIII centuries. The history of French classical tragedy can be divided into three periods: from the mid 17th to early 19th centuries when it triumphed all over France and exerted a powerful influence over almost all European countries; followed by the period of its rejection by the Romantics, who declared classicism to be "artificial and rational"; and finally our own century which has taken a more moderate line. Nevertheless, French classical tragedy has never fully recovered its status. Instead, it is ancient tragedy and the works of Shakespeare that are regarded to be the most adequate embodiment of the tragic. Consequently they still provoke a great number of new interpretations ranging from specialised literary criticism to more philosophical rumination. An important feature of classical tragedy is a system of rules and unities which reveals a hidden ontological structure of the world. The ontological picture of the dramatic world can be described in categories worked out by medieval philosophy - being, essence and existence. The first category is to be understood as a tendency toward permanency and stability (within eternity) connected with this or that fragment of dramatic reality. The second implies a certain set of permanent elements that make up the reality. And the third - existence - should be understood as "an act of being", as a realisation of permanently renewed processes of life. All of these categories can be found in every artistic reality but the accents put on one or another and their interrelations create different ontological perspectives. Mr. Vilk plots the movement of thought, expressed in both philosophical and scientific discourses, away from Aristotle's essential forms, and towards a prioritising of existence, and shows how new forms of literature and drama structured the world according to these evolving requirements. At the same time the world created in classical tragedy fully preserves another ontological paradigm - being - as a fundamental permanence. As far as the tragic hero's motivations are concerned this paradigm is revealed in the dedication of his whole self to some cause, and his oath of fidelity, attitudes which shape his behaviour. It may be the idea of the State, or personal honour, or something borrowed from the emotional sphere, passionate love. Mr. Vilk views the conflicting ambivalence of existence and being, duty as responsibility and duty as fidelity, as underlying the main conflict of classical tragedy of the 17th century. Having plotted the movement of the being/existence duality through its manifestations in 17th century tragedy, Mr. Vilk moves to the 18th century, when tragedy took a philosophical turn. A dualistic view of the world became supplanted by the Enlightenment idea of a natural law, rooted in nature. The main point of tragedy now was to reveal that such conflicts as might take place had an anti-rational nature, that they arose as the result of a kind of superstition caused by social reasons. These themes Mr. Vilk now pursues through Russian dramatists of the 18th and early 19th centuries. He begins with Sumarakov, whose philosophical thought has a religious bias. According to Sumarakov, the dualism of the divineness and naturalness of man is on the one hand an eternal paradox, and on the other, a moral challenge for humans to try to unite the two opposites. His early tragedies are not concerned with social evils or the triumph of natural feelings and human reason, but rather the tragic disharmony in the nature of man and the world. Mr Vilk turns next to the work of Kniazhnin. He is particularly keen to rescue his reputation from the judgements of critics who accuse him of being imitative, and in order to do so, analyses in detail the tragedy "Dido", in which Kniazhnin makes an attempt to revive the image of great heroes and city-founders. Aeneas represents the idea of the "being" of Troy, his destiny is the re-establishment of the city (the future Rome). The moral aspect behind this idea is faithfulness, he devotes himself to Gods. Dido is also the creator of a city, endowed with "natural powers" and abilities, but her creation is lacking internal stability grounded in "being". The unity of the two motives is only achieved through Dido's sacrifice of herself and her city to Aeneus. Mr Vilk's next subject is Kheraskov, whose peculiarity lies in the influence of free-mason mysticism on his work. This section deals with one of the most important philosophical assumptions contained in contemporary free-mason literature of the time - the idea of the trinitarian hierarchy inherent in man and the world: body - soul - spirit, and nature - law - grace. Finally, Mr. Vilk assess the work of Ozerov, the last major Russian tragedian. The tragedies which earned him fame, "Oedipus in Athens", "Fingal" and "Dmitri Donskoi", present a compromise between the Enlightenment's emphasis on harmony and ontological tragic conflict. But it is in "Polixene" that a real meeting of the Russian tradition with the age-old history of the genre takes place. The male and female characters of "Polixene" distinctly express the elements of "being" and "existence". Each of the participants of the conflict possesses some dominant characteristic personifying a certain indispensable part of the moral world, a certain "virtue". But their independent efforts are unable to overcome the ontological gap separating them. The end of the tragedy - Polixene's sacrificial self-immolation - paradoxically combines the glorification of each party involved in the conflict, and their condemnation. The final part of Mr. Vilk's research deals with the influence of "Polixene" upon subsequent dramatic art. In this respect Katenin's "Andromacha", inspired by "Polixene", is important to mention. In "Andromacha" a decisive divergence from the principles of the philosophical tragedy of Russian classicism and the ontology of classicism occurs: a new character appears as an independent personality, directed by his private interest. It was Katenin who was to become the intermediary between Pushkin and classical tragedy.

On the postnatal development of the striate cortex (V1) in the tree shrew (Tupaia belangeri)

Histological serial sections, three-dimensional reconstructions and morphometry served to study the postnatal development of V1 in tree shrews. The main objectives were to evaluate the expansion of V1, the implications of its growth on the occipital cortex and, vice versa, the effects of the expanding neocortex on the topography of V1. The future V1 was identified on postnatal day 1 by its granular layer IV, covering the superior surface of the occipital cortices including the poles. A subdivision of layer IV, distinctive for the binocular part, was evident in the central region. V1 expanded continuously with age into all directions succeeded by the maturation of layering. The monocular part was recognized from day 15 onward, after the binocular part had reached its medial border. In reference to the retinotopic map of V1, regions emerged in a coherent temporo-spatial sequence delineating the retinal topography in a central to peripheral gradient beginning with the visual streak representation. The growth of V1 was greatest until tree shrews open their eyes, culminated during adolescence, and completed after a subsequent decrease in the young adult. Simultaneous expansion of the neocortex induced a shifting of V1. Translation and elongation of V1 entailed that the occipital cortex covered the superior colliculi along with a downward rotation of the poles. The enlargement of the occipital part of the hemispheres was in addition associated with the formation of a small occipital horn in the lateral ventricles, indicating an incipient 'true' occipital lobe harbouring mainly cortices involved in visual functions.

The Role of the Androgen Receptor Cofactor p44/WDR77 in Astrocyte Activation

Astrogliosis is induced by neuronal damage and is also a pathological feature of the major aging-related neurodegenerative disorders. The mechanisms that control the cascade of astrogliosis have not been well established. In a previous study, we identified a novel androgen receptor (AR)-interacting protein (p44/WDR77) and found that it plays a critical role in the control of proliferation and differentiation of prostate epithelial cells. In the present study, we found that deletion of the p44 gene in the mouse brain caused accelerated aging with dramatic astrogliosis. The p44/WDR77 is expressed in astrocytes and loss of p44/WDR77 expression in astrocytes leads to astrogliosis. Our results reveal a novel role of p44/WDR77 in astrocytes, which may explain the well-documented role of androgens in suppression of astrogliosis. While many of detailed mechanisms of astrocyte activation remain to be elucidated, a number pathways have been implicated in astrocyte activation including p21Cip1 and the NF-kB pathway. Astrocytic activation induced by p44/WDR77 gene deletion was associated with a significant increase of p21Cip1 expression and NF-kB activation characterized by p65 nuclear localization. We found that down-regulation of p21Cip1 expression inhibited astrocyte activation induced by the p44/WDR77 deletion and was accompanied by a decreased p65 nuclear localization. While p21Cip1 role in astrocyte activation and NF-kB activation is not well understood, studies of other cell cycle regulators have implicated cell cycle control systems as modulators of astrocyte activation, thus p21Cip1 could induce secondary effect to induce p65 nuclear localization. However, p65 knockdown completely relieved the inhibition of astrocyte growth induced by the p44/WDR77 deletion, while p21Cip1 knockdown only partially recovered this inhibition. Thus, NF-kB activity performs additional regulatory actions not mediated by p21Cip1. These analyses imply that p4/WDR77 suppresses astrocyte activation through modulating p21Cip1 expression and NF-kB activation.

Strategic Incentives in Unconventional Electoral Systems: Introduction to the Special Issue

The study of strategic behaviour and the impact of institutions on elections has mainly focused on simple and conventional electoral systems: list-proportional electoral systems (PR) and the plurality vote. Less conventional systems are not on the agenda of comparative studies, even though no less than 30% of countries use unconventional electoral systems for their national parliamentary elections, such as the Single Transferable Vote, PR with majority bonuses, or mixed electoral systems. Often, they provide for unusual combinations of different institutional incentives, and hence to particular actor strategies.

Una fábrica recuperada con Ladrillos de Coraje : experiencia de teatro comunitario mendocino

La presente investigación se realiza para analizar un caso particular del teatro comunitario mendocino, establecer la particularidad de ese circuito escénico y vincularlo con los estímulos externos de poéticas latinoamericanas y nacionales. Proponemos el estudio integral de experiencia del montaje de Ladrillos de Coraje realizada por el director Ernesto Suárez en la comunidad de El Bermejo, en el espacio de una fábrica recuperada. Tendremos en cuenta el texto dramático, la puesta en escena y los aportes del director, los coordinadores y los actores, así como la recepción en el público y la crítica periodística. Asimismo, abordamos y sintetizamos la bibliografía actualizada.

XRD mineralogy of sediments from the Greenland east coast

Quantitative X-Ray Diffraction (qXRD) analysis of the <2 mm sediment fraction from surface (sea floor) samples, and marine sediment cores that span the last 10-12 cal ka BP, are used to describe spatial and temporal variations in non-clay mineral compositions for an area between Kangerlussuaq Trough and Scoresby Sund (?67°-70°N), East Greenland. Bedrock consists primarily of an early Tertiary alkaline complex with high weight% of pyroxene and plagioclase. Farther inland and to the north, the bedrock is dominantly felsic with a high fraction of quartz and potassium feldspars. Principal Component (PC) analysis of the non-clay sediment compositions indicates the importance of quartz and pyroxene as compositional end members, with an abrupt shift from quartz and k-feldspar dominated sediments north of Scoresby Sund to sediments rich in pyroxene and plagioclase feldspars offshore from the early Tertiary basaltic outcrop. Coarse (<2 mm or <1 mm) ice-rafted sediments are largely absent from the trough sediments between ?8 and 5 cal ka BP, but then increase in the last 4 cal ka BP. Compositional unmixing of the sediments in Grivel Basin and Kangerlussuaq Trough indicate the dominance of local over long distance sediment sources, with pulses of sediment from tidewater glaciers in Kangerlussuaq and Nansen fjords reaching the inner shelf during the Neoglaciation. The change in IRD is more dramatic in the sediment grain-size proxies than in the quartz wt%. Forty to seventy percent of the variance in the quartz records from either side of Denmark Strait is explained by low frequency trends, but the data from the Grivel Basin, East Greenland, are distinctly different, with an approximate 2500 yr periodicity.

Substrate-specific regulation of the ribosome– translocon junction by N-terminal signal sequences

Amino-terminal signal sequences target nascent secretory and membrane proteins to the endoplasmic reticulum for translocation. Subsequent interactions between the signal sequence and components of the translocation machinery at the endoplasmic reticulum are thought to be important for the productive engagement of the translocon by the ribosome-nascent chain complex. However, it is not clear whether all signal sequences carry out these posttargeting steps identically, or if there are differences in the interactions directed by one signal sequence versus another. In this study, we find substantial differences in the ability of signal sequences from different substrates to mediate closure of the ribosome–translocon junction early in translocation. We also show that these differences in some cases necessitate functional coordination between the signal sequence and mature domain for faithful translocation. Accordingly, the translocation of some proteins is sensitive to replacement of their signal sequences. In a particularly dramatic example, the topology of the prion protein was found to depend highly on the choice of signal sequence used to direct its translocation. Taken together, our results reveal an unanticipated degree of substrate-specific functionality encoded in N-terminal signal sequences.

International financial regulation: A role for the Eurozone? EU Diplomacy Paper 08/2012, October 2012

The deepest financial crisis to strike the global economy since the Great Depression has unceremoniously called into question the very foundations of the Western economic model. The liberalisation of capital flows and the growing internationalisation of financial markets outpaced global regulatory and supervisory efforts. The repercussions of the financial crisis have given new dynamism to the reform of financial regulation both globally and within the European Union (EU). The Eurozone, by way of its own failings, has emerged as a stronger conceptual and legitimate entity since the onset of the crisis, but to what extent does this equate to a greater external role, in particular in the reform of international financial regulation? This paper argues that the Eurozone is currently not in a position to play an important role in the reform of international financial regulation, as it is a weak actor in the context of the EU financial architecture, which is still largely characterised by differing national regimes, a prevailing influence from the UK and fragmented external representation. The key finding from this study is that internal tensions in the EU are at the very heart of the Eurozone’s difficulties in playing a role in the reform of international financial regulation. Surmounting these tensions is a pre-requisite for the Eurozone if it is to overcome its structural weakness in international financial politics. However, the implications of such evolutions to the Eurozone, as an entity, and to European integration are far-reaching.