DONORS ’24. Artisti per il Centenario dell’Università degli Studi di Trieste

Il Catalogo illustra una nuova raccolta di opere d’arte che va ad arricchire il patrimonio culturale dell’Università di Trieste, le opere d’arte donate all’Ateneo in occasione della celebrazione del suo Centenario, nel 2024, da collezionisti, artisti e docenti, con spontanea e illuminata generosità. La raccolta riunisce firme internazionali ed altre intimamente vicine allo sviluppo della ricerca artistica della città di Trieste, opere del ’900 provenienti da periodi e stili diversi e opere della più flagrante attualità. È così che la c.d. collezione Donors ’24 diventa patrimonio collettivo di Trieste attraverso la sua Università

Il portoghese brasiliano contemporaneo nel doppiaggio dei film d’animazione (2010-2020)

La monografia analizza il portoghese brasiliano contemporaneo nel doppiaggio dei film d’animazione prodotti tra il 2010 e il 2020, mettendo in luce fenomeni linguistici, morfosintattici e lessicali che emergono nel parlato filmico. Viene presentato il corpus CorAnima (Corpus multilingue per lo studio del doppiaggio in portoghese e italiano di film d’animazione) costituito dalle trascrizioni del doppiaggio nel PB e nel portoghese europeo (PE) dei lungometraggi d’animazione per bambini prodotti dalla Disney e/o dalla Pixar in inglese nonché di film d’animazione prodotti originalmente nel PB e nel PE, e i dieci film Disney-Pixar - Tangled, Brave, Wreck it Ralph, Frozen, Zootopia, Moana, Coco, Ralph Breaks the Internet, Onward e Soul presi in esame, soffermandosi su aspetti fonetici (forme aferetiche come tá, tava, peraí), morfosintattici (uso di a gente, alternanza tra te e você, ricorso a “ir + infinito” al posto del futuro sintetico, sostituzione del condizionale con l’imperfetto), lessicali (diminutivi, gergalismi, espressioni informali) e pragmatici (appellativi affettuosi, formule di saluto. e ringraziamento colloquiali). Si sottolinea l’utilità di questi film, da un lato, per l’insegnamento del portoghese brasiliano (perché mostrano un repertorio variegato di forme colloquiali) e, dall’altro, per comprendere meglio i processi di evoluzione e standardizzazione di una lingua in movimento. Infine, si evidenzia come la ricerca potrebbe proseguire con un corpus più ampio e con un confronto diretto tra doppiaggio brasiliano e portoghese europeo, per esaminare ulteriormente i fenomeni di variazione e i meccanismi di adattamento culturale

Global bifurcation of double phase problems

Via the global bifurcation theorem due to Rabinowitz, the paper shows bifurcation properties of the solutions of the following nonlinear Dirichlet problem, involving a double phase operator, that is ( −Δap u − νΔmu = λa(x)|u|m−2u + f(x, u) in Ω, u = 0 on ∂Ω, where 1 < m < p < N, p/m < 1 + 1/N and λ, ν ∈ R

Il coraggio dell’anticipazione. Note (tragiche) per non fuggire dalla tecnica

This paper explores Bernard Stiegler’s topic of anticipation throughout his diagnoses of contem-porary malaise. Focusing on Stiegler’s particular method, that we will describe as continuous gesture of (re)doubling, we will open a straight confrontation between Martin Heidegger’s theo-rization of care [Sorge] and taking care [besorgen], and Stiegler’s caring as paying attention and thinking, in which we will underline above all the specific role of technics. As a result, we will conclude proposing the necessity of a “politics of intermittence” that will allow to restore the tragic movement of thinking as the duty of a philosophy worthy of the present time and capable of not escaping from technology

Reincantare il mondo con il cinema: una strategia popolare di arricchimento dell’esperienza?

The paper aims to reconsider the role of reflection on cinema within Bernard Stiegler's thought. It focuses on a number of fundamental passages: the concept of the ‘discrete image’, set out in Ecographies of Television; the reconsideration of the question of tertiary retention and hypomne-sis in the light of the confrontation with Kant in the third volume of Technique et le temps; the emergence, in particular in that volume, of the notion of the ‘retention device’ and its develop-ment, again in dialogue with Kant, in the Afterword to the complete edition of the work. Finally, the paper intends to show how, departing in part from the later concept of ‘symbolic misery’, cinema plays a dual role in Stiegler's thought: it is not only a ‘cultural industry’, but also emerges as a place for the elaboration of new forms of imagination of the real

Singular perturbations for diffusive competing species

The first aim of this paper is to discuss some of the contents of Hutson et al. [15] versus the contents of a well known paper of Y. Lou, [20], as many experts are attributing, incorrectly, to Lou [20] some of the pioneering findings of Hutson et al. [15], published 11 years before. The second aim is contextualize the most pioneering results versus the most recent ones by the team of the author. Finally, some new multiplicity and uniqueness results are given for a symmetric diffusive competition model

Pairs of positive solutions of a quasilinear elliptic Neumann problem driven by the mean curvature operator

We establish the existence of multiple positive weak solutions of the quasilinear elliptic Neumann problem driven by the mean curvature operator ( −div ∇u/ p 1 + |∇u|2 _ = λw(x) |u|p−2u in Ω, −∇u ν/ p 1 + |∇u|2 = 0 on ∂Ω. Here, Ω is a bounded regular domain in RN, with N ≥ 2, p ∈ (1, 1∗), w is a sign-changing weight function, and λ > 0 is a parameter. Our findings provide the existence, for sufficiently small λ, of two positive solutions, the smaller in C1(Ω), the larger in BV (Ω), which respectively bifurcate from (λ, u) = (0, 0) and from (λ, u) = (0,+∞). This way we extend to a genuine PDE setting some results obtained in [22, 23] for the corresponding one-dimensional problem

Bernard vivo. Dall’ominizzazione permanente ai perdividui

There is no technique but techniques, and philosophical discourses operate as applications of the most relevant of them: writing. After the twelfth-century scribal revolution and the fifteenth-century reinvention of the printing press, the current digital transformation of writing is bestowing on us again that which Bernard called a (technical) prosthesis. Building upon Leroy-Gourhan’s construction of the co-evolution of human bodies and tools, Bernard underlined the paradox of emerging human techniques as an exteriorization with no prior interiority. While writing implic-itly preceded and inspired the Platonic invention of a unified and hierarchical psykhē, Plato ex-plicitly construed it as an improper by-product of the activity of the psykhē itself. Yet writing was not just added as a prosthesis but it rather acted as an enthesis, that is, a grafting intervention. It was incorporated within the human sphere of action, just like any other human and nonhuman participant to subjectivation processes. Drawing on Simondon, Bernard called these processes transindividuation. I propose instead the term perdividuation, as a reminder that we all are, as it were, an interiority which is always already traversed by exteriority. Only the technique of writing and its fundamental side effects, namely, time and space, produced the alleged closure of indi-vidual identity. On the contrary, by constructing ourselves as always already permeated perdivid-uals we may attempt at reorienting the ongoing process of hominization by questioning our sep-aration from nonhumans and other humans