Bottom-up synthesis of carbon nanoparticles with higher doxorubicin efficacy

open15siembargoed_20180201Bayda, Samer; Hadla, Mohamad; Palazzolo, Stefano; Kumar, Vinit; Caligiuri, Isabella; Ambrosi, EMMANUELE KIZITO; Pontoglio, Enrico; Agostini, Marco; Tuccinardi, Tiziano; Benedetti, Alvise; Riello, Pietro; Canzonieri, Vincenzo; Corona, Giuseppe; Toffoli, Giuseppe; Rizzolio, FlavioBayda, Samer; Hadla, Mohamad; Palazzolo, Stefano; Kumar, Vinit; Caligiuri, Isabella; Ambrosi, EMMANUELE KIZITO; Pontoglio, Enrico; Agostini, Marco; Tuccinardi, Tiziano; Benedetti, Alvise; Riello, Pietro; Canzonieri, Vincenzo; Corona, Giuseppe; Toffoli, Giuseppe; Rizzolio, Flavi

Book Reviews

BOOK REVIEW Globalisation Challenges to Research and Governance by Kultalahti, Jukka, Ilari Kauppi, Olli Kultalahti, Enrico Todisco REVIEWED BY PERTTU SALMENHAARA Helsinki, East-west Books, 2009, ISBN 978-952-99592-6-6, 357 pp.Kultalahti, Jukka, Ilari Kauppi, Olli Kultalahti, Enrico Todisco

Joyce and Pirandello’s ‘Foolosopher’ kings and mocking gargoyles : Buck Mulligan and Enrico IV

This paper investigates the affinities between the folly of Buck Mulligan in Joyce’s Ulysses and that of Enrico IV in Pirandello’s homonymous play. After looking at Michel Foucault’s Histoire de la folie à l’âge classique, this paper will postulate that Buck Mulligan and Enrico IV seem to precede Foucault’s destabilizing vision: they are characters who, through various acts of folly, simulate the exterior signs of madness and play the fools to create confusion amidst existing forms of socialization. I shall also be looking into Robert Bell’s Jocoserious Joyce (from where the terms ‘foolosopher king’ and ‘mocking gargoyle’ are borrowed) and at Elio Gioanola’s Pirandello e la follia to prove that these modernist clown prototypes become a mirror of painful truths to other characters. Mulligan, for instance, reveals with irony the true nature of Stephen Dedalus, religion and Ireland, whilst Enrico reveals to his visitors their falsity and the dark realm of life’s masks. In both cases this is expressed with mood swings of mocking irony and effusions of sentiment. Both characters are also portrayed as having no fixed identities: they indulge in a tragicomic ritual of masks and folly with a delight for the ambiguities of self and language. In their words and actions, Mulligan and Enrico seem to be unshaped by history and free from any responsibility; they seem so fulfilled in playing the fools and thus become ‘foolosopher’ kings themselves, which act the part of sceptical jokers of the universe.peer-reviewe

On a Lemma of Bompiani

We reprove in modern terms and extend to arbitrary dimension a classical result of Enrico Bompiani on algebraic surfaces X \subset \PP^r having very degenerate osculating spaces