The role of tendon and subacromial bursa in rotator cuff tear pain. A clinical and histopathological study

To evaluate a possible association of shoulder pain with the clinical features and the histopathological changes occurring in the ruptured tendon and subacromial bursa of patients with rotator cuff tear

I.S.Mu.L.T - Rotator cuff tears guidelines

Despite the high level achieved in the field of shoulder surgery, a global consensus on rotator cuff tears management is lacking. This work is divided into two main sessions: in the first, we set questions about hot topics involved in the rotator cuff tears, from the etiopathogenesis to the surgical treatment. In the second, we answered these questions by mentioning Evidence Based Medicine. The aim of the present work is to provide easily accessible guidelines: they could be considered as recommendations for a good clinical practice developed through a process of systematic review of the literature and expert opinion, in order to improve the quality of care and rationalize the use of resources

Il teatro secondo Badiou

This article reconstructs the key passages of the theory of theatre elaborated by French philosopher Alain Badiou. A particular attention is dedicated to four texts: Rapsody for the theatre (the heftiest of the eight essays included in the collection), in which it is enunciated the veritative power of the theatre – onto which scene the encounter between the textual eternity and the scenic instant gives life to events of thought; the programmatic essays Ten thesis on the theatre and Antithesis of the theatre, which explicitly renders the terms of the crucial relationship between truth and art. The sheer originality of Badiou’s heterodox re exion on theatre is the result of a distance from the principles of the theatre of direction and from the strongholds of the «postdramatic theatre» (Hans-Thies Lehmann, 1999). On the one hand, there is a rejection of any theory which makes of the theatrical praxis the enactment of ‘external truths’, that the representation was supposed to make visible. On the other hand, the anti-textual and performative position of the experimental avant-gardes is declined: the protagonists of the theatre are the playwright, the director (the two figures properly artistic) and the spectators («the holders of the theatre-idea»). The true theatre is therefore the «theatre of ideas», of which the actors are nothing but the «pure presence», the mediation, the «ethical mean»

Filming Nothingness

The paper aims to expound on the philosophical significance of Carmelo Bene’s oeuvre. In the 1970’s and 1980’s, when the international debate in Europe was dominated by French post-structuralism and Derridean deconstructive criticism, Beneian artistic praxis eluded – I contend – the so-called “metaphysics of presence.” First of all, I detect similarities and differences between the theoretical grounding of Bene’s works and Jacques Derrida’s and Giorgio Agamben’s respective philosophical inquiries into the essence of language. Subsequently, I analyze the distinctive stylistic techniques of the television film Amleto da Shakespeare a Laforgue (Hamlet from Shakespeare to Laforgue, 1974). A close attention is paid to the (dis)functions of linguistic and cinematic codes (such as verbal, body, and audiovisual language) and how they interfere with the construction of meaningful, consistent interpretations. Finally, I investigate the phenomenon of ineffability by drawing a parallel between mystical experiences and Beneian performances

Disseminating Bene in the Anglosphere

In this paper, the two authors introduce their project of translating Carmelo Bene’s oeuvre into English. The essay highlights the relevance of his accomplishments to contemporary debates in aesthetics and stresses the importance of disseminating his multifaceted works in the Anglosphere. After retracing the main stages of Bene’s career in theatre, literature, film, and music, the authors illustrate how Benean production particularly reshapes the concept and practice of Western performance, justifying their decision to begin the translation project with his theatrical works

Rapt and En-chanted: Carmelo Bene’s Voice and the Beyond of Theatre

Carmelo Bene (1937–2002) was an Italian theatre artist who radically transformed the practice and conception of Western theatre from a series of points of view. He dramaturgically re-conceived famous plays, innovatively worked on voice, and reached to film and music, as well as engaged his theatre vision with philosophy. This introductory essay on Bene’s philosophical thought and theatrical praxis seeks to arouse interest in his work among English readers, so as to spark interdisciplinary conversations across a variety of fields including Italian studies, critical theory, European theatre, film studies, performance philosophy, and aesthetics. To elucidate some of the distinctive and exemplificatory traits of Benean anti-representational theatre, special attention is paid to one of his readings, Lectura Dantis (1981), and to one of his plays, Pinocchio, ovvero lo spettacolo della Provvidenza (1998) – both of which are among the most significant performances in Bene’s career.&nbsp