Ibsen and the Italian Risorgimento

Versione inglese di Henrik Ibsen og den italienske Risorgimento, in AA. VV., Lyset kommer fra Sør, a cura di E. Carbone-G. D’Amico, Oslo, Gyldendal, 2011, pp. 178-193

Mortality and Artifact

Questioning one\u27s death is questioning the invisible. Our innate fear and anxiety mechanisms enable us to navigate crises, yet can ruin us. Minute psychological transitions can spark ingenuity, the key to individual and species survival. But improvisation is uncertain. Our vulnerability defines us. I seek to better understand my fears

Maturity Models for Managing People in Software Development Teams: A Systematic Literature Review

Human factors are fundamental to software development, hence the need to understand people-oriented maturity models in development teams. This article aims to identify the maturity models for people management in software development teams cited in the literature, in order to identify evidence about their use, benefits and limitations, and the human aspects involved. A systematic literature review (SLR) was carried out, where automatic searches were done in four search engines, congresses in the area of ​​human factors within software engineering, in addition to a manual search. Evidence indicates that there are numerous models aimed at developing people in development teams, but few are applied. Models based on observation and informal discussion were found, as well as non-validated models, indicating the scarcity of models applicable to people in software engineering. However, complete but complex models were also found, indicating that a more transparent, dynamic and simple process is needed for people's development. In the observed human factors, emphasis is placed on communication, collaboration, knowledge, learning, self-management, motivation and skills in general. Keywords: Maturity models; Human Factors; Software Development Teams; Teams; People DOI: 10.7176/RHSS/12-14-02 Publication date:July 31st 202

Il mulo di Lessing

In Hamburg Dramaturgy, the lengthy parallel analysis that Lessing devoted to the tragedies of Maffei and Voltaire about the figure of Merope, led him to an Enlightenment re-reading of Aristotle and to an hypothetical reconstruction of Euripides’ Cresphontes. In this way, the German critic was able to underline Euripides’ attitude to a technique of preliminary revelation of the characters and the nodal points of the plot: on one side, it can reduce the suspense; on the other, it avoids the most superficial coups de théâtre, shifting the tragic effect from ‘what’ to ‘how’ it occurs. Contesting the position of Abbé d’Aubignac and supporting Diderot, Lessing realized that a considerable part of this Euripidean technique is based on the remixing of diegesis and dramatic mimesis: it is an uncommon ‘hybrid’ of genres that appears efficacious and extremely useful (just like the intersection from which is generated a mule). Lessing’s analysis had an important and documented influence on the modern theatre: here, we can find a Sophoclean approach (Ibsen) and an Euripidean approach to the drama. In particular, the Euripidean line is developed in Strindberg’s epic dramaturgy and, in all its evidence, in Brecht

Helene Raff e Henrik Ibsen

This biographical essay, starting from the recent publication of two books by Helene Raff, Joachim Raff: Portrait of a Life (1925) and Leaves from life’s Tree (1938), clarifies the very hidden affair between the young painter Helene Raff and the aged Henrik Ibsen, who regarded her as “youth personified”. The essay is an attempt to detect all the psychological implications of this relationship from an aesthetic viewpoint, hypothesizing that some traits of the character of the musician Joachim Raff, Helene’s father, may have passed into the figure of Solness, the master builder.This biographical essay, starting from the recent publication of two books by Helene Raff, Joachim Raff: Portrait of a Life (1925) and Leaves from life’s Tree (1938), clarifies the very hidden affair between the young painter Helene Raff and the aged Henrik Ibsen, who regarded her as “youth personified”. The essay is an attempt to detect all the psychological implications of this relationship from an aesthetic viewpoint, hypothesizing that some traits of the character of the musician Joachim Raff, Helene’s father, may have passed into the figure of Solness, the master builder

Adorno, Beckett e la parodia della filosofia

Adorno subsidiarily brings Samuel Beckett back to a kind of philosophy of modern music or to a modern philosophical music. Along this line, Adorno establishes analogies among Kafka, Beckett and Schönberg, which deny the function of art as a sedation of anxiety, creating an art that is above all a mockery of the authenticity of existentialism. The essay then explains the relationship of Adorno’s theories with Kierkegaard, but above all with Schopenhauer, from whom the German thinker derives an idea of ascetic art, distant and opposed to the infernal social voluntas.Adorno riporta sussidiariamente Samuel Beckett a una sorta di filosofia della musica moderna o di moderna musica filosofica. Su tale linea, Adorno fissa analogie tra Kafka, Beckett e Schönberg, venendo a negare una funzione dell’arte come sedatrice dell’ansia e in parallelo sostenendo un’arte ch’è, sopra ogni cosa, derisione dell’autenticità cara all’esistenzialismo. Il saggio si sofferma quindi sui rapporti tra le teorie adorniane e Kierkegaard, ma segnatamente Schopenhauer, dal quale il filosofo della Scuola di Francoforte sembra trarre una concezione ascetica dell’arte, distante e antitetica nei confronti di un’infernale voluntas sociale