Nathan il saggio - Lessing

Analisi dell'opera "Nathan il Saggio" di Lessin

"L'arte di leggere le immagini". L'abicì della guerra di Bertolt Brecht

Il contributo propone un'analisi della raccolta di fototesti brechtiani alla luce delle problematiche relative ai concetti di realismo e straniamento. Testo poetico e fotografia sono poste da Brecht in un rapporto dialettico, capace di drammatizzare l'immagine in modo conforme alle teorie teatrali dell'autore

«Vivere da soldato senza essere tale». Gli scritti di guerra di Thomas Mann

This essay examines the semantic area linked to military activity and in particular the conditions of the soldier in the essays written by Thomas Mann during the First World War. These reconstructions of a historical theme intermix with contributions about current public affairs, and have as their object the events linked to Germany’s entering the war and the general favour with which this was received. Moreover, warlike metaphors tend to slip comfortably into the profound core of Mann’s writing, since they lend themselves rather effectively to descriptions of the artist’s actual aptitudes and duties

“Io scrivo ciò che vedo”: “Einmal” di Wim Wenders tra “immagini autocelebrative” e “priorità del racconto”

Like many of Wenders’ films, the book Una volta (Einmal. Bilder und Geschichten, 1994; Once: Pictures and Stories) is the result of a fruitful encounter between different arts.  Wenders now takes on the role of photographer and narrator, while never completely abandoning the more usual role of director. The beginning of every short composition in Einmal, associated with one or more images, is the usual one of fairy tales. However, the word “once” that precedes as a title most of the compositions is not just an intertextual reference to the genre of children’s literature. It is more a sort of declaration of poetics, the choice of a specific stylistic register, as well as an attempt to adhere to a certain way of knowing and experiencing existence. It is the same way of knowing characteristic of children, says Wenders, connected—like the photographer’s shot—to the moment, without any care or regard for the past or the future. The stories that follow one another do not, at least not always, serve as captions for the images, nor do they necessarily offer the reader clarifications regarding the photographs placed next to them or the circumstances in which the they were shot. In this book Wenders works “spontaneously,” choosing for each shot the first story that “comes to his mind.” The point of connection between writing and image, as well as the fulcrum of the aesthetics of Wenders’ phototext, is undoubtedly the concept of Disposition (Einstellung), which is a privileged place of observation from which the photographer’s eye chooses to look, but also the narrative engine of the whole story, as well as, again, the centre from which the different threads of the story radiate and then return to converge. The object of my contribution will be precisely this idea of Einstellung, with the aim of highlighting its implications and potential.Like many of Wenders’ films, the book Una volta (Einmal. Bilder und Geschichten, 1994; Once: Pictures and Stories) is the result of a fruitful encounter between different arts.  Wenders now takes on the role of photographer and narrator, while never completely abandoning the more usual role of director. The beginning of every short composition in Einmal, associated with one or more images, is the usual one of fairy tales. However, the word “once” that precedes as a title most of the compositions is not just an intertextual reference to the genre of children’s literature. It is more a sort of declaration of poetics, the choice of a specific stylistic register, as well as an attempt to adhere to a certain way of knowing and experiencing existence. It is the same way of knowing characteristic of children, says Wenders, connected—like the photographer’s shot—to the moment, without any care or regard for the past or the future. The stories that follow one another do not, at least not always, serve as captions for the images, nor do they necessarily offer the reader clarifications regarding the photographs placed next to them or the circumstances in which the they were shot. In this book Wenders works “spontaneously,” choosing for each shot the first story that “comes to his mind.” The point of connection between writing and image, as well as the fulcrum of the aesthetics of Wenders’ phototext, is undoubtedly the concept of Disposition (Einstellung), which is a privileged place of observation from which the photographer’s eye chooses to look, but also the narrative engine of the whole story, as well as, again, the centre from which the different threads of the story radiate and then return to converge. The object of my contribution will be precisely this idea of Einstellung, with the aim of highlighting its implications and potential

Population Change and International and Internal Migration in Italy, 2002-2017: Ravenstein Revisited

In 1885, Ravenstein formulated his "laws" of migration, based on the experience of the British Isles. In a further 1889 paper, he extended his analysis as a tour d’horizon of migration and population changes in other nations, including Italy. Even if social and economic processes including globalisation and rising mobility have changed the world since then, Ravenstein's "laws" remain a point of reference today. Harnessing theoretical and methodological advances made since the 19th century, this paper describes and seeks to explain the role of international and internal migration in regional population change in Italy from 2002-2017. This paper provides the first geographically detailed migration analysis for the country's 611 Local Labour Market Areas (LLMAs), using register-based migration and population data. Our contribution focuses on several of Ravenstein's "laws" relating to gender (differences between men and women), natives and non-natives (differences between the Italian and the foreign population), distance migrated from origin to destination, and the role of the economy in shaping push and pull factors of migration. The results show that international migration is more prominent among men than women. In the case of internal moves, the rates of migration among men and women are similar, and internal migration is more prominent among the foreign than the native Italian population. Overall, international migration gains contribute substantially more to population change than internal migration gains and losses do. In Italy, the effects of persistent economic imbalances and of distance on migration patterns are not in line with Ravenstein's hypotheses: not all areas with high unemployment show an effect of dispersion, nor does distance always act as a deterrent to migration. The geographically detailed analysis presented here illustrates the temporal and spatial coexistence of diverse international and internal migration processes depending on local characteristics, as well as the importance of the economic or administrative centres as the driving force behind national patterns. Our results show that, even 130 years after their formulation, Ravenstein’s migration "laws" (more accurately called "hypotheses" today) are still a valuable starting point in assessing and understanding migration processes and their role in regional population change

Advanced Urbanism / UNIGE Approaches

Abbordaggio critico sulla condizione contemporanea del progetto architettonico e lo spazio urbano in relazione alle nuove tecnologie e la societ\ue0 della informazione. Progetto KAAU, Konsortium For Advanced Architecture and Urbanism, collegato con un Erasmus Grant. Report del Symposium International Meeting KA-AU ADVANCED URBANISM, NEW WAYS FOR DESIGN 2018, Ordine degli Architetti Genova 24/09/201

Evans syndrome and antibody deficiency: an atypical presentation of chromosome 22q11.2 deletion syndrome

We report a case of an 8-year-old male patient with Evans syndrome and severe hypogammaglobulinemia, subsequently in whom the 22q11.2 deletion syndrome (22q11.2 DS) was diagnosed. No other clinical sign of 22q11.2 DS was present with the exception of slight facial dysmorphism. The case is of particular interest because it suggests the need to research chromosome 22q11.2 deletion in patients who present with autoimmune cytopenia and peculiar facial abnormalities, which could be an atypical presentation of an incomplete form of 22q11.2 DS