32 research outputs found
Crystal engineering of MOF based on polypyridyl ligands and coordinatively unsatured NiII ions
The thesis reports on the synthesis, structural and spectroscopic characterization of coordination polymers obtained by reacting dithiophosphato [((RO)2PS2)2Ni] and dithiophosphonato [Ni(ROpdt)2] NiII complexes [ROpdt = (RO)(4-MeOC6H4)PS2; R = Me, Et] with a variety of polypyridyl donors prepared and characterized as a part of the PhD work, selected according to their rigidity, topology, number and position of donor atoms.
Chapter 1 An introductory part is presented which reports the main concepts of supramolecular chemistry and crystal engineering. The objectives of the research are outlined and the square planar NiII phosphorodithioato complexes used as the building blocks in the building up of the polymers introduced. The tendency of these coordinatively unsaturated complexes to axially bound two additional donor molecules by reaching octahedral coordination geometry in a quite predicable way, is discussed. Chapter 2 A discussion of the results is presented mainly focused on structural description motifs and crystallographic datasets obtained through the deliberate construction of coordination polymers obtained by reacting NiII phosphorodithioato complexes with various bi-pyridyl donors. Three different typologies of ligands were prepared: bidentate rigid spacers such as the 1,4-bis(3-pyridyl)-butadiyne ligand; semi-rigid bidentate spacers such as the 2,5-bis(4-pyridyl)-4-thia-1,3-thiazolidine and 2,5-bis-(3-pyridyl)-4-thia-1,3-thiazolidine ligands, and a set of tridentate spacers such as 1 1,3,5-benzenetricarboxylic acid-1,3-bis-4-pyridyl ester. The ligands were synthesized following different synthetic routes here described. The self-assembly process is based on the capability of the coordinatively unsaturated NiII ion of the square-planar phosphorodithioato complexes to bind suitable bipyridyl and tripyridil-based spacers thus forming 1D and 2D coordination polymers with different geometrical and topological features. It has been demonstrated that the primary structural motif of the polymers depends mainly on the features of the pyridyl-based spacers such as length, rigidity, number and orientation of the donor atoms, whereas the substituents on the phosphorus atoms play a crucial role in determining the final network through secondary intermolecular interactions involving the polymeric chains.
Chapter 3 The experimental procedures and spectroscopic characterizations are here reported along with all the materials, instruments, synthetic procedures, crystallization methods, and technical parameters used for the spectroscopic investigations.
Chapter 4 The conclusions about this research work and new perspectives in coordination polymers building-up are here reported
La policromia dei Monochromata
The so-called "monochromes" on marble are twelve paintings on marble slabs from the Roman age, mostly coming from Herculaneum, and are now preserved at the National Archaeological Museum of Naples and at the Kunsthistorisches Museum of Vienna. These paintings were included in several publications. Despite that, they continued to raise many questions and there was a lack of studies focusing entirely on them. Furthermore, it had barely been clarified that, despite the name "monochromes", these works are completely polychrome. By combining the archaeological data and the information obtained from the non-invasive archaeometrical analysis, it was possible to achieve brand new results, which allowed for a better understanding of some aspects of these works, such as their iconography, the used pigments used and the clients’ choices
La cittĂ , il viaggio, il turismo: Percezione, produzione e trasformazione
[English]:The city as a destination of the journey in his long evolution throughout history: a basic human need, an event aimed at knowledge, to education, to business and trade, military and religious conquests, but also related to redundancies for the achievement of mere physical or spiritual salvation. In the frame of one of the world's most celebrated historical city, the cradle of Greek antiquity, myth and beauty, travel timeless destination for culture and leisure, and today, more than ever, strongly tending to the conservation and development of their own identity, this collection of essays aims to provide, in the tradition of AISU studies, a further opportunity for reflection and exchange between the various disciplines related to urban history./ [Italiano]:La cittĂ come meta del viaggio nella sua lunga evoluzione nel corso della storia: un bisogno primario dell'uomo, un evento finalizzato alla conoscenza, all'istruzione, agli affari e agli scambi commerciali, alle conquiste militari o religiose, ma anche legato agli esodi per il conseguimento della mera salvezza fisica o spirituale. Nella cornice di una delle cittĂ storiche piĂą celebrate al mondo, culla dell'antichitĂ greca, del mito e della bellezza, meta intramontabile di viaggi di cultura e di piacere, e oggi, piĂą che mai, fortemente protesa alla conservazione e alla valorizzazione della propria identitĂ , questa raccolta di saggi intende offrire, nel solco della tradizione di studi dell'AISU, un'ulteriore occasione di riflessione e di confronto tra i piĂą svariati ambiti disciplinari attinenti alla storia urbana
La cort napolitana d'Alfons el MagnĂ nim: el context de "Curial e GĂĽelfa"
La novel•la cavalleresca Curial e Güelfa, redactada en llengua catalana i en un context italià –segons una vella presumpció, que ajuden a confirmar recents investigacions– ha sigut objecte de controvèrsia per diversos fets: el fet de trobar-se només en un manuscrit, que els codicòlegs relacionen amb Toledo; el fet de presentar un català amb preferències lèxiques valencianes, però hibridat amb italianismes i apartat de l’estil literari dominant a la València de l’època; el carà cter aparentment medieval, però amb molts punts d’influència i de contacte amb l’humanisme italià , etc. La present tesi doctoral pretén resoldre aquestes controvèrsies de manera satisfactòria i més o menys conclusiva.
En primer lloc, s’ha estudiat de manera exhaustiva la cort napolitana d’Alfons el MagnĂ nim, i les biografies de mĂ©s de 200 dels seus cortesans, prestant atenciĂł especial a les relacions culturals i als interessos literaris d’aquests. De resultes d’aquest estudi, s’han biografiat mĂ©s especĂficament alguns dels cortesans del NĂ pols alfonsĂ directament relacionats amb el contingut, els referents culturals, l’onomĂ stica Ă clef i altres aspectes del Curial. En segon lloc, s’han estudiat totes les fonts literĂ ries i els referents que s’han pogut documentat en la novel•la anònima, amb una important aportaciĂł de novetats, sobretot pel que fa al coneixements de fonts italianes i clĂ ssiques, constataciĂł que faria inexplicable la producciĂł de l’obra a la PenĂnsula Ibèrica, però que l’explica molt bĂ© a la PenĂnsula ItĂ lica. Finalment, s’han desxifrat els noms de tots els personatges de la ficciĂł, els quals es relacionen d’una manera no excessivament encriptada, amb personatges reals de l’Europa de l’època, ben coneguts en l’entorn diplomĂ tic de la cort del rei d’AragĂł.
De resultes de tot aquest anĂ lisi primmirat, aprofitant al mĂ xim els materials bibliogrĂ fics (mĂ©s de 6.000 referències), arxivĂstics (documents publicats i inèdits) i literaris (es poden reconstruir perfectament la biblioteca i les preferències de l’anònim autor del Curial), se’ns dibuixa Curial e GĂĽelfa com una novel•la d’aparença medievalitzant (paròdia, en realitat, de l’amor cortĂ©s i els llibres de cavalleria), però molt influĂŻda ideològicament –i metodològicament, tambĂ©: una imitatio petrarquesca– per la cultura humanĂstica italiana. Sembla ser l’obra d’algĂş molt ben relacionat amb l’estament cavalleresc i amb la vida curial, que s’ha format en Ă mbit ibèric i en la perifèria gòtica d’Europa (lĂrica trobadoresca, Tristany i Lançalot, etc.), però que, desprĂ©s d’haver viscut uns anys a ItĂ lia en contacte amb cenacles humanĂstics, ha sigut capaç d’incorporar a la seua obra un esperit jocund (facècia erudita, ironia subtil i metaliterĂ ria, paròdia, sĂ tira, etc.) mĂ©s propi del Renaixement que de l’edat mitjana. RaĂł per la qual es pot definir el Curial com un text catalĂ explicable pel context italiĂ , i catalogable com una creaciĂł literĂ ria pròpia del que els historiadors de la cultura i de la literatura italianes denominen la cavalleria umanistica. De fet, els patrons culturals sobre els quals dissenya el seu artefacte literari l’anònim escriptor no sĂłn tant els propis de la cort alfonsina de NĂ pols –on en teoria s’havia de “recitar” l’obra, sembla que en un entorn confidencial– com els de l’humanisme llombard, florentĂ i ferrarĂ©s, al qual deu molt la novel•la