A Service Oriented Framework for Analysing Social Network Activities

AbstractAnalysing and monitoring Social Networking activities raise multiple challenges for the evolution of Service Oriented Systems Engineering. This is particularly evident for event detection in social networks and, more in general, for large-scale Social Analytics, which require continuous processing of data. In this paper we present a service oriented framework exploring effective ways to leverage the opportunities coming from innovations and evolutions in computational power, storage, and infrastructures, with particular focus on modern architectures including in-memory database technology, in-database computation, massive parallel processing, Open Data Services, and scalability with multi-node clusters in Cloud. A prototype of this system was experimented in the contest of a specific kind of social event, an art exhibition of sculptures, where the system collected and analyzed in real-time the tweets issued in an entire region, including exhibition sites, and continuously updated analytical dashboards placed in one of the exhibition rooms

Pasolini tra URSS e USA: L’intellettuale italiano negli anni della Guerra Fredda

This article focuses on the modalities Pier Paolo Pasolini questioned the influence of the culture of the United States and of Soviet Union during the Cold War Years, in order to find a new model of Italian intellectual, and then refused the models proposed by both the countries. It analyses the production of the author concerning the period between 1965 and 1969.It is demonstrated that in the works written the period considered and the following works that referred to that period, Pasolini embodied an ambivalent position, which can be referred to the “multistable figure” model theorized by Cristopher Holzhey (2010 and 2013). He held at the same time both the cultural models, and then denounced the failure of them both. The demonstration is carried out through a comparative reading of critical texts devoted to Cold War, to intellectual engagement, to ambivalence, to Pasolini’s work, and nonetheless Pasolini’s texts.The result achieved is a demonstration of how, through his ambivalent position, Pasolini embodied the disorientation of the Italian intellectual, and of the country as a whole, during the period considered: an oscillation between the influence of the two cultural models during the 1960s that turned into the need to overcome them before the beginning of 1970s.Questo articolo mostra le modalità in cui Pier Paolo Pasolini ha interrogato l’influenza della cultura degli Stati Uniti e quella dell’Unione Sovietica durante gli anni della Guerra Fredda, in particolare nella sua produzione che riguarda gli anni compresi tra 1965 e 1969, alla ricerca di un nuovo modello di intellettuale italiano, per poi rifiutare i modelli proposti dalle culture di entrambi i paesi.Si è proceduto a dimostrare che Pasolini ha costituto una posizione ambivalente, riferibile al modello di “figura multistabile” teorizzato da Cristoph Holzhey (2010 e 2013), tenendo in piedi nelle sue opere del periodo considerato, nonché quello successivo che riesaminano tale periodo, i due modelli culturali contemporaneamente, per poi denunciare il fallimento di entrambi. Tale dimostrazione e avvenuta mediante la comparazione di alcuni interventi critici dedicati alla Guerra Fredda, all’impegno dell’intellettuale, all’ambivalenza, all’opera di Pier Paolo Pasolini nonché testi propri dell’autore.Il risultato raggiunto è la dimostrazione di come, attraverso questa posizione ambivalente, Pasolini ha incarnato il disorientamento dell’intellettuale italiano, nonché del paese nella sua interezza, nel periodo considerato, oscillando tra l’influenza dei due modelli culturali durante gli anni Sessanta, per poi decretare la necessità di un superamento e di tali modelli di impegno all’emergere dei Settanta

Italian items in domestic spaces Representing Italianness through objects in the fiction of Helen Barolini and Chiara Barzini

In their migration, people carry objects with them, and relocate them through physical spaces and across cultural boundaries. Handed down through generations, these objects become signs of ethnicity beyond their appearance and purpose. Examining the variety of the literary representations of objects and their subsequent translation contributes to the analysis of how material culture migrates within distant cultural systems and from one language to another. This essay focuses on domestic objects depicted by two Italian authors writing about the experience of a migrant coming-of-age in the United States: Helen Barolini and Chiara Barzini. Using diverse multilingual and (self-)translation strategies, they highlight through cultural translation the difficulties of bridging their Italian and American selfhood within an Italian household relocated abroad. In doing so, their relationship with objects underlines how their diasporic experience is entangled with their achievement of self-confidence and independence as women within the context of the Italian diaspora

Transmediality as a transcultural dialogue: Pasolini between the Other and the Self

Working on Pier Paolo Pasolini in the international context of Italian studies alongside the context of Italian studies defined by national borders often gives the impression of exploring two different authors. On the one hand, this can be attributed to the specific and original nature of Pasolini’s oeuvre, based on the contradictory and often inconsistent thought carried out by the author. On the other hand, Pasolini’s case makes evident that there is still a lot of work to be done on the transnational turn often auspicated in the wider and international field of Italian studies, to which Pasolini’s work may contribute crucially, highlighting many ways to bridge mainland Italy with the Italies projected abroad. Consequently, this contribution follows the inspiration behind this bilingual collection of essays and other recent collective publications

Teorizzare un umorismo ipermoderno: il caso Walter Siti

What we talk about when we talk about humor? To what extent can one talk today about humor? The concept that Luigi Pirandello defined as the ability to express «the feeling of the opposite» (1908) appears as an essential requirement to the contemporary writer. It is a necessary tool for whom aims to represent the society of the divided subject, which is supported by an ideology grounded and built on the ambivalence of the message and the inability of mainstream audience to decode it. By analyzing texts from the major phase of Walter Siti’s oeuvre – the five “autofictional” novels, i. e. Scuola di nudo (1994), Un dolore normale (1997), Troppi paradisi (2006), Resistere non serve a niente (2012), Exit Strategy (2014) – in comparison with works from other contemporary writers, such as Philip Roth, Don DeLillo and Jonathan Coe, as well as referring to the humoristic lesson provided by Pier Paolo Pasolini, this article attempts to theorize a hypermodern humor. It is a type of humor that paradoxically keeps many features from modern humor, even if not necessarily the ability to raise a laugh. Cosa intendiamo con umorismo, e in che misura possiamo parlare di umorismo, oggi? Il concetto che durante il modernismo Luigi Pirandello ha definito come capacità di saper esprimere il «sentimento del contrario» (1908) appare come requisito fondamentale per lo scrittore contemporaneo: uno strumento necessario a chi si adoperi a appresentare la società del soggetto scisso, retta da un’ideologia che si fonda e si costruisce sull’ambivalenza dei messaggi e sulla progressiva incapacità del pubblico medio di riuscire a decifrarli. In questo articolo, attraverso una lettura dei testi tratti da quella che ho individuato come fase maggiore dell’opera di Walter Siti  – i cinque romanzi dell’”autofiction”: Scuola di nudo (1994), Un dolore normale (1997), Troppi paradisi (2006), Resistere non serve a niente (2012), Exit Strategy (2014) – in comparazione con alcuni scrittori a lui contemporanei, ossia Philip Roth, Don DeLillo e Jonathan Coe, nonché attraverso il recupero della lezione umoristica pasoliniana, è mia intenzione ragionare su una possibile teorizzazione di un umorismo ipermoderno, che, paradossalmente, ha conservato le caratteristiche dell’umorismo così come è stato trasmesso dal modernismo, tuttavia anteponendole alla capacità di provocare il riso

Sensory profile of P.D.O. Mozzarella di Bufala Campana Cheese

The aim of this work was to define the typical sensory profile of DOP Mozzarella di Bufala Campana cheese as related to the technological process (industrial or artisanal), the geographical area (Salerno or Caserta), the season (spring or summer) and to the chemical composition of both milk and cheese. The results obtained showed that the sensorial profile of Mozzarella DOP changed for each variable considered. In particular, Caserta samples were more salty, with a more intense butter odour, higher peelability and homogeneity surface than those from Salerno area; the industrial samples, compared to the artisanal ones, were more salty, hard and "chewable", and exhibited an external layer more difficult to remove and more homogeneous