Frammento di tabella aritmetica dalla collezione di Vienna

Prima edizione di un frammento papiraceo della collezione di Vienna, contenente una tabella di moltiplicazioni proveniente probabilmente da un ambiente scolastico

Storia della lingua interazionale e cognitiva: un'analisi pilota. Trattati di architettura italiani, francesi e tedeschi, dal tredicesimo al diciassettesimo secolo

Obiettivo di questo elaborato è lo sviluppo di un terzo paradigma diacronico d`indagine linguistica alternativo ai paradigmi tradizionali "interno" ed "esterno" nonché la conferma della sua validità metodologica attraverso un`analisi-pilota operata su un corpus di testi, selezionato ad hoc

Recovering the (Mis)Promises of Critical Pedagogies in Neoliberal Times: A Turn to Ethics

There are many renderings of critical pedagogy and at the core of each theory is a desire for the common good and a more just world. However, neoliberal logic is undermining the foundational promises of critical pedagogies. What happens when teachers, schooled in these theories—these promises—work in buildings that are hostile, indifferent or simply pay lip service to such theoretical goals? What happens when teachers realize, witness and participate in education as a force of ongoing colonial and systemic oppressions based on sex, gender, class and race (Battiste, 2005; Dion, 2010; Gaztambide-Fernández, 2011; Noroozi, 2017)? What happens to teachers’ (critical) pedagogical praxis when all hope of change seems impossible, when the inevitability of the way-things-are sucks all hope out of you? In an attempt to grapple with the “pervasive atmosphere of capitalist realism” (Fisher, 2009, p. 16) that infiltrates and impedes the educational, I position public education in Berlant’s (2011) notion of cruel optimism and question the (mis)promises of critical pedagogies. In doing so, I consider a turn to ethics to recover the “educational in education” (Di Paolantonio, 2016, p. 148). I make this move to think through how an ethics of responsibility to and for others might be fostered in schools given the compromised place of public education today

The DAMPE silicon–tungsten tracker

The DArk Matter Particle Explorer (DAMPE) is a spaceborne astroparticle physics experiment, launched on 17 December 2015. DAMPE will identify possible dark matter signatures by detecting electrons and photons in the 5 GeV–10 TeV energy range. It will also measure the flux of nuclei up to 100 TeV, for the study of the high energy cosmic ray origin and propagation mechanisms. DAMPE is composed of four sub-detectors: a plastic strip scintillator, a silicon–tungsten tracker–converter (STK), a BGO imaging calorimeter and a neutron detector. The STK is composed of six tracking planes of 2 orthogonal layers of single-sided micro-strip detectors, for a total detector surface of ca. 7 m2. The STK has been extensively tested for space qualification. Also, numerous beam tests at CERN have been done to study particle detection at silicon module level, and at full detector level. After description of the DAMPE payload and its scientific mission, we will describe the STK characteristics and assembly. We will then focus on some results of single ladder performance tests done with particle beams at CERN

Splendors of the Serenissima in a Digital Age: The Master of the Murano Gradual Reconsidered

The Master of the Murano Gradual is one of the most enigmatic illuminators working in early fifteenth-century Venice. The eponymous choir books were commissioned by the Camaldolese monastery of San Mattia a Murano and today comprise a single intact volume in the Kupferstichkabinett in Berlin (MS 78 F.1) and about fifty historiated initials dispersed in twenty-five public and private collections in Europe and the United States. The fragmentary nature of the overall corpus is a central challenge to studying the artist and to understanding the contours of the workshop. This article provides a reassessment of the corpus of work attributed to the Murano Master—including an appendix with provenances of the whereabouts of the series—and makes a case for future collaborations that can build upon digitization efforts that make the fragments available online and upon recent technical analysis into the pigments used by the illuminators. The methodological approach of the authors has been twofold. Firstly, to study each of the fragments and manuscripts in person, and to locate digital assets for as many works as possible with the aim of creating an eventual website or online repository for scholars to consult. Secondly, to investigate codicological features of the individual fragments that have been hitherto overlooked, including the measurement of musical stave heights or blind-ruled lines for song, and the possible relationship between decorated and filigree letters to over one-hundred cuttings with decorated letters that have also been associated with the San Mattia series. Finally, the study also clarifies the dating of the Murano choir books, which were most likely produced in the 1420s