Price of recreational products and the exchange rate: an empirical investigation on US data

The paper analyses the cointegration relationships and the causal links between the exchange rate of the US Dollar, on the one side, and different price indices of US products on the other side. Data are of monthly frequency and cover a period of two or three decades. We show that the exchange rate cointegrate with the Consumer Price Index and with the prices indices of several agricultural, manufactured and service goods; moreover a one-direction causal link is present, running from price to exchange rate. On the opposite, cointegrating relationships between exchange rate and price indices do not exist in the case of recreational products with “cultural” content. Tentative theoretical explanations are proposed.Price Index; Exchange Rate; Cointegration; Causality

US PRICE INDICES AND THE EXCHANGE RATE: ARE RECREATIONAL PRODUCTS DIFFERENT?

The paper analyses the cointegration relationships and the causal links between the exchange rate of the US Dollar, on the one side, and different price indices of US products on the other side. Data are of monthly frequency and cover a period of two or three decades. We show that the exchange rate cointegrate with the Consumer Price Index and with the prices indices of several agricultural, manufactured and service goods; moreover a one-direction causal link is present, running from price to exchange rate. On the opposite, cointegrating relationships between exchange rate and price indices do not exist in the case of recreational products with �cultural� content. Tentative theoretical explanations are proposed.Price Index; Exchange Rate, Cointegration, Causality

The Overlap between Headache and Epilepsy in the Light of Recent Advances in Medical Genetics

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Non melanoma skin cancer pathogenesis overview

(1)Background: Non-melanoma skin cancer is the most frequently diagnosed cancer in humans. The process of skin carcinogenesis is still not fully understood. However, several studies have been conducted to better explain the mechanisms that lead to malignancy; (2) Methods: We reviewed the more recent literature about the pathogenesis of non-melanoma skin cancer focusing on basal cell carcinomas, squamous cell carcinoma and actinic keratosis; (3) Results: Several papers reported genetic and molecular alterations leading to non-melanoma skin cancer. Plenty of risk factors are involved in non-melanoma skin cancer pathogenesis, including genetic and molecular alterations, immunosuppression, and ultraviolet radiation; (4) Conclusion: Although skin carcinogenesis is still not fully understood, several papers demonstrated that genetic and molecular alterations are involved in this process. In addition, plenty of non-melanoma skin cancer risk factors are now known, allowing for an effective prevention of non-melanoma skin cancer development. Compared to other papers on the same topic, our review focused on molecular and genetic factors and analyzed in detail several factors involved in non-melanoma skin cancer

L'Università degli Studi della Tuscia

Fin dal suo sorgere, l’Università della Tuscia ha ritenuto opportuno disegnare percorsi formativi innovativi non solo nell’ambito del panorama accademico del Lazio, ma anche nel più ampio quadro nazionale

Di lui cosa ne sai. Una panorámica del cine italiano del siglo XXI

Más allá del indudable declive del cine italiano, acosado por la monopolización y dependiente de la televisión, los primeros años del siglo XXI han visto la afirmación de nuevos cineastas así como una relativa recuperación de la industria cinematográfica italiana. Gracias al éxito de películas como Il divo o Gomorra, parece que el interés mediático por el cine italiano ha aumentado considerablemente. En este contexto, numerosos directores han iniciado o continuado su carrera en los últimos años a lo largo de todo el país, mientras que directores ya consagrados trabajan todavía produciendo películas de gran calidad.Beyond the unquestionable decline of Italian cinema, pestered by increasing monop-olization and financially supported by television, the first years of the XXIst century have seen the emergence of new directors along with the relative recovery of the Italian film industry. Due to the success of films such as Il divo or Gomorra, it seems that the interest of the media towards Italian cinema has increased considerably. In this context, directors across the country have started or continued their career, and other well-established directors are still working and producing high quality films

Desde que he conocido el arte…: experiencia carcelaria, teatro y cine de lo real en Cesare deve morire de los hermanos Taviani

La película Cesare deve morire, de los hermanos Taviani, vencedora del Oso de Oro en el Festival de Berlín de 2012, es una obra interesante tanto para un estudioso de cine como de teatro. El filme introduce al espectador en el mundo del teatro realizado en la cárcel, una práctica que en Italia cuenta ya con una historia de más de treinta años y un gran número de experiencias. Esta obra, clasificable dentro del riquísimo panorama contemporáneo italiano del llamado cine de lo real, se sitúa en el margen, entre el documental y la ficción, entre la representación realista de la cárcel y su transfiguración, en correspondencia con el estatus, también “al límite”, del teatro realizado en las cárceles y, por extensión, de la condición del actor-recluso. Palabras clave: teatro; cárcel; cine italiano; Taviani; Shakespeare.The Italian film Cesare deve morire, directed by Paolo and Vittorio Taviani, the winners of the Golden Bear at the 2012 Berlinale Competition, will be of interest to scholars of both Film and Theatre Studies. It explores prison theatre which has a thirty year tradition in Italy. Cesare deve morire is representative of the Italian cinéma du réel: it straddles the genres of documentary and feature film, and combines realistic representation with the poetic transfiguration of prison life. This in-betweenness reflects the intricacies of working with offenders and points to the complex status of the ‘incarcerated actor’. Keywords: theatre; prison; Italian film; Taviani; Shakespeare