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Ingeniera Civil / Siguiendo la Agenda de Productividad, Innovación y Crecimiento del gobierno de Chile, que significó la formación del programa Construye 2025 y el proceso energético participativo Energía 2050, el país se encuentra en la fase de planificación y aplicación de planes que desarrollen la construcción sustentable y manejo de información transversal para reducir tiempos y pérdidas en la industria. Frente a este escenario, el siguiente trabajo propone una expansión del espectro de evaluación de la Certificación Edificio Sustentable (CES), modificando las variables 10 y 21 sobre el manejo de residuos en las etapas de operación y construcción respectivamente, e incorporando criterios de evaluación que determinen el desempeño ambiental de los productos utilizados en la edificación de la infraestructura a certificar. El desarrollo de las propuestas considera una caracterización del estado del arte nacional del rubro de la construcción, mediante la revisión bibliográfica de tres herramientas de certificación internacionales y la recopilación de metodologías nacionales implementadas en el área constructiva relacionadas a la sustentabilidad. Una vez analizada la disponibilidad metodológica para la incorporación de requisitos, se propone integrar la evaluación del tema Construcción al puntaje oficial que categoriza el grado de sustentabilidad del edificio en comparación con otros miembros del sistema CES, correspondiente a la categoría en la que clasificarían las variables 21, 24 y 25 propuestas. Junto con las variables, el documento incluye la oferta relacionada a una evaluación de impacto de los edificios en su totalidad como sistema único que incluye un primer acercamiento sobre diseño para reutilización, reciclaje de edificios existentes, mitigación de contaminación acústica y visual en construcción, regulación de transporte y análisis de ciclo de vida del sistema. No se incluyen propuestas específicas sobre la aplicación de estos temas en la certificación debido a la amplitud de cada tópico y a la deficiencia tecnológica encontradas en el medio para proponer una metodología, dejando abierta la posibilidad de futuras investigaciones. Por último, el documento utiliza la información del edificio Beauchef 851 para la aplicación primaria de las propuestas, a modo de cierre del trabajo y así poder analizar la viabilidad de las proposiciones. En este estudio se concluye la necesidad de importar metodologías utilizadas en el extranjero y la capacitación del país y así poder reducir el impacto que tiene la construcción local.

This thesis focuses on Intertexuality in the Poetry of Amelia Rosselli from Primi Scritti (1952-1963) to Variazioni belliche (1959-1961). The research is based on the annotated books of the author's personal library kept in the Fondo Rosselli of Viterbo and of her personal documents, letters and original typescripts of her works held in the Centro Manoscritti Autori Moderni e Contemporanei of the University of Pavia. Rosselli's annotations are studied for the first time and they have proved to be essential for the interpretation of her poetry. Rosselli's aspiration to Gesamtskunstwerk is reflected in the composition of her library which ranges from musicology, quantum physics, Gestalt psychology, history of art and philosophy. I explored the influence of these disciplines in her work adopting an interdisciplinary approach. In particular I concentrate on the influence that her studies in etnomusicology have had on the style of her poetry. The theoretical framework of Julia Kristeva and Gian Biagio Conte enable me to draw two main intertexual strategies in Rosselli's poetry: the intertexuality of harmonics, and parody. Rosselli's use of literary allusion is a very original one: it is based on her work as a musicologist, which she articulates in the essay La serie degli armonici. In this essay Rosselli studied natural harmonics in music. Allusions develop into an intertextual fugue creating a mîse en abyme effect. Another type of allusion is the parody in which the poetic I acting as the fool challenges the literary fathers of Tradition in order to find her own space in the canon. The study of intertextuality has also some important consequences on a literary hystoriographic perspective: I recognized in her poetry what Detloff called 'the persistence of Modernism'. Her work like the one of Anglo-American modernists is characterized by a form of resilience to trauma and loss. Like the literature of survivors, Rosselli's deals with the expression of inexpressible, the fragmentation of the poetic I, and the will of re-writing her own story to overcome trauma. The ultimate result is a political and ethical cry for social justice, symphathy and peace.

Given the importance of Paul for Dante's characterization of the pilgrim, and his invocation of the Pauline Epistles throughout the Commedia, this thesis began by asking how important Paul was to Dante's fourteenth-century readers. It examines the use of the Pauline Epistles by the Trecento commentators of Dante's Commedia in order to contribute to our understanding of how both were read in late medieval Italy. Part One examines reading practices in the Middle Ages, and introduces commentary writing as a genre. The fourteenth century commentators are then described, with a focus on personal circumstances that may have influenced their interpretations. Part Two examines the use of Paul in the commentaries, differentiating between different forms of citation, such as when the commentators used Paul because they identified Pauline references or allusions in the poem, or when they included Paul in their interpretations for other reasons. This produced close readings of selected commentaries which reveal how the commentators read Paul and understood Dante. Jacopo della Lana used Paul when copying Aquinas, and his knowledge of the Epistles themselves, it is argued, was often confused and inaccurate. Pietro Alighieri repeatedly used Paul in combination with other sources in order implicitly to link canti. Guido da Pisa viewed the Commedia as a prophetic dream vision, and equated Dante with Biblical figures, including Paul. This comparison allowed Guido to justify his use of Dante as a life model for his dedicatee. The commentators acknowledge the importance of Paul when Dante clearly alludes to the Epistles, but in general, they simply use Paul as an authoritative voice. Finally, this thesis demonstrates their understanding of Dante not just as narrator/character, but also as reader.

This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.