Amigo próximo de Manuel Bandeira, Aníbal Machado, Heitor Villa-Lobos e outros artistas eminentes do Modernismo brasileiro, Dante Milano (1899-1991) publicou seus poemas em livro apenas tardiamente, em 1948, sob o título de Poesias. Apesar do reconhecimento crítico imediato, sua obra permaneceu sempre, como ainda hoje, sendo lida por um público diminuto fato normalmente atribuído antes de tudo ao temperamento muito discreto do poeta. Mais do que repetir a constatação da injusta impopularidade de uma grande poesia, cabe a tarefa de qualificar a sua grandeza, sugerindo com isso certa singularidade da voz poética. Um aspecto forte de tal singularidade será certamente o feitio clássico predominante nos versos de Dante, a impressão de um equilíbrio harmônico a despeito da facilmente notável abundância de pares antitéticos nos poemas, como a treva e a luz, o concreto e o abstrato, o novo e o antigo. A atenuação dos contrastes particulariza na linguagem algo que se mostra fundamental para o próprio pensamento do poeta, a simultaneidade da atenção ao mundo material e da absorção em si mesmo que tende a interiorizar e a transfigurar os seres e as coisas. A resposta da poesia de Dante Milano à realidade do deslocamento do homem moderno parece compor-se nesse espaço intervalar cavado pela intimidade a qual, sem se evadir por completo da vida objetiva, não deixa de reconhecer em relação a ela um radical distanciamento, nomeado em certos poemas como o exílio. Manifesta-se a natureza íntima desse exílio poético na voz baixa, na serenidade de tom própria do poeta capaz de relativizar a dor e evitar a expressão do desespero por confiar na profundidade da instância subjetiva em que o canto se instaura e, discretamente, perdura. / A close friend of Manuel Bandeira, Aníbal Machado, Heitor Villa-Lobos and some other prominent artists from brazilian Modernism, Dante Milano (1899-1991) has published his poems in a book just lately, in 1948, with the title Poesias. Even though there was immediate critical acknowledgment, his work has always remained, as it currently is, being read by a small public a fact that is usually imputed above all to the very discrete temper of the poet. Rather than repeating the general finding of the unfair unfamiliarity of a great poetry, a proper task would be to specify its greatness, so suggesting some singularity of this poetic voice. An important aspect of such singularity would certainly be the classical feature that predominates in Dantes verses, a harmonic equilibrium impression notwithstanding the remarkable abundance of antithetical pairs in the poems, as darkness and light, concrete and abstract, new and antique. The mitigation of contrasts particularizes in the language something that seems to be crucial for the poets thought, the simultaneity of attention to the material world and of absorption of mind that tends to interiorize and to transfigure beings and things. The response of Dante Milanos poetry to modern man truth of displacement seems to be composed at this intervallic space built by his intimacy an intimacy that, without completely deceiving objective life, nevertheless recognizes a deep detachment from it, named in certain poems as the exile. The intimate nature of this poetic exile is expressed in the low voice, in the serene tone, characteristic of a poet who is capable to ease the pain and to avoid the expression of despair for trusting in the deepness of the subjective sphere in wich his poetry establishes itself and, discretely, remains.

Amigo próximo de Manuel Bandeira, Aníbal Machado, Heitor Villa-Lobos e outros artistas eminentes do Modernismo brasileiro, Dante Milano (1899-1991) publicou seus poemas em livro apenas tardiamente, em 1948, sob o título de Poesias. Apesar do reconhecimento crítico imediato, sua obra permaneceu sempre, como ainda hoje, sendo lida por um público diminuto fato normalmente atribuído antes de tudo ao temperamento muito discreto do poeta. Mais do que repetir a constatação da injusta impopularidade de uma grande poesia, cabe a tarefa de qualificar a sua grandeza, sugerindo com isso certa singularidade da voz poética. Um aspecto forte de tal singularidade será certamente o feitio clássico predominante nos versos de Dante, a impressão de um equilíbrio harmônico a despeito da facilmente notável abundância de pares antitéticos nos poemas, como a treva e a luz, o concreto e o abstrato, o novo e o antigo. A atenuação dos contrastes particulariza na linguagem algo que se mostra fundamental para o próprio pensamento do poeta, a simultaneidade da atenção ao mundo material e da absorção em si mesmo que tende a interiorizar e a transfigurar os seres e as coisas. A resposta da poesia de Dante Milano à realidade do deslocamento do homem moderno parece compor-se nesse espaço intervalar cavado pela intimidade a qual, sem se evadir por completo da vida objetiva, não deixa de reconhecer em relação a ela um radical distanciamento, nomeado em certos poemas como o exílio. Manifesta-se a natureza íntima desse exílio poético na voz baixa, na serenidade de tom própria do poeta capaz de relativizar a dor e evitar a expressão do desespero por confiar na profundidade da instância subjetiva em que o canto se instaura e, discretamente, perdura. / A close friend of Manuel Bandeira, Aníbal Machado, Heitor Villa-Lobos and some other prominent artists from brazilian Modernism, Dante Milano (1899-1991) has published his poems in a book just lately, in 1948, with the title Poesias. Even though there was immediate critical acknowledgment, his work has always remained, as it currently is, being read by a small public a fact that is usually imputed above all to the very discrete temper of the poet. Rather than repeating the general finding of the unfair unfamiliarity of a great poetry, a proper task would be to specify its greatness, so suggesting some singularity of this poetic voice. An important aspect of such singularity would certainly be the classical feature that predominates in Dantes verses, a harmonic equilibrium impression notwithstanding the remarkable abundance of antithetical pairs in the poems, as darkness and light, concrete and abstract, new and antique. The mitigation of contrasts particularizes in the language something that seems to be crucial for the poets thought, the simultaneity of attention to the material world and of absorption of mind that tends to interiorize and to transfigure beings and things. The response of Dante Milanos poetry to modern man truth of displacement seems to be composed at this intervallic space built by his intimacy an intimacy that, without completely deceiving objective life, nevertheless recognizes a deep detachment from it, named in certain poems as the exile. The intimate nature of this poetic exile is expressed in the low voice, in the serene tone, characteristic of a poet who is capable to ease the pain and to avoid the expression of despair for trusting in the deepness of the subjective sphere in wich his poetry establishes itself and, discretely, remains.

The use of knitting technology with advanced fibres such as glass, carbon and aramid, to produce near-net-shape fabrics has in recent years received increasing interest from the composite materials community. Knitted fabrics have the potential of being used in engineering structures with complex shapes in conjunction with a suitable liquid moulding technique, such as Resin Transfer Moulding (RTM), due to their excellent drapeability and manufacturability. During previous studies in textile reinforced composites, an intimate relationship between the fabric architecture and the damage development has been demonstrated. In this work, the quasi-static tensile loading deformation behaviour and the relation between the fabric architecture and damage development have been studied for a weft knitted glass fabric. Tensile properties have been examined and the failure mechanisms have been identified experimentally by analysing the damage process in-situ with a camera and by studying fracture surfaces using scanning electron microscopy (SEM). The acoustic emission technique was used to support the microscopic analysis. The work has investigated the tensile properties and failure mechanisms of three knitted fabric reinforced composite laminates reinforced with a Milano weft knitted glass fabric. The three composites were (i) a single layer of fabric reinforcing epoxy resin, (ii) a single knitted fabric layer sandwiched between 0° glass fibre unidirectional plies (again with the glass reinforcing epoxy resin), and (iii) the same knitted glass fabric but this time used as the reinforcement in commercially produced high fibre volume fraction composites (using the RTM technique). The variation of mechanical properties with angle (from wale to course) has been measured for the single layer of the fabric reinforcing epoxy resin by orientating the wale direction of the fabric at different angles. Mechanical properties have been measured for each angular orientation and comparisons were made between them, especially with regard to the planes of final failure. The single layer composites failed as soon as the first damage was initiated. Hence, to investigate damage accumulation, a novel technique was employed to manufacture a sandwich laminate, which consisted in placing a single knitted fabric layer between 0° glass fibre unidirectional plies. The success of this method is that the accumulation of damage in the knitted architecture was allowed to be studied and some characteristics of crack initiation and crack propagation could be related to the fabric geometry and structure. Experiments on these model transparent materials have been complemented by tests on two types of commercial knitted fabric composite manufactured by the RTM process. Characterization of these materials under tensile loading has been carried out for monotonic and cyclic loading and the results have been compared with those found for the single layer and the sandwich model material. Various failure mechanisms such as cracking at loop cross-over points, resin matrix cracking, fibre bundle debonding and tensile fracture of fibre bundles in failed specimens were observed. The behaviour of the commercial RTM specimens has been discussed in the light of the results obtained from the model single layer and sandwich specimens.

Dante Milano (1899-1991) é um poeta do Rio de Janeiro conhecido tanto pela qualidade da sua obra poética, um verdadeiro mar enxuto, quanto pelo seu retraimento. O ponto de vista ressabiado de Milano nada tem a ver com uma postura conservadora, favorável ao academicismo e à estagnação estética, coaduna-se à atitude de poetas formados a partir de um modernismo em curso, constantemente meditado e julgado. Sua capacidade de se identificar e de se desidentificar com o modernismo brasileiro é reveladora de sua independência pessoal como também da índole do movimento modernista no Rio de Janeiro, distinta em relação a São Paulo. Dante Milano publicou, em 1948, Poesias, cujos poemas foram produzidos a partir da década de 1920; depois da primeira publicação, a obra ganhou novas edições acrescidas de outros textos (poemas, textos em prosa, traduções e/ou textos críticos). Orientada pela crise e pela negatividade, a obra poética milaniana, tomada como objeto neste estudo, é sulcada por paradoxos, ironias e imagens de desagregação. O tratamento conferido à guerra e aos conflitos internos, à separação entre homem e natureza, à transformação da paisagem, à constituição de um sujeito lírico em queda e em constante autorreflexão expressa tanto a incorporação consciente da crise quanto a mimetização de uma consciência em crise. O poeta carioca explicita em sua poesia a perplexidade individual e coletiva diante do andamento conflituoso da sociedade, das diferentes formas de violência, do descompasso entre o acelerado avanço da modernização e a manutenção das condições de vida precárias. O questionamento a respeito de como agir e enfrentar o mundo desencantado converte-se numa perspectiva hesitante do sujeito lírico que flerta com a autodestruição / Dante Milano (1899-1991) is a native of Rio de Janeiro poet known for the quality of his poetry and by its withdrawal. The wary view of Milano has nothing to do with a conservative approach, conducive to scholarship and aesthetic stagnation, is consistent with the attitude of poets formed in a Modernism in progress, constantly meditated and tried. His ability to identify and to misidentify himself with the Brazilian Modernism is revealing of personal independence as well as the nature of the modernist movement in Rio de Janeiro, distinct relative to São Paulo. Dante Milano published in 1948, Poesias, whose poems were produced from the 1920s; after the first publication, the book gained new editions containing other texts (poems, prose, translations and / or critical texts). Prompted by crisis and negativity, Milanos poetry, taken as an object in this study, is furrowed by paradoxes, ironies and pictures breakdown. The treatment given to war and internal conflicts, the separation between man and nature, the transformation of the landscape, the establishment of a lyrical subject falling and constant self-reflection expresses both conscious incorporation of the crisis as mimicking an awareness in crisis. The poet explains in his poetry the individual and collective puzzlement on the conflicting progress of society, different forms of violence, the mismatch between the rapid advancement of modernization and maintenance of poor living conditions. The question is: how to act and face the disenchanted world becomes a hesitant perspective of lyrical subject who flirts with selfdestruction

Dante Milano (1899-1991) é um poeta do Rio de Janeiro conhecido tanto pela qualidade da sua obra poética, um verdadeiro mar enxuto, quanto pelo seu retraimento. O ponto de vista ressabiado de Milano nada tem a ver com uma postura conservadora, favorável ao academicismo e à estagnação estética, coaduna-se à atitude de poetas formados a partir de um modernismo em curso, constantemente meditado e julgado. Sua capacidade de se identificar e de se desidentificar com o modernismo brasileiro é reveladora de sua independência pessoal como também da índole do movimento modernista no Rio de Janeiro, distinta em relação a São Paulo. Dante Milano publicou, em 1948, Poesias, cujos poemas foram produzidos a partir da década de 1920; depois da primeira publicação, a obra ganhou novas edições acrescidas de outros textos (poemas, textos em prosa, traduções e/ou textos críticos). Orientada pela crise e pela negatividade, a obra poética milaniana, tomada como objeto neste estudo, é sulcada por paradoxos, ironias e imagens de desagregação. O tratamento conferido à guerra e aos conflitos internos, à separação entre homem e natureza, à transformação da paisagem, à constituição de um sujeito lírico em queda e em constante autorreflexão expressa tanto a incorporação consciente da crise quanto a mimetização de uma consciência em crise. O poeta carioca explicita em sua poesia a perplexidade individual e coletiva diante do andamento conflituoso da sociedade, das diferentes formas de violência, do descompasso entre o acelerado avanço da modernização e a manutenção das condições de vida precárias. O questionamento a respeito de como agir e enfrentar o mundo desencantado converte-se numa perspectiva hesitante do sujeito lírico que flerta com a autodestruição / Dante Milano (1899-1991) is a native of Rio de Janeiro poet known for the quality of his poetry and by its withdrawal. The wary view of Milano has nothing to do with a conservative approach, conducive to scholarship and aesthetic stagnation, is consistent with the attitude of poets formed in a Modernism in progress, constantly meditated and tried. His ability to identify and to misidentify himself with the Brazilian Modernism is revealing of personal independence as well as the nature of the modernist movement in Rio de Janeiro, distinct relative to São Paulo. Dante Milano published in 1948, Poesias, whose poems were produced from the 1920s; after the first publication, the book gained new editions containing other texts (poems, prose, translations and / or critical texts). Prompted by crisis and negativity, Milanos poetry, taken as an object in this study, is furrowed by paradoxes, ironies and pictures breakdown. The treatment given to war and internal conflicts, the separation between man and nature, the transformation of the landscape, the establishment of a lyrical subject falling and constant self-reflection expresses both conscious incorporation of the crisis as mimicking an awareness in crisis. The poet explains in his poetry the individual and collective puzzlement on the conflicting progress of society, different forms of violence, the mismatch between the rapid advancement of modernization and maintenance of poor living conditions. The question is: how to act and face the disenchanted world becomes a hesitant perspective of lyrical subject who flirts with selfdestruction

Studien har som syfte att studera efterkrigstidens italienska arbetskraftinvandring till SKF och Göteborg. Genom att genomföra denna form av studie kan man få en inblick i italienska arbetskraftsinvandringen och även få ett exempel på hur efterkrigstidens arbetskraftsinvandring skedde i Göteborg. Det finns ett hålrum i den svenska historieforskningen gällande arbetskraftinvandringen och dess berättelser samt minnen. De har en viktig funktion men har blivit en osynlig del av den svenska historien trots att det är en viktig del av det moderna Sveriges utveckling.

Si tratta di studio sulla pittura murale milanese dalla seconda metà del Duecento all’inizio del Trecento; partendo dalle considerazioni di Pietro Toesca (1912), si analizzano i singoli affreschi cercando di inserirli all’interno di un omogeneo percorso cronologico e stilistico; per comprendere meglio quale aspetto avesse la pittura milanese prima dell’arrivo di Giotto a Milano, evidenziando somiglianze e differenze tra le varie cadenze stilistiche presenti in Milano. A questo scopo i singoli dipinti, presenti nei vari edifici religiosi, vengono studiati nel loro contesto architettonico per comprendere meglio la loro rilevanza artistica nella città. / This study on the mural painting in Milan in the second half of the thirteenth century at the beginning of the fourteenth century, starting from the considerations of PietroToesca (1912); we analyze the individual frescoes trying to put them in a consistent chronological and stylistic; to understand better what the painting looked like before the arrival of Giotto in Milan , highlighting similarities and differences between the many stylistic variations present in Milan. For this purpose the individual paintings in the various religious buildings, are studied in their architectural context to better understand their importance in the artistic city.

Made available in DSpace on 2016-01-13T13:27:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-03-23. Added 1 bitstream(s) on 2016-01-13T13:32:51Z : No. of bitstreams: 1 000856002.pdf: 1265006 bytes, checksum: 9513f740401e1a8b8e7d174366619609 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / A obra milaniana Poesias (1948) ganhou, durante o século XX, leituras até certo ponto unívocas de seus críticos, culminando naquela feita por Ivan Junqueira (1984), de que esta se apoiaria em uma irrepreensível unidade. É, com efeito, esta unidade o ponto de partida de nossa investigação: o rastro do esquecimento a cortar a obra milaniana, e a imbricação desta com seu principal motivo, o pensamento. É a partir dos signos que ficaram à margem - esquecidos, de fato - que forçaremos o centro dessa poética, no intuito de ver reveladas, em seu edifício marmóreo, as fissuras que denunciarão a intuição moderna do artífice que a escreveu. Pensamos o esquecimento como um triplo desdobramento: como esquecimento cultural decorrente do tema traumático da guerra; como ontologia deslocada, ao se apropriar da analogia alighieriana, já desvinculada de sua ontologia neoplatônica; e como linguagem dissoluta ao inserir a ironia, nos termos que a entendeu Paz (2013), no centro dessa analogia, simulando uma correspondência entre os mundos sensível e inteligível que, em seguida, dissolve-se em alteridade. Este tripé estrutural do texto milaniano une-se, por fim, numa tópica amiúde repetida ao longo do Poesias: esquecimento / During the twentieth century, Dante Milano's work Poesias has had univocal readings by some critics, culminating in the reading by Ivan Junqueira (1984), which sustains the ideia of an unimpeachable unity. This unity is the base of our investigation: the trace of oblivion that crosses Milano's work and its imbrication with its main theme, the thought. From the observation of the signs that were left in the margin - in fact forgotten - we are going to force the center of this poetic, in order to reveal the cracks in Milano's work, and these cracks will denounce the modern intuition of the artist who wrote it. We see the oblivion as a triple outspread: the cultural oblivion due to the traumatic theme of the war; the out-of-place ontology, when it appropriates alighieri's analogy (PAZ, 2013) but already detached from its Neoplatonic ontology; the dissolute language, when irony is inserted, in the terms presentede by Paz (2013), in the center of this analogy, simulating a correspondence between the sensitive and inteligible worlds which dissolves itself later in otherness. This structural tripod of Milano's work is united in the theme often repeated throughout Poesias: oblivion

The thesis project is an urban developement project in the centre of Milan.

Carlo Cattaneo (1801-1869) would have been a remarkable man in any time period. He was interested in everything, and as a man of ideas was involved in the astonishing technological and stimulating political events of the nineteenth century. He encouraged the building of railways as a way to unite the Italian peninsula, and he was involved in connecting Italy to the rest of Europe through the St. Gothard Tunnel. An innovator of gas lighting in his native Milan, the great Lombard thinker was a prolific writer, and kept prodigious notes and copies of his correspondence. His economic and scientific involvement in the latest technology was emblematic of the intellectual strides he made. For example, he logically and rationally argued for racial and religious tolerance of the Jews over one hundred years before the enactment of the infamous Racial Laws in Fascist Italy. Today most know Carlo Cattaneo as the father of Italian federalism. During the Cinque Giornate insurrection in Milan in 1848, Carlo Cattaneo was an integral part of the war committee, and its spokesman. Although he had many liberal ideas about government and the rights of men, Carlo Cattaneo was a reluctant revolutionary, preferring exile in Switzerland over pledging allegiance to the Savoyard monarchy during the Risorgimento. Historians have almost unanimously declared that Carlo Cattaneo was anticlerical and irreligious. This was not true. CARLO CATTANEO: THE RELIGIOSITY OF A RELUCTANT REVOLUTIONARY examines the writings and the correspondence of Carlo Cattaneo, and concludes that the Cattanean opus is replete with Biblical references and allusions, Christian traditions and ideas. Historians have not taken the religiosity found in the writings of Carlo Cattaneo seriously. This thesis does.