La presente ricerca indaga il dibattito sociale, culturale e politico che ha anticipato la legge n. 66 Norme penali contro la violenza sessuale, licenziata dal Parlamento italiano nel febbraio 1996 e che, a quasi settant’anni dall’entrata in vigore del Codice penale Rocco, modificò la normativa vigente in materia di reati sessuali. Quel risultato arrivò a conclusione di un dibattito ventennale che visse due fasi principali: la prima coincise con il decennio degli anni Settanta ed ebbe come protagonista il movimento femminista, la seconda prese avvio all’inizio degli anni Ottanta e spostò il baricentro della discussione all’interno delle aule parlamentari. Nel lavoro di analisi proposto sono state seguite tre direttrici principali. Innanzitutto si è indagato il ruolo giocato dal movimento femminista nell’accendere i riflettori sul tema dello stupro e nel rompere il muro di silenzio che lo aveva relegato a questione privata. In secondo luogo si è tentato di fotografare il fermento sociale e culturale che accompagnò l’iniziativa femminista contribuendo a diffondere nella società civile italiana una nuova consapevolezza sul tema della violenza e degli abusi sessuali. L’attenzione si è infine soffermata sulla pluralità di approcci, punti di vista ed interpretazioni che animarono il dibattito parlamentare sulla riforma in materia di reati sessuali con l’intento di portare alla luce le ragioni più o meno nascoste che per cinque legislature impedirono alle forze politiche di approdare ad una soluzione condivisa. / This research aims to investigate the social, cultural and political debate that has anticipated law no. 66 Norme penali contro la violenza sessuale, dismissed by the Italian Parliament in February 1996. That result amended the current law in sex offenses and it was the final step of a twenty-year debate during which the Italian feminist movement played a crucial role. This research has three principle objectives. Firstly, it investigates the role played by the Italian feminist movement in bringing to light the subject of rape and breaking the wall of silence that had relegated it to a private sphere. Secondly, it aims to photograph the social and cultural turmoil raised by the feminist initiative which spread a new awareness about violence and sexual abuses in the Italian civil society. Thirdly, the research analyses the plurality of opinions and points of view that animated the parliamentary debate and prevented political forces from reaching a shared approach on the reform of criminal sex offenses.

The densification mechanisms of polycrystalline α-alumina by spark plasma sintering are highly contradictory, with different research groups suggesting diffusion to dislocation controlled mechanisms to be rate controlling. The specific objective of this work was to investigate densification mechanisms of α-alumina during the intermediate and final stages of sintering by SPS, analyze the microstructural development and establish sintering trajectories. In addition, zirconia and yttria were added in different weight percentages to study the effect of solute concentration on the densification kinetics of spark plasma sintered alumina. The present work adopts a different approach from the classical method adopted previously to analyze the sintering kinetics and densification mechanisms of alumina in SPS, although existing models for hot pressing were adopted for the basic analysis. The densification behavior was investigated in the temperature range 1223-1573 K under applied stresses of 25, 50 and 100 MPa and grain sizes between 100 and 250 nm. The SEM micrographs reveal equiaxed grains with no abnormal grain growth in the dense samples. The ‘master sintering curve’ shows grain size to be primarily dependent on density, irrespective of the applied stresses or temperature. The stress exponent of 1 along with an inverse grain size exponent of 3 and activation energy of 320-550 kJ mol-1 suggests Al3+ grain boundary diffusion as the rate controlling densification mechanism in alumina. The densification rates are marginally slower in compositions with 0.1% Y2O3 and ZrO2 content possibly due to the smaller grain sizes used in this study which leads to faster rates compared to earlier reports. However, higher Y2O3 and ZrO2 content led to decrease in densification rate by more than an order of magnitude possibly due to presence of a second phase which increases the effective path length for diffusion, thereby reducing the densification rates. Presence of Y2O3 and ZrO2 in the compositions with 0.1% Y2O3 and ZrO2 were confirmed by TEM studies. The Y3Al5O12 (YAG) phase developed between 1223 and 1273 K and suppressed densification and grain growth in alumina. In spite of higher temperatures required for alumina-YAG and alumina-zirconia composites to attain density ~99%, the alumina grain size in the composites was smaller than that in pure alumina due to the Zener drag effect. The stress exponents obtained for Y2O3 and ZrO2 composites at both the concentrations yield a value of n~ 2, which indicates a change in densification mechanism from pure alumina. The higher stress dependence of these composites could be due to presence of solute and second phase formation, both of which retard densification rates. The inverse grain size exponents obtained are between 1 and 2; both stress exponent and grain size exponent values suggest an interface reaction controlled diffusion mechanism occurring in these composites, independent of the Y2O3 and ZrO2 content. Higher activation energies are obtained with the Y2O3 and ZrO2 composites of higher content, respectively, due to presence of second phase particles at grain boundaries. The presence of solutes at grain boundaries hinders grain boundary diffusion of alumina, leading to interface reaction controlled process; this is confirmed by superimposing standard aluminum grain boundary and lattice diffusion data on to stress-densification rate data obtained in this work. A comparison of stress exponents using current experimental data adopting the present and the classical approaches show a wide difference in their values indicating a change in the rate controlling diffusion path, necessitating a review of the assumptions made on the basic equations used in previous SPS studies.

Le interfacce aptiche, ovvero le tecnologie che trasmettono delle sensazioni tattili digitalizzate, si stanno diffondendo in vari contesti sociali come telerobotica, comunicazione mobile, arte, videogiochi e cinema. Queste tecnologie stanno permettendo agli ingegneri di realizzare qualcosa mai fatto prima: la digitalizzazione del tatto (che ora può quindi essere registrato e mediatizzato). L’obbiettivo di questa tesi è di decostruire il tatto digitalizzato come un artefatto tecnologico socialmente costruito, il quale sta prendendo forma in un sistema di pratiche interrelate performate da attori in campi disparati della conoscenza. Questi attori si muovono all’interno e attorno ad una comunità di ingegneri apticisti. Adottando un approccio ispirato alla grounded theory, sono stati raccolti dati qualitativi attraverso interviste presso un campo etnografico multi-situato composto da laboratori europei e conferenze internazionali, in cui la conoscenza riguardo il tatto è collettivamente creata e condivisa. Due framework teorico-metodologici sono stati presi in considerazione: la tradizione dei Science and Technology Studies (STS) è stata scelta come principale guida metodologica; in seguito, l’intreccio tra pratiche sociali e tecnologie è stato approfondito attraverso una prospettiva practice-based tipica della cosiddetta ‘practice theory’. Al fine di cogliere il processo in corso di costruzione sociale e flessibilità che caratterizzano il tatto digitalizzato, lo studio si è concentrato sull'assenza di standardizzazione che caratterizza gli aspetti sia hardware che software di questa tecnologia emergente. Inoltre, è stata prestata attenzione alla distinzione controversa e scivolosa tra feedback tattile simbolico e realistico usata nel gergo degli apticisti. Infine, sono stati analizzati i diversi significati, o potenzialità d'uso, che gli intervistati attribuiscono a questa tecnologia. Questi significati si collegano a specifici immaginari sociotecnici geograficamente situati, ad ampi discorsi sociali riguardo l’innovazione tecnologica, e a diverse visioni riguardo le pratiche che possono beneficiare dell’implementazione di queste interfacce. / Devices that provide tactile feedback, called haptic interfaces, are spreading in various contexts such as tele-robotics, prosthetics, videogames, mobile communication, and arts. These technologies are allowing engineers to accomplish something never done before: the digitization of touch (which can now be stored and mediatized). This dissertation aims to deconstruct the digitized touch as a socially constructed technological product, emerging from a system of interrelated practices enacted by actors performing in disparate fields which revolve around the community of haptics engineers. Using a grounded-theory inspired approach, qualitative data were collected through interviews in a multi-sited ethnographic field consisting in European laboratories and international conferences, where knowledge about touch is collectively created and shared. Two theoretical-methodological frameworks have been taken into consideration: the tradition of Science and Technology Studies (STS) has been chosen as the main methodological guide; moreover, the interlacements between social practices and technology have been deepened through the adoption of a practice-based perspective proposed by different approaches in social sciences gathered under the umbrella term ‘practice theory’. In order to grasp the ongoing process of social construction and flexibility that characterize digitized touch, the study focused on the absence of standardization involving both hardware and software aspects of this emerging technology. Furthermore, attention has been paid to the controversial and slippery distinction between ‘symbolic’ and ‘realistic’ tactile feedback which is used in engineers’ jargon. Finally, the different meanings or potentialities of use, which respondents attributed to this technology, have been analysed. These meanings are connected to geographically located socio-technical imaginaries, to broad social discourses about technological innovation, and to different visions regarding the practices that can benefit from the implementation of these interfaces.

No description available.

Bulk magnesium materials produced nowadays via powder metallurgy are based on a vastly extensive technological spectrum, which makes it possible to create a wide range of materials. This work focuses on the preparation of bulk materials from magnesium powder by cold pressing and hot pressing, sintering and field assisted sintering. The bulk materials were prepared in a series of compacting pressures from 100 MPa to 500 MPa and the sintering temperatures were selected in the range of 300 ° C to 600 ° C in order to characterize the influence of the manufacturing conditions and technology on the final properties of bulk materials. Prepared materials were evaluated in terms of microstructure, hardness, microhardness, three-point bend test, and fractography. From the hot pressed materials, the samples prepared at 400 and 500 MPa and 400 °C had the highest strength and hardness. The classic sintering of magnesium in the furnace with argon atmosphere proved to be ineffective due to the oxide layer on the surface and the presence of oxygen in technical argon. The SPS sintering (Spark Plasma Sintering) was the more effective with the lower applying pressure used to make the preforms and with the higher applied pressure during the SPS process itself. Highest strength and hardness were achieved in this case of materials sintered at 600 ° C prepared from free powder and the most porous preform (100 MPa). The bulk materials were prepared using all methods used, but the properties of these materials varied considerably depending on the technology used.

QC 20101220

Attraverso un ampio studio di campo, il contributo propone un'analisi sociologica della fotografia in Italia e della sua parziale legittimazione artistica. Prendendo in considerazione sia lo sviluppo storico del campo della fotografia artistica in Italia che la sua condizione contemporanea, lo studio si concentra sui processi attraverso cui diversi attori e istituzioni promuovono la legittimità e lo status della fotografia come arte. Combinando la sociologia dell'arte e dei processi culturali con gli studi organizzativi, la ricerca sviluppa un quadro interpretativo che delinea la relazione tra legittimazione, categorizzazione sociale e processi di valutazione culturale. La ricerca, adottando la metodologia della Constructivist Grounded Theory, raccoglie e analizza diverse fonti: interviste faccia a faccia con fotografi, critici, storici, curatori, galleristi, direttori di musei e collezionisti italiani; note etnografiche raccolte durante l'osservazione partecipante di vari eventi di arte e fotografia, come festival, fiere, presentazioni, visite a musei e aperture di gallerie; risultati d'asta (2009-2020) e analisi di mercato disponibili; dati secondari, come libri di storia e opere critiche sulla fotografia italiana, documenti di archivio e comunicati stampa. I risultati mostrano che la fotografia in Italia sta ancora lottando per assicurarsi uno statuto di forma d'arte legittima a causa di processi storici e dinamiche socio-economiche che rafforzano il confine simbolico tra il mondo professionale della fotografia e quello legittimo dell'arte contemporanea. Rispetto ad altri paesi europei, il campo della fotografia artistica è emerso tardi, solo alla fine degli anni '70, in seguito all'emergere di tre spazi di opportunità favorevoli, in particolare la crisi del fotogiornalismo italiano. Di conseguenza, i membri del campo della fotografia artistica hanno sviluppato strategie di mobilitazione delle risorse e di teorizzazione di un'ideologia legittimante ancora in fase di sviluppo. Inoltre, il contributo teorizza tre processi di legittimazione che, agendo in combinazione tra loro, stabiliscono le condizioni per la completa legittimazione della fotografia come arte: differenziazione, emulazione e sublimazione. Questi processi, discussi alla luce di esperienze empiriche di legittimazione sia completa che parziale, mostrano che il campo della fotografia occupa una posizione di "inclusione segregata" all'interno delle istituzioni artistiche, poiché persiste ancora una contestata identificazione della fotografia come arte. / Through an in-depth field study, this thesis provides a sociological analysis of photography in Italy and its partial artistic legitimation. Taking into account both the historical development of the field of art photography in Italy and its contemporary condition, the study focuses on the processes through which different actors and institutions promote the legitimacy and status of photography as art. Combining the sociology of art and cultural processes to organisation studies, the study develops an interpretative framework that spells out the relationship between legitimation, social categorisation and cultural evaluation processes. Adopting the Constructivist Grounded Theory methodology, the research collects and analyses different sources: face-to-face interviews with photographers, critics, historians, curators, gallery owners, museum directors and Italian collectors; ethnographic notes collected during participant observation of various art and photography events, such as festivals, fairs, presentations, museum visits and gallery openings; auction data (collected from 2009 to 2020) and extant market analyses; secondary textual data, such as history and critical works on Italian photography, archival records and press releases. The results show that photography in Italy is still struggling to secure its status as a legitimate art form due to historical processes and socio-economic dynamics that reinforce the symbolic boundary between the professional world of photography and the legitimate world of contemporary art. Compared to other European countries, the field of artistic photography emerged late, only at the end of the 1970s, following the emergence of three favourable opportunity spaces, notably the crisis of Italian photojournalism. As a result, members of the field of artistic photography developed strategies of resource mobilisation and theorisation of a legitimising ideology that are still ongoing today. In addition, the contribution theorises three processes of legitimation which, acting in combination with each other, establish the conditions for the complete legitimation of photography as art: differentiation, emulation and sublimation. These processes, discussed in the light of empirical experiences of both full and partial legitimation, show that the field of photography occupies a position of "segregated inclusion" within art institutions, as a contested identification of photography as art still persists.

In this study, the wear behaviour of a powder metallurgically produced AlCoCrFeNiTi0.5 high-entropy alloy (HEAs) is investigated at elevated temperatures. Spark plasma sintering (SPS) of inert gas atomised feedstock enables the production of dense bulk material. The microstructure evolution and phase formation are analysed. The high cooling rate in the atomisation process results in spherical powder with a microstructure comprising two finely distributed body-centred cubic phases. An additional phase with a complex crystal structure precipitates during SPS processing, while no coarsening of microstructural features occurs. The wear resistance under reciprocating wear conditions increases at elevated temperatures due to the formation of a protective oxide layer under atmospherical conditions. Additionally, the coefficient of friction (COF) slightly decreases with increasing temperature. SPS processing is suitable for the production of HEA bulk material. An increase in the wear resistance at elevated temperature enables high temperature applications of the HEA system AlCoCrFeNiTi0.5.

Over the last decade, a confluence of strategic and security concerns has threatened the European Union’s survival both within and beyond its political dimension. As a result, security and defence have risen to the top of the EU’s political agenda, culminating in the approval of the EU Global Strategy (EUGS) in 2016. The EUGS represented a watershed moment in the EU’s Common Security and Defence Policy: the EU agreed on ambitious levels of security and defence. The new policy is based on supporting capacity building among member states through instruments such as PESCO. Nonetheless, these instruments have caused variations in patterns of member state behaviour that have enhanced defense integration. This research aims to understand what was the PESCO institutional effect on Member States' preferences and how it has affected the European security and defense goals. The research highlights the role of European agencies and how they contributed to solve collective action problem through a ‘forum effect' on participants, using pro-actively the task of assessing co-operative projects proposals. As a result, PESCO’s institutional effect led to cooperative outcomes between nations that allowed them to overcome coordination dilemmas, namely uncertainty about the willingness to contribute to a common project, which is typical of defense cooperation. Here, we used Rational Choice Institutionalism theory to investigate the PESCO project structure and its interaction with the European Defence policy. Cooperation between participating member states is presented within a cooperative game action, as part of a theoretical approach to game theory. It explains formally how PESCO entails elements to overcome collective action problem among participating member states, while emphasising the institutional design that promoted the European interests, and how this has led to more Europeanised security and defence. Findings are interpreted under the Differentiated integration concept.

In focusing on the theology of God's power, this dissertation neither presents an exhaustive historical biography of political theology nor exalts its career in the Western history of ideas. Rather, it attempts to determine the degree to which the modern fate of this field depended on the dialectic of the distinction between two separate types of God's power. To this end, I explore employments and embodiments of this power over a number of centuries. The mediaeval investigation into God's attributes was originally concerned with the problem of divine almightiness, but underwent a slow but steady displacement from the territory of theology to the freshly emerging proceedings of legal analysis. Here, based on the distinction between potentia Dei absoluta and ordinata (God's absolute and ordered power), late-mediaeval lawyers worked out a new terminology to define the extent of the power-holder's authority. This effort would give rise, during the early modern era, to the gradual establishment of the legal-political framework represented by the concepts of the prince and sovereignty. In covering the time from Peter Damian (d. 1072) to Alberico Gentili (d. 1608), I demarcate the limits of this evolution as well as its thematic direction. Damian illustrates how mediaeval theologians' introduction of the distinction potentia Dei absoluta/ordinata extended the horizon of what is feasible for God, while Gentili confronts us by placing the most spectacular consequences of the emerging question in the normative realms of law and politics. I conclude that the question of potentia Dei finally emerges as the Archimedean point from which the account of the history of the European legal tradition is supplemented with its structuring twofoldness - through, for example, such binomial conceptual tensions as centralism/authonomy, legislative/judicial authority, and written/unwritten law.