[pt] Em 1960, Pier Paolo Pasolini publicou pela editora Einaudi seu livro de ensaios poéticos, intitulado Passione e Ideologia. Essa obra reflete a relação afetiva e intelectual do autor com a poesia dialetal italiana. Partindo do recolhimento dos cantos dialetais feitos por folcloristas do Oitocento, tais como Pitrè, Tommaseo e Nigra, Pasolini elucubrou a poesia dialetal como a poesia popular italiana por excelência. Nesse sentido, pretende-se demonstrar como Pasolini, mediado pela leitura dos trabalhos dos críticos Benedetto Croce e Gianfranco Contini, promoveu um mapeamento das principais referências que justificariam as possíveis afinidades da poesia em dialeto com a poesia dita popular. Autores como Dante, Vico, Rousseau, Herder e Giovanni Pascoli foram mobilizados por ele dentre aqueles que pensavam a poesia como sendo a primeira linguagem entre os homens, sendo ela proveniente do vulgo e, sobretudo, como fruto de uma atividade sentida e imaginada. / [en] In 1960, Pier Paolo Pasolini published by Einaudi publishing his book of poetic essays entitled Passione e Ideologia. That work reflects the emotional and intellectual relationship of the author with the Italian dialectal poetry. Starting from the gathering of dialectal songs done by folklorists of the Italian Oitocento such as Pitrè, Tommaseo and Nigra, Pasolini thought over the dialectal poetry as a popular Italian poetry par excellence. In this sense, we intend to demonstrate how Pasolini, refereed by reading the works of the critics Benedetto Croce and Gianfranco Contini, promoted a mapping of the main references that justify the possible affinities of poetry in dialect with a alleged folk poetry. Authors such as Dante, Vico, Rousseau, Herder and Giovanni Pascoli were mobilized by him among those who thought poetry as the first language of men, coming from the vulgar, and above all, as the result of a felt and imagined activity.

Nesta tese foram avaliados o comportamento de tubulões a céu aberto, instrumentados, em solo não-saturado e colapsível. Para o desenvolvimento destes estudos foram executados seis tubulões instrumentados, com o objetivo de se obter a capacidade de carga e recalques, avaliar as curvas de transferência de carga, bem como a separação das parcelas de resistência da base e atrito lateral. Provas de carga na umidade natural e com inundação do solo através de cava de superfície foram realizadas para a quantificação da influência da variação da umidade na capacidade de carga e na colapsibilidade do solo. Os carregamentos aplicados nos tubulões foram do tipo lento (SML). Ensaios de campo e laboratório foram realizados para a obtenção dos parâmetros de resistência do solo e acompanhamento da variação do teor de umidade in situ com vistas ao estudo da capacidade de carga com a utilização dos conceitos dos solos não-saturados. Simulações numéricas foram realizadas com a utilização do modelo proposto por MACHADO (1998) para prever o comportamento dos tubulões executados em solo não-saturado no Campo Experimental de Fundações da USP/São Carlos. / The performance of instrumented pier in unsaturated and collapsible soil was evaluated. In order to study it, six instrumented caissons were performed to obtain the bearing capacity, settlements, the load transfer curves, and the separation of the base resistance and skin friction. Static load test were carried out with natural and saturated soil conditions to quantify the influence of moisture on the behaviour of pier. Field and laboratory tests were performed to obtain the soil resistance parameters and moisture content variation \"in situ\" in order to study the bearing capacity using unsaturated soil concepts. Numerical simulations were carried out through the model proposed by MACHADO (1998) to predict the behaviour of pier built unsaturated soil at the experimental field of foundations of USP/São Carlos.

El siguiente trabajo plantea la necesidad de mejorar y regenerar un espacio urbano de carácter público en la ciudad de Iquitos como lo es el malecón Joaquín Abensur. Este proyecto aprovecha la ubicación estratégica en el corazón de la ciudad para emplazarse adecuándose a su entorno y para mejorar una actividad existente e incipiente, direccionado hacia una vista paisajística al rio Itaya. El proyecto incluye actividades culturales para difundir la cultura amazónica permitiendo el desarrollo de arte nativo propio de la zona. La investigación partió del reconocimiento del malecón Joaquin Abensur como un espacio importante dentro de la ciudad de Iquitos que debía mejorarse como parte de un circuito turístico existente. Sentir el lugar, conversar con los usuarios, y visitantes fue un punto de partida importante para su investigación lo que lo llevó a determinar su interés en ampliar este espacio ganándole área hacia el río y dándole calidad al comercio existente. El planteamiento parte del respeto a una visión limpia hacia el río y la continuidad del circuito urbano dándole fluidez al peatón a nivel de malecón y planteando las actividades a desarrollarse en un nivel inferior conectado con el rio. Delimita claramente el espacio urbano integrado a la ciudad y el espacio urbano integrado al rio y es aquí donde cambia la materialidad de ambos espacios en el proyecto. / The following work raises the need to improve and regenerate a public urban space in the city of Iquitos, such as the Joaquin Abensur boardwalk. This project is located in a strategic place in the center of Iquitos to improve the existing and emerging cultural activity. In addition, throughout the entire project, take advantage of guiding towards the landscape view of the itaya river. The project includes cultural activities to spread the Amazonian culture allowing the development of native art typical of the area. The research started from the recognition of the Joaquin Abensur boardwalk as an important space within the city of Iquitos that should be improved as part of an existing tourist circuit. Feeling the place, talking with users (locals), and visitors was an important starting point for his research, which increased his interest in expanding this space, gaining area towards the river and giving quality to the existing trade. The approach is based on respect for a clean vision of the river and the continuity of the urban circuit, giving fluidity to the pedestrian at the level of the boardwalk and proposing the activities to be developed at a lower level connected to the river. It clearly delimits the urban space integrated to the city and the urban space integrated to the river and it is here where the materiality of both spaces in the project changes. / Tesis

No description available.

El presente trabajo de investigación estudia la influencia que tiene el mundo italiano en la producción lírica del poeta chileno Raúl Zurita. Debido a la ingente cantidad de material bibliográfico y a los numerosos núcleos temáticos, la presente tesis se divide en tres partes. En la primera se presenta un panorama general de los acontecimientos vitales del poeta chileno que han influenciado su literatura. Con el fin de crear un marco metodológico que nos sirva como contexto lingüístico y literario, nos dedicamos a examinar de manera específica las facetas de la lingüística y de la teoría de la literatura aplicadas a la obra zuritiana, proponiendo una aproximación diferente a la que expone la crítica actual. Seguidamente, se proponen unos tópicos literarios comunes entre la poesía zuritiana y los elementos del mundo italiano, para averiguar cuál es su grado de participación en la poética del autor. En la segunda parte de la tesis nos dedicamos a estudiar la presencia de Dante Alighieri en la poesía del autor chileno. Se presenta además una nueva propuesta de lectura para interpretar el rol de Raúl Zurita dentro de su obra, tomando en consideración los estudios previos de los exégetas dantescos. Para concluir, proponemos un análisis de los primeros, inéditos, VII cantos de la Divina Commedia traducidos por Raúl Zurita, que el lector puede encontrar en un apéndice al final del epígrafe. La tercera y última parte de la tesis está dedicada a otros artistas italianos que han tenido un papel fundamental en la lírica y la reflexión zuritiana. En primer lugar, nos centramos en Miguel Ángel para examinar cómo el autor chileno desarrolla un nuevo lenguaje poético gracias a las obras del artista aretino. Seguidamente pasamos a analizar la influencia de Giacomo Leopardi, Pier Paolo Pasolini y finalmente Cesare Pavese. El propósito último de este trabajo es demostrar, en primer lugar, quiénes son los personajes italianos que forman parte de la lírica zuritiana. Una vez sentada esta base, queremos dar al lector las herramientas para probar que Dante, Miguel Ángel, y los creadores de la modernidad no se pueden explicar ni delimitar con la definición “cita”, sino que forman parte activa de la creación de una poética del compromiso. Al final de la tesis, se hallarán dos apéndices: la entrevista que Raúl Zurita nos concedió en marzo 2017 y un corpus inédito de 50 poemas traducidos del español al italiano.

This dissertation examines food tropes in Italian films of the Economic Miracle, investigating moments of continuity with prewar gastronomic traditions, as well as denoting drastic breaks with the familiar. The kitchen is a place of traditional culinary practices and ingredients, and from which sensations of hominess and conviviality are continually generated; yet, the kitchen is where the changes to the postwar foodscape are most visible. In my analysis of films released from 1954 to 1973, the kitchen is treated as a site of both recognizability and unrecognizability: the feeling that someone does not belong among the people, objects, and rituals part of that changing arena; alternatively, they might not be recognized themselves. In the readings that follow, these directors, actors, and writers grapple with such unrecognizability by way of the stomach: the organ with which to digest food and, moreover, to process the changes that that gastronomy represents. This dissertation is divided into four chapters, or, rather, two halves: first, continuity and desire, and later, rupture and violent rejection. These halves represent continuities and breaks, respectively, as this project follows the transformation of Italy’s “rosy” cinema into dark, nihilist auteurism. At the center of the first half are two stars: Totò (Chapter Two) and Sophia Loren (Chapter Three). In the work of Totò, the visceral hunger that he experiences matches that of the very recent past, and in particular, that of the South. When food became readily available, however, a new hunger emerged: a hunger for what was, as Totò upheld the dietary routines to which he was long accustomed. Meanwhile, Sophia Loren embodies the multivalence of hunger. As Cesira in La ciociara (1960), Loren portrayed a mother struggling against la carestia of occupied Italy; hunger is once again a physical sensation. But through later roles, as well as the authorship of her own cookbook, not only is the stomach satisfied, but there is now a sexual dimension to hunger. Loren softened both the hunger pangs and the blows of the changing sociopolitical arena, leaving her viewers to desire simultaneously her body and the food she prepares, ultimately inviting us to eat with her. Chapter Four, meanwhile, uses the cinema and narrative theories of Pier Paolo Pasolini to explore the connections between continuity, rupture, and “revolution.” Revolution is, in the Marxist sense, the proletariat contending with exploitative forces, as seen through Stracci in La ricotta (1963). It is also the turning of a wheel, emblematic of a progression in a cycle back to naturality and austerity. Despite violent eating and existential crises, the characters of Luna (Uccellacci e uccellini, 1966) and Emilia (Teorema, 1968) reveal a continued relationship with the earth, within which seeds – signs of new life – are planted. This project also suggests a turn towards the tenets of 1940s neorealism, particularly the notions of survival and rebirth. In Marco Ferreri’s La grande abbuffata (1973), the subject of Chapter Five, four wealthy protagonists gather for the ultimate “gastronomic seminar”: a weekend during which they are suicided by overconsumption, choosing to abandon a world so deeply unrecognizable from the traditions and virtues of decades past. Yet, in bequeathing the world to Andréa, there is a reawakening. Andréa is left to perpetuate not only the rich traditions and rituals of previous generations, but also a world of anxieties, unsure of what the future holds.

京都大学 / 0048 / 新制・課程博士 / 博士(工学) / 甲第21090号 / 工博第4454号 / 新制||工||1692(附属図書館) / 京都大学大学院工学研究科都市社会工学専攻 / (主査)教授 五十嵐 晃, 教授 澤田 純男, 教授 KIM Chul-Woo / 学位規則第4条第1項該当 / Doctor of Philosophy (Engineering) / Kyoto University / DFAM

The question that forms the foundation of this project is quite simple: how can space help us discuss literature and vice versa? The chapters of this dissertation explore the writing of Francesco Dall’Ongaro, Italo Svevo, Pier Antonio Quarantotti Gambini, and Marisa Madieri, each of whom addresses spatial concepts in their textual representations of the northern Adriatic region. Utilizing the related yet distinct approaches of spatial literary studies and geocriticism, paired with intellectual history, I find that the northern Adriatic region can be construed as a literary creation comprised of distinct, resistant narratives. The four texts under discussion promote a particular narrative of the region, revealing different strategies for its literary construction. Furthermore, this project aims to demonstrate that the spatially-attentive critic, no matter the discipline, has a vital role in deconstructing the process by which spaces enter the imaginary through cultural production.

The surface mine Hambach is located in the west of Germany, close to Cologne and was founded in 1978 from the electric company RWE to dig up brown coal and produce electricity. The mine measures a surface of 8.500ha and a depth of 470 m and was planned to be operated until 2045. After mining RWE plans to recultivate the area with forest, agriculture and a remaining lake of 3900ha. The mine is a site that is out of proportion. This proposal is a composition of interventions in different time and scale aiming to tell the story of soil, water, vegetation, animals and humans. The excavator is a scale figure to these dimensions and becomes the protagonist of the story. On it‘s way down to its final position at the bottom of the pit, it is sculpting the soil one last time. After that last operation nature will take over. Water will find its path and reshape the pattern of the excavator. With water, vegetation comes back and then gives space for animals to live and humans to watch the transition from a colourful desert to a flourishing oasis. This stream of interventions is connecting the pit‘s terraces to a spiral sculpture that over time will fill with water.

The category of life is considered central to the heterogeneous field known as Italian thought or Italian theory. Its centrality helps explain the outsized role that Italian thinkers like Giorgio Agamben, Rosi Braidotti, Roberto Esposito, and Toni Negri play in international conceptualizations of biopolitics. Scholars have attempted to trace the roots of this emphasis on life back to thinkers such as Vico and Croce, Italian Marxist traditions such as workerism, “imports” like Heideggerian ontology and Foucauldian critique, and even Italy’s geography. These histories fail to interrogate the paradox that Italian thought usually deals with life in abstract terms, rather than with real, embodied lives. Styles of Existence, Italy 1961–1982 offers an alternative genealogy of Italian thought that focuses on the role that philology played in transforming conceptions of life and self in postwar Italy. It argues that the poet and filmmaker Pier Paolo Pasolini and art critic and feminist Carla Lonzi show us what living looks like by applying the tools and concepts of interpretation and criticism they acquired as artists and critics to their own lives. It makes the case for their inclusion in the unofficial canon of Italian thought, and for acknowledging the debts that later philosophical treatments of life owe to Pasolini and Lonzi’s existential attempts to overcome the distance between theory and praxis. Pasolini and Lonzi, both well-known for their polemical contributions to debates about politics, gender, and sexuality in Italy’s long 1968, are discussed here together for the first time. Styles of Existence lays out the theoretical tenets, preferred methodologies, and historical arcs of their life philologies, tracing them across an array of sources including diaries, screenplays, television talk shows, and newspaper columns. Both authors’ projects are examined from a comparatist perspective, which means that they are situated in Pasolini and Lonzi’s cultural and discursive contexts as Marxist and feminist intellectuals, respectively, and in relation to contemporaneous domestic and international trends and debates. Responding to a request by Pasolini that his works be read philologically, chapter one proposes a philological rereading of his corpus that takes into account his love for space and dedication to the irrational. Proposing the notion of “lunar hermeneutics” as a conceptual frame, it demonstrates that Pasolini incorporates tools from philology and stylistic criticism in his social critique and filmmaking in response to changing global and national political landscapes in the late 1950s and early 1960s, and especially the developments of the space race. Chapter two elaborates the features of Pasolini’s project of “Marxist linguistics” in the mid-1960s as a political answer to rapid industrialization and globalization, demonstrating that Pasolini expands the scope of lunar hermeneutics with contributions from semiotics and insights from his work as a filmmaker. Close readings of Pasolini’s aesthetic writings in Empirismo eretico (1972) and his film Uccellacci e uccellini (1966) illustrate the importance of cinema to his revised theory of language and understanding of self. Chapter three examines Pasolini’s collection of political writings, Scritti corsari (1975), as an example of Auerbachian-inspired Weltliteratur, showing that the work is designed as a philological exercise dedicated to the critical preservation of human forms of life threatened with extinction. Turning to Lonzi, chapter four provides the first theoretical and historical account of autocoscienza or self-consciousness making, the feminist, relational practice that Lonzi developed with other members of the group Rivolta femminile in the early 1970s. Lonzi formulates autocoscienza as a subversive mediation of critical and postcolonial theory as well as of modern art, and envisions an “unforeseen subject” who refuses to comply with the misogyny and inequalities inherent to prevailing models of liberational subjectivity. Chapter five reassesses Lonzi’s rejection of Hegelian and psychoanalytic theories of recognition, and her engagement with Alexander Kojève’s anthropomorphizing rendition of Hegel, to argue that autocoscienza provides its own affirmative feminist theory and practice of recognition focused on listening and responsiveness among equals. Chapter six considers the diary’s central role in Lonzi’s philological project of self by linking it to autocoscienza and her theory of clitorality. It argues that the sexed dimension of autocoscienza is what makes viable a transition from theory to praxis, and from emphasis on the collective to the self. By focusing on the diary, it restores the contributions of “Sara,” another Rivolta member, and the influence of hagiographical writings on Lonzi’s conception of female freedom. Finally, chapter seven unearths Lonzi’s obsessive “dialogue” with Pasolini in her “feminist diary” Taci, anzi parla [Hush, No Speak] (1978) as a case study in the practice of autocoscienza. Lonzi’s disagreements with Pasolini about culture, sexuality, and women’s rights, and their largely overlapping views on freedom and expression, are situated in the context of Italian debates about abortion in the mid-1970s. This chapter argues that Lonzi’s relation to Pasolini transforms her understanding of self and helps her refine and recalibrate the goals of autocoscienza. In conceiving of the self and selfhood in philological rather than philosophical terms, Pasolini and Lonzi challenge theories of the subject predominant in critical theory and offer precursors to contemporary concepts like Agamben’s homo sacer. Their aesthetics of existence require a reconsideration of the scope of philology in the twentieth century, the parameters of political theory, the legacy and historiography of Italy’s long ’68, and our understanding of what it means to live a meaningful human life. The detailed recovery of Lonzi’s intensive engagement with Pasolini and his work, finally, points to an unlikely source of influence on radical Italian feminism.