Skaperprosesser og eierskap

The significance of time as one of the underlying organizational principles of Pound's Cantos is widely recognized in terms of Bergsonian simultaneity, Odyssean nostalgia, temporal vortices, and historical imperatives that are caught `on the barb of time'. (1) Rather than seeing a continuity between such elements and Pound's earlier poetry, Peter Nicholls argues that the temporal schemata of The Cantos represent a radical shift in Pound's treatment of time and relates this shift to his discovery of Japanese drama in the papers of Ernest Fenollosa: `These Noh plays suggested to Pound a structural conception of time which would allow him to progress from the momentary intuitions of Imagism to the complex and extended structures of The Cantos.' (2) The contrast here between the miniaturism of the strictly imagist poems and the epic canvas of The Cantos is convincing in structural terms, but prompts enquiry as to whether the poetic significance of time in The Cantos is in fact radically different or if the temporal categories in the earlier poetry in some way prefigure Cantonic time. The most explicit pronouncement concerning time in The Cantos occurs in Canto 74 in the context of the cage at Pisa: `Time is not, is the evil, beloved | Beloved the hours brododaktulos' (p. 458). A considered interpretation of these lines is required if we are to characterize Cantonic time effectively. In his seminal discussion of time in The Cantos, which takes its name from Pound's own phrase, Daniel D. Pearlman comments on these lines: `Coupled with this moral assertion that is evil is the metaphysical assertion that Time is not', (3) a reading that requires a fairly convoluted philosophical elaboration to explain the obvious contradiction: how can time be evil, if it does not exist? Pearlman's interpretation is based on the assumption that `Time is not' is a syntactically complete entity with an existential form of the verb `to be'. This is the generally accepted reading, affirmed, for example, in Alfredo Rizzardi's powerful Italian translation: `Il Tempo non e, il Tempo e il male, mio amore' where the translation of `beloved' as `mio amore' rules out any other interpretation. (4) Unlike Pearlman (and Rizzardi) I read `beloved' as the complement of a copular form of the verb `to be', `Time is not beloved', which is parenthetically interrupted by `Time is the evil'. The second line, `Beloved the hours brododaktulos', by means of a rhetorical chiasmus then provides a condensed contrast between unbeloved (capitalized, abstracted) and the beloved hours of a `rosy-fingered' Homeric dawn with which it is juxtaposed. This reading not only circumvents the apparent contradiction in the text but also embodies two of the most important temporal aspects of Pound's thinking: revulsion at the irredeemable ravages of time and celebration of the caught moment cherished. The occurrence of `Time is the evil' at Pisa is a reprise from Canto 30: its context there is reinforcement of the notion of redemptionless time. The pronouncement is instantiated by the case of Pedro of Portugal whose wife Ignez was murdered in a court intrigue. Pedro later had her body exhumed and paid court to by `the Lords in Lisboa' (pp. 147-48). Commenting on Ignez's first appearance, in Canto 3, Carroll F. Terrell notes that she represents `the overlapping of the past into the present, a discrepancy between the fine image held in the mind and the actual fact of the rotting corpse from the past, as may occur when time, for a mind like Pedro's, has stood still'. (5) Ignez is effaced by the inexorable passage of time. While Pedro's strategy for evoking the past is a madness none of us would want to be driven to, Terrell's remarks remind us that time redeemable in the mind, the power of memory, is central to any discussion of time's significance in Pound's poetry. Pedro's exhumation of Ignez is a temporally displaced reenactment of the past exemplifying the larger temporal dislocations of The Cantos which Nicholls attributes to the influence of such reenactments in Japanese drama. …

Just over 150 epistolary pieces, from the twentieth-century archives of Florence and Rome, are published for the first time thanks to Alberto Baldi’s careful transcription, which does not only allow the reconstruction of the story of a friendship born around the pages of newspapers and consolidated over time to involve the partners of the two writers (Gianna Manzini, Lina Baraldi and Luisa Babini), but also follows Giuseppe Dessí’s presence in one of the most widely read newspapers in Rome. The editorial correspondence, started early by Falqui, the “mover of culture” and through frequency peaks (from 1948 to 1958), soon turned into the advice of a sympathetic reader who, despite the political dissensions for the conservative line of the newspaper "Il Tempo", deserves the credit of having continued a collaboration which would nourish some of the writer’s most significant collections of short stories. The book ends with thirty-eight narrative texts by Dessí, scattered on the «third page» and never collected in a volume before.

Attraverso il filo conduttore del “tempo” si comprendono meglio anche le scelte compiute dal legislatore nel disciplinare la crisi dell’impresa, nella consapevolezza che solo imprimendo tempi rapidi alla reazione dell’impresa in crisi e alla risposta, stragiudiziale o giudiziale, dell’ordinamento si può tentare di salvaguardare contemporaneamente, nei limiti del possibile, la posizione del debitore, dei creditori e di tutti coloro che sono interessati alla sistemazione della crisi. Il tempo è centrale rispetto ai primi segnali di crisi, se si vuole evitare che questa si aggravi, e diventi dissesto. Ma è centrale anche nella durata delle misure protettive, perché il divieto per i creditori di agire, esecutivamente o nelle forme cautelari, contrasta col diritto d’azione, e nei procedimenti, che si devono concludere rapidamente perché solo la velocità della risposta giudiziale assicura l’effettività della tutela. Lo scritto analizza così i diversi momenti nei quali il tempo assume importanza e cerca di mostrare come una cultura moderna del recupero dell’impresa in crisi passi attraverso la consapevolezza dell'essenzialità di quel fattore, fondamentale ad evitare il pregiudizio per la tutela dei creditori e di tutte le parti interessate al processo di ristrutturazione. Through the leitmotif of ‘time’ one can also better understand the choices made by the legislator in regulating the crisis of the enterprise, in the awareness that only by imparting rapidity to the reaction of the enterprise in crisis and to the response, out-of-court or judicial, of the legal system can one attempt to simultaneously safeguard, as far as possible, the position of the debtor, the creditors and all those interested in the settlement of the crisis. Time is central with respect to the first signs of a crisis, if one wants to prevent it from worsening and becoming insolvency. But it is also central with respect to the duration of protective measures, because the prohibition of creditors to act, either executively or in precautionary forms, conflicts with the right of action, and in proceedings, which must be concluded rapidly because only the speed of the judicial response ensures the effectiveness of protection. The paper thus analyses the various moments in which time assumes importance and seeks to show how a modern culture of the recovery of a company in crisis passes through an awareness of the essentiality of that factor, which is fundamental to avoid prejudice for the protection of creditors and all parties involved in the restructuring process.

capitolo 1: Il tempo: un problema ontologico o epistemologico?

Il tempo, rappresentando la prima preoccupazione ogniqualvolta si parli di giustizia, è ormai diventato una delle misure della bontà degli epiloghi processuali. Un processo penale oltremodo duraturo non può esser giusto. La Riforma Cartabia, con la modifica degli articoli 477 c.p.p. e 145 disp. att. c.p.p., ha introdotto in campo penale la figura, già nota al rito civile, della calendarizzazione delle udienze, con il proposito di scardinare il metodo della trattazione “parallela” dei casi, in favore della sequenzialità. Il contributo vuole analizzare l’opportunità della scelta, inquadrandola nel prisma del principio della ragionevole durata del processo e dei valori ad esso sottesi. Time, representing the first concern whenever we talk about justice, has now become one of the measures of the quality of the trial outcomes. An overly long-lasting criminal trial cannot be fair. The Cartabia Reform, with the modifications of articles 477 c.p.p. and 145 implementing provisions c.p.p., introduced into the criminal field the figure, already known in civil trials, of the scheduling of hearings, with the aim of dismantling the method of conducting "parallel" cases, in favor of sequentiality. The paper aims to analyze the opportunity of the choice, framing it in the prism of the principle of the reasonable duration of the process and the values ​​underlying it.

Con il presente contributo si vogliono illustrare i risultati di un laboratorio di scrittura attuato in una classe prima di liceo classico, durante il quale sono stati sommi- nistrati agli alunni esercizi di scrittura fortemente ancorati alla realtà come un biglietto al vicino di casa, una mail a un amico, una comunicazione ufficiale tra l’amministrazione comunale e il comando della polizia municipale. L’obiettivo generale è quello di stimola- re gli studenti, attraverso l’uso di registri diversi, allo sviluppo della consapevolezza nei confronti della varietà linguistica. Ogni attività è stata articolata in più fasi di stesura e riscrittura accompagnate da correzioni implicite ed esplicite da parte del docente, cor- rezioni collegiali, autocorrezioni e correzioni tra pari per favorire e guidare, attraverso la gradualità, il tempo e la ripetizione, il processo di interiorizzazione della scrittura.

Samskaping er ikke et nytt fenomen, men utfordringer rundt eierskapet virker å tilspisses. Hvordan kan forskjellige samskapingsprosesser vurderes utfra et designfaglig perspektiv? Bakteppet er rettsakene rundt et av de mest kjente artefaktene i Norge: Il Tempo Gigante, først brukt i filmen Flåklypa Grand Prix, siden i mange flere sammenhenger før Hunderfossen Familiepark introduserte berg- og dalbanen Il Tempo Extra Gigante. Artikkelen presenterer forslag til hvordan en samskapingsprosess kan vurderes, gjennom fire linser; opprinnelse, prosess, gjenkjennelse og eierskap.

This paper discusses thorogly the content of Italo Scardovi’s monograph “Il tempo e il caso” (Time and chance, published by Martello Library, Milan, 1999) devoted to an interpretation of immanent randomness of natural events.

[it] In questo testo, discuto dell’ucronia in confronto con i generi dell’utopia e della distopia, mettendo in evidenza analogie e differenze. La caratteristica principale dell’ucronia è l’assunzione positiva o negativa di eventi storici che consente di sviluppare narrazioni con traiettorie storiche alternative a quelle reali. Particolare attenzione è dedicata a due romanzi recenti: Machines like me (2019) di I. McEwan e Klara and the Sun (2021) di K. Ishiguro, in quanto esempi peculiari di contaminazione di generi, nei quali gli androidi assumono un ruolo ambiguo che mette in discussione l’essenza della natura umana. L’attuale confusione politica riguardante il dibattito sulla democrazia, così come le enormi disparità socio-economiche planetarie, si riflettono nei testi letterari, dove si riscontrano contaminazioni di aspetti ucronici, distopici e utopici.

THE IMPACT OF VER/TATIS SPLENDOR ON CATHOLIC EDUCATION AT THE UNIVERSITY AND SECONDARY LEVELS* CARDINAL PIO LAGHI Prefect of the Sacred Congregationfor Catholic Education INTRODUCTION T HE TOPIC which has been proposed to me, "The Impact of Veritatis Splendor on Catholic Education at the University and Secondary Levels,'' requires a note of clarification with regard to the word impact. When this Encyclical Letter of Pope John Paul II appeared, it was received with much comment, both positive and negative, on the part of the press and the other media. This is one aspect of the topic proposed : to trace in a synthetic way a picture of the reactions which the document stirred. Such would certainly be an interesting study, but I would perhaps be led to traverse much terrain before arriving at the nucleus of what I feel is my duty to say to you. I shall limit myself, therefore, to commenting on two positive reactions appearing in Italian newspapers immediately after the publication of the Encyclical. The first was in the well-known Roman newspaper, Il Tempo, under the title, "An Act of Consistency in an Epoch of Doubt." It states: "If lighthouses had been moved every month, the sailors in the night would have seen the ships of history dashed against the rocks; and no voyager would have reached his homeland again if the North Star, within the Zodiac, had to obey vacillating positions of fashions and ideologies.... The papal document stirs discussions.... Nevertheless it is very much of current interest. While many ships finish on the rocks because they have * This paper was originally presented at the Forum on Catholic University Education at Duquesne University in Pittsburgh, 3 November 1995. 1 2 CARDINAL PIO LAGHI sailed following fireflies instead of lighthouses and while the ruling classes have shipwrecked for having chosen compasses that lie, there is abroad a need to see the permanence of certain values recognized in the midst of all that changes, the necessity of an ethical nucleus linked to principles of the human person, honesty , freedom and responsibility." This is a positive reaction, then, which welcomes the Encyclical as a text which says things that have to be said, giving basic directions for a journey, and stating the things no one dares to speak but of which everyone knows the necessity in daily living. This is also the substance of another comment on the Encyclical that I think it would be useful to cite. Carlo Bo, a university professor and a well-known figure in Italian intellectual life, writes: "Modern culture no longer has objective criteria for distinguishing good from evil,'' and he adds, "John Paul II has fought against Communism in defense of freedom; now he criticizes Western culture, which makes of freedom an absolute value.... The exaltation of freedom leads to ethical relativism, against which the Pope raises his voice." Agreement and basic approval are transparent in these lines, but the title under which they appear is "A Call to Order." Immediately the image is evoked-negative to the sensitivities of our times-of a commander intent on imposing order on his soldiers. The heart of the problem perhaps, at least with regard to the teaching of moral theology in the Catholic context, is in the clear perception of the need for an unchanging point of reference, of a lighthouse for the voyage, and at the same time the fear of speaking of this need, of making it the subject of reflection, communication , and teaching. There is a kind of widespread fear which keeps us at a distance from the truth, from the permanent foundations of human acting, from the objective and the universal; a fear which is perhaps the principal cause on account of which so great a part of contemporary humanity risks dying of thirst while standing before a spring of cool water. In order not to appear authoritarian or negative, one keeps silent, does not speak, expresses oneself in a partial or even an erroneous way with regard to all that is most necessary for life. It would be difficult not to see in this a problem which is typically an educa- THE IMPACT OF VERITATIS SPLENDOR 3...

Il tempo per leggere, come el tempo per amare, dilata il tempo per vivere. Daniel Pennac1 Calleja was one of the main publishers of textbooks and of children's reading books in the Spanish Restoration (1875‐1902). Saturnino Calleja founded the publishing housein 1876, and although it continued until 1958, its most typical, brilliant and multiple activity lasted until the 1930. Confronting a culturally and economically underdeveloped Spain, he considered instruction to be one of the fundamental tasks for its redemption. Calleja's principal objective was to make reading attractive and he achieved it. As he said: “Let us take advantage of the opportunity!” There are some obvious characteristics in Calleja's reading books. One that is easy to recognise is made up of examples, characters, prizes, etc., and another is that they presuppose a state‐based society in practice but are aimed at one class, the bourgeoisie, liberal and enlightened, that is, the city dwellers. Calleja's concern for modernisation is also striking. 1 Danniel Pennac, Come un romanzo (Milan, Feltrinelli, 1993).

Book Review| June 01 2021 Review: The Guggenheim: Frank Lloyd Wright's Iconoclastic Masterpiece Francesco Dal Co The Guggenheim: Frank Lloyd Wright's Iconoclastic Masterpiece Translated by Sarah MelkerNew Haven, Conn.: Yale University Press, 2017, 184 pp., 63 color and 104 b/w illus. $30 (cloth), ISBN 9780300226058 Anthony Alofsin Anthony Alofsin University of Texas at Austin Search for other works by this author on: This Site PubMed Google Scholar Journal of the Society of Architectural Historians (2021) 80 (2): 225–227. https://doi.org/10.1525/jsah.2021.80.2.225 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Anthony Alofsin; Review: The Guggenheim: Frank Lloyd Wright's Iconoclastic Masterpiece. Journal of the Society of Architectural Historians 1 June 2021; 80 (2): 225–227. doi: https://doi.org/10.1525/jsah.2021.80.2.225 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentJournal of the Society of Architectural Historians Search Completed in 1959, the Guggenheim Museum in New York is young for a building with the status of a UNESCO World Heritage Site. A monument of such importance generates many histories, from its commission to its evolving role in culture and society. Lest we think the museum's history is complete, its curatorial department issued a provocative public letter in June 2020 demanding that the Guggenheim address those of its practices that enable racism and other forms of discrimination, placing that call within a national movement for systemic change.1 In light of the museum's role as a cultural power broker, it is increasingly important that we understand the multiple meanings of its building. While issues of race and discrimination unfold and demand redress, critics and historians can turn to Francesco Dal Co's synthetic monograph for an insightful interpretation of the Guggenheim in the context of New York City and in... You do not currently have access to this content.

As of today, there has not been sufficient work done on the information that the German and Italian press provided on the extermination of the Jews during World War II. This paper analyzes the Italian press. When Italian journalists were sent to the Eastern front in 1941 at the beginning of the Jewish extermination in the East, what did they see and what did they hide? How did the Fascist press relay, or rather, conceal and change, the news regarding the tragic fate of the Jews in Eastern Europe? This paper addresses these topics through article analysis and through the examination of archival documents and unpublished memoirs. In our research, we consulted the following daily newspapers: La Stampa, Il Corriere della Sera, Il Popolo d’Italia, Il Giornale d’Italia, Il Tempo, La Tribuna and Il Tevere. The archival documents came from public archives and newspapers such as the Corriere della Sera, which published the first version of the famous Curzio Malaparte article on the Iasi pogrom that was later completely revised. At the end of the paper, a brief analysis is made of the photos that accompany certain texts.

Armando Ruinelli’s forty-year architectural experience, as documented in the recent publication Leggere il tempo, is characterised by its sensitivity and attention to context. Devoid of excess and extravagance, his work establishes a polite dialogue with its surroundings, reflecting the discreet personality of the author. At the core of Ruinelli’s practice lies a profound ethical consideration, extending beyond the design phase to encompass the entire spectrum of operational intricacies. His perspective on time translates into an acceptance of material aging, emphasising the importance of allowing buildings to follow their natural course. Rooted in context, his architecture seeks not only continuity but harmonious integration within the Alpine landscapes they inhabit. In dialogue with the interviewer, Ruinelli emphasises his preference for artisanal work, highlighting the significance of precision in execution and the centrality of humans over materials. His poetic exploration is manifested in creating atmospheres and carefully balancing the dynamic components of a project. Reflecting on the role of the architect, he envisions them as craftsmen endowed with both technical acumen and creative vision. Finally, Ruinelli shares a meaningful project – the fountains in the Soglio cemetery – a creation laden with delicacy and symbolism that underscores the spiritual depth of his work.

This article focuses on metaphorical collocations, a special subtype of lexical collocations in which the cohesion between the constituents is based on a lexicalised metaphor (see Reder 2006; Volungevičienė 2008; Konecny 2010a, 2010b, 2023). The word combinations in question can develop from originally free sequences into recurrent patterns appearing in several semantically related collocations if they occur repeatedly in similar contexts (see Stojić and Košuta 2020, 2021). A case in point is the German collocation die Zeit verfliegt and its equivalents in Croatian, English and Italian: vrijeme leti (‘time flies’), time flies (by), and il tempo vola (via) (‘time flies (away)’), which convey a rapid movement and the feeling of time rushing by. The various patterns often also reflect cultural concepts and experiences; for example, a pattern that conceptualises time as a resource could be anchored in a cultural idea that regards time as something valuable. Metaphorical collocations thus frequently reflect superordinate conceptual metaphors that are located at a cognitive level and common to more than one language community. Nevertheless, the concrete language-specific manifestations may vary, and in many cases show only partial equivalence. Unlike idioms, where metaphor has long been recognised as a fundamental semantic process (see, e.g., Casadei 1996: passim; Dobrovol’skij and Piirainen 2009: 19–29), collocations have not been thoroughly examined in this regard. It is therefore necessary to gain a more detailed insight into the semantic-cognitive processes underlying the creation of lexical combinations to draw conclusions regarding their relevance for the emergence of collocational sequences. This requires an analysis of extensive authentic language material, which will allow for the development of a catalogue of criteria that facilitates the identification and classification of these specific linguistic phenomena. This paper focuses on uncovering such processes based on a study carried out using SketchEngine in web corpora of German, Croatian, English, and Italian with the aim of creating a clear framework for the identification of metaphorical collocations by elaborating criteria that can serve as guidelines and by attempting a classification into subtypes. The proposed criteria and typology can contribute to the systematic investigation of metaphorical collocations and should also open up perspectives for future work in this field.