Academic literature on the topic 'Motorcycles, Italian'

The water on deck caused on a restrained ship model without forward speed in head waves is studied experimentally by using a transient test technique. A single water-shipping event is induced by the wave packet, and the severity of the interaction is controlled by the wave-packet steepness. Three different bow geometries are considered. Two of them are analytical hull forms, and the last is the ESSO-Osaka tanker. The models are equipped with a transparent-material deck to study the flow-field evolution by image analysis. A vertical wall is placed at a certain distance from the forward perpendicular to mimic the presence of deck structures. Velocity of the shipped water along the deck, pressure field on the deck, and horizontal impact force on the wall are measured. The main fluid-dynamic aspects of the green-water phenomenon are highlighted. For the tested cases, water shipping starts always with the free surface exceeding the freeboard, plunging onto the deck, and forming complex cavities entrapping air inside. The geometry of the air cavity depends on the hull form and the wave steepness. Then the water propagates along the deck. In general, the water front is strongly three dimensional because of the water entering along the deck contour. The interaction of the shipped water with the vertical structure consists of impact, run up-run down cycle, and backward plunging of the water onto the deck, still wetted. The evolution of the pressure field follows that of the water front. Pressure peaks are associated with the impact against the vertical wall, and by the backward plunging of the water on the deck, at the end of the run up-run down cycle of the water. It is shown that both these stages can be of importance from the structural point of view. I am sad to report that Maurizio Landrini was killed in a motorcycle accident on June 26, 2003. Maurizio was an outstanding marine hydrodynamist who had been selected as the 2003 Georg Weinblum Lecturer. He was born on March 2, 1963, and earned his Ph.D. degree in Theoretical and Applied Mechanics at the University of Rome. Except for short periods as a visiting researcher at the Ocean Engineering Laboratory, University of California, Santa Barbara, and the Department of Marine Technology, Norwegian University of Science and Technology, he worked his entire career at INSEAN, the Italian Ship Model Basin. He has authored or coauthored over 80 papers. He was a personal friend and innovative researcher with whom I have spent many hours discussing hydrodynamics. He will be greatly missed in the marine hydrodynamics community. Robert F. Beck

Abstract Background Among the largest Italian Regions, Piedmont (Northern Italy) had in 2017 a crude rate of road traffic accidents (RTA) deaths greater than the national average. RTA injuries remain a leading cause of injury deaths in Italy. Among them in both Piedmont and Italy many victims are vulnerable road users (VRU): pedestrians, cyclists and users of motorcycles or motorpeds. The study was aimed to describe their mechanisms of injury. Methods Observational study of the resident population in Piedmont from 2003 to 2015. Transportation Injuries (ICD-10: V01-V99) were considered, because of their greater comparability rate in bridge coding studies. A number of 5,185 RTA deaths was observed. Role, type of vehicle of the victim and collision were studied. Results Piedmont in 2017 had a RTA mortality rate (6.35 deaths per 100,000 inhabitants) greater than Italy (IRR = 1.13, 95% CI: 1.00 - 1.29; p < 0.02), 48.4% of the victims were VRU similarly to national data (49.8%). In the period the proportion of VRU on RTA deaths steadily increased from 25.6% in 2003 to 49.1% in 2015, in a significant way (z = 2.79; p = 0.005), because in a context of marked reduction of RTA mortality (-54.5%), the regional trend for VRU shows only a slight decrease (-12,6%). The VRU were: pedestrians (47.0%), motorized two-wheels users (37.4%) and cyclists (15.6%). Among pedestrians 63.9% deaths were caused by collisions with mainly automobiles (82.1%) and heavy vehicles (12.7%). In case of collision the prevalent causes of death were head injuries (41.5%) and multi-trauma (31.8%). Similar patterns were observed for cyclists, while in motorcyclists 56.5% of deaths were due to loss of control or fixed object. Conclusions VRU injuries remain a public health and social concern. Yet despite their extent, this problem is still not adequately considered in public health prevention programs. The observed mechanisms of injury evidence the importance to enhance the protection of VRU in road traffic circulation. Key messages In Italy, vulnerable road users are becoming a major group among road traffic injury deaths, because they not follow the general trend of large decrease of RTA injuries. Largest VRU group are pedestrians such as cyclists they are hit by cars or heavy vehicles with major trauma, in the motorized two-wheels loss of control and collision with fixed object are important.

All critics declare not only their judgment of the work but also their claim to the right to talk about it and judge it. In short, they take part in a struggle for the monopoly of legitimate discourse about the work of art, and consequently in the production of the value of the work of art. (Pierre Bourdieu 36). As it becomes blindingly obvious that ‘cultural production’, including the cinema, now underpins an economy every bit as brutal in its nascent state as the Industrial Revolution was for its victims 200 years ago, both critique and cinephilia seem faded and useless to me. (Meaghan Morris 700). The music’s loud, the lights are low. I’m at a party and somebody’s shouting at me. “How many films do you see every week?” “Do you really get in for free?” “So what should I see next Saturday night?” These are the questions that shape the small talk of my life. After seven years of reviewing movies you’d think I’d have ready answers and sparkling rehearsed tip-offs to scatter at the slightest quiver of interest. And yet I feel anxious when I’m asked to predict some stranger’s enjoyment – their 15-odd bucks worth of dark velvet pleasure. Who am I to say what they’ll enjoy? Who am I to judge what’s worthwhile? As editor of the film pages of The Big Issue magazine (Australian edition), I make such value judgments every day, sifting through hundreds of press releases, invitations and interview offers. I choose just three films and three DVDs to be reviewed each fortnight, and one film to form the subject of a feature article or interview. The film pages are a very small part of an independent magazine that exists to provide an income for the homeless and long-term unemployed people who sell it on the streets of Melbourne, Sydney, Brisbane, Adelaide and Perth. And no, homeless people don’t go to the movies very often but our relatively educated and affluent city-dwelling readers do. The letters page of the magazine suggests that readers’ favourite pages are the Vendor Portraits – the extraordinary and sobering photographs and life stories of the people who are out there on the streets selling the magazine. Yet the editorial policy is to maintain a certain lightness of touch amidst the serious business. Thus, the entertainment pages (music, books, film, TV and humour) have no specific social justice agenda. But if there’s a new Australian film out there that deals with the topic of homelessness, it seems imperative to at least consider the story. Rather than offering in-depth analysis of particular films and the ways I go about judging them, the following diary excerpts instead offer a sketch of the practical process of editorial decision-making. Why review this film and not that one? Why interview this actor or that film director? And how do these choices fit within the broad goals of a social justice publication? Created randomly, from a quick scan of the last twelve months, the diary is a scribbled attempt to justify, or in Bourdieu’s terms, “legitimate” the critical role I play, and to try and explain how that role can never be fully defined by an aesthetic that is divorced from social and political realities. August 2004 My editor calls me and asks if I’ve seen Tom White, the new low-budget Australian film by Alkinos Tsilimidos. I have, and I hated it. Starring Colin Friels, the film follows the journey of a middle-aged middle-class man who walks out of his life and onto the streets. It’s a grimy, frustrating film, supported by only the barest bones of narrative. I was bored and infuriated by the central character, and I know it’s the kind of under-developed story that’s keeping Australian audiences away from our own films. And yet … it’s a local film that actually dares to tackle issues of homelessness and mental illness, and it’s a story that presents a truth about homelessness that’s borne out by many of our vendors: that any one of us could, except by the grace of God or luck, find ourselves sleeping rough. My editor wants me to interview Colin Friels, who will appear on the cover of the magazine. I don’t want to touch the film, and I prefer interviewing people whose work genuinely interests and excites me. But there are other factors to be considered. The film’s exhibitor, Palace Films, is offering to hold charity screenings for our benefit, and they are regular advertising supporters of The Big Issue. My editor, a passionate and informed film lover himself, understands the quandary. We are in no way beholden to Palace, he assures me, and we can tread the fine line with this film, using it to highlight the important issues at hand, without necessarily recommending the film to audiences. It’s tricky and uncomfortable; a simple example of the way in which political and aesthetic values do not always dance so gracefully together. Nevertheless, I find a way to write the story without dishonesty. September 2004 There’s no denying the pleasure of writing (or reading) a scathing film review that leaves you in stitches of laughter over the dismembered corpse of a bad movie. But when space is limited, I’d rather choose the best three films every fortnight for review and recommendation. In an ideal world I’d attend every preview and take my pick. They’d be an excitingly diverse mix. Say, one provocative documentary (maybe Mike Moore or Errol Morris), one big-budget event movie (from the likes of Scorsese or Tarantino), and one local or art-house gem. In the real world, it’s a scramble for deadlines. Time is short and some of the best films only screen in one or two states, making it impossible for us to cover them for our national audience. Nevertheless, we do our best to keep the mix as interesting and timely as possible. For our second edition this month I review the brilliant documentary Metallica: Some Kind of Monster (Joe Berlinger and Bruce Sinofsky), while I send other reviewers to rate Spielberg’s The Terminal (only one and a half stars out of five), and Cate Shortland’s captivating debut Australian feature Somersault (four stars). For the DVD review page we look at a boxed set of The Adventures of Tintin, together with the strange sombre drama House of Sand and Fog (Vadim Perelman), and the gripping documentary One Day in September (Kevin MacDonald) about the terrorist attacks at the 1972 Munich Olympic Games. As editor, I try to match up films with the writers who’ll best appreciate them. With a 200-word limit we know that we’re humble ‘reviewers’ rather than lofty ‘critics’, and that we can only offer the briefest subjective response to a work. Yet the goal remains to be entertaining and fair, and to try and evaluate films on their own terms. Is this particular movie an original and effective example of the schlocky teen horror thriller? If so, let’s give it the thumbs up. Is this ‘worthy’ anti-globalisation documentary just a boring preachy sermon with bad hand-held camera work? Then we say so. For our film feature article this edition, I write up an interview with Italian director Luigi Falorni, whose simple little film The Weeping Camel has been reducing audiences to tears. It’s a strange quiet film, a ‘narrative documentary’ set in the Gobi desert, about a mother camel that refuses to give milk to her newborn baby. There’s nothing political or radical about it. It’s just beautiful and interesting and odd. And that’s enough to make it worthy of attention. November 2004 When we choose to do a ‘celebrity’ cover, we find pretty people with serious minds and interesting causes. This month two gorgeous film stars, Natalie Portman and Gael Garcia Bernal find their way onto our covers. Portman’s promoting the quirky coming of age film, Garden State (Zach Braff), but the story we run focuses mainly on her status as ambassador for the Foundation of International Community Assistance (FINCA), which offers loans to deprived women to help them start their own businesses. Gabriel Garcia Bernal, the Mexican star of Walter Salle’s The Motorcycle Diaries appears on our cover and talks about his role as the young Che Guevara, the ultimate idealist and symbol of rebellion. We hope this appeals to those radicals who are prepared to stop in the street, speak to a homeless person, and shell out four dollars for an independent magazine – and also to all those shallow people who want to see more pictures of the hot-eyed Latin lad. April 2005 Three Dollars is Robert Connelly’s adaptation of Elliot Perlman’s best-selling novel about economic rationalism and its effect on an average Australian family. I loved the book, and the film isn’t bad either, despite some unevenness in the script and performances. I interview Frances O’Connor, who plays opposite David Wenham as his depressed underemployed wife. O’Connor makes a beautiful cover-girl, and talks about the seemingly universal experience of depression. We run the interview alongside one with Connelly, who knows just how to pitch his film to an audience interested in homelessness. He gives great quotes about John Howard’s heartless Australia, and the way we’ve become an economy rather than a society. It’s almost too easy. In the reviews section of the magazine we pan two other Australian films, Paul Cox’s Human Touch, and the Jimeoin comedy-vehicle The Extra. I’d rather ignore bad Australian films and focus on good films from elsewhere, or big-budget stinkers that need to be brought down a peg. But I’d lined up reviews for these local ones, expecting them to be good, and so we run with the negativity. Some films are practically critic-proof, but small niche films, like most Australian titles, aren’t among these Teflon giants. As Joel Pearlman, Managing Director of Roadshow Films has said, “There are certain types of films that are somewhat critic-proof. They’ve either got a built-in audience, are part of a successful franchise, like The Matrix or Bond films, or have a popular star. It’s films without the multimillion-dollar ad campaigns and the big names where critics are far more influential” ( Pearlman in Bolles 19). Sometimes I’m glad that I’m just a small fish in the film critic pond, and that my bad reviews can’t really destroy someone’s livelihood. It’s well known that a caning from reviewers like David Stratton and Margaret Pomeranz (ABC, At the Movies), or the Melbourne Age’s Jim Schembri can practically destroy the prospects of a small local film, and I’m not sure I have the bravery or conviction of the value of my own tastes to bear such responsibility. Admittedly, that’s just gutless tender-heartedness for, as reviewers, our responsibility is to the audience not to the filmmaker. But when you’ve met with cash-strapped filmmakers, and heard their stories and their struggles, it’s sometimes hard to put personal compassion aside and see the film as the punter will. But you must. August 2005 It’s a busy time with the Melbourne International Film Festival just finishing up. Hordes of film directors accompany their films to the festival, promoting them here ahead of a later national release schedule, and making themselves available for rare face-to face interviews. This year I find a bunch of goodies that seem like they were tailor-made for our readership. There are winning local films like Sarah Watt’s life-affirming debut Look Both Ways; and Rowan Woods’ gritty addiction-drama Little Fish. There’s my personal favourite, Bahman Ghobadi’s stunning and devastating Kurdish/Iranian feature Turtles Can Fly; and Avi Lewis’s inspiring documentary The Take, about Argentine factory workers who unite to revive their bankrupt workplaces. It’s when I see films like this, and get to talk to the people who bring them into existence, that I realize how much I value writing about films for a publication that doesn’t exist just to make a profit or fill space between advertisements. As the great American critic Jonathan Rosenbaum has eloquently argued, most of the worldwide media coverage concerning film is merely a variation on the ‘corporate stories’ that film studios feed us as part of their advertising. To be able to provide some small resistance to that juggernaut is a wonderful privilege. I love to be lost in the dark, studying films frame by frame, and with reference only to some magical internal universe of ‘cinema’ and its endless references to itself. But as the real world outside falls apart, such airless cinephilia feels just plain wrong. As a writer whose subject is films, what I’m compelled to do is to come out of the cinema and try to use my words to convey the best of what I’ve seen to my friends and readers, pointing them towards small treasures they may have overlooked amidst the hype. So maybe I’m not a ‘pure’ critic, and maybe there’s no shame in that. The films I’ll gravitate towards share an almost indefinable quality – to use Jauss’s phrase, they reconstruct and expand my “horizon of expectation” (28). Sometimes these films are overtly committed to a cause, but often they’re just beautiful and strange and fresh. Always they expand me, open me, make me feel that there’s more to the world than expected, and make me want more too – more information, more freedom, more compassion, more equality, more beauty. And, after all these years in the dark, I still want more films like that. Endnotes As of August 2005, the role of DVD editor of The Big Issue has been filled by Anthony Morris. According the latest Morgan Poll, readers of The Big Issue are likely to be young (18-39), urban, educated, and affluent professionals. Current readership is estimated at 144,000 fortnightly and growing. References Bolles, Scott. “The Critics.” Sunday Life. The Age 10 Jul. 2005: 19. Bourdieu, Pierre. The Field of Cultural Production: Essays on Art and Literature. Ed. Randal Johnson. Cambridge: Polity Press, 1993. Jauss, Hans Robert. Toward an Aesthetic of Reception. Trans. Timothy Bahti. Minnesota: U of Minnesota P, 1982. Morris, Meaghan. “On Going to Bed Early: Once Upon a Time in America.” Meanjin 4 (1998): 700. Rosenbaum, Jonathan. “Junket Bonds.” Chicago Reader Movie Review (2000). 2 Sept. 2005 http://www.chicagoreader.com/movies/archives/2000/1000/00117.html>. The Big Issue Australia. http://www.bigissue.org.au/> 10 Oct. 2005. Citation reference for this article MLA Style Siemienowicz, Rochelle. "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience." M/C Journal 8.5 (2005). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0510/01-siemienowicz.php>. APA Style Siemienowicz, R. (Oct. 2005) "Diary of a Film Reviewer: Intimate Reflections on Writing about the Screen for a Popular Audience," M/C Journal, 8(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0510/01-siemienowicz.php>.

Parlare dell'influenza dei mezzi di trasporto moderni, e in particolare della motocicletta, nella letteratura italiana permette di aprire nuove prospettive di studio, perché oggi ci si confronta giornalmente con veicoli potenti e tecnologicamente sempre più avanzati. In ambito culturale gli intellettuali riconoscono al veicolo a due ruote un ruolo importante per descrivere la società. Attraverso la motocicletta l'individuo avverte in sé una nuova forza che lo porta a sperimentare l'ansia d'infinito. Egli si sente un nuovo centauro che ha assunto in sé le medesime caratteristiche di forza e velocità del suo mezzo meccanico. Nei secoli passati il veicolo più usato era il cavallo, nell'era di navi, treni e aerei il mezzo che più gli si avvicina è la moto, non solo per la postura del cavaliere, ma perché essa lascia il pilota a contatto con il paesaggio esterno, con i vari fenomeni atmosferici (pioggia, sole e vento) e con i profumi della natura. Se in passato il moto del cavallo poteva diventare il pretesto per esprimere determinati processi narrativi, nel Novecento tale compito è affidato alla motocicletta che cha finito per condizionare il modo di vivere e di pensare degli uomini del XX secolo.
Speaking about the influence of modern means of transport (in particular about the motorcycle) in literature, fixes a new way of studying culture, because today we have to cope with more and more powerful and technologically advanced vehicles. Intellectuals acknowledge motorcycles an important role to describing society. Thanks to the motorcycle man exploits a new strength that enables him to overcome his limits. He feels a sort of divinity embodying the same peculiarities as his vehicle. In the past the horse was the most widespread means of transport while today, in an age of airplanes, ships and trains, it has been replaced by the motorcycle, both for the rider's posture and for his contact with the environment and its expressions: rain, sun and wind as well as the perfumes of the Earth. Just like the horse's motion was in the past a way to express narrative processes, the motorcycle has inherited this task today, therefore conditioning the contemporary way of living and thinking.

碩士
淡江大學
歐洲研究所碩士班
93
In regular life, automobile has become one of the most important vehicle for the people, with the increasing of selling quantities, automobile industry has turned into the emphasis on world trade. Besides, many countries like Italy, Germany, U.K., USA and Japan, spend a big amount of capital and human resources to develop the motorcycle industry in manufacturing and exporting. Although riding a motorbike is less safe than driving a car, it still has many benefits in travelling, in riding’s joy with convenience and motive. Nowadays the development of motorcycle industry is as well as the automobile industry. In this thesis, there are two main parts, the first is the probe into the motorcycle industries and markets in Europe, USA and Japan; the second is the research in the development of Ducati Motor in global competition, in order to figure out how motorcycle industry survive and develop. The framework of this thesis is as follows: the first part is to discuss with the theories of industry and competition in globalization; the second part is to research the motorcycle industries in Europe, USA and Japan; the third part is to comment about the motorcycle markets in Europe, USA and Japan; the fourth part is to analyze the development and operating of Ducati Group in global competition; and the last part is to find out the changes of motorcycle industry in global competition and the reasons why Ducati Motor could develop successfully.

AbstractOne of the growing innovations in the electric vehicle market concerns light electric vehicles (LEVs), promoted at local and national level by many initiatives, such as the European project ELVITEN, involving six cities, which is analysed in the present paper in relation to the Genoa pilot case study. In Italy, LEVs have been increasingly successful, as the number of their registrations shows (+76% in 2019 compared to 2018). In this context, the city of Genoa, where a considerable fleet of mopeds and motorcycles (214,499 in its metropolitan area in 2018) circulates, lends itself well to the experimentation of two-wheeled LEVs. The monitoring of the use of LEVs within the framework of the ELVITEN project has shown that the average daily round trips recorded in the metropolitan area of Genoa are equal to 15–20 km, thus reinforcing the idea that LEVs represent a valid alternative to Internal Combustion Engine (ICE) private vehicles. Moreover, the characteristics of the travel monitored and the users’ feedback highlight that the question of range anxiety is less present than expected. Finally, and contrary to our expectations, the data analysis indicates that the use of LEVs in Genoa during two months of Covid-19 pandemic lockdown—March and April 2020—shows a decrease of 21%, while the average decrease recorded by the six cities globally considered is 51%.

This narrative autobiographical study is a tribute to do-it-yourselfers who have long worked on their own, patiently troubleshooting motorcycle-related problems often without having all the information or the parts at hand and frequently without having the proper skills to do so. The authors address a peculiar phenomenon that emerged at the same time as Web 2.0 technologies, deemed to be more social: the capacity for anyone to solve problems that would be otherwise impossible. The specific narratives looked at are the authors’ own experiences with Italian motorcycles and how they learned to customize and tune them through joining asynchronous online discussions. The authors present the context of the study, the theoretical framework inspired by Csikszentmihalyi, Foucault, Freire, Dewey, and Wenger, and the methodology. They make an effort to present the results sequentially so that the reader is given a good sense of their experience. The authors offer a discussion that shows the relationships between their experience and progressive concepts of education, which could be useful for the traditional educational system that is currently adrift.

The purpose of the chapter is to propose a conceptual order-picking model to increase the commercialization of Italika motorcycle parts in the North of Veracruz, through the sequential analysis of activities such as distribution in the warehouse, preparation, packing of orders, and the issuance of orders to final customers. It is obtained through simulations using heuristics to compare scenarios and obtain different results after the modification of the main variables. As a result of the designed model, a calculation of three stipulated vehicles was obtained to deliver the seven spare parts systems for Italika motorcycles to each of the dispatch areas. Finally, the authors concluded, via the analysis, that the selected method is functional (in conjunction with the heuristics presented) to address the order picking when the case study was confronted, searching for the optimization of the related logistics processes.

‘Organized crime structures around the globe’ looks at how different structures of organized crime exist in particular contexts worldwide. It begins by considering the connection between organized crime structures and particular national or cultural contexts as traditionally, and often in popular culture, organized crime has been understood through the lens of ethnic links. The nature, characteristics, and links with the sphere of the ‘upperworld’ (legal businesses, law enforcement, politicians, the state, nationalist organizations, etc.) are also looked at. The key structures of organized crime studied include Italian and Italian-American, British, Russian, Turkish, Latin American, Chinese, Japanese, and outlaw motorcycle gangs.