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1
Silvestroni, Andrea. "Progettazione, costruzione e posa in opera di un rack per pipeline petrolifere." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
Find full textAbstract:
Il seguente lavoro è relativo alla progettazione e costruzione di un rack per pipeline petrolifere: lo studio qui presentato concerne l’ingegnerizzazione delle attività di cantiere con la verifica della resistenza strutturale delle costruzioni. Si è inoltre cercato di contenere quanto più possibile costi e tempi grazie alla standardizzazione e al riutilizzo delle attrezzature cantieristiche.
2
Garavini, Giorgia. "Effetti delle modalità di posa sulle prestazioni dei serramenti esterni." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
Find full textAbstract:
Nel suo ruolo di filtro dinamico e selettivo dei flussi energetici tra ambiente interno e ambiente esterno, il serramento costituisce un elemento essenziale dell’involucro edilizio, a cui contribuisce significativamente a determinare le prestazioni. Spinto da norme tecniche sempre più esigenti, il settore dei serramenti ha progressivamente innalzato gli standard dei prodotti offerti sul mercato. Le modalità di installazione non hanno progredito di pari passo, e ciò spesso vanifica gli effetti attesi dai committenti e fa aumentare il contenzioso.
La tesi affronta il tema della posa in opera del sistema finestra, delineando i compiti dei diversi operatori coinvolti nel processo secondo quanto previso dalle norme tecniche e fornendo alcuni esempi di corretta progettazione dei giunti di posa.
3
CREMONINI, Renzo. "La variabilità dei risultati nelle misure in opera di acustica edilizia." Doctoral thesis, Università degli studi di Ferrara, 2012. http://hdl.handle.net/11392/2389463.
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The evaluation of the variability of results in acoustic measurements in buildings
is a matter of great interest among researchers, relating to the development of
standards and legislation.
This work focuses on the variability due to the mounting conditions and to the
measurement method. The variability and issues related to the UNI 11367
standard were also analyzed.
All the assessments were based on extended campaigns of acoustic measurements
in buildings.
In order to estimate the single contribution of the mounting conditions, a
statistical approach taken from UNI ISO 5725-3 standard was studied and tested
by measurements on the field. The opportunity to provide indications about
“robust” technological solutions and to check afterwards the effect of mounting
errors in a building are the main advantages of this method. The analysis
continued with the collection of typical designs and workmanship errors and with
the preparation of checklists for both the design and the realization phases. The
aim was to provide appropriate support tools for designers and construction
managers, in order to limit the effects of mounting conditions.
The variability due to the measurement method was dealt with through the
evaluation of the single variability factors considered more critical: the
measurement technique and the position/type of source. The analysis was carried
out by using both the statistical approach defined above and empirical
experiments. Here an alternative manual scanning technique was described and
tested on the field.
Finally, the variability linked to the UNI 11367 standard (regarding the sound
classification of single properties) was assessed. Through many measurements
carried out on non-serial buildings, the most critical aspects related to the
sampling procedure (usually used for serial buildings) and to the draft guidelines
U20002150 (referring to the application of the acoustic classification for nonserial
buildings) was shown.
4
Edewards, Abram Cornelius. ""Dieu Est Au-Dessus De Nous": A Study of the Worldview of Verdi's Marquis De Posa from the Opera Don Carlos through Music, Text and Historical Context." Diss., The University of Arizona, 2015. http://hdl.handle.net/10150/594385.
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Thought of as the hero of the opera at the premiere but described later as being somewhat monochromatic and uninteresting, the role of Posa in Verdi's Don Carlos has recently attracted more attention. On the one hand he is portrayed as a naive ideologue, on the other a ruthless manipulator of persons. It is my intent to show that in crafting the character of Posa, Verdi shaped the music to portray him as a righteous diplomat: diplomatic in that he speaks the musical language of the person to whom he is making his political entreaties, and righteous in that his music stands in stark contrast to that of Le Grand Inquisiteur and is more aligned with that of Une Voix d'en Haut. I put forth and defend the personal interpretation that Posa could, in fact, be a Calvinist. How this theory affects the performance of this role is demonstrated through an investigation of the dramatic impulses of the Trio of Acte III, 3me Tableau.
5
LEVRA, LEVRON ANDREA. "Strumenti metodologici e tecnici per la corretta realizzazione dell'involucro energeticamente efficiente." Doctoral thesis, Politecnico di Torino, 2012. http://hdl.handle.net/11583/2502563.
Full textAbstract:
Le problematiche ambientali e la loro attinenza con il settore delle costruzioni rappresentano un importante ambito di intervento per i prossimi anni. Il cambiamento culturale in atto e l’evoluzione del quadro normativo hanno condotto allo sviluppo di nuovi modi di operare, di sistemi costruttivi e materiali innovativi. Progettisti e imprese di costruzioni hanno intuito le potenzialità che derivano dall’adozione di soluzioni volte all'efficienza energetica ma, denunciano spesso difficoltà nel mettere a sistema in modo organico e integrato l’innovazione e gli obblighi normativi con le tecniche consolidate di realizzazione degli edifici.
Frequentemente molte soluzioni sono infatti poco conosciute nella tecnica e, laddove non vi è una preparazione appropriata, il rischio di pregiudicare i vantaggi energetico - ambientali ed economici attesi è maggiore.
A partire da queste considerazioni, la ricerca ha sviluppato uno strumento metodologico e
tecnico per definire criteri progettuali e mettere in luce attenzioni esecutive che riguardano soluzioni d’involucro ad alte prestazioni, proponendo un apporto nella gestione della delicata
fase di trasferimento delle informazioni di dettaglio tecnologico agli operatori di cantiere.
6
Morris, Christopher. "'Invisible theatre' : orchestral interludes in post-Wagnerian opera." Thesis, University of Leeds, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.427755.
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Silva, Pryscilla dos Santos Ferreira. "A post-Lie operad of rooted trees." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/55/55135/tde-10102018-164231/.
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In this thesis we propose a description of the operad defining post-Lie algebras in terms of rooted trees and we discuss some applications of such a construction. In particular, we re-derive both the free post-Lie algebra defined in [22] and the main result of the paper [8]. Furthermore, a possible extension of the concept of symmetric brace algebra to the category of the post-Lie algebras is proposed.Nessa tese propomos a descrição da operad que define as álgebras pós-Lie em termos de árvores enraizadas e discutimos algumas aplicações dessa construção. Em particular, nós obtemos novamente a álgebra pós-Lie livre definida em [22] e o resultado principal do artigo [8]. Além disso, uma possível extensão do conceito de álgebra brace simétrica à categoria de álgebras pós-Lie é apresentada.
8
Nolan, Anna. "Wexford festival opera 2010: a study of national and cultural values in post-Celtic tiger Ireland." Thesis, Ulster University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667773.
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Thompson, Shirley J. "Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/13862.
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This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Queen Nanny of the Maroons. Issues of composition technique, vocal expression and operatic narrative are examined and in addition the three named works explore notions of post-colonial heroic representation of subjects that might not usually attract ideological recognition in Western European art music contexts. Methods for developing inclusive, post-modern musical language for the mixed instrumental and vocal ensemble are explored; including the employment of spoken word expression and the integration of popular music idioms within contemporary Western European art music contexts. In the writing of lyrics for the songs and libretto for the opera, increased responsibility is assumed in the completion of vocal works in addition to musical consideration to find the effects on the works when the roles of composer and writer are combined. With the opera in one act for solo voice, forming the major contribution to the portfolio, critical components that lead to effective music drama are assessed.
10
Bhatch, Michael Shakib. "Imagining multilingual spaces through scripted 'codeswitching' in multilingual performance: a case study of '7de Laan'." Thesis, University of the Western Cape, 2010. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_6224_1360931285.
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This thesis examines how multilingual spaces in South Africa are imagined and reconstructed through the use of scripted codeswitching in 7de Laan. It explores how the socio-political discourses and other ideologies from the broader South African context shape and influence the ways in which the soap reconstructs multilingual spaces and the identities that exist within these spaces through language and language practices. In the literature presented in this study I explore various theories and case studies that examine Afrikaans and its indexicality in our
contemporary society, the conventions of soap opera in representing &lsquo
reality&rsquo
to society, the role of codeswitching in multilingual mass communication, the policies and ideologies that govern post apartheid television and finally the link between ideology, the media, language and imagined identities.. These five overarching themes often overlap throughout this thesis. My investigation of the main questions set in this thesis is based on a triangulated analysis of (a) a five episode transcript of the soap, (b) solicited viewer perceptions gleaned from questionnaires and (c) unsolicited social media commentaries. This analysis is framed by a poststructuralist critical analysis with a specific focus on how social practices and contemporary ideologies manifest in the discourse of the soap. This approach views discourse as the juncture where identity, stereotypes and power are negotiated, enforced, imagined and challenged. In this thesis I argue that the conspicuous absence of indigenous African languages and the use of standard white Afrikaans as the lingua franca in the soap creates an unrealistic utopian portrayal of the new South Africa that naturalises white Afrikaans culture and marginalises other indigenous cultures and languages. I argue that the soap puts middle class white Afrikaners at the epicentre of South African society thus enforcing the idea that non-whites still need to conform to white Afrikaans standards and norms at the expense of their own culture and languages despite the inception of democracy. The soap offers no depictions of resistance to this dominant white Afrikaans culture, thus misleadingly portraying it as the uncontested dominant culture of the new South Africa.
11
Ng, Stephanie Yuet Wah. "Modes of production in post-war cantonese cinema : bricolage and sing-song comedy." HKBU Institutional Repository, 2013. http://repository.hkbu.edu.hk/etd_ra/1532.
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Vergaro, Pietro. "Management di opere provvisorie post eventi sismici. Il caso studio edifici scolastici temporanei in Emilia Romagna." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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Questa tesi nasce dalla constatazione che il nostro paese spesso è sottoposto a catastrofi naturali e le strutture pubbliche e private in questi casi collaborano per far fronte a questo tipo di emergenze. Ne è un esempio il terremoto che ha colpito l’Emilia Romagna nel 2012, dove l’architettura d’emergenza ha cercato di risolvere un problema molto importante: assicurare l’anno scolastico a molti studenti che si sono ritrovati senza una scuola, realizzando in soli 50 giorni delle strutture concepite in relazione allo stato di necessità post sismico. Per ottenere questo risultato, il processo di progettazione e realizzazione delle scuole di emergenza è stato organizzato in modo molto efficace, seppur sostanzialmente all’interno del quadro di regole degli appalti pubblici con qualche deroga. Questa esperienza, quindi, costituisce un caso studio interessante per analizzare come il processo è stato seguito e come le funzioni di PM hanno operato al suo interno. Per studiare questo tema, vorrei dapprima esaminare l’evoluzione storica della disciplina del Project Management e il contesto in cui si inserisce. Individuare i temi base del PM e i principali processi gestionali. Successivamente vorrei analizzare nel dettaglio il bando pubblicato dalla Regione Emilia Romagna per la ricostruzione post-sismica denominato “Progettazione e realizzazione di edifici scolastici temporanei (EST)” e analizzare tutti i documenti riguardanti il caso studio “Scuola Primaria di “Pilastri” (Comune di Bondeno (FE)). In una seconda fase simulare l’attività di gestione della commessa edile utilizzando tutti gli strumenti utili alla gestione delle attività di cantiere. Quindi intendo ipotizzare una strategia di intervento per individuare elementi critici del processo che potrebbero essere migliorati. L’obiettivo finale della mia testi vorrei che fosse un “metodo” d’approccio a casi simili a quello preso in esame, che volendo potrebbe essere applicato anche ad altre situazioni d’emergenza.
13
Spagnolo, Simone. "Each tale chases another : metaphorical representations, non-linearity and openness of narrative structure in Italian opera from post-WWII to 'It makes no difference'." Thesis, City University London, 2015. http://openaccess.city.ac.uk/13570/.
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This work addresses the demands of framing a theoretical problem and practice-based research and it therefore comprises two parts: a thesis and a composition. The thesis discusses the narrative structure of post-WWII Italian avant-garde opera in conceptual terms and demonstrates how it develops on three principal features: the metaphorical representation of socio-political conditions, the non-linearity of the dramaturgy, and openness to a plurality of interpretations. My composition It makes no difference contributes both as a new musico-theatrical work and an outcome of the discussion presented in the thesis. The main text is composed of three main chapters, each respectively dedicated to the features of socio-political representation, non-linearity and openness. Each chapter is in turn divided into two sub-chapters: the first presents the contextualisation and analysis of post-WWII Italian experimental operas, the second explores It makes no difference in relation to both these operas and the above three features. The discussion examines those works that have most significantly experimented with socio-political representations, non-linearity and openness. These include Luigi Nono’s Intolleranza 1960 (1961), Sylvano Bussotti’s La Passion selon Sade (1966) and Luciano Berio’s Opera (1977). At the same time, it omits both those operas relying on traditional operatic principles and those others that, although being experimental, do not focus on the three features this thesis puts forward. This study considers post-WWII Italian avant-garde opera in cross-disciplinary terms and highlights the necessity of discussing it in relation to disciplines other than those proper to the genre of opera, including prose-theatre, literature, politics and philosophy. The composition, on the other hand, provides a synthesis of the above three features: It makes no difference develops a multi-narrative structure whilst providing a representation of contemporary Italian socio-political life and epitomising the concept of openness. At the same time, it integrates theatrical and literary elements and combines traditional notation and graphic scores.
14
Falasco, Renata <1993>. "Il rōdoku in Giappone: la letteratura da ascoltare. Un’analisi della pratica performativa attraverso le opere dell’autore Furukawa Hideo, nel contesto contemporaneo e “post Fukushima”." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14474.
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Questo elaborato tratterà principalmente a proposito del concetto di “lettura performativa” o “lettura a voce alta” – in giapponese rōdoku – e delle differenze che contraddistinguono questo tipo di performance dall’atto di “lettura silenziosa” – dokusho – , che rimane il metodo principale di acquisizione dei contenuti delle opere letterarie da parte del pubblico, o lettore, soprattutto in epoca contemporanea. Nel panorama della letteratura contemporanea giapponese, in particolare legata alla pratica del rōdoku, il discorso verrà sviluppato focalizzandosi sull’autore Furukawa Hideo (1966), che nei suoi vent’anni di carriera, oltre a dedicarsi ad adattamenti e riscritture, ha sempre dato fondamentale importanza al ruolo della musica, della voce e del suono, leggendo su palcoscenico estratti dai suoi scritti in diverse occasioni e rendendo il suo stile di comunicazione unico e potente. Furukawa Hideo, nato e cresciuto in una città della prefettura di Fukushima, è uno di quegli autori che ha sentito il bisogno di contribuire al supporto morale dopo i disastri naturali e nucleari che hanno colpito il Giappone l’11 marzo 2011. Due fra i suoi lavori, in particolare, risultano di particolare interesse: Umatachi yo, sore demo hikari wa muku da (2011) e la terza parte di Doggumazā: Ni do me no natsu ni itaru (2012). Infine, verrà analizzata una delle opere più recenti di suddetto autore, sviluppata in collaborazione con Suga Keijiro (1958), Kojima Keitaneylove (1980) e Shibata Motoyuki (1954): Migurādo – rōdokugeki: Ginga tetsudō no yoru (Migurado. Lettura performativa di “Una notte sul treno della Via Lattea”, 2013). L’approfondimento di questo lavoro multisemiotico, ideato e sviluppato negli anni successivi al disastro che ha colpito la zona del Tōhoku, consentirà di indagare su come il progetto è nato e sul perché non si tratta solo di un’opera letteraria da “leggere silenziosamente” ma bensì si un più complesso lavoro dove la voce e le parole risultano fondamentali per mantenere viva la memoria.
15
MERCADANTE, RAIMONDO. "Architettura come architettura. Critica, teoria, progetti e opere da Edvard Ravnikar al gruppo di AB Slovenia 1970-1990." Doctoral thesis, Politecnico di Torino, 2022. http://hdl.handle.net/11583/2971519.
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Segonzac, Charlotte. "Les écrivains librettistes dans la période post-wagnérienne : vers un opéra littéraire ? : autour de Catulle Mendès, Émile Zola, Jean Cocteau, Paul Claudel et Armand Lunel." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100090.
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De 1883 à 1939, après une période marquée par le drame lyrique wagnérien, de nombreux écrivains français ou francophones se sont engagés dans une collaboration avec un compositeur pour donner naissance à une œuvre opératique. Cette thèse étudie les relations humaines et le travail créateur qui ont pu s’instaurer entre hommes de lettres et musiciens. Elle explore de façon plus approfondie les livrets de cinq créateurs qui se distinguent par l'intérêt qu'ils ont porté au genre lyrique, mais aussi par la diversité de leurs livrets et de leurs collaborations : Catulle Mendès, Émile Zola, Jean Cocteau, Paul Claudel et Armand Lunel.Une première partie est consacrée à la genèse des œuvres lyriques, de la naissance du travail à quatre mains jusqu'à la création de l’œuvre (si elle a lieu). Chaque collaboration est une fenêtre sur l'homme et sur l'auteur : elle révèle son tempérament, sa vision esthétique et ses convictions. Elle permet également de mesurer l'investissement esthétique et humain de ces créateurs et d'aller sur les traces de leurs doutes, de leurs espoirs, de leurs blessures d'orgueil, de leurs vexations comme de leurs exaltations. Une seconde partie considère le livret en tant que matière poétique pour les écrivains : nous nous interrogeons sur l'opportunité que ce texte opératique peut représenter pour leur permettre d'exprimer un style personnel tout en s'adaptant à un support qui leur est généralement étranger. L'objectif est alors de questionner les apports esthétiques que les écrivains ont pu apporter au livret d'opéra, dans la mesure où faire appel à un « spécialiste » pouvait apparaître aux yeux des collaborateurs comme un « gage » de qualité littéraire : cette participation permet-elle de faire entrer le texte opératique dans la sphère de la littérature ?From 1883 to1939, after a period dominated by the lyrical Wagnerian drama, many French or French-speaking writers started collaborating with composers to give birth to opera compositions. This thesis is a study of the human relationships and the creative work which was established between men of letters and musicians. It analyses more particularly the libretti of five creators who distinguish themselves by their interest in the lyrical genre, but also by the diversity of their libretti and of their collaboration : Catulle Mendès, Emile Zola, Jean Cocteau, Paul Claudel and Armand Lunel. The first part deals with the genesis of the lyrical works, from the beginning of the four-handed cooperation to the creation of the works (if it takes form ). Each collaboration opens a window on the man and on the writer : it reveals his temperament, his aesthetic vision and his convictions. It also measures the aesthetic and human investment of these creators and it permits to trace their doubts, their hopes, their wounded pride , their vexations as well as their exaltation. The second part examines the libretto as poetical creation for the writers : we ponder over the opportunity given by opera writing which allows them to express a personal style while adjusting to a medium generally unfamiliar to them. The aim is then to question the aesthical contributions which writers were able to bring to the libretto in so far as the calling in of a « specialist » could appear, in the eyes of their collaboraters, as a guarantee of literary quality. Can this participation allow opera writing to enter the sphere of literature ?
17
Reed, Mark Dobson. "The Role of Popular Mythology and Popular Culture in Post-war America, as represented by four novels - The Floating Opera and The End of the Road, by John Barth, White Noise, by Don DeLillo, and Vineland, by Thomas Pynchon." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/627.
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The four novels - The Floating Opera, The End of the Road, White Noise, and Vineland - are representative of the cultural shift away from traditional moral concepts after World War II. Popular culture has increasingly become the guiding force for the continuation of American society, and in Don DeLillo�s White Noise, popular culture and its creation of myth (according to the author�s representation of America) has become embedded in the system and life of contemporary America. John Barth�s novel The End of the Road and its predecessor The Floating Opera are important in any discussion of the role of popular culture and popular mythology in post-war America. They both appear to signal an end to sincere intellectual thought or debate, and the notion of imposing a rational moral world upon the social landscape surrounding the individual. The Floating Opera explores the common tendency of society to avoid difficult intellectual struggles, and the central character and first-person narrator ultimately realises that questions about the nature of existence are of no objective value. In The End of the Road the character Jacob Horner adopts a superficial reflection of pre-existing rules and social conventions. Together these novels reflect much of what is at present understood as the postmodern aesthetic, and are indicative of many of the changes in America that were about to occur. The Floating Opera was published in 1956 and The End of the Road was published in 1958, but they are still highly relevant beyond the period in which they were written. White Noise (1984) portrays a system founded on the Hollywood mythology, and the superficial reflection of pre-existing rules and social conventions found in The End of the Road. The novel revolves around the experiences of the narrator, Jack Gladney, a university lecturer who teaches Hitler studies at Blacksmith College, and his wife Babette. The course which he teaches on Hitler is influenced by Hollywood myth, and the novel portrays a consumer-based society that has lost much of the firm moral basis which traditional religious concepts formerly supplied. The role of television, Hollywood, and the idea of simulation are all explored throughout the novel and are important forces in any examination of post-war American society. Finally, in Vineland (1990) the social upheavals which occurred during the late �60s and early �70s are explored from the perspective of the 1980s. The novel refers to a vast array of images and icons from popular culture, and the brief youth rebellion, in the late �60s, which failed to inspire any final social revolution. The result of this failed social revolution is a landscape of popular culture in modern America, where Godzilla leaves footprints in Japan and popular mythology from television or pulp novels coincides with everyday life. There are references in typical Pynchonesque fashion to those who must necessarily be orchestrating these social and cultural alterations, but they, as specific individuals, remain anonymous or hidden from the scope of the author (although, as in White Noise, there are deliberate references to the CIA and other agencies or departments within the U.S. Federal Government). Vineland is important, therefore, both as an account of the social changes which occurred in America between the late �60s and �80s, and the increasing role of popular culture in America. These four novels form the basis of an exploration of the role of popular mythology and popular culture in post-war America. They form a clear progression, and allow a detailed analysis of the social and cultural changes which contemporary America has undergone since the end of World War II.
18
Reed, Mark Dobson. "The Role of Popular Mythology and Popular Culture in Post-war America, as represented by four novels - The Floating Opera and The End of the Road, by John Barth, White Noise, by Don DeLillo, and Vineland, by Thomas Pynchon." University of Sydney. English, 2004. http://hdl.handle.net/2123/627.
Full textAbstract:
The four novels - The Floating Opera, The End of the Road, White Noise, and Vineland - are representative of the cultural shift away from traditional moral concepts after World War II. Popular culture has increasingly become the guiding force for the continuation of American society, and in Don DeLillo�s White Noise, popular culture and its creation of myth (according to the author�s representation of America) has become embedded in the system and life of contemporary America. John Barth�s novel The End of the Road and its predecessor The Floating Opera are important in any discussion of the role of popular culture and popular mythology in post-war America. They both appear to signal an end to sincere intellectual thought or debate, and the notion of imposing a rational moral world upon the social landscape surrounding the individual. The Floating Opera explores the common tendency of society to avoid difficult intellectual struggles, and the central character and first-person narrator ultimately realises that questions about the nature of existence are of no objective value. In The End of the Road the character Jacob Horner adopts a superficial reflection of pre-existing rules and social conventions. Together these novels reflect much of what is at present understood as the postmodern aesthetic, and are indicative of many of the changes in America that were about to occur. The Floating Opera was published in 1956 and The End of the Road was published in 1958, but they are still highly relevant beyond the period in which they were written. White Noise (1984) portrays a system founded on the Hollywood mythology, and the superficial reflection of pre-existing rules and social conventions found in The End of the Road. The novel revolves around the experiences of the narrator, Jack Gladney, a university lecturer who teaches Hitler studies at Blacksmith College, and his wife Babette. The course which he teaches on Hitler is influenced by Hollywood myth, and the novel portrays a consumer-based society that has lost much of the firm moral basis which traditional religious concepts formerly supplied. The role of television, Hollywood, and the idea of simulation are all explored throughout the novel and are important forces in any examination of post-war American society. Finally, in Vineland (1990) the social upheavals which occurred during the late �60s and early �70s are explored from the perspective of the 1980s. The novel refers to a vast array of images and icons from popular culture, and the brief youth rebellion, in the late �60s, which failed to inspire any final social revolution. The result of this failed social revolution is a landscape of popular culture in modern America, where Godzilla leaves footprints in Japan and popular mythology from television or pulp novels coincides with everyday life. There are references in typical Pynchonesque fashion to those who must necessarily be orchestrating these social and cultural alterations, but they, as specific individuals, remain anonymous or hidden from the scope of the author (although, as in White Noise, there are deliberate references to the CIA and other agencies or departments within the U.S. Federal Government). Vineland is important, therefore, both as an account of the social changes which occurred in America between the late �60s and �80s, and the increasing role of popular culture in America. These four novels form the basis of an exploration of the role of popular mythology and popular culture in post-war America. They form a clear progression, and allow a detailed analysis of the social and cultural changes which contemporary America has undergone since the end of World War II.
19
PASSAMONTI, STEFANO. "Professionismo e sperimentazione. Robaldo Morozzo della Rocca, Genova, il Novecento." Doctoral thesis, Università degli studi di Genova, 2022. https://hdl.handle.net/11567/1101376.
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Professionismo e sperimentazione, concetti cardine di questa ricerca, vengono individuati e scaturiscono da un sentimento di adesione all’opera di Robaldo Morozzo della Rocca, architetto nato a Torino, formatosi a Roma e attivo prevalentemente a Genova. Attraverso la definizione critica della dimensione e dei caratteri dell’opera di Morozzo – osservata all’interno del suo quadro sociale, culturale, economico, politico – il lavoro ha l’ambizione di decifrare l’attualità e l’attuabilità contemporanea di un approccio non programmatico, libero e disincantato ma pur sempre connotato da una colta coerenza metodologico-professionale. Questo contributo al dibattito critico intorno alla definizione di architettura moderna, prende le mosse dalla constatazione di una condizione di base, rilevabile nell’opera di Morozzo, che definiremo postideologica per l’autonomia del linguaggio rispetto a qualunque condizionamento esterno. Un professionismo sui generis, fatto di itinerari progettuali poco riconoscibili e mai racchiudibili in un’immagine univoca, che lo rendono un ‘prodotto’ inaffidabile per la storiografia. Figura irregolare, individualista, sincretica, contemporaneamente rigorosa e arbitraria, complessa e contraddittoria, sofisticata e popolare Morozzo rende Genova un particolare punto di osservazione della realtà e un intimo laboratorio di sperimentazione formale nel campo dell’architettura.Professionalism and experimentation are the key concepts of the following research and are identified from a feeling of adherence to the work of Robaldo Morozzo della Rocca, architect born in Turin, educated in Rome and based in Genoa. Through the critical definition of the dimensions and the features of Morozzo's work (observed within his social, cultural, economic and political framework) – the work aims to decipher both the newness and the contemporary feasibility of na un-programmatic, free and disenchanted approach that nonetheless is always characterized by a cultured methodological-professional coherence. The following contribution to the critical debate around the definition of modern architecture, takes its cue from the observation of a basic condition, detectable in the work of Morozzo, which we will define post-ideological for the linguistic autonomy from any external conditioning. A sort of sui generis professionalism, made up of design itineraries that are hardly recognizable and can never be summarized in an univocal image, which make it an unreliable 'product' for historiography. Morozzo appears as an irregular figure, individualistic, syncretic, simultaneously rigorous and arbitrary, complex and contradictory, sophisticated and popular that makes Genoa a particular observation point for the transformation of the reality and an intimate laboratory of formal experimentation in the field of architecture.
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Harris-Birtill, Rosemary. "Mitchell's mandalas : mapping David Mitchell's textual universe." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/12255.
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This study uses the Tibetan mandala, a Buddhist meditation aid and sacred artform, as a secular critical model by which to analyse the complete fictions of author David Mitchell. Discussing his novels, short stories and libretti, this study maps the author's fictions as an interconnected world-system whose re-evaluation of secular belief in galvanising compassionate ethical action is revealed by a critical comparison with the mandala's methods of world-building. Using the mandala as an interpretive tool to critique the author's Buddhist influences, this thesis reads the mandala as a metaphysical map, a fitting medium for mapping the author's ethical worldview. The introduction evaluates critical structures already suggested to describe the author's worlds, and introduces the mandala as an alternative which more fully addresses Mitchell's fictional terrain. Chapter I investigates the mandala's cartographic properties, mapping Mitchell's short stories as integral islandic narratives within his fictional world which, combined, re-evaluate the role of secular belief in galvanising positive ethical action. Chapter II discusses the Tibetan sand mandala in diaspora as a form of performance when created for unfamiliar audiences, reading its cross-cultural deployment in parallel with the regenerative approaches to tragedy in the author's libretti Wake and Sunken Garden. Chapter III identifies Mitchell's use of reincarnation as a form of non-linear temporality that advocates future-facing ethical action in the face of humanitarian crises, reading the reincarnated Marinus as a form of secular bodhisattva. Chapter IV deconstructs the mandala to address its theoretical limitations, identifying the panopticon as its sinister counterpart, and analysing its effects in number9dream. Chapter V shifts this study's use of the mandala from interpretive tool to emerging category, identifying the transferrable traits that form the emerging category of mandalic literature within other post-secular contemporary fictions, discussing works by Michael Ondaatje, Ali Smith, Yann Martel, Will Self, and Margaret Atwood.
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Bazler, Corbett. "The Comedies of Opera Seria: Handel’s Post-academy Operas, 1738-1744." Thesis, 2012. https://doi.org/10.7916/D8DN4C7H.
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This dissertation explores the ways in which Handel’s late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works—from the lighter subject matter of the libretti to Handel’s unconventional musical settings—can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, opera reception in eighteenth-century London was much more complex, sometimes even contradictory: avid operagoers were often generous patrons of operatic burlesque, and considered ridicule, disruption, and laughter an integral part of their operagoing experience. By tracing the points of contact between Italian opera and British theatrical life, this dissertation examines the ways in which the "comedies" of opera seria, both as historical phenomena and as potentially fruitful sites for theoretical investigation, offer a new picture of the eighteenth-century dramma per musica.
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Bazler, Corbett. "The Comedies of Opera Seria: Handel's Post-Academy Operas, 1738-1744." Thesis, 2013. https://doi.org/10.7916/D8M90GW5.
Full textAbstract:
This dissertation explores the ways in which Handel's late operas intersect with other forms of theater in mid-eighteenth-century London. It seeks to explain how certain comic features of these late works--from the lighter subject matter of the libretti to Handel's unconventional musical settings--can be seen to echo the heated criticism leveled at Italian opera seria during this period, criticism usually voiced by satirical pamphlets and operatic parodies. It concludes that so-called "serious opera" was not always taken too seriously by London audiences, or even by Handel himself. Instead, opera reception in eighteenth-century London was much more complex, sometimes even contradictory: avid operagoers were often generous patrons of operatic burlesque, and considered ridicule, disruption, and laughter an integral part of their operagoing experience. By tracing the points of contact between Italian opera and British theatrical life, this dissertation examines the ways in which the "comedies" of opera seria, both as historical phenomena and as potentially fruitful sites for theoretical investigation, offer a new picture of the eighteenth-century dramma per musica.
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CASCIELLO, ALBERTO MARIA. "Gian Girolamo Savoldo (1480 ca. - post 1548): catalogo ragionato delle opere." Doctoral thesis, 2020. http://hdl.handle.net/10808/33103.
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Hung, Ying-Ling, and 洪銀玲. "Transformation and Integration of Peking Opera Movement and Post-Modern Dance-A study on Dance Forum Taipei’s Eastern Current." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/47270036008333304595.
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碩士國立臺灣藝術大學
戲劇與劇場應用學系碩士班
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Abstract Recently, performing arts has developed diversely. In order to be creative, more and more choreographers have tried to involve more different elements in their choreographies. This study takes Dance Forum Taipei’s Eastern Current an example to discuss how the choreographer, Yang Ming Long, integrates the two different kinds of movements of Peking Opera and Post-Modern Dance and develops a new style performance of body movements. The researcher integrates “Qualitative Research”, “Case Study”, and “Choreology” as the main research method which includes the methods of reference analysis, interview record, case study, assistant usage of video image, and choreography analysis to analyze synthetically the context of movements, choreography structure, movement efforts, and different elements in the choreography. In the second chapter, the researcher finds the different kinds of movements has each own unique characteristics by discussing the different cultural developments and the diversities of training performers’ body in Peking Opera and Post-Modern Dance. In the third chapter, according to the interview records of the choreographer and performers, the researcher discovers the physical and mental conflicts of dancers and Peking opera actors in their rehearsal practice, and how they change the efforts of Peking Opera movements in Most-Modern Dance form to present a new style performance. In the fourth chapter, the researcher integrates the three choreography record analysis—Stylistic Macrostructural Analysis, Macroanalysis, and Effort Elements. In Eastern Current, the researcher discovers the movements of this choreography have both characteristics of Peking opera and Most-Modern Dance. The elements and characteristics of every movement suggest the regularity of Peking Opera and the unpredictable Most-Modern Dance. In Eastern Current, the characteristics of Peking Opera movements which have the quality of direct and low body weight are affected and transformed into stable and unpredictable characteristics by Most-Modern Dance with the usage of repetition, expansion, and contraction. After analyzing the choreography, the researcher discovers although Yang Ming Long has some difficulties and conflicts during creating the choreography Eastern Current for Dance Forum, he transforms and integrates successfully the two different kinds of movements which look like matched and correspond to each other in the choreography into an unstable and new style performance including the properties of Peking Opera regularity and Most-Modern Dance diversity. Keywords: Eastern Current, Peking Opera movement, post-modern dance, Stytlistic Macrostructural Analysis, Effort Elements
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Christian, Bryan William. "Cardano (Chamber Opera for Three Singers, Actor, and Ensemble) and Combination-Tone Class Sets and Redefining the Role of les Couleurs in Claude Vivier's "Bouchara"." Diss., 2015. http://hdl.handle.net/10161/9864.
Full textAbstract:
This dissertation consists of two parts: a chamber opera and an article on the work of Claude Vivier.
"Cardano" is a new chamber opera by composer Bryan Christian about the work and tragic life of the Renaissance polymath Gerolamo Cardano (1501-1576). Scored for three vocal soloists, an actor, and an eleven-part ensemble, "Cardano" represents a coalescence of Christian's interests in medieval and Renaissance sources, mathematics, and intensely dramatic vocal music. Christian constructed the libretto from fragmented excerpts of primary sources written by Cardano and his rival Niccolo Tartaglia. The opera reinvigorates Cardano's 16th-century scientific and philosophical models by sonifying and mapping these models to salient musical and dramatic features. These models prominently include Cardano's solution to the cubic equation and his horoscope of Jesus Christ, which was deemed so scandalous in the 16th century that it ultimately led to Cardano's imprisonment under the Roman Inquisition in 1570 - the opera's tragic conclusion. Presenting these ideas in opera allows them to resound beyond the music itself and project through the characters and drama on stage. In this way, the historical documents and theories - revealing Cardano's unique understanding of the world and his contributions to society - are given new life as they tell his tragic story.
Claude Vivier's homophonic treatment of combination tones--what he called les couleurs--demands an extension of traditional methods of harmonic and spectral analysis. Incomplete explanations of this technique throughout the secondary literature further demand a revised and cohesive definition. To analyze all variations of les couleurs, I developed the analytical concept of combination-tone classes (CTCs) and built upon Angela Lohri's (2010) combination tone matrix to create a dynamic CTC matrix, from which CTC sets may be extracted. Intensive CTC set analysis reveals a definitive correlation between CTC set and formal sections in Vivier's composition "Bouchara." Although formally adjacent CTC sets are often markedly varied, all sets share a subset of lower-order CTCs, aiding in perception of spectral cohesion across formal boundaries. This analysis illuminates the interrelationships of CTC sets to their parent dyads, their orchestration, their playing technique, and form in "Bouchara." CTC set analysis is compared with Vivier's sketches for "Bouchara," which suggest that les couleurs were intended as integral components of the work's musical structure.
Dissertation
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Casolino, Ugo Timoteo. ""Post-war constitutions" in Afghanistan ed Iraq." Thesis, 2011. http://eprints.bice.rm.cnr.it/3858/1/TESI-TIM_Definitiva.x.SOLAR._2011.pdf.
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Kowalik, Katarzyna. "La realtà dell’Italia post-unitaria nelle opere di Alfredo Oriani. L’analisi storicoletteraria del caso della ricezione di un autore preteso dal regime politico." Phd diss., 2021. http://hdl.handle.net/11089/37718.
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Rozprawa doktorska La realtà dell’Italia post-unitaria nelle opere di Alfredo Oriani. L’analisi storicoletteraria del caso della ricezione di un autore preteso dal regime politico [Rzeczywistość Włoch pozjednoczeniowych w dziełach Alfreda Orianiego. Analiza historycznoliteracka przypadku recepcji autora zawłaszczonego przez reżim polityczny], napisana pod kierunkiem prof. Tomasza Kaczmarka oraz prof. Marii Teresy Girardi w ramach umowy co-tutelle pomiędzy Uniwersytetem Łódzkim a Katolickim Uniwersytetem „Sacro Cuore” w Mediolanie, podejmuje rzadko opisywany do tej pory na gruncie studiów italianistycznych temat wyjątkowego zjawiska w dziejach literatury włoskiej, jakim była ewoluująca recepcja twórczości pisarza, dziennikarza i historyka Alfreda Orianiego (Faenza, 1852 – Casola Valsenio, 1909). Mało znany nawet wśród włoskich czytelników i nieczęsto wspominany w podręcznikach literatury, ignorowany przez krytykę literacką w trakcie swojego życia, zmuszany do wydawania kolejnych tekstów za własne środki i w nielicznych recenzjach określany jako twórca obsceniczny i grafoman, w okresie dwudziestolecia międzywojennego został otoczony kultem prekursora ideologii faszystowskiej i dzięki osobistemu zaangażowaniu Benita Mussoliniego wywyższony do rangi jednego z najwybitniejszych literatów w historii Włoch.
W rozprawie podjęte zostały dwa wątki. Pierwszy z nich stanowi analiza pięciu powieści Orianiego pod kątem ukazanego w nich obrazu włoskiej rzeczywistości po 1861 r. Drugim poruszanym w pracy zagadnieniem jest niezwykły literacki casus pisarza, którego zmieniająca się na przestrzeni dziesięcioleci recepcja silnie powiązana była z przywłaszczeniem sobie jego dorobku przez reżim faszystowski, poszukujący intelektualnych podstaw dla swojej ideologiczno-politycznej działalności. Założenia metodologiczne dysertacji opierają się na refleksji na temat pozycji autora w recepcji dzieła literackiego i kwestii intencjonalności w jego interpretacji.
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Boshoff, Dorothea. "Crafting positions : representations of intimacy and gender in The Sentients of Orion." Thesis, 2017. http://hdl.handle.net/10500/23473.
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This study comprises a close reading and textual analysis of The Sentients of Orion, a
space opera series by Australian author Marianne de Pierres, with a view to investigating
the representations of gender in modern, popular science fiction by women authors. I
hypothesise that de Pierres will pose a fictional enquiry into gender, based on the richness
of science fiction by women, but that a closer examination of physical and emotional
intimacy (both positive and negative) in these ‘less literary works’ will prove de Pierres’
gender enquiry to be superficial and inconsistent in nature. My main approach is a
qualitative exploration of selected incidents through the theoretical lenses of feminist literary criticism, gender theory and, where applicable, queer theory. While I draw
eclectically on these interpretive paradigms, my approach is most closely aligned with
poststructuralist feminism. Proving the first part of my hypothesis, my findings show that
de Pierres does pose an enquiry into gender through her portrayal of plot and character.
The particular focus on the intimacies involving the heroine, women, men, and alien
characters, proves the second part of my hypothesis incorrect as it reveals how de Pierres
not only deeply and consistently challenges the heteronormative status quo, questioning
dynamics in relationships, gender roles, ageism, sexism and societal stereotypes, but also
provides possible alternatives.English Studies
D. Litt. et Phil. (English)
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SBARBATI, Claudia. "LE STRAGI E LO STATO. NARRAZIONI SU CARTA DELLO STRAGISMO ITALIANO:CRONACA, MEMORIA E STORIA." Doctoral thesis, 2018. http://hdl.handle.net/11393/251127.
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Oggetto del presente studio è la narrazione pubblica delle stragi degli anni Settanta, realizzata attraverso il filtro della carta stampata di ieri e di oggi. In particolare, le stragi delle quali è stato ricostruito il pubblico racconto sono quelle di Milano (12 dicembre 1969), di Brescia (28 maggio 1974) e di Bologna (2 agosto 1980).
L’interesse di ricerca è nato dalla percezione di un vuoto storiografico rispetto all’“impressione di realtà” - quindi all’immaginario - che nel corso dei decenni quotidiani e periodici nazionali hanno edificato riguardo allo stragismo neofascista.
In generale, l’eversione di destra – seppur oggetto di preziosi studi - è stata meno analizzata rispetto a quella di sinistra e quello che è divenuto il cosiddetto “caso Moro”, perché sovente stigmatizzata come subalterna allo Stato e quindi priva di una sua dimensione particolare.
È esattamente in questo spazio che la ricerca s’inserisce, guardando alla storia d’Italia attraverso l’interpretazione dello stragismo offerta dall’informazione a stampa.
La scelta della fonte giornalistica come fonte storica per analizzare le categorie interpretative e i quadri di riferimento messi a disposizione dell’opinione pubblica, ha richiesto di tenere in considerazione gli elementi distintivi del giornalismo italiano e i suoi rapporti con il contesto politico nazionale coevo alle stragi, con attenzione anche per i cambiamenti occorsi nel tempo nel mondo dell’informazione e nel panorama internazionale, definendo un arco temporale che dal 1969 giunge sino al 2017. Inoltre, gli scenari politici sovranazionali della Guerra Fredda sono costantemente richiamati in virtù dell’intima connessione fra eversione di destra, forze dell’ordine e servizi di sicurezza italiani da un lato, ed equilibri geopolitici internazionali dall’altro.
Si è scelto di attingere a numerose testate nazionali per dare conto delle diverse linee editoriali, delle molteplici caratterizzazioni politiche delle stesse, dei differenti stili comunicativi e della pluralità di lettori cui ogni quotidiano o periodico è destinato.
Fra gli archivi storici più attenzionati emergono quelli del “Corriere della Sera”, “La Stampa”,“la Repubblica”, “L’Unità”, “Il Giorno”, “La Notte”, “La Nazione”, “L’Avanti!”, “il Manifesto”, “Lotta Continua”, “Umanità Nova”, “Il Popolo”, “il Secolo d’Italia”, “Candido” e “il Borghese”.
A ogni strage è stato dedicato uno specifico capitolo in cui sono introdotti i fatti e gli esiti giudiziari, analizzate le prime reazioni della stampa, ricostruiti gli anni dei processi e la ricezione delle sentenze, sino a riproporre l’eco pubblica delle opere che nel corso dei decenni sono intervenute sul tema.
Gli articoli di cronaca e gli editoriali di approfondimento analizzati permettono di vagliare la riproposizione su carta delle versioni ufficiali delle forze dell’ordine, della magistratura e della politica; le memorie dei protagonisti degli eventi e l’analisi offerta dagli opinion makers che di volta in volta hanno raccontato le stragi dell’Italia repubblicana (giornalisti, storici, magistrati, scienziati sociali).
L’ultimo capitolo è stato invece dedicato al problema della Memoria e dei suoi rapporti con la Storia, analizzando la produzione memorialistica degli ex terroristi, delle vittime di prima, seconda e terza generazione, sino al tema della riconciliazione e della pacificazione.
Si è dunque ricostruito il dibattito sviluppatosi “a caldo” ed “ex post”, nella consapevolezza che l’informazione e la comunicazione pubblica della Storia sono fondamentali per la storicizzazione del passato traumatico della Nazione.
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ROMAGNOLI, Valentina. "La gestione dei resi dei clienti come strumento per lo sviluppo del commercio elettronico delle aziende: il caso Santoni S.p.A." Doctoral thesis, 2018. http://hdl.handle.net/11393/251107.
Full textAbstract:
Il settore del commercio elettronico è un settore in sempre più ampio e rapido sviluppo. Le motivazioni possono essere molteplici ma sono sicuramente legate al cambiamento dello stile di vita delle persone e alla possibilità di accedere all’acquisto di beni che altrimenti sarebbe stato pressoché impossibile acquistare.
La disciplina riguardante questo settore è anch’essa stata elaborata mano a mano che questo settore si è evoluto, per rispondere di volta in volta alle diverse necessità che si sono presentate.
La disciplina è tutt’oggi ancora in evoluzione, soprattutto a causa del fatto che in questo settore ci sono molteplici forme contrattuali che vengono utilizzate per creare accordi commerciali dei più vari tipi, e ognuno dei quali prospetta problematiche diverse.
In questo lavoro si parte dalla nascita e dallo sviluppo del commercio elettronico per analizzare l’evoluzione della disciplina associata. Dopodiché si analizza il tipo di contratto posto in essere tra la Santoni S.p.A. (noto marchio di calzature di alta gamma) e la Filoblu s.rl. (società veneta che si occupa della creazione e gestione di piattaforme e-commerce) per valutarne i punti cruciali.
Dopo aver analizzato in dettaglio gli aspetti sopra citati, viene illustrata la disciplina delle denunce per difetto di conformità del bene e come queste vengono gestite dalla Santoni S.p.A., per passare poi all’analisi delle denunce per difetto di conformità degli ultimi 3 anni.
Questo perché, come si noterà, questo è un campo in cui le problematiche sono controverse e gran parte della gestione viene lasciata alle ditte produttrici che si trovano di volta in volta di fronte alla scelta su come gestire il caso per rendere il cliente soddisfatto del servizio.
La disciplina segue i suoi sviluppi e cerca di prevenire (per quanto possibile) situazioni sgradevoli sia per il fornitore del bene che per l’acquirente.
L’entusiasmo mostrato dagli acquirenti per la comodità e la facilità dell’acquisto on-line, viene molto spesso smorzato dall’impossibilità di vedere e toccare con mano il bene oggetto della transazione, creando un senso di inquietudine legata alla qualità del bene che si sta acquistando.
Per questo motivo, nel momento in cui un acquirente denuncia un difetto di conformità sul bene acquistato on-line o semplicemente la sua insoddisfazione su determinati aspetti del bene (colore, calzata, forma, ecc.), si attiva un meccanismo volto a valutare la presenza o meno di un eventuale difetto sul bene e di risolverlo nel modo più soddisfacente per l’acquirente.
Dopotutto per un’azienda, gestire un negozio on-line equivale ad avere una vetrina di sé stessa attiva 24 ore su 24 e visibile a chiunque abbia un accesso al mondo di internet, e per questo motivo gestire i clienti che utilizzano questo tipo di servizio significa migliorare o peggiorare, in maniera esponenziale rispetto a quanto può avvenire in un negozio fisico, l’immagine percepita da ogni singolo acquirente.
C’è però da dire che, in molti casi registrati, nonostante una perizia tecnica effettuata da operai specializzati sul prodotto venduto, la poca conoscenza dei processi di produzione dei singoli clienti, mette i venditori in situazioni difficili da gestire, in quanto il cliente non riesce a capire che quello che lui percepisce come un difetto in realtà non lo è, e che quindi non è imputabile all’azienda quello che lui crede che lo sia.
Generalmente in questi casi, sempre per cercare di limitare degli inevitabili danni d’immagine, si offrono al cliente soluzioni alternative come resi gratuiti, omaggi di piccoli prodotti complementari o buoni sconto su acquisti successivi, ma sarebbe sicuramente necessaria una normativa completa e definitiva, che indichi in maniera risoluta come gestire casistiche particolari che si presentano frequentemente nella fase post-vendita.
Viste le innumerevoli problematiche che si riscontrano frequentemente in questo ambito, la normativa a tutt’oggi presente non risulta essere sufficientemente soddisfacente per lo scopo a cui è stata creata.
Come detto precedentemente, tutto il meccanismo che viene messo in atto all’interno di ogni azienda dopo una denuncia di difetto di conformità, si innesca per risolvere il problema ed evitare un inevitabile danno d’immagine, quindi si può concludere che, nonostante la presenza di una normativa (anche se ancora in via di sviluppo), l’arma migliore che un consumatore on-line può mettere in atto e che spaventa di più i venditori è sicuramente il danno d’immagine.
Una cattiva recensione su un blog, un social network, o semplicemente un racconto di una brutta esperienza derivante da un acquisto on-line, può vanificare tutti gli sforzi fatti dal venditore per raggiungere una buona percezione del proprio marchio, e innestare un meccanismo a catena che non giova all’immagine aziendale.