In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and (...) C), 2008 Diasec print, 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

We investigate the possibility to characterize (multi) functions that are Σ b i -definable with small i (i = 1, 2, 3) in fragments of bounded arithmetic T 2 in terms of natural search problems defined over polynomial-time structures. We obtain the following results: (1) A reformulation of known characterizations of (multi)functions that are Σ b 1 - and Σ b 2 -definable in the theories S 1 2 and T 1 2 . (2) New characterizations of (multi)functions that are (...) Σ b 2 - and Σ b 3 -definable in the theory T 2 2 . (3) A new non-conservation result: the theory T 2 2 (α) is not ∀Σ b 1 (α)-conservative over the theory S 2 2 (α). To prove that the theory T 2 2 (α) is not ∀Σ b 1 (α)-conservative over the theory S 2 2 (α), we present two examples of a Σ b 1 (α)-principle separating the two theories: (a) the weak pigeonhole principle WPHP (a 2 , f, g) formalizing that no function f is a bijection between a 2 and a with the inverse g, (b) the iteration principle Iter (a, R, f) formalizing that no function f defined on a strict partial order ( $\{0,\dots,a\}$ , R) can have increasing iterates. (shrink)

We investigate the problem how to lift the non - $\forall \Sigma^b_1(\alpha)$ - conservativity of $T^2_2(\alpha)$ over $S^2_2(\alpha)$ to the expected non - $\forall \Sigma^b_i(\alpha)$ - conservativity of $T^{i+1}_2(\alpha)$ over $S^{i+1}_2(\alpha)$ , for $i > 1$ . We give a non-trivial refinement of the “lifting method” developed in [4,8], and we prove a sufficient condition on a $\forall \Sigma^b_1(f)$ -consequence of $T_2(f)$ to yield the non-conservation result. Further we prove that Ramsey's theorem, a $\forall \Sigma^b_1(\alpha)$ - formula, is not provable (...) in $T^1_2(\alpha)$ , and that $\forall \Sigma^b_j(\alpha)$ - conservativity of $T^{i+1}_2(\alpha)$ over $T^{i}_2(\alpha)$ implies $\forall \Sigma^b_j(\alpha)$ - conservativity of the whole $T_2(\alpha)$ over $T^{i}_2(\alpha)$ , for any $j \geq 2$. (shrink)

Zahlreiche christliche Autoren der Antike stellten die Begriffe Reue und Umkehr in das Zentrum ihrer Schriften. In philosophiegeschichtlichen Betrachtungen fanden diese Reflexionen bisher wenig Aufmerksamkeit. Die Studie möchte demgegenüber die philosophiegeschichtliche Bedeutung dieser Überlegungen zum Konzept der Reue ins Bewusstsein heben. Grundlegende Thesen der frühchristlich-patristischen Schriften wie etwa die dezidierte Freiheitsanthropologie, der soteriologische Universalismus oder der theologische Kontraktualismus bildeten einen eigenständigen Ideenkomplex heraus, der sich von prä- und nichtchristlichen Philosophieschulen stark unterschied. Deren Auffassungen waren eher durch eine Abwertung des Reuebegriffs, (...) durch soteriologischen Elitismus sowie durch die Vorstellung von einem Primat der Natur und des Habitus geprägt. (shrink)

In Melanipp. PMG 762 the reading βροτῶν (v. 1) of the MSS can be retained. The god invoked as “lord of the everlasting soul” (v. 2), generally identified with Dionysus-Zagreus, can be rather recognized as the Orphic Zeus.

As the relationship between music and philosophy in Nietzsche’s thought and life continues to fascinate, new approaches to the treatment of music in Nietzsche studies have emerged which take seriously the importance of music, not only in Nietzsche’s life, but for his philosophical project as a whole. While Nietzsche’s often-quoted claim that life without music would be a mistake was once treated as a quip, the quality and breadth of the works reviewed here demonstrate that this invaluable area of Nietzsche’s (...) thought is finally receiving the rigorous treatment it deserves. The works below each offer new and valuable insights on this exciting and growing area of Nietzsche studies which aid us in understanding where to place Nietzsche’s most loved art form in the framework of his philosophy. (shrink)

Two well-known ancient witnesses report that Aristophanes of Byzantium was responsible for the arrangement of Pindar's poems into seventeen book-rolls according to lyric genres. These witnesses form fr. 381 in the edition of Aristophanes’ fragments by W.J. Slater : Vit. Pind. P.Oxy. 2438.35–9 δ]ιῄρητα̣ι̣ δὲ α̣ὐ̣τ̣[ο]ῦ̣ τ̣[ὰ ποιήματα ὑπ’ Ἀριστοφάν]ους εἰς βιβλία ιζˊ· διθ̣[υ]ρά̣[μ]βων βˊ [προσοδίω]ν̣ βˊ παιάνων αˊ πα[ρ]θεν[εί]ων γ̣ˊ [ἐπινικίω]ν̣ δˊ ἐγκωμίων αˊ ἐν [ᾧ] κα̣ὶ [σκ]όλ̣[ια ±4 ὕμ]ν̣ων αˊ ὑ[π]ορχημάτων αˊ θρ̣[ήνων.| nisi aliter ind., omnia suppl. Lobel (...) | 2 Ἀριστοφάν]ους Lobel e Vit. Pind. Vat. | 3 ἐν [ᾧ] κα̣ὶ [σκ]όλ̣[ια …. de Kreij : ἐν [ᾧ] κ[αὶ σκόλιά τινα vel ἐν [ᾧ] κ[αὶ σκόλιά ἐστι Gallo : ἐν [ᾧ] καὶ [παροίνια D'Alessio | 4 αˊ post θρ̣[ήνων coni. edd., fort. recte; an θρ̣[- βˊ?Vit. Pind. Vat. page 7.14–17 Dr. ὁ δὲ ἐπινίκιος οὗ ἡ ἀρχὴ “Ἄριστον μὲν ὕδωρ” προτέτακται ὑπὸ Ἀριστοφάνους τοῦ συντάξαντος τὰ Πινδαρικὰ διὰ τὸ περιέχειν τοῦ ἀγῶνος ἐγκώμιον καὶ τὰ περὶ τοῦ Πέλοπος, ὃς πρῶτος ἐν ῎Ηλιδι ἠγωνίσατο.A much-debated question is whether the order of the poems attested by the papyrus can be credited to Aristophanes, since an ordering principle is apparently not to be found in the list transmitted by it. Moreover, there are some disagreements with the list of Pindar's works transmitted by the Vita Ambrosiana, which is generally deemed the most authoritative catalogue of the poet's corpus, on account of its well-recognized criterion of classification: the poems are divided between those for gods and those for men, and both of these categories of songs are arranged from the most general to the most specific. This catalogue has been thought to reproduce the order established by Aristophanes in his edition of Pindar. (shrink)

The issue concerning the misery of the soul in fire was one of the most frequently discussed topics during the 13th century and the early decades of the 14th, with authors including Albert the Great, Bonaventure, Thomas Aquinas, Siger of Brabant, Theodoric of Freiberg, Giles of Rome, Matthew of Acquasparta and Dante dealing with this problem in varying degrees. The purpose of my paper is to attempt to identify the reasons underlying the importance of this topic in the writings of (...) Siger, Thomas and Albert. Indeed, behind its theological-exegetical veneer, crucial themes such as the interpretation of Aristotle’s psychology and, more generally, the compatibility between natural/peripatetic philosophy and Christian faith emerge as the underlying issues at stake. (shrink)

Summary: Some of the most authoritative names from the constructivist community have been called on to contribute to this volume, coherent with the editors' choice to start from a broad definition of psychological constructivism, and to maintain its various expressions and derivations... It seems clear that the editors strongly recommended the authors to include many examples and clinical cases to demonstrate with actual facts the applicability of the epistemological assumptions of constructivism to clinical practice. In my opinion, in addition to (...) reaching this target, this work provides numerous suggestions to those clinicians already conscious of the efficacy of the therapeutic applications of constructivism. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised internationally (...) to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

Despite advances in the treatment of heart failure, the physical symptoms and stress of the disease continue to negatively impact patients’ health outcomes. Technology now offers promising ways to integrate personalized support from health care professionals via a variety of platforms. Digital health technology solutions using mobile devices or those that allow remote patient monitoring are potentially more cost effective and may replace in-person interaction. Notably, digital health methods may not only improve clinical outcomes but may also improve the psycho-social (...) status of HF patients. Using digital health to address biopsychosocial variables, including elements of the person and their context is valuable when considering chronic illness and HF in particular, given the multiple, cross-level factors affecting chronic illness clinical management needed for HF self-care. (shrink)

Background: Moral distress, defined as moral suffering or a psychological imbalance, can affect nursing students. However, many new instruments or adaptations of other scales that are typically used to measure moral distress have not been used for nursing students. Aim: This study aimed to translate, culturally adapt and evaluate the psychometric properties of an Italian version of the Moral Distress Scale for Nursing Students for use with delayed nursing students. Research design: The study used a cross-sectional research design. Participants and (...) research context: Incidental sampling resulted in a sample of 282 delayed nursing students enrolled between May and August 2020 in a University of central Italy. Ethical considerations: The research protocol was approved by the internal review board of the university, and all participants provided their written informed consent. Results: The study confirmed a multidimensional second-order factorial structure for the It-ESMEE with five dimensions: improper institutional conditions to teach user care, authoritarian teaching practices, disrespect for the ethical dimension of vocational training, lack of competence of the teacher and commitment of ethical dimension of user care. The internal consistency was high, and the standard error of measurement and smallest detectable change were adequate. Discussion: The It-ESMEE is able to assess moral distress in delayed nursing students with good validity and reliability. It can be used in research and to determine moral distress levels, helping teachers to monitor the condition in nursing students. Conclusion: This instrument can help in comprehending moral distress, enabling students to develop coping and intervention strategies to maintain their well-being, and to ensure the quality of nurse education. (shrink)

Ercole è il mito universale della salvezza, presente in tutte le culture, dall’Etiopia all’Arabia, dall’Egitto alla Mauritania, da Cartagine alla britannica Oggia (una gigantesca incisione dell'età del ferro lo disegna sull'intero ...

Navigating the tension between moral virtue and realism in a ruler’s effort to preserve power, Justus Lipsius’ Politicorum libri sex (1589) was a foundational text in Catholic reason of state, but its ambiguous form and content leave it open for interpretation. The present article shows how in his Italian translation, the Ferrarese secretary and scholar Ercole Cato offers an individual reading of the Politica, transforming it to underline its usefulness and enhance its orthodoxy. Through a creative use of examples (...) from ancient and modern history, Cato presented Lipsius’ political prudence as one that rejected political calculation without virtue, and placed in direct dialogue with contemporary political events. This article argues that in reshaping and expanding the Politica, Cato presented his own intervention in the debate on Catholic reason of state, and it suggests that translators like Cato should be taken seriously as active and inventive participants in early modern political languages. (shrink)