Languages, Literature and Intercultural studies

Stauffer-Bern’'s biography by Otto Brahm can be regarded as an important source for Titorelli, the painter in Kafka’'s novel Der Prozeß. The way in which Kafka used this source recalls the idea of “ " lethetic Reading” " , which Clayton Koelb introduces in order to explain the relationship between Kafka’'s text Das Schweigen der Sirenen and Homer’'s episode in The Odyssey. Although Kafka may have used Stauffer-Bern as a basis for his own creation, he used only a few of the details he found in Brahm’'s biography. The importance of this source can then be appreciated only if we consider the story of Stauffer as the missing link between Titorelli and Kafka’'s later creation of Gracchus.

Der Gegensatz von Innerlichkeit und äußerer Hülse Rilkes Puppenessay »Zu den Wachs-Puppen von Lotte Pritzel« (Rilke, 1914) ent-hält Ansätze zu den späteren Gedichten. Darunter seien die im November 1915 geschriebene vierte Elegie und die unvollendete »Kindheitselegie« aus dem Jahre 1920 erwähnt. Ebenso spürbar sind Anklänge an die frühe poetologische Reexion zu dem mühsam beendeten Roman »Die Aufzeichnungen des Malte Laurids Brigge«, an dem der Dichter zwischen 1904 und 1910 arbeitete und in dem die Nieder-schläge der Pariser Erlebnisse zum höchsten Grad der künstlerischen Konzentra-tion getrieben wurden. Unter den wichtigsten hier prägurierten emen wäre der Gegensatz von Innerlichkeit und äußerlicher Hülse zu nennen, dem die Rahmen-und Raum-struktur des Aufsatzes entspricht. In diesem Sinn stellt die Puppe zugleich die Umhüllung dar, woraus die Seele als küniger Schmetterling entschlüpfen soll. Dieser oppositionellen Grundstruktur entspricht der Gegensatz von Engel und Puppe in der vierten der »Duineser Elegien«, wo die Puppe eher als Marionette zu verstehen ist. Hier wird das Spiel des Kindes als reiner Vorgang bezeichnet, während die Kindheit selbst als die Stelle erscheint, »von der aus sich der gesteigerte Welt-raum bis zu den Gestirnen önet« (Allemann, 1961, S. 123). Das Bild des Kindes mit seiner Not und seiner Geborgenheit kehrt in Rilkes Werk immer wieder, als sei die Kindheit die Mulde, woraus die künige dichterische Schöpfung absichtslos und gleichsam mit einem Umschlag gegossen werden soll. Im Gedicht soll, ohne dass es vorhergesehen werden könnte, die verinnerlichte Kindheit sozusagen nach außen treten und plötzlich sichtbar werden. Wie in der vierten Elegie handelt es sich in dem Puppenessay um eine Verräumlichung von inneren Inhalten, Erinnerungen an vergangene Erlebnisse, die das damalige Kind in die Puppe wie in ein Gefäß gegossen hat und die im Augenblick der Wiederbegegnung aus der wächsernen Puppe plötzlich und metamorphisiert dem Erwachsenen entgegentreten.

Lungi dall'essere unicamente oggetto di visione, in Kafka le scul-ture restituiscono lo sguardo di colui che le contempla. In virtù di tale carattere speculare divengono analogon della scrittura che fissa a sua volta il lettore rivolgendo il proprio sguardo raggelante perfino sullo scrittore, una volta che questi sia divenuto lettore di se stesso 1. Le statue rientrano così a buon diritto nella grande tematica dello Augenblick, e vanno messe in rapporto con quella Verzeitlichung della percezione 22 che rappresenta l'altro versante della spazializzazione del tempo. La scrittura kafkiana esige la quiete del movimento fluido e omogeneo, che rimanga il più possibile identico a se stesso, per poter proseguire senza scosse nel suo viaggio "vuoto e felice". Nelle notazioni diaristiche riferi-te alla stesura appena iniziata dell'ultimo romanzo, Das Schloß, Kafka fa spesso ricorso al concetto di variazione. Così alla data 12 maggio 1922 egli parla della "varietà ininterrotta e in questa, a un certo punto, la commovente visione d'una capacità di variazione che a momenti si allenta" 3. Ma anche se l'enfasi sembrerebbe qui poggiare sui principi di variazione, ripresa e continuità, la trovata improvvisa, lo scatto dello Einfall rimane pur sempre elemento imprescindibile della prosa kafkia-na, senza il quale essa non riesce ad avanzare. Lo scatto caratterizza altresì il rapporto dell'osservatore kafkiano con le statue o i gruppi monumentali, con la scultura in generale: anche le statue occupano all'improvviso il campo visivo del lettore/osserva-tore, senza che vi sia un graduale avvicinamento a questi impassibili osservatori di marmo, artefici e a un tempo figure di un'inversione che rimanda al soggetto la sua stessa attenzione. Talvolta esse costituiscono l'immobile fuoco prospettico di una scena caotica, dominata dal traffico di mezzi di trasporto e dal movimenti degli esseri umani. In cerchi con-centrici il nomade K. si aggira attorno al punto vuoto, alla lacuna da cui, improvvisamente, deve spuntare il camaleontico e inafferrabile Klamm, per poi sparire e confondersi di nuovo, come in un enigma. Altrove Kafka attribuisce alla statua, con trasposizione metaforica, condizioni psicologiche e gesti del soggetto vivente. Tra carne e pietra, nel mondo narrativo kafkiano, sembra non sussistere troppa differenza. Così come pure lo stacco tra vita e morte, o tra uomo e animale risultano fortemen-te relativizzati all'interno del suo universo narrativo. Il che non deve poi suscitare troppa meraviglia, in un autore cresciuto nell'atmosfera della Praga magica degli alchimisti, e da essa profondamente permeato. A

This work aims to investigate the recurrence and the role of time deictics in the Florence Early English
Newspapers Corpus, starting from a theoretical approach to the subject, followed by a practical research.
This paper is divided into 3 main chapters  -  each of them containing a different kind of research and in
depth analysis of the subject it deals with  -  followed by a general conclusion. In the first chapter I am go
ing to analyse deictics as linguistic elements, from the most generic definition, to the various aspects that
characterise them -  their function, their role, their characteristics -  and the various types of deictics we
can identify, analyse and use.  The second chapter deals both with early English newspapers and both with
the Florence Early English Newspapers (FEEN) Corpus. The first paragraph traces the stages of the his
tory of periodical newspapers in 17th century England, from the first 1620's corantos to 1642-1653's News
books. In the second paragraph I am going to provide a bit of information regarding the FEEN corpus,  il
lustrating its contents, how it was created, by whom and why. The third paragraph describes the website
hosting the FEEN corpus, from an IT perspective and with the support of screenshots illustrating it: who
created it, how it was built, how it can be used, how it looks like and what it can be used for. The third
chapter, namely the last one, illustrates the practical part of my work, which was based almost entirely on
my own research on the FEEN corpus database – and further analysis on the data gathered – and on my
own insights, observation and personal conclusions. In the first part I will provide basic information about
how the perception of time has changed together with the improvement of the media, in order to be able to
analyse and understand the contents and the structure of the news from a perspective that is different from
what we might take for granted, being four hundred years old. Then, I am going to analyse the data collec
ted dividing it into three major categories – past, present and future – and also making a distinction
between time deictics as single and isolated elements and time deictics as part of a context. I will both
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provide tables with numbers and percentages of recurrences and I will also analyse extracts from news in
order to come to a deeper and better understanding of the subject.

This work aims to address the issues and the conflicts that might rise in terms of renewable energy planning, from both aesthetic and ecological perspectives. In this paper, existing literature will be analysed and reviewed, together with examples about real efforts and improvements that have been realized in order to overcome these concerns. " Unsustainable patterns of energy production and consumption threaten not only human health and quality of life but also affect ecosystems and contribute to climate change. Sustainable energy, therefore, can be an engine for poverty reduction, social progress, equity, enhanced resilience, economic growth, and environmental sustainability. " This is a statement extrapolated from the United Nations Development Programme's (UNDP) website (http://www.undp.org/content/undp/en/home/ourwork/climate-and-disaster-resilience/sustainable-energy.html), a statement that does not need such an important and reliable institution to make it concrete and trustworthy. Although it might appear obvious that a switch to renewable energy is, at this point of history, mandatory, there are still many obstacles that the development of this sector faces. Most of these obstacles are of economic nature – not only speculative ones – and of public acceptance. However, the scope of this paper is to analyse two other aspects which might affect renewable energy planning, although they are often linked to public acceptance, namely aesthetics and ecology. In the next paragraphs, renewable energy and its development will be analysed, and its problems addressed, first from a broader perspective, in order to provide the reader with basic information about the topic. The scope will be then narrowed, and the issues of aesthetics and ecology will be analysed more in-depth. In the last part, concrete examples of developments will be provided, in order to come to a conclusion that might have – to some extent-a solid basis. LANDSCAPES OF ENERGY Since the advent of mankind, landscapes have been always seen and used as providers of energy, whether that was for feeding purposes or, in more recent times, for other types of energy consumption. Pasqualetti (2013)