La povertagrave; e la vulnerabilitagrave; abitativa sono cresciute negli ultimi anni nelle diverse forme possibili; dalla mancanza di riparo dei senzatetto al rischio di perdere la casa che ha colpito anche molte famiglie a reddito medio-basso. Nello stesso tempo le politiche abitative tradizionali; universalizzanti e lineari; non appaiono piugrave; in grado di affrontare questi fenomeni.Questo volume contiene i materiali di una ricerca affidata dalla Regione Toscana a un gruppo di lavoro dellUniversitagrave; di Firenze e della Fondazione Giovanni Michelucci. La ricerca esplora il campo delle pratiche di auto-produzione dellabitazione in Italia e nel mondo; attraverso una selezione critica di esperienze significative; rivelando la creativitagrave; architettonica e sociale dispiegata in una grande varietagrave; di azioni collettive. Il libro contiene inoltre la ricostruzione del disagio abitativo in Toscana e lindicazione di linee alternative di politiche abitative.La parte finale egrave; dedicata alla ricerca-azione sulloccupazione del Luzzi; il sanatorio dismesso collocato sul confine tra Firenze e Sesto Fiorentino; un caso nel quale si incrociano le contraddizioni e i dilemmi piugrave; significativi che ruotano intorno al tema della casa per i nuovi poveri: il problema degli immigrati senza tetto; la difficoltagrave; delle amministrazioni nel gestire problemi di povertagrave; abitativa estrema; il ruolo delle associazioni e delle organizzazioni di mediazione sociale; le difficoltagrave; di una ricerca sociale e urbanistica partecipata.
#2815430 in eBooks 2004-09-20 2013-08-16File Name: B00EN6L08S
Review
0 of 0 people found the following review helpful. Since 2008 I have read with great interest and profound admiration the annual publication of Amnon ...By lowell scott sharronSince 2008 I have read with great interest and profound admiration the annual publication of Amnon Kabatchniks "Blood on the Stage" series--hefty; informative and entertaining reference books about plays of crime-and-punishment produced throughout the 20th century. Each volume covered a quarter-of-a-century (1900-1925; 1925-1950; 1950-1975; 1975-2000); and each entry offered a plot synopsis; production details; reviews by critics and scholars; and biographical sketches of playwrights; directors; and actors. Thus I learned about ; and in a sense re-lived; such past classic melodramas as "The Bat" and "The Cat and the Canary;" courtroom dramas such as "Madame X" and "The Trial of Mary Dugan; whodunits like "The Mystery of the Yellow Room" and "The Mousetrap;" and psychological thrillers like "Gaslight" and "Night Must Fall." I was also astonished to discover that among the dramatists who mixed their ink with blood were not only genre regulars Agatha Christie; Edgar Wallace and Dorothy L. Sayers; but also mainstream authors Somerset Maugham; J.B.Priestly; Graham Greene; George S. Kaufman; Ayn Rand; Damon Runyon; John Steinbeck; William Faulkner; Tennessee Williams; Aldous Huxley; Herman Wouk; David Mamet; Tom Stoppard --and Stephen Sondheim.Now comes another extraordinary resource by Kabatchnik: "Blood on the Stage; 480 B.C. To 1600 A.D." It serves as a prequel to the previous volumes and is an eye opener. The violent; blood-splattered plays that are analyzed here depict acts of wrong-doing in Ancient Greece; Ancient Rome; the Middle Ages and Elizabethan England. It re-kindled my long-forgotten interest in the plays of Aeschylus (notably "Prometheus Bound;" which introduces the first recorded murder on stage; and "Oresteia;" a revenge saga); Sophocles ( whose "Medea" proves the adage; Hell hath no fury like a woman scorned; and"Oedipus the King;" the first stage murder investigation); and Euripides (whose Bacchae" depicts an orgiastic; wild lynch committed by the women of Thebes against their unpopular king). Even more graphic and cruel are Senecas "Mad Hercules" and "Thyestes;" the latter depicting horrifying climax that causes me to take a bunch of sleeping pills before going to bed.I was equally compelled by liturgical dramas of the Dark Ages that drew on both the Old and New Testaments. Later works include masterpieces drenched with treachery and blood by Englishmen Thomas Kyd ("The Spanish Tragedy"); Christopher Marlowe ("Doctor Faustus"; "The Jew of Malta"); and William Shakespeare (Richard III; "Julius Caesar;" "Hamlet). Altogether; the 50 entries of "Blood on the Stage; 480 B.C. to 1600 A.D." provided me a thrilling journey through early; significant dramatizations of criminal behavior. Though each entry can be read separately; I wallowed in the 382 pages of the book in one breathless seating!