Many types of baked goods are firmly rooted in the food habits of many people in different countries. Although there have been great strides in improving milling, kneading, and baking, given the lack of essential studies, further steps forward need to be taken to understand the effects of storage time and environmental storage conditions, thus motivating this work. The aim of this study is to assess the effects of storage time, using one-way ANOVA, and environmental storage conditions (environmental temperature and humidity), using MOLS analysis, on flour composition, dough rheology, and biscuit characteristics. Seven levels of storage time were tested: T0 (control), T1, T2, T3, T4, T5, and T6. The results showed that flour storage time significantly increased dough tenacity (P) and curve configuration ratio (P/L), and decreased the biscuit volume (best at T0). However, 2–3 weeks of storage highlighted a significant increase in deformation energy (W), an essential alveograph parameter that is closely correlated to the technological success of leavened products. This optimum found for W might be considered as a great stride in understanding the effects of storage time, confirming that wheat flour can reach its optimal performance after two-three weeks of storage, in particular for W. Moreover, this information could be useful, not only for biscuits production, but also for bread and bakery products (and, thus, the entire bakery industry). MOLS analysis highlighted that dough rheology and biscuit characteristics are mainly affected by flour composition (primarily from starch content) rather than environmental storage parameters. In conclusion, to optimize the biscuit characteristics, it is necessary to use flours with a low content of damaged starch by selecting the most suitable milling technique and carefully managing the operative parameters.
This paper analyzes the work of actor/writer Marco Paolini, and his acclaimed monologue Il racconto del Vajont in particular. In the wake of Dario Fo and Franca Rame’s teatro civile, Paolini’s monologues contributed to the birth of the so-called teatro di narrazione in the 1990s, which can also be defined as “theatre of trauma”, that is, a theatre that recovers the memory of tragic events from the past. In recent times, trauma has become a central theme of Western narrative, politics, and other forms of representation in the public sphere. Following the thought of philosophers such as Jean-François Lyotard and Slavoj Zižek, the article reads Paolini’s Il racconto del Vajont as a significant example of what writer Kyo Maclear calls “witness art.” Characterized by a crisis of the traditional models of representation in mainstream culture, witness art is conceived by Maclear in opposition to the traditional divisions between art, knowledge, and the political instances of public discourse. Among Paolini’s many performances of Vaiont, the one performed at the same time and place where the tragedy took place 34 years before, and broadcasted live on RAI 2 in 1997, stands out for its uniqueness. That night, Paolini evoked the reenactment of a traumatic experience by its witnesses, and, on a wider scale, by the audience watching television at home. An almost forgotten tragedy became a media event, and for the first time trauma witnessing as such—and not as a means for a specific political claim—became part of the public discourse in the elaboration of post-1989 Italy.
No abstract
Il presente saggio analizza l'estetica di Pirandello, contenuta soprattutto nel suo saggio L'umorismo, e il suo contributo dato all'estetica del XX secolo. Costituendo una rottura rispetto agli ideali estetici precedenti, la distinzione pirandelliana fra arte umoristica e non-umoristica può essere paragonata a quella fra arte aperta e arte classica teorizzata da Umberto Eco nel suo saggio Opera Aperta (1962). Ma interpretare L'umorismo come esempio ante litteram di opera aperta in quanto meta-arte autoriflessiva è anche lo spunto per ripensare il cuore della poetica pirandelliana incentrato sul problema della dissoluzione dell' io. Nella seconda parte di questo lavoro intendo dimostrare che nonostante l'esplicita dichiarazione di scetticismo lo scrittore siciliano è testimone acuto di una società in cui a emergere è proprio l'interiorità del soggetto, che si afferma parallelamente al declino delle varie maschere sociali. Detto in termini più specifici, nella società moderna di massa ad andare in crisi è il valore sociale del performativo. Questo significa leggere Pirandello alla luce delle tesi del sociologo Richard Sennet, contenute nel libro The Fall of the Public Man (1977), e di quelle di impostazione psicanalitica che il filosofo Rober Pfaller ha esposto in Die Illusionen der anderen. Über das Lustprinzip in der Kultur (2002).
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