Journal articles on the topic 'Barcelona Harbour'

Abstract How have cities reorganized attention to their waterfronts after the decline of urban seaports? What kind of cultural record attends this reorganization? This article investigates the politics of historical memory at several sites of postindustrial harbor redevelopment since the 1960s. It locates the aesthetic sensibilities of waterfront renewal in a scattered network of comic tableaux in literature, art, and moving images, including the documentaries of Dutch filmmaker Joris Ivens, the sitcom Arrested Development, and a mural at Baltimore’s National Aquarium. Like fragments of Benjamin’s dialectical image, these scenes bring together the allegorical ruin of the urban seaport with comic efforts to inaugurate its future as a commercial esplanade, as if virtualizing and intensifying those two phases of Benjaminian historiography (early modern allegory and nineteenth-century commodity). Intermittently, where this dialectical image begins to be realized, these sites have erupted in acts of de-monumentalization by anticolonial and alter-globalization activists. The article locates fragments of this dialectical image in seaports including Rotterdam, Baltimore, Barcelona, Long Beach, and Genoa, studied under the names given to their harbors by developers: Europoort, Harborplace, Port Vell, Rainbow Harbor, and Porto Antico.

Plastic debris in aquatic and marine environments often breaks up into fragments that are smaller than 5 millimeters, which are then classified as microplastics. While there is not yet a standardized and validated methodology for characterizing microplastics, the protocol developed in this study uses methods for isolating and observing microplastics and for the investigation of how they interact with organisms present in biofilms from urban waterways. Project-based learning (PBL) has been proven to be a successful strategy in K–12 science education; the implementation of PBL provides opportunities for student-driven inquiry and provides teachers with a means to integrate curriculum with current research and to consider the effects of human impacts on the environment. This paper describes the protocol developed for high school teachers to educate students about microplastics and how to successfully isolate and observe them. Teachers and students in Maryland successfully isolated microplastics from biofilm samples from the Inner Harbor, Baltimore, Maryland, and shared their results. International teachers and students in Barcelona, Spain, involved in a related project, had similar results and shared experiences through images, video, and online meetings. These collaborations provide important opportunities for student-driven inquiry and for them to engage in methods of current scientific research.

The new European Ground Motion Service (EGMS) opens a new prospect in the study of the ground deformation phenomena influencing structures and infrastructures, at regional scale, exploiting the huge archives of Synthetic Aperture Radar (SAR) images acquired from Sentinel-1 satellites. The research is currently oriented toward developing new methodologies to exploit this great volume of data, the management of which is difficult and onerous in terms of time. A new methodology for the monitoring of the deformations of urban settlements, based on the application of the ADAfinder tool to EGMS measure points, is proposed in this work. It targets the semi-automatic extraction of active deformation areas (ADA), given in the form of maps, with the goal to identify the buildings affected by displacements above a given threshold among all the buildings included in the investigated area. This allows a smart selection of the buildings needing insights about their condition through on-site monitoring or inspections, providing real support for the management of the urban areas. The proposed methodology is applied to two different case study areas in the city of Barcelona (Spain): the Eixample, in the heart of the city, and the Zona Franca, an industrial area near to the harbor.

Os Jogos Olímpicos de 2004 marcaram o coroamento de uma nova era iniciada na capital grega há mais de um quarto de século. O retorno a uma democracia reforçada, a vinculação à Europa política, a consciência da responsabilidade internacional assumida no Mediterrâneo oriental, nos Bálcãs e no vasto mundo através da marinha grega, confirmam Atenas em seu destino de “cidade global”. Para além da funcionalidade com relação à natureza das provas esportivas ou o desenrolar das festividades, a escolha dos sítios olímpicos respondeu a uma vontade estratégica afirmada sobre a totalidade do espaço da região urbana e a um desejo de reconversão geral das infra-estruturas após os Jogos. O presente texto mostra que, mais do que em Barcelona, onde o direcionamento da cidade para seu porto foi o grande evento dos anos 90, a mutação aqui engajada é mais fundamental, posto que Atenas, capital continental, não foi jamais uma cidade litorânea: desde a Antiguidade, o Pireu e suas bacias contribuintes constituem uma entrada marítima descentrada e a vocação da costa foi sempre mais balneária do que verdadeiramente urbana.Palavras-chave: Atenas; olimpíadas; urbanismo. Abstract: The 2004 Olympic Games marked the top of a new era opened at the Greek capital twenty five years ago. The reestablishment of a reinforced democracy, the attachment to Europe, the consciousness of its international responsibility at the East Mediterranean region, at the Balkans and around the world through its merchant marine, affirm Athens in its route to a “global city”. Besides the issue of functionality regarding the competitions and celebrations, the choice of the Olympic sites responded to a strategic will of reconverting the infra-structures after the Games in the benefit of the whole urban region. This article shows that, more than in Barcelona, where the city’s move towards the harbor was the main event of the 90s‘, the change in Athens has been more fundamental, since this continental capital has never been a coastal city: since the Antiquity, the Pireu and its basins constituted a maritime entry and the vocation of the coast has ever been more balneary than truly urban.Keywords: Athens; olympic games; urbanism.

Patients harbouring drug-resistant viruses usually suffer a rise in serum viraemia after a variable period of time. We have investigated the relationship between the appearance of resistant genotypes and the viral load of each patient after treatment. Our objective was to assess the association between human immunodeficiency virus (HIV) RNA plasma levels and the number of drug resistance-associated point mutations after treatment. A total of 150 patients from three reference centres in Spain (Madrid, Barcelona and Seville) from a previous study (Erase Study) were included. Patients had at that time undergone antiretroviral treatment with nucleoside analogues for at least 1 year (zidovudine/didanosine; zidovudine/zalcitabine; zidovudine/zalcitabine/lamivudine; zidovudine/didanosine/lamivudine). In this study, plasma viraemia in these patients was quantified and a line probe assay was used to determine the genotype of the virus. Viral load was significantly higher in patients harbouring virus with more than three mutations than in those individuals who harboured wild-type strains ( P<0.05). Surprisingly, when patients with viral load <500 copies/ml (13/150) were analysed, only two carried wild-type strains, whereas three had virus with more than three point mutations. The viral load of six samples was assayed using an ultrasensitive test (detection limit <20 copies/ml). Of the three samples where viral load was <20 copies/ml, one patient harboured wild-type virus, whereas two carried mutant virus strains. These results suggest that even in patients with undetectable viral loads by conventional methods, viral replication may continue and mutations develop. Therefore, standard values of plasma viraemia for measuring the effectiveness of the treatment should be reconsidered when patients are on antiviral regimens of just two or three nucleoside analogues.

Abstract Background Mycoplasma pneumoniae (MP) causes community-acquired pneumonia affecting mainly children, and tends to produce cyclic outbreaks. The widespread use of macrolides is increasing resistance rates to these antibiotics. Molecular tools can help in diagnosis, typing and resistance detection, leading to better patient management. Objectives To assess the MP genotypes and resistance pattern circulating in our area while comparing serological and molecular diagnosis of MP. Methods Molecular and serological diagnosis of MP was performed in 821 samples collected in Badalona (Barcelona, Spain) from 2013 to 2017. Multiple locus variable number tandem repeat analysis (MLVA) and macrolide resistance detection by pyrosequencing were performed in those cases positive by PCR. Presence of respiratory viruses and relevant clinical data were also recorded. Results MP was detected in 16.8% of cases by PCR, with an overall agreement with serology of 76%. Eleven different MLVA types were identified, with 4-5-7-2 (50.1%) and 3-5-6-2 (29.2%) being the most abundant, with the latter showing a seasonal increase during the study. A total of 8% of the strains harboured a point substitution associated with macrolide resistance, corresponding mainly to an A2063G 23S rRNA mutation and directly related to previous macrolide therapy. Analysis of respiratory viruses showed viral coinfections in most cases. Conclusions Serological and molecular tools combined could improve MP diagnosis and the analysis of its infection patterns. Macrolide resistance is associated with previous therapy. Given that MP pneumonia usually resolves spontaneously, it should be reconsidered whether antibiotic treatment is suitable for all cases.

The term Marine Animal Forest (MAF) was first described by Alfred Russel Wallace in his book “The Malay Archipelago” in 1869. The term was much later re-introduced and various descriptions of MAFs were presented in great detail as part of a book series. The international research and conservation communities have advocated for the future protection of MAFs and their integration into spatial plans and, in response, there are plans to include the characteristics of MAFs into national policies and international directives and conventions (i.e. IUCN, CBD, OSPAR, HELCOM, Barcelona Convention, European directives, ABJN policies etc.). Some MAF ecosystems are already included in international and national conservation and management initiatives, for instance, shallow water coral reefs (ICRI, ICRAN) or cold-water coral reefs and gardens and sponge aggregations (classified as Vulnerable Marine Ecosystems, VMEs), but not as a group together with other ecosystems with similar ecological roles. Marine Animal Forests can be found in all oceans, from shallow to deep waters. They are composed of megabenthic communities dominated by sessile suspension feeders (such as sponges, corals and bivalves) capable of producing three-dimensional frameworks with structural complexity that provide refuge for other species. MAFs are diverse and often harbour highly endemic communities. Marine animal forests face direct anthropogenic threats and they are not protected in many regions, particularly in deep-sea environments. Even though MAFs have been already described in detail, there are still fundamental knowledge gaps regarding their geographical distribution and functioning. A workshop was dedicated to clarifying the definition of MAFs, characterising their structure and functioning, including delineating the ecosystem services that they provide and the threats upon them. The workshop was organised by Working Group 2 of the EU-COST Action “MAF-WORLD” (hereafter WG2), which is responsible for collating and promoting research on mapping, biogeography and biodiversity of MAFs, to identify and reduce these knowledge gaps. Herein, we report on this workshop and its outputs.

In Australia, we are more prepared for the year 2000 than many. With regard to the technical difficulties that might be experienced, we have the honour of being the 12th most prepared nation in the event of worst predictions. In addition to the usual effects the impending millennium is wreaking however, Australia is also anticipating the year we will be hosting the Olympic games. The fervour that has seen religious cult members invest in matching pairs of Nike trainers (and coincidentally, buy plane tickets to Australia) has also infected this nation's official image-makers, who have been busy preparing for the definitive moment when the world's television cameras will be pointed at Sydney Harbour, and Australia, by association, will be the subject of international media scrutiny. Since the closing ceremony of the Atlanta-hosted Olympic games in 1996, commentators have expressed the uneasiness that such observation provokes in Australians. The entrance of inflated kangaroos on bikes into the Atlanta Olympic stadium was described by David Marr in the Sydney Morning Herald as "the first in a long line of cringes", and he warned Australians that "we must all understand from now on that embarrassment is part of the Olympic Spirit. It's a key to us surviving the next four difficult years until the torch goes out in Homebush. All of us are going to be embarrassed some of the time by the Olympic image of ourselves". Marr's anxiety is further revealed in his comparison of the inferior display (with the exception of the Bangarra dancers)1 of the "few minutes of the Royal Easter Show" presented by the Australian contingent at the ceremony, with the efforts of the representatives of the United States of America, who are described as "some of the greatest stars in the West". Marr is convinced of his assessment of Australia's lesser cultural talent, noting that not only did the Atlanta audience seem puzzled by the display of Australian culture before they were able to recognise "the profile of the Opera House", but also that the transmission of the event via a "bank of [television] sets in David Jones's window" failed to elicit much of a response from those who watched, and was unable to distract those who didn't watch away from their involvement in shopping, working or driving. Marr's generally pessimistic assessment of Australia's artistic and cultural merits is not one that is obviously shared by the organisers of the four Olympic arts festivals that are being held leading up to the Sydney 2000 games. From the 1997 "Festival of the Dreaming" through to 1998's "A Sea Change", this year's "Reaching the World", and next year's finale "Harbour of Light", the rhetoric has focused on showcasing "a strong vision of Australian culture" (Cochrane). It would appear Marr's advice, that Australians resign ourselves to a painful four year cringe festival, is at odds with the enthusiasm being invested in creating those images by the directors of the respective festivals. There are, however, more similarities in these apparently different visions of Australia than are immediately apparent. In National Fictions, Graeme Turner identifies a dominant tradition in the construction of Australian narratives which dates from the nationalist pastoral ideals of the 1890's. Turner explores how in fiction, the Australian individual has been formed through an imagined experience of "exile, divorce and isolation" (60). This experience is closely linked to a view of the land as uncompromising, and brutal in its effects. In contrast to the North American protagonist who sets out to conquer the Western Frontier, the belief of the Australian protagonist is that she, or more likely he, can do nothing to overcome the harshness of the landscape, and therefore must simply endure its effects. This attitude also transfers itself to the relationship the individual has with society. Again, where the North American individual will generally triumph over the constraints of society, and is prized for her or his difference, for the Australian individual difference is problematic; it will ensure she or he is viewed with suspicion and resentment within the narrative. It is only through accepting and conforming to the values of the community that the Australian individual will survive. Turner's thesis is "one that insists on the connection between the individual narratives on the one hand and the culture which produces them on the other". Thus, it is argued that "narrative is an epistemological category, one of the means through which we construct our world" (National Fictions 142). Certainly, it is a narrative of communal embarrassment, frustration and survival that Marr invokes when he urges Australians to accept our exile in all matters cultural. It is also this narrative of cultural frustration and isolation that is informing the Sydney 2000 cultural Olympics. The planning of the Sydney Olympics Arts Festival has drawn on discourses around the occasion the Olympics presents for Australia to clearly establish a cultural identity. This has been contrasted with evidence of the extent to which former Olympic host cities Atlanta and Barcelona were able to assert the extensive credentials of their cultures. Craig Hassall, the general manager of the Sydney Olympic Arts Festivals identifies Barcelona as "the benchmark", arguing that "Barcelona reinforced the cultural fabric of that city by reminding the world of the power of Miró, Gaudi and the Catalan culture" (Cochrane). Hassall's assessment of the Barcelona cultural Olympics recalls Marr's comments about the strength of the American artists in Atlanta. In contrast to the inarguable evidence of the cultural achievements of Spain and the United States, the Australian cultural Olympics is perceived as the moment when we will have the opportunity to present our culture for the first time; we will overcome our cultural exile and take our first steps onto the world's stage. Thus Hassall maintains that "the brief for Sydney is slightly more complicated [than that proposed in Barcelona]. Our task is to establish rather than reinforce, a strong vision of Australian culture" (Cochrane). Although Robert Fitzpatrick, the director of the Los Angeles 1984 Olympic Arts Festival, is less enthusiastic about the other cities' efforts, claiming "Atlanta botched it [and] Barcelona did only slightly better", he nevertheless arrives at similar conclusions to Hassall, suggesting that "this is an occasion for Australia's arts mitzvah" (Hallet). Turner offers an explanation for this connection between the Australian experience of exile and shows how it engenders a response to constantly establish and re-establish a particularly Australian identity when he argues: if the myth of exile proposes that life does not go on here as it does elsewhere, and if there is an intuition of a society beyond these shores in which the 'norm' resides, then 'universal' philosophical solutions to the problems of existence within the society may not be convincing. Our fictions characteristically address not only the modern, 'universal', problem of meaning that has its own archaeology within world literature, but also specifically Australian physical and metaphysical problems. Metaphysically, Australia becomes a special case, since existence here is defined as being Australian as well as human. As victims of cosmic xenophobia, we are still bailed up by the problem of being Australian as well as by (the usual) problems of inventing or discovering meaning. Far from being an indication of cultural immaturity, or the failure of our writers' and film-makers' attempts to articulate a national identity, this is in fact a defining feature of the portrait of the individual as protagonist in Australian narrative. (National Fictions 80-1) The narrative trajectory of the four festivals bears out this dominant Australian characteristic of defining our identity through exile. While Andrea Stretton, the artistic director of "A Sea Change" and "Reaching the World" applies the analogy of a concerto to the arrangement of the Olympic arts festivals -- "beginning and ending with a bang, with a change of pace in the middle" (Morgan) -- it is also possible to locate in their narrative a shift between an assertion of cultural identity, using specific notions of indigenous identity in "Festival of the Dreaming", and multi-cultural identity in "A Sea Change", towards an ever-present awareness of separation from the rest of the world, so that the third festival is entitled "Reaching the World" and the final festival anticipates sending out a beacon, a "Harbour of Light", beckoning the world to join us in the year 2000. Although the distinction between the assertion of identity and the frustrated feeling of exile are not quite so clearly distinguished in terms of their relationship to a particular festival in the manner that I have described (they are both in operation to varying degrees in all the festivals), it is from a culture that understands itself to be in permanent exile that the narratives being employed by the organisers of the cultural Olympics are derived. So, rather than orchestrating our debut onto the world's stage, it might be argued that the role of the Olympic arts festivals is one of co-ordinating participation in our favourite national pastime: inventing Australia, again. Footnote Marr notes, "Bangarra held the night together. As they were leaving there was a moment that was exactly as the world should see us -- the dancers throwing handfuls of dust in the Atlanta air. Thank God for their dignity and sense of themselves". In making the exception of the Bangarra dancers Marr resorts to a notion of indigeneity as authentic and fixed. However good the intention, the use of this concept of indigenous identity is highly problematic. Graeme Turner has observed the spectacle of the contrast between the way indigenous Australians participated in the Brisbane-hosted 1982 Commonwealth Games opening ceremony, and the demonstration that took place outside the stadium. He suggests that if Australians are to avoid a repeat of this scenario at the Sydney 2000 Olympics "we will need to find other ways of representing the nation" (Making It National 144). In Marr's article, at least, there is little evidence, two years on from Turner's comments, of moving beyond the 'noble savage' representation of indigeneity. Further study of the participation and representations of Australian Aboriginals and Torres Strait Islanders in the Olympics Arts Festivals and the Olympics will be required before deciding whether other ways of representing Australia are being articulated for the occasion Sydney 2000. References Cochrane, Peter. "Here's Looking at You, White Australia." Sydney Morning Herald 24 June 1997: 15. Hallet, Bryce. "Sydney 'Must Take Risks'." Sydney Morning Herald 25 June 1998: 15. Marr, David. "The First in a Long Line of Cringes." Sydney Morning Herald 6 Aug. 1996: 2. Morgan, Joyce. "A Change of Pace." Sydney Morning Herald 1 May 1998: 19. Turner, Graeme. Making It National: Nationalism and Australian Popular Culture. St Leonards, NSW: Allen & Unwin, 1994. Turner, Graeme. National Fictions: Literature, Film and the Construction of Australian Narrative. 2nd ed. St Leonards, NSW: Allen & Unwin, 1993. Citation reference for this article MLA style: Kirsty Leishman. "'And the Winner Is Fiction': Inventing Australia, Again, for the Sydney Y2K Olympics." M/C: A Journal of Media and Culture 2.1 (1999). [your date of access] <http://www.uq.edu.au/mc/9902/sydney.php>. Chicago style: Kirsty Leishman, "'And the Winner Is Fiction': Inventing Australia, Again, for the Sydney Y2K Olympics," M/C: A Journal of Media and Culture 2, no. 1 (1999), <http://www.uq.edu.au/mc/9902/sydney.php> ([your date of access]). APA style: Kirsty Leishman. (1999) 'And the winner is fiction': inventing Australia, again, for the Sydney y2k Olympics. M/C: A Journal of Media and Culture 2(1). <http://www.uq.edu.au/mc/9902/sydney.php> ([your date of access]).

Montjuïc is a long flat-topped hill overlooking the harbor of Barcelona from the southeast border of the city. From 1915 onwards, it underwent a profound transformation turning it into the site of the 1929 International Exhibition. This article revolves around this turning point, examining the aesthetic role of infrastructures in delivering pleasure on the hill before and during the dazzling, monumental display that characterized the event. The sociocultural practices at play in Montjuïc before its re-urbanization are thus recalled and considered in terms of their environmental and bodily features, utterly different from the visual journey later offered within and around the Exhibition venue. I delve into these two regimes of pleasure by theorizing their material forms as functional to and expressive of specific ways of having fun. Consequently, this enquiry concerns the ambient conditions, sensorial landscapes and architectural elements through which pleasure took shape in Montjuïc from the mid-nineteenth century to 1936.

Abstract For centuries, the maritime cargo passing through the port of Barcelona was handled by the men of a half-dozen guilds. Collectively, these ancient corporations enjoyed monopolistic privileges over the various types of cargo and areas of operation—in the shallow harbor, to and from the Customs House, and throughout the city and beyond. At the end of the eighteenth century, the advances of economic and political liberalism began to question, challenge, and eventually dismantle the guild structure: a process that came to fruition in the early nineteenth century with the abolition of most guilds throughout Spain. However, some of the cargo-handling guilds had been defended by the Navy against abolition until the second half of the nineteenth century, when their orderly world collapsed into competitive companies able to hire men of their choosing (former guildsmen or otherwise). In this article, we look at the harbor-based guilds and the process by which guildsmen became the unorganized workers and capitalistic directors of the new dockworker companies. We offer a vision of the transformation of the guild system into a private system for organizing the labor of maritime-cargo handling. In this account, we examine technological changes in the means of production, changes in the organization of labor, the appearance of a new capitalist class in the sub-sector, and the rise of a capitalist mode of production based on the proletarianization of cargo handling.

Abstract From 1919 to 1923, Barcelona experienced unprecedented levels of social conflict. The growth of the anarcho-syndicalist National Confederation of Labour (CNT) had awakened the spectre of social revolution among the city's conservative classes, and a broad constellation of reactionary forces lined up against it, the Sindicatos Libres (free trade unions) being the most formidable among them. Created in 1919 by Catholic workers, the Sindicatos Libres were able to capitalize on the exhaustion that had set in among certain working-class groups who had grown wary of reckless strike action. Using violence to fight back against the CNT, the Libres could claim 175,000 members by mid-1922. They mobilized the religious, corporatist, and regionalist sentiments harboured by sectors of the city's workforce and, by adopting a modern repertoire of action, they bypassed the traditional aversion to mass mobilization that had characterized the Catholic labour movement and Spanish conservative parties until then. In many ways, the ideology and tactics of the Libres adumbrated fascism, but their success was short-lived. In late 1922, an upswing in strike action and an abatement of state repression allowed the CNT to recover at the expense of the Libres. This article explores the rise and fall of an organization the study of which has been neglected, situating it in a European context of political polarization whereby the traditional right attempted to modernize its tactics and adapt them to a rising challenge from the revolutionary left. It will also serve as a window through which to examine the complex relationship between workers’ trade union affiliations and their political and cultural identity.

Introduction: At the Crossroad Well, I’ve been an important pawn [in regeneration], for instance, changing doors and windows, enlarging them, eliminating shutters and thus having big open windows, light […] Then came the florist, through a common friend, who was the second huge pawn who trusted in this […] then came the pastry shop. (Alberto, 54, shop owner). Alberto is the owner of Pleasure Factory, one of two upmarket restaurants in a gentrifying crossroads area in northern Milan. He started buying apartments and empty stores in the 1980s, later becoming property manager of the building where he still lives. He also opened two restaurants, and then set up a neighbourhood commercial organisation. Alberto’s activities, and those of people like him, have been able to reverse the image and the usage of this public crossroad. This is something of which all of the involved actors are well aware. They have “bet,” as they say, and somehow “won” by changing people’s common understanding of, and approach to, this zone. This paper argues for the necessity of a closer look at the ways that place is produced through the multiple activities of small entrepreneurs and social actors, such as Alberto. This is because these activities represent the softer side of gentrification, and can create zones of pleasure and authenticity. Whilst market forces and multiple public interventions of gentrification’s “hard” side can lead to the displacement of people and uneven development, these softer zones of authenticity and pleasure have the power to shape the general neighbourhood brand (Atkinson 1830). Speaking rhetorically, these zones act as synecdoche for the surrounding environment. Places are in part built through the “atmosphere” that consumers seek throughout their daily routines. Following Gernot Böhme’s approach to spatial aesthetics, atmosphere can be viewed as the “relation between environmental qualities and human states” (114) and this relation is worked out daily in gentrified neighbourhoods. Not only do the passer-bys, local entrepreneurs, and sociologists contribute to the local making of atmosphere, but so does the production of the environmental qualities. These are the private and public interventions aimed at refurbishing, and somehow sanitising, specific zones of central neighbourhoods in order to make them suitable for middle class tastes (Julier 875). Not all gentrification processes are similar however, because of the unique influence of each city’s scalar rearrangements. The following section therefore briefly describes the changes in Milan in recent times. The paper will then describe the making of a zone of authentic pleasure at the Isola crossroads. I will show that soft gentrification happens through the making of specific zones where supply and demand match in ways that make for pleasant living. Milan, from Global to Local and Back Milan has a peculiar role in both the Italian and European contexts. Its metropolitan area, of 7.4 million inhabitants on a 12 000 km² surface, makes it the largest in Italy and the fifth in Europe (following Ruhr, Moscow, Paris and London). The municipal power has been pushing for a long-term strategy of population growth that would make Milan the “downtown” of the overall metropolitan area (Bricocoli and Savoldi 19), and take advantage of scalar rearrangements, such as State reconfigurations and setbacks. The overall goal of the government of Milan has been to increase the tax base and the local government’s political power. Milan also demonstrates the entrepreneurial turn adopted by many global cities, evident in the amount of project-based interventions, the involvement of international architecture studios (“La città della Moda” by Cesar Pelli; “Santa Giulia” by Norman Foster; “City-Life” and “the Fair” by Zaha Hadid and David Libeskind), and the hosting of mega-events, such as the Expo 2015. The Milan growth machine works then at different scales (global, national, city-region, neighbourhood) with several organisational actors involved, enormous investments and heavy political struggles to decide which coalition of winning actors will ride the tiger of uneven development. However, when we look at those transformations through the lens of the neighbourhood what we see is the making of zones within the larger texture of its streets and squares. This zone-making is similar to leopard’s spots within a contained urban space, it works for some time in specific streets and crossroads, then moves throughout the neighbourhood, as the process of gentrification goes on. The neighbourhood, which the zone of authentic pleasure I’m describing occurs, is called Isola (Island) because of its clustered shape between a railroad on the southern border and three major roads on the others. Isola was, until the 1980s, a working-class residential space with a strong tradition of left-wing political activism, with some small manufacturing businesses and minor commercial activities. This area remained quite removed from the overall urban development that radically shifted Milan towards a service economy in the 1960s and 1970s. However, during the 1980s and 1990s, the land price impacts of private activities and public policies in surrounding neighbourhoods increasingly pushed people and activities in the direction of Isola. Alberto explains this drift through the example of his first apartment: Just look at the evolution of my apartment. I bought it [in the 1980s] for 57 million lira, I remember, then sold it in 1992 for 160, then it was sold again for 200 000 euros, then four years ago for 250 000 and you have to understand that we’re talking about 47 square metres. If you consider the last price, 250 000, I’ll tell you that when I first came to the neighbourhood you could easily buy an entire building with that money. The building at number five in this street was entirely sold for 550 millions lira—you understand now why Isola is a huge real estate investment, people like it, its central, well served by the underground—well it still has to grow from a commercial standpoint… This evolution in land prices is clear when translated into the price for square metre: 2.4 euros for square meter in 1985, 3.4 in 1992, 4.2 in 2000 and 5.3 in 2006. The ratio increase is 120% in 20 years, demonstrating both the general boost in the economy of the area and also what is at stake within uneven development. What this paper argues is that parallel to this political economy dimension, which may be called the “hard side” of gentrification, there is also a “soft side” that deserves a closer attention. Pastry shops, cafés, bars, restaurants are as strategic as real estate investments (Zukin, Landscapes 195). The spatial concept that best captures the rationale of these activities is the zone, meaning a small and localised cluster of activities. I chose to add the features of pleasure and authenticity because of the role they play in ordinary consumption practices. In order to illustrate the specific relevance of soft gentrification I will now turn to the description of the Isola crossroad, a place that has been re-created through the interventions of several actors, such as Alberto above, and also Franca and her pastry shop. A Zone of Authentic Pleasure: Franca’s Pleasure Corner We’re walking through a small residential street and arrive at a crossroad. We turn to look to the four corners, one is occupied by a public school building, the second and the third by upmarket restaurants, and the last by a “typical” Sicilian pastry shop and café. We decide to enter here, find a seat and order a coffee together with a small cassata, a cake made with sweet cheese, almonds, pistachios and candied fruit. While we are experiencing this southern Italian breakfast at some thousand miles of spatial distance from its original site, a short man enters. He’s a well renowned TV comedian, best known for his would-be-magician gags. Everybody in the café recognises him but pretends to ignore his presence, he buys some pastries and leaves. Other customers come and go. The shop owner, an Italian lady in her forties called Franca, approaches to me and declares: “as you can see for yourself, we see elegant people here.” In this kind of neighbourhood it is common to see and share space with such “elegant” and well-known people, and to feel that a pleasant atmosphere is created through this public display. Franca opened the pastry shop three years ago, a short time after the upmarket restaurants on the other corners. However, when we interviewed her she wasn’t yet satisfied with the atmosphere: “when I go downtown and come back, I feel depressed … it’s developing but still has not grown enough … Isn’t one of the classic rich places in Milan—it’s kind of a weird place.” Through these and other similar statements she expressed a feeling of delusion toward the neighbourhood—a feeling on which she’s building her tale—that emerged in contrast to the kind of environment Franca would consider more apt for her shop. Franca’s a newcomer, but knows that the neighbourhood has been “sanitised.” “It really was a criminal area” she states, using overtly derogatory terms just like they were neutral: “riffraff” for the customers of ordinary bars, “dull” for the northern part of the neighbourhood where “there even are kebab shops.” In contrast she lists her beloved customers: journalists, architects, two tenors, people working at the theatre nearby, and the local TV celebrity described earlier. When she refers to the crossroad she speaks of it as, “maybe the gem of the neighbourhood.” At some point she declares what makes her proud: A place like this regenerates the neighbourhood—to be sure, if I ever open a harbour bar I’d attract riffraff who would discredit the place. In short it’s not, to make an example, a club where you play cards, that bring in the underworld, noise, nuisance—here the customer is the typical middle class, all right people. The term “all right people” reoccurs in several of Franca’s statements. Her initial economic sacrifices, relative though if, as she says, she’s able to open another shop in a more central place (“we would like to become a chain-store”), are now compensated by the recognition she gets from her more polished clients. She also expresses a personal satisfaction in the role she has played in the changes in Isola: “until now it’s just a matter of personal satisfaction—of seeing, I’ve built this stuff.” Franca’s story demonstrates that the soft side of gentrification is also produced by individuals that have little in common with the huge capital investment that is at stake in real estate development, or the chain stores that are also opening in the neighbourhood. In one way, Franca is alone in her quest for regeneration, as most entrepreneurs are. In another way, though, she is not. Not only is she participating in the “upgrading” together with other small business owners and consumers who all agree on the direction to follow, thus building together a zone of authentic pleasure, but she can also rely on a “critical infrastructure” of architects, designers and consultants (Zukin, Landscapes 202) that knows perfectly how to do the job. With much pride in her interior design choices, Franca pointed out how her café mixes chic with classic and opposing them to a flashy and folk décor. She showed us the black-and-white pictures at the wall depicting Paris in the 1960s, the unique design coffee machine model she owns, and the flower vases conceived by a famous designer and filled by her neighbour florist. The colours chosen for the interior are orange, tied to oranges—a typical product of Sicily, whereas the brown colour relates to the land, and the gold is linked to elegance. The mixing of warm colours, Franca explained, makes the atmosphere cosy. Where did this owner get all these idea(l)s? Franca relied on an Italian interior design studio, which works at a global scale furnishing hotels, restaurants, bars, shops, bathing establishments, and airports in New York, Barcelona, Paris, and Milan. The architect with whom she dealt with let her “work together” in order to have an autonomous set of choices that match the brand’s offer. Authenticity thus becomes part of the décor in a systematic way, and the feeling of a pleasant atmosphere is constantly reproduced through the daily routines of consumption. Again, not alone in the regeneration process but feeling as if she is “on her own,” Franca struggles daily to protect the atmosphere she’s building: “My point is avoiding having kids or tramps as customers—I don’t want an indiscriminate presence, like people coming here for a glass of wine and maybe getting drunk. I mean, this is not the place to come and have a bianchino [cheap white wine]. People coming here have a spumante, and behave in a completely different fashion.” The opposition between a bianchino, the cheap white wine, and the spumante is one that clarifies the moral boundary between the targets of soft gentrification. In Italian popular culture, and especially in the past, it was a common male habit to have bianchino from late morning onwards. Bars therefore served as gendered public spaces where common people would rest from working activities and the family sphere. Franca, together with many new bars and cafes that construct zones of authentic pleasure in gentrifying neighbourhoods, is trying to update this cultural practice. The spumante adds a sparkling element to consumption and is branded as a trendy aperitif wine, which appeals to younger tastes and lifestyles. By utilising a global design studio, Franca connects to global patterns of urban development and the homogenising of local atmospheres. Furthermore, by preferencing different consumption behaviours she contributes to the social transformation of the neighbourhood by selecting customers. This tendency towards segregation, rather than mixing, is a relevant feature here, since the Franca’s favourite clientele are clearly “people like us” (Butler 2469). Zones like the one described above are thus places where uneven development shows its social, interactive and public façade. Pleasure and Authenticity in Soft Gentrification The production of “atmosphere” in a gentrifying neighbourhood goes together with customers’ taste and preferences. The supply-side of building the environmental landscape for a “pleasant” zone needs a demand-side, consumers buying, supporting, and appreciating the outcome of the activities of business people like Franca. The two are one, most of the time, because tastes and preferences are linked to class, gender, and ethnicity, which makes a sort of mutual redundancy. To put it abruptly: similar people, spending their time in the same places and in a similar way. As I have shown above, the pastry shop owner Franca went for mixing chic and classic in her interior design. That is distinctiveness and familiarity, individualisation and commonality in one unique environment. Seen from the consumer’s perspective, this leads to what has been depicted by Sharon Zukin in her account of the crisis of authenticity in New York. People, she says, are yearning for authenticity because this: reflects the separation between our experience of space and our sense of self that is so much a part of modern mentalities. Though we think authenticity refers to a neighbourhood’s innate qualities, it really expresses our own anxieties about how places change. The idea of authenticity is important because it connects our individual yearning to root ourselves in a singular time and place to a cosmic grasp or larger social forces that remake our world from many small and often invisible actions. (220) Among the “many small and invisible actions” are the ones made by Franca and the global interior design firm she hired, but also those done daily by her customers. For instance, Christian a young advertising executive who lives two blocks away from the pastry shop. He defines himself an “executive creative director” [in English, while the interview was in Italian]. Asked on cooking practices and the presentation he makes to his guests, he declares that the main effort is on: The mise en place—the mise en place with no doubt. The mise en place must be appropriate to what you’re doing. Sometimes you get the mise en place simply serving a plateau, when you correctly couple cheese and salami, even better when you couple fresh cheese with vegetables or you give a slightly creative touch with some fruit salad, like seitan with avocado, no? They become beautiful to see and the mise en place saves it, the aesthetics does its job …Do you feel there are foods, beverages or consumption occasions you consider not worth giving up at all? The only thing I wouldn’t give up is going out in the morning, and having a cappuccino down there in the tiny pastry shop and having some brioches while I’m at the bar. Those that are not frozen beforehand but cooked just in time and have a breakfast, for just two euros, two euros and ten […] cappuccino and fresh brioche, baked just then, otherwise I cannot even think—if I’m in Milan I hardly think correctly—I mean I can’t wake up really without a good cappuccino and a good brioche. Christian is one of the new residents that was attracted to this neighbourhood because of the benefits of its uneven development: relatively affordable rent prices, services, and atmosphere. Commonality is among them, but also distinctiveness. Each morning he can have his “good cappuccino and good brioche” freshly baked to suit his taste and that allows him to differentiate between other brioches, namely the industrialised ones, those “frozen beforehand.” More importantly, he can do this by simply crossing the street and entering one of the pleasure zones that are making Isola, there and now, the new gentrified Milanese neighbourhood. Zones of Authentic Pleasure In this paper I have argued that a closer attention to the softer side of gentrification can help to understand how taste and uneven development mesh together, to produce the common shape we find in gentrified neighbourhoods. These typical urban spaces are made of streets, sidewalks, squares, and walls, but also shop windows and signs, pavement cafés, planters, and the street-life that turns around all of this. Both built environment and interaction produces the atmosphere of authentic pleasure, which is offered by local entrepreneurs and sought by the people who go there. Pleasure is a central feature because of the increasing role of consumption activities in the city and the role of individual consumption practices. I f we observe closely the local scale where all of these practices take place, we can clearly distinguish one zone from another because of their localised effervescence. Neighbourhoods are not equally affected by gentrification. Internally specific zones emerge as those having the capacity to subsume the entire process. These are the ones I have described in this paper—zones of authentic pleasure, where the supply and demand for an authentic distinctive and communal atmosphere takes place. Ephemeral spaces; if one looks at the political economy of place through a macro lens. But if the aim is to understand why certain zones prove to be successful and others not, then exploring how soft gentrification is daily produced and consumed is fundamental.Acknowledgments This article draws on data produced by the research team for the CSS project ‘Middle Class and Consumption: Boundaries, Standards and Discourses’. The team comprised Marco Santoro, Roberta Sassatelli and Giovanni Semi (Coordinators), Davide Caselli, Federica Davolio, Paolo Magaudda, Chiara Marchetti, Federico Montanari and Francesca Pozzi (Research Fellows). The ethnographic data on Milan were mainly produced by Davide Caselli and by the Author. The author wishes to thank the anonymous referees for wise and kind remarks and Michelle Hall for editing and suggestions. References Atkinson, Rowland. “Domestication by Cappuccino or a Revenge on Urban Space? Control and Empowerment in the Management of Public Spaces.” Urban Studies 40.9 (2003): 1829–1843. Böhme, Gernot. “Atmosphere as the Fundamental Concept of a New Aesthetics.” Thesis Eleven 36 (1993): 113–126. Bricocoli, Massimo, and Savoldi Paola. Milano Downtown: Azione Pubblica e Luoghi dell’Abitare. Milano: et al./Edizioni, 2010. Butler, Tim. “Living in the Bubble: Gentrification and Its ‘Others’ in North London.” Urban Studies 40.12 (2003): 2469–2486. Julier, Guy. “Urban Designscapes and the Production of Aesthetic Consent.” Urban Studies 42.5/6 (2005): 869–887. Zukin, Sharon. Landscapes of Power. From Detroit to Disney World. Berkeley and Los Angeles: University of California Press, 1991. ———. Naked City. The Death and Life of Authentic Urban Places. New York: Oxford UP, 2010.

Introdução: A Matricaria chamomilla L., mais conhecida como camomila, vem sendo bastante utilizada na medicina popular devido suas consideráveis propriedades farmacológicas, como efeito anti-inflamatório, antioxidante, antimicrobiano e leve efeito sedativo. A camomila é muito utilizada sob a forma de infusões, com sabor agradável e aromático. Objetivo: Tendo em vista as várias finalidades e efeitos farmacológicos, objetivou-se neste trabalho realizar uma revisão de literatura acerca das propriedades farmacológicas da Matricaria chamomilla L. Metodologia: Essa busca foi realizada em artigos disponíveis nas bases de dados MEDLINE, Lilacs, PUBMED, BVS e monografias que atendiam aos requisitos do estudo em questão, no período de 2008 a 2018, revisando um total de 48 estudos. Discussão: Estudos demonstraram que a camomila é útil para tratamento da dor de estômago, síndrome do intestino irritável e insônia, além de possuir atividades bactericida e relaxante. A atividade antibacteriana dessa planta foi avaliada contra bactérias gram-negativas e os resultados comprovaram o efeito antibacteriano através dos principais componentes do óleo essencial, além dos flavonoides, ácidos fenólicos e ácidos graxos. Na Odontologia, sua efetividade é demonstrada através de sua ação benéfica contra gengivite, haja vista suas propriedades antimicrobianas e anti-inflamatórias. Conclusão: De acordo com a literatura, a Matricaria chamomilla L. apresenta efeitos antimicrobiano, antifúngico, antioxidante, anti-inflamatório e ansiolítico, os quais são explicados pelos componentes dos seus extratos, fazendo com que esta planta apresente grande importância clínica. 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