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= Convenzione e Regolamento di Dublino (1997 - 2003 - 2013) =
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= Contemplating the Rondanini Pietà =
  
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[[File:Dublino.jpg|border|right|thumb|460px|link=https://it.wikipedia.org/wiki/Convenzione_di_Dublino|Dublino]]
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'''''Maria Angela Padoa Schioppa''''' -- Sunday, June 11th 2006
  
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[https://it.wikipedia.org/wiki/Convenzione_di_Dublino '''Il regolamento di Dublino II'''] determina lo Stato membro dell'Unione europea competente a esaminare una domanda di asilo o riconoscimento dello status di rifugiato in base alla Convenzione di Ginevra (art. 51). Esso rappresenta la pietra angolare del sistema di Dublino, costituito dal regolamento Dublino II e dal regolamento EURODAC, che istituisce una banca dati a livello europeo delle impronte digitali per chi intende presentare richiesta di asilo e per chi entra irregolarmente nel territorio dell'Unione Europea. Il regolamento di Dublino mira a "determinare con rapidità lo Stato membro competente [per una domanda di asilo]"[5] e prevede il trasferimento di un richiedente asilo in tale Stato membro. Lo Stato membro competente all'esame della domanda d'asilo sarà lo Stato in cui il richiedente asilo ha fatto il proprio ingresso nell'Unione europea.
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Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.
  
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Uno degli obiettivi principali del regolamento di Dublino è impedire ai richiedenti asilo di presentare domande in più Stati membri (cosiddetto asylum shopping). Un altro obiettivo è quello di ridurre il numero di richiedenti asilo "in orbita", che sono trasportati da Stato membro a Stato membro. Tuttavia, poiché il primo paese di arrivo è incaricato di trattare la domanda, questo mette una pressione eccessiva sui settori di confine, dove gli Stati sono spesso meno in grado di offrire sostegno e protezione ai richiedenti asilo. Attualmente, coloro che vengono trasferiti in virtù di Dublino non sempre sono in grado di accedere a una procedura di asilo. Questo mette a rischio le garanzie dei richiedenti asilo di ricevere un trattamento equo e di vedere le proprie richieste d'asilo prese in adeguata considerazione.
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If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.
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Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.
  
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Secondo il Consiglio europeo per i rifugiati e gli esuli (ECRE) e l'Alto commissariato delle Nazioni Unite per i rifugiati (UNHCR), il sistema attuale non riesce a fornire una protezione equa, efficiente ed efficace. È stato dimostrato in diverse occasioni sia dall'ECRE[7] sia dall'UNHCR[8], che il regolamento impedisce i diritti legali e il benessere personale dei richiedenti asilo, compreso il diritto a un equo esame della loro domanda d'asilo e, ove riconosciuto, a una protezione effettiva. Esso conduce inoltre a una distribuzione ineguale delle richieste d'asilo tra gli Stati membri.
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I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.
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It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.
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| align=center| [[File:pieta-rondanini_1b.jpg|border|right|thumb|200px|link=pieta-rondanini_1b.jpg]]
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If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.
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This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.
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| align=center| [[File:pieta-rondanini_2b.jpg|border|right|thumb|200px|link=pieta-rondanini_2b.jpg]]
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The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.
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The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.
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This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.
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| align=center| [[File:pieta-rondanini_3b.jpg|border|right|thumb|200px|link=pieta-rondanini_3b.jpg]]
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If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.
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This position of Mary reminded me of the gesture of giving birth.
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A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.
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The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.
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| align=center| [[File:pieta-rondanini_4b.jpg|border|right|thumb|200px|link=pieta-rondanini_4b.jpg]]
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It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.
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| align=center| [[File:pieta-rondanini_5b.jpg|border|right|thumb|200px|link=pieta-rondanini_5b.jpg]]
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Versione attuale delle 19:51, 20 giu 2023

Contemplating the Rondanini Pietà[modifica]

Maria Angela Padoa Schioppa -- Sunday, June 11th 2006

Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.

If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.

Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.

I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.

It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.

Pieta-rondanini 1b.jpg

If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.

This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.

Pieta-rondanini 2b.jpg

The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.

The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.

This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.

Pieta-rondanini 3b.jpg

If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.

This position of Mary reminded me of the gesture of giving birth.

A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.

The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.

Pieta-rondanini 4b.jpg

It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.

Pieta-rondanini 5b.jpg
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