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Ramadan B. Hussein. The Texts on the Coffin of Ppy-im3 from Naga ed-Der, Translation and Annotation. 2024.
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Eric Morier-Genoud. Towards Jihad? Muslims and Politics in Postcolonial Mozambique. 2023.
No full textThe effect of tree harvesting rights on investment in tree growing and promotion of sustainable tree conservation practices by private land holders in Kenya
No full textTrees and forests on private lands and farms play a crucial role in providing ecosystem goods and services that support human well-being. To promote sustainable management of these resources, many countries are assigning tree harvesting rights to private landowners. This strategy encourages tree-growing investments and sustainable practices. However, there is limited research on its effects in developing countries. This study focused on Kenya, using a case study approach and document content analysis to examine the impact of assigning tree harvesting rights on sustainable tree growing. Results show that since 1990, tree coverage on private farms in Kenya has increased by 48.12%, reaching 10,385,000 hectares by 2010. Farm forests are key to timber production, especially in Central Kenya, where up to 155 tree species are grown. These forests provide products like firewood and timber, but unsustainable practices such as low tree replacement and high tree densities pose challenges. Small-holder farmers are driven by high population density and market demand but face obstacles such as low tree prices and inadequate management techniques. Despite these challenges, farm forests have been essential, particularly during the Sawlog harvesting ban (2002-2012), and are expected to remain central to Kenya's forestry sector. While assigning tree-growing rights has had positive impacts, including ecological and economic benefits, it has also led to negative sustainability outcomes. Therefore, developing a stable legal framework, improving market access, and offering financial incentives are crucial for supporting sustainable forestry on private lands
La mobilitazione nella Nuova era: zìwŏ gémìng
No full textIn the general context of Xi Jinping’s New Era, the current leadership of the Chinese Communist Party has identified the “strenghtening of the overall Party leadership” as one of the leading principles of the whole reform agenda, while mobilisation is increasingly seen as an essential tool to implement and deepen the reforms. Recurring aspects of the mobilisation include the Party’s history and mission, as well as the promoting of the “spirit” and of the founding values of Chinese Communism. From his rise to power until today, Xi Jinping has introduced several slogans to support political mobilisation, and he has increasingly called upon the Party cadres to zìwŏ gémìng 自我革命 (“self-revolution”). Through the analysis of a selection of Xi’s speeches, this paper proposes to investigate the political meaning of the zìwŏ gémìng slogan from the historical and the political perspectives.
Keywords: Zìwŏ gémìng, Party governance, History of the Party, Mobilisation, Anti-corruption campaign.All’interno del contesto generale della Nuova era l’attuale dirigenza del Partito comunista cinese ha identificato nel “rafforzamento della leadership del Partito sotto ogni aspetto” (jiāqiáng dăng de quánmiàn lĭngdăo 加强党的全面领导) uno dei principi guida dell’intero programma di riforma, mentre la mobilitazione è sempre più considerata uno strumento essenziale nell’attuazione e l’approfondimento delle riforme in ogni ambito. Tra gli aspetti ricorrenti della mobilitazione condotta all’interno del Partito rientrano il richiamo alla storia e alla missione del Partito, così come lo spirito e i valori fondanti del Comunismo cinese. Dalla sua salita al potere a oggi, Xi Jinping ha introdotto diversi slogan a supporto della mobilitazione politica e una formula sempre più ricorrente è quella di zìwŏ gémìng 自我革命. Attraverso l’analisi di una selezione di discorsi ufficiali di Xi Jinping questo studio mira a misurare il significato politico della formula zìwŏ gémìng in una prospettiva storica e politica.
Parole chiave: Zìwŏ gémìng, Governance di Partito, Storia del Pcc, Mobilitazione, Campagna contro la corruzione
Il lavoro sul campo nella Repubblica Popolare Cinese: alcune riflessioni
No full textThis article reflects on over thirty years of ethnographic research experiences in China, highlighting the evolution of fieldwork practices amidst changing socio-political and institutional contexts. Using personal anecdotes, the author examines the challenges and opportunities of conducting in-depth qualitative research, particularly in migration studies, and the methodologies employed, including participant observation, semi-structured interviews, and archival work.Questo articolo riflette su oltre trent’anni di esperienze di ricerca etnografica in Cina, analizzando l’evoluzione delle pratiche di lavoro sul campo in un contesto socio-politico e istituzionale in trasformazione. Attraverso aneddoti personali, l’autore esplora le sfide e le opportunità della ricerca qualitativa approfondita, in particolare nello studio delle migrazioni, e le metodologie adottate, tra cui l’osservazione partecipante, le interviste semi-strutturate e il lavoro d’archivio. 
Juego de mapas: cartografie letterarie della narrativa breve di Max Aub
No full textEl artículo propone un acercamiento a una selección de narrativas breve de Max Aub tomando como punto de arranque metodológico el patrón modular y fragmentado de Juego de cartas (1964), que lleva al extremo la concepción de literatura y de expresión interartística de un universo presidido por la disgregación de los tradicionales códigos realistas. La práctica de reconstrucción y recombinación de epístolas que procuran arrojar luz sobre la identidad de un misterioso difunto constituye una alegoría y un manifiesto de poética del autor. Juego de cartas nos entrega una clave de lectura de su obra, que tampoco puede prescindir del legado pictórico de Jusep Torres Campalans, apócrifa pero auténtica écfrasis del mundo aubiano. Este marco epistémico es puesto en relación dialéctica con la reflexión sobre los variados mapas que la narrativa de Aub atesora y que, con frecuencia, se hilvanan alrededor de un vacío, de una ausencia, de unos lugares incompatibles que el exilio acarrea y que el espacio de la escritura intenta rescatar.The article delves into a selection of short fiction works by Max Aub, considering as a methodological starting point the modular and fragmented pattern of Juego de cartas (1964), which brings to the extreme the conception of literature and inter-artistic expression of a universe dominated by the disintegration of traditional realist codes. The practice of reconstruction and recombination of epistles that seek to shed light on the identity of a mysterious deceased person constitutes an allegory and a manifesto of the author's poetics. Juego de cartas provides a key to read Aub’s work, which cannot ignore the pictorial legacy of Jusep Torres Campalans, an apocryphal but authentic ecphrasis of the Aubian world. This epistemic framework is placed in dialectical relation with the reflection on the various maps that Aub’s narrative treasures and that are often woven around a void, an absence, those incompatible places that exile brings and that the space of writing attempts to rescue
De algún tiempo a esta parte. La recuperación del teatro de Max Aub desde la Transición hasta la contemporaneidad
No full textResumen
El artículo explora el largo regreso del teatro exílico y ‘exiliado’ de Max Aub a las tablas de la España proto- y democrática, con el objetivo de tomar el pulso al sustrato socio-político que, década tras década, acoge los textos ‘de vuelta’. A través de un corte diacrónico, que recorre todos los estrenos aubianos desde los sesenta hasta hoy, la idea es relacionar las obras con las políticas de la memoria y, más en general, con la siempre controvertida gestión pública de un antecedente problemático, en este caso dentro del espacio post-traumático peninsular.
This article explores the long return of Max Aub’s exilic and ‘exiled’ theater to the stages of proto- and democratic Spain, with the aim of taking the pulse of the socio-political substratum that, decade after decade, welcomes the texts ‘back’. Through a diachronic approach, that covers all the Aubian premieres from the Sixties to the present day, the idea is to relate the works to the politics of memory and, more generally, to the always controversial public management of a problematic antecedent, in this case within the post-traumatic peninsular space.This article explores the long return of Max Aub’s exilic and ‘exiled’ theater to the stages of proto- and democratic Spain, with the aim of taking the pulse of the socio-political substratum that, decade after decade, welcomes the texts ‘back’. Through a diachronic approach, that covers all the Aubian premieres from the Sixties to the present day, the idea is to relate the works to the politics of memory and, more generally, to the always controversial public management of a problematic antecedent, in this case within the post-traumatic peninsular space.
El artículo explora el largo regreso del teatro exílico y ‘exiliado’ de Max Aub a las tablas de la España proto- y democrática, con el objetivo de tomar el pulso al sustrato socio-político que, década tras década, acoge los textos ‘de vuelta’. A través de un corte diacrónico, que recorre todos los estrenos aubianos desde los sesenta hasta hoy, la idea es relacionar las obras con las políticas de la memoria y, más en general, con la siempre controvertida gestión pública de un antecedente problemático, en este caso dentro del espacio post-traumático peninsular
The fantastic dimension in Mo Yan: A new way of narrating the supernatural encounter?
No full textIn the enthusiastic revival of the marginal genre of the zhiguai tale that characterized the 1980s, Mo Yan’s tales of the supernatural deserve particular attention. In stories such as Qiyu 奇遇 (“Strange Encounter”) and Yeyu 夜渔 (“Night Fishing”) collected in Xuexi Pu Songling 学习蒲松龄 (“Learning from Pu Songling,” 2011), the protagonists experience an unexpected and unsettling encounter with the supernatural, especially when returning to their home villages from modern cities. While borrowing themes already present in the Liaozhai, Mo Yan’s return to this ancient genre shows stylistic innovations that recall rhetorical devices described as central in the Western fantastic tale. In Mo Yan, this especially concerns the new context in which the strange event takes place and the new reactions of his modern protagonists towards the supernatural.
Adopting some descriptive categories proposed by critics of the Western fantastic, this analysis focuses on the frontier space of the countryside as a central rhetorical device that activates a fantastic mode of ‘hesitation’ towards supernatural encounters. As soon as they ‘cross the threshold’ to the fantastic dimension, Mo Yan’s modern protagonists are led back into a world in which the unforeseen return of an ancient and apparently overcome order causes bewilderment and incredulity