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Sei Shōnagon‘s Makura no sōshi: A guide for women’s sociality in 11th century Japan
No full textThis study examines the possibility of interpreting Makura no sōshi (“The Pillow Book,” 11th century) as a guide for the education of aristocratic women, equipping them to navigate the female communities of 11th century Japan, characterized by jealousy and rivalry. Through a close reading of this work, now recognized as a masterpiece of world literature, I will explore topics related to sociality in the Heian period— such as courtship, education, beauty routines, and etiquette— offering insight into the lives of middle - and high-ranking women at the imperial court. Sei Shōnagon’s work also provides an opportunity to delve into the fascinating aesthetics of aristocratic society during the Heian period (794-1185), focusing on the concept of an ‘oblique vision’ which shaped poetic expression, architecture, and even the relationship between men and women
Innovazione e sostenibilità: la visione cinese per la transizione verde
No full textScience, technology, and innovation (STI) policies are essential in the global green transition needed to mitigate recent record greenhouse gas emissions. China, with planned investments of about $26 trillion by 2050, aims to achieve carbon neutrality by 2060 through a circular economy and efficient production systems. Chinese policies from 2019 to 2024 emphasize technological innovation, digitalization, and international cooperation. However, challenges such as high costs and trade tensions pose significant obstacles. China's ability to attract investments will be crucial for the success of the transition.Le politiche per la scienza, tecnologia e innovazione (STI) sono fondamentali nella transizione verde globale, necessaria per mitigare i recenti record di emissioni di gas serra. La Cina, con investimenti previsti di circa 26 trilioni di dollari entro il 2050, mira a raggiungere la neutralità carbonica entro il 2060 attraverso un’economia circolare e sistemi produttivi efficienti. Le politiche cinesi dal 2019 al 2024 pongono l'accento sull’innovazione tecnologica, la digitalizzazione e la cooperazione internazionale. Tuttavia, sfide come costi elevati e tensioni commerciali rappresentano ostacoli significativi. La capacità della Cina di attrarre investimenti sarà cruciale per il successo della transizione.
 
Lexicographical questions and revealing quotations: New clues on Pi shishi zhuwang
No full textThe article presents and analyses new materials and perspectives on Pi shishi zhuwang 闢釋氏諸妄 (“Confutation of all the absurdities of the Buddha”), frequently abbreviated as Pi wang. Pi wang is usually attributed to the Chinese scholar Xu Guangqi徐光啟 (1562–1633), but recent studies have questioned this hypothesis. However, while there is a variety of studies on the translations and prefaces composed by Xu Guangqi in cooperation with Western missionaries and scholars, such as Matteo Ricci (Li Madou 利瑪竇, 1552–1610) and Sabatino De Ursis (Xiong Sanba 熊三拔, 1575–1620), secondary literature on Pi wang is surprisingly limited. Among these precious and rare works of secondary literature, the focus has been correctly placed on the structure and different versions of Pi wang to determine attribution. Less attention has been devoted to the contents of the text, especially concerning some linguistic peculiarities in terms of possible attribution and relevant cross-cultural interactions. In order to provide new clues and different points of view for research on the attribution, this article illustrates some topics that should be further investigated and new possible keys in historical texts. It also indirectly provides new insights into the cultural interactions that took place between Chinese converts and Western missionaries
New forms of calligraphy in contemporary China
No full textCalligraphy is a central tenet of Chinese civilization. The whole history of China is strictly linked to the history of its writing and calligraphy. In contemporary times Calligraphy has undergone a radical change and it has evolved into new forms in all fields of visual and performing arts. This paper aims at analyzing how all these forms emerged in: 1) “fine and contemporary arts”, where it became, for example, a naïf painting made of pictographic shapes of characters, an abstract combination of dots and lines, a “light-calli-photograph,” or an artistic video based on digital strokes.; 2) decorative and applied arts, where the characters lost their connection with the linguistic meaning to become decorative elements used for commercial purposes or to design modern architectures; 3) performing arts, where the rhythm, dynamism and harmonic movement of calligraphy became a choreographic gesture of a contemporary ballet or a piece of classical music; and 3) graffiti art, where the presence of calligraphy along the streets evolved from Maoist propaganda posters into graffiti pieces made of wild-style characters or cursive tags. Proposing a media-based categorization and a new taxonomy of the contemporary calligraphic production, this article aims at demonstrating how these new forms powerfully resonate with China’s rich and enduring cultural tradition and at the same time mirror the sweeping cultural and economic changes that have taken place in China during the last decades
Dancing Scores: Concerto Barocco by George Balanchine
No full textDuring the 20th century, experiments in dance without music proliferated, as did manifestos for the autonomy of the art of choreography with respect to sound accompaniment. Thus it was against this trend that George Balanchine, in 1941, composed Concerto Barocco on the notes of Johann Sebastian Bach's Concerto in D Minor for Two Violins, BWV 1043. In this work, the music is not only a source of inspiration, but the backbone of the kinetic dynamics. The dancers' bodies are conceived as musical instruments and, moreover, their movement is constructed in order to make the orchestral score visible. The result is a very high combination of dance and music, where the language of academic ballet at the highest level of specialization takes the architectural perfection of Bach's composition as its regulative ideal. The bodies on stage, so rarefied, compose a kind of utopian cosmos made of order and proportion, absolute poetry of harmony and purity.
Nel corso del Novecento proliferano sperimentazioni di danza senza musica e manifesti per l’autonomia dell’arte coreica rispetto all’accompagnamento sonoro: è quindi in controtendenza che George Balanchine, nel 1941, compone Concerto Barocco sulle note del Concerto in re minore per due violini di Johann Sebastian Bach, BWV 1043. In quest’opera (come in altre del coreografo) la musica non è solo fonte d’ispirazione, ma struttura portante della dinamica cinetica. I corpi dei danzatori vengono concepiti come strumenti musicali e, di più, il loro movimento viene costruito al fine di rendere visibile la partitura orchestrale. Ne risulta un altissimo connubio tra danza e musica, dove il linguaggio del balletto accademico ai massimi livelli di specializzazione prende come ideale regolativo la perfezione architettonica della composizione di Bach. I corpi in scena, così rarefatti, compongono una sorta di cosmo utopico fatto di ordine e proporzione, poesia assoluta di armonia e purezza
Spinoza sive anti-Spinoza. Jacobi e la scientia intuitiva
No full textThis article argues that the form of immediate knowledge that Jacobi opposes to Spinozism is structurally connected to Spinoza’s third kind of knowledge and his conception of the adequate idea. Jacobi thus appears to locate a model for a form of knowledge that goes beyond the intellectualist limits of deduction in Spinozism itself. This form of knowledge involves an idea that cannot be reduced to deductive reasoning, providing an immediate certainty that is grounded solely in itself. Jacobi therefore appears to be using Spinozism against itself
La traducción audiovisual en la dirección italiano > español: notas lingüísticas, técnicas y estratégicas a partir de un producto subtitulado
No full textEste artículo pretende analizar el proceso de traducción audiovisual del italiano al español. En concreto, el objetivo es el de observar qué operaciones y estrategias lingüísticas se adoptan en la subtitulación entre dos lenguas afines. Desde este punto de vista, los mecanismos que rigen este tipo de traducción audiovisual difieren significativamente de los que suelen adoptarse en el ámbito de la traducción literaria o especializada. Nuestro interés se centrará en analizar las peculiaridades que surgen en el proceso de subtitulación del italiano al español de la película original en italiano ‘L'incredibile storia dell'Isola delle Rose’ (La increíble historia de la Isla de las Rosas, 2020), disponible en Netflix. Tras una breve revisión en torno a las características técnicas y las convenciones de la subtitulación, nos centraremos en algunas fases concretas del proceso de traducción al español, destacando los aspectos contrastivos y potencialmente problemáticos desde el punto de vista lingüístico. De este modo, a través del análisis que aportaremos en esta contribución, será posible esbozar algunas tendencias generales sobre las técnicas y estrategias más adecuadas en el proceso de subtitulación del italiano al español.This paper aims to analyse the process of audiovisual translation from Italian into Spanish. Specifically, the paper aims to observe what linguistic operations and strategies are adopted in subtitling between two cognate languages. From this point of view, the mechanisms governing this type of audiovisual translation differ significantly from those generally adopted in the field of literary or specialised translation. Our interest will focus on analysing the peculiarities that emerge in the process of subtitling from Italian into Spanish the original Italian-language film ‘L’incredibile storia dell’Isola delle Rose’ (La increíble historia de la Isla de las Rosas, 2020), available on Netflix. After a brief overview of the technical characteristics of subtitling, we will focus on some specific stages of the translation process into Spanish, highlighting the contrastive and potentially problematic aspects from a linguistic point of view. In this way, through the analysis that we will provide for in this contribution, it will be possible to outline some general trends on the most suitable techniques and strategies in the process of subtitling from Italian into Spanish
