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Una potenza normativa emergente: la Cina nel dibattito sulla Responsibility to Protect
No full textThis article analyses the evolution of China's position in the Responsibility to Protect debate, highlighting the shift from a stance of outright rejection to active participation in the development of the doctrine. While China initially viewed R2P as a threat to its sovereignty, it gradually adopted a more participatory stance and promoted a restrictive interpretation. The article examines this issue as a relevant case for understanding broader trends, in particular the ability of emerging powers to position themselves as “normative powers” and to exert greater influence on global governance structures, in the context of the reconfiguration of the international order as a flexible, multipolar system.Questo articolo analizza l’evoluzione della posizione cinese nel dibattito sulla Responsibility to Protect, evidenziando il passaggio da un atteggiamento di netto rifiuto ad un coinvolgimento attivo nello sviluppo della dottrina. Se, inizialmente, la Cina vedeva la R2P come una minaccia alla sovranità, progressivamente ha adottato una postura più partecipativa, promuovendo un’interpretazione restrittiva. L’articolo esamina questa vicenda in quanto caso significativo per la comprensione di tendenze generali, in particolare la capacità dei paesi emergenti di porsi come “potenze normative” e influire maggiormente sulle strutture della governance globale, nel quadro della riconfigurazione dell’ordine internazionale come multipolarismo flessibile
Los vicios de Madrid. Diálogo entre Perico y Antonio. J. M. S.: Edición crítica completa del ms. 864V66 I de Dartmouth College Library
No full textOfrezco aquí la primera edición completa y crítica de Los vicios de Madrid. Diálogo entre Perico y Antonio, un diálogo satírico anónimo fechado en 1807 que fue publicado parcialmente por Raymond Foulché-Delbosc en 1905 a partir de un manuscrito de su propiedad. En el breve prólogo que precede a mi edición, doy noticia de la biblioteca en la que se ha conservado dicho manuscrito desde 1936 hasta la actualidad, describo sus características materiales, señalo la naturaleza de las omisiones hechas por Foulché-Delbosc en su edición, contextualizo la circulación de este manuscrito en su época y, por último, presento los criterios de mi propia edición. Mi texto crítico ofrece una versión modernizada del original según criterios filológicos contemporáneos e incluso un aparato que incluye tanto las variantes de la edición del hispanista francés como las correcciones hechas por el copista del manuscrito.I present the first complete and critical edition of Los vicios de Madrid. Diálogo entre Perico y Antonio, an anonymous satirical dialogue dated in 1807, which was partially published by Raymond Foulché-Delbosc in 1905 based on a manuscript in his possession. In the brief prologue preceding my edition, I provide information on the library where said manuscript has been preserved from 1936 to the present day, I describe its material characteristics, I state the nature of the omissions made by Foulché-Delbosc in his edition, I contextualize the circulation of this manuscript in its era, and, lastly, I present the criteria for my own edition. My critical text offers a modernized version of the original according to contemporary philological standards and includes an apparatus comprising both the variants from the French Hispanist’s edition and the corrections made by the manuscript’s copyist
La scala della divina ascesa: Omaggio a Luca Marconi
No full textIn this article, I intend to retrace part of Luca Marconi's research into the connection between music, tension, and emotion. I will focus on a model proposed by Marconi (2004), which I believe captures the connection between musical concatenations and their effects on a semiotized body, thus accounting for their effectiveness. I will apply the analytical method suggested by Luca Marconi to a very famous musical arpeggio that opens the song "Stairway to Heaven," to show how the connection between expectations, tensions, and passions constitutes the condition of possibility for judgments about music and for undertaking a semiotic study of musical substance without renouncing formal analysis and without having to appeal to intuition or common sense. Finally, I will underline the relevance of Luca Marconi's studies for a correct approach to the problem of enunciation in music.Nel presente articolo intendo ripercorrere una parte dell’itinerario di ricerca compiuto da Luca Marconi intorno al legame tra musica, tensione ed emozione. Mi soffermerò su un modello proposto da Marconi (2004) che a mio parere coglie il legame tra concatenazioni musicali e i loro effetti su un corpo semiotizzato, rendendo conto in tal modo della loro efficacia. Applicherò il metodo di analisi suggerito da Luca Marconi a un arpeggio musicale molto famoso che apre la canzone Stairway to Heaven, per mostrare come il legame tra attese, tensioni e passioni costituisca la condizione di possibilità per dei giudizi sulla musica e per affrontare uno studio semiotico della sostanza musicale senza rinunciare all’analisi formale e senza doversi richiamare all’intuizione o al senso comune. Infine, sottolineerò la pertinenza degli studi di Luca Marconi per una corretta impostazione del problema dell’enunciazione in musica
Estetiche di mondi naufragati: De Martino, Mingozzi, Rouch e Godard
No full textThis article aims to analyze the aesthetic languages within The Land of remorse and between the films of Mingozzi and Godard, in the light of de Martino’s anthropological issues. The Land of Remorse represents one of Ernesto de Martino’s most interesting works also because of the number of aesthetic languages involved. Indeed, the first contact between de Martino and the phenomenon of tarantism was the photographs of André Martin. In particular, those of the chapel of S. Paolo in Galatina, where the tarantati appeared “as if clinging for a few moments to the debris of a wreckage surfacing on the waves of a stormy ocean”; the same places would return in Franco Pinna’s photographic dossier within The Land of Remorse. The first edition of the volume is accompanied by an LP with recordings of the healing music. In the same year, Gianfranco Mingozzi produced and screened La Taranta: de Martino signed the scientific consultancy of a film that, although not (intentionally) a documentary, nevertheless aesthetically and verisimilarly represents the phenomenon of tarantism, as a “cinematic double” of his book. Only a year later, Le Nouveau Monde was released in French and Italian theaters: produced by Jean-Luc Godard, this short film is permeated with that “sociological gaze” derived from his early interest in anthropology; it is significant that Godard, like Mingozzi, knew and appreciated Jean Rouch’s work on ethnographic cinema. Even his short film, like La Taranta, borrows certain stylistic features of documentary filmmaking to tell the story of a shipwrecked world, a “discreet” apocalypse that resonates with demartinian themes.This article aims to analyze the aesthetic languages within The Land of remorse and between the films of Mingozzi and Godard, in the light of de Martino’s anthropological issues. The Land of Remorse represents one of Ernesto de Martino’s most interesting works also because of the number of aesthetic languages involved. Indeed, the first contact between de Martino and the phenomenon of tarantism was the photographs of André Martin. In particular, those of the chapel of S. Paolo in Galatina, where the tarantati appeared “as if clinging for a few moments to the debris of a wreckage surfacing on the waves of a stormy ocean”; the same places would return in Franco Pinna’s photographic dossier within The Land of Remorse. The first edition of the volume is accompanied by an LP with recordings of the healing music. In the same year, Gianfranco Mingozzi produced and screened La Taranta: de Martino signed the scientific consultancy of a film that, although not (intentionally) a documentary, nevertheless aesthetically and verisimilarly represents the phenomenon of tarantism, as a “cinematic double” of his book. Only a year later, Le Nouveau Monde was released in French and Italian theaters: produced by Jean-Luc Godard, this short film is permeated with that “sociological gaze” derived from his early interest in anthropology; it is significant that Godard, like Mingozzi, knew and appreciated Jean Rouch’s work on ethnographic cinema. Even his short film, like La Taranta, borrows certain stylistic features of documentary filmmaking to tell the story of a shipwrecked world, a “discreet” apocalypse that resonates with demartinian themes
La casa del perfetto civis Romanus secondo Cicerone: tra esemplarità e concretezza
No full textDans off. 1, 138-140, Cicéron exprime ses réflexions et ses préoccupations concernant l’apparence convenable des maisons appartenant à la classe supérieure, en particulier celles des personnes engagées dans la fonction publique. Il condamne la coutume des hommes d’État qui construisent de magnifiques demeures comme des manifestations ostentatoires de leur pouvoir et de leur influence politique, parce qu’il craint les répercussions morales de telles démonstrations sur l’État. Loin de se contenter de répéter le lieu commun du mépris romain pour le luxe privé, la critique de Cicéron est profondément personnelle ; sa propre maison, située au nord-ouest du mont Palatin, a joué un rôle crucial dans sa carrière politique lors de son célèbre conflit avec Clodius. En comparant les sources littéraires, en particulier les récits de première main de Cicéron, avec les preuves archéologiques, cet article examine les liens significatifs entre le discours théorique et les pratiques architecturales pendant la crise de la République romaine.In off. 1, 138-140 Cicerone esprime i suoi pensieri e le sue preoccupazioni riguardo all’aspetto appropriato delle case appartenenti alla classe dirigente, in particolare quelle di individui impegnati in politica. Egli condanna l’usanza degli statisti di erigere magnifiche dimore come manifestazioni evidenti del loro potere e della loro influenza politica, temendo le ripercussioni morali di tale ostentazione sullo Stato romano. Lungi dal limitarsi a ripetere il luogo comune del disprezzo romano per il lusso privato, la critica di Cicerone era profondamente personale: la sua stessa casa, situata sul lato nord-occidentale del Palatino, ebbe un ruolo cruciale nella sua carriera politica durante il famigerato conflitto con Clodio. Confrontando le fonti letterarie, in particolare i resoconti di prima mano di Cicerone, con le prove archeologiche, questo articolo indaga le connessioni significative tra il discorso teorico e le pratiche edilizie durante la crisi della Repubblica romana
Translation of Personal Names in Klingon “Hamlet”
No full textThe translation of literary classics into constructed languages (ConLangs), particularly artificial languages (ArtLangs) like Klingon, offers unique insights into the interplay between language, culture, and translation theory. This paper focuses on the Klingon adaptation of Shakespeare’s Hamlet, with a particular emphasis on the treatment of proper names. Through detailed analysis, the study explores how linguistic and cultural constraints of Klingon phonology influenced the adaptation of English names while maintaining their recognisability for readers.
The adaptation process exemplifies a dual objective: conforming to Klingon phonological rules while preserving the familiarity of character names from the source text. For instance, adaptations like Gertrude becoming ghertlhuD demonstrate phonological transformation, where Klingon’s alveolar lateral affricates replace English consonant clusters to align with Klingon phonotactics. Similarly, vowel epenthesis and consonant substitutions ensure Klingon phonological compatibility, balancing “alienness” with reader accessibility. The analysis also reveals how names retained key phonetic features, such as syllable count and nuclear vowels, to maintain their recognisability.
This work situates the Klingon Hamlet within broader sociolinguistic and sociocultural contexts, emphasizing the importance of audience reception in translation. Ultimately, the Klingon adaptation of Hamlet highlights the imaginative potential of ArtLangs, transcending their fictional origins to become vehicles for scholarly inquiry and cultural expression. This study contributes to translation studies by illuminating how adaptations in ConLangs navigate between linguistic fidelity and cultural resonance, enriching our understanding of language as a dynamic and multifaceted medium
Quenya is Practically a Main Character: Elvish-English Multilingualism in Tolkien-inspired Fan-Fictions
No full textIn the last forty years, fan fictions, derivative writings openly based on published works of fiction, have gone from being shared on semi-secretive zines circulating between a handful of people, to being hosted on public online archives, such as Archive of Our Own with 6 million registered users. At the same time, fan studies have grown into an interdisciplinary and transnational field. However, linguistic approaches to fan studies and fan fictions have always been quite marginal, and even more rare are the linguistic works investigating the use of conlangs in fan fictions.
With a corpus-based approach, this study aims to analyse how fanfiction’s authors use Tolkien’s conlangs in their works, focusing in particular on the use of Quenya, by far the best documented language of Tolkien’s Legendarium. The analysis gathers its empirical evidence from a corpus of publicly available fan fictions from AO3, all of them written in English with an explicitly stated use of Quenya.
This investigation will have two main focuses: a) a pragmatic analysis of code-switching from English to Quenya and its stylistic purpose in Tolkien-inspired fanfictions; b) an analysis of the formal characteristics of Quenya in fanworks, aimed at verifying the authors’ level of knowledge of Quenya and (possibly) the sources of such knowledge
R. K. Narayan’s A Tiger for Malgudi: An Indian view on non-human animals
No full textThis article examines R. K. Narayan’s novella A Tiger for Malgudi through the lens of animal studies, arguing that a purely Western critical framework overlooks the significance of Hindu philosophy in understanding the novel’s portrayal of animal consciousness. While postcolonial literature has brought non-Western narratives to the attention of the whole wide world, interpreting paradigms have often remained rooted in Western thought. Likewise, animal studies predominantly draws upon Western philosophical traditions, potentially limiting its applicability to non-Western texts. By analysing Narayan’s text, particularly the tiger protagonist’s first-person perspective and his spiritual journey, the article argues that Hindu concepts like metempsychosis and the figure of the sannyasin offer crucial insights into the novel’s exploration of animal subjectivity, human exceptionalism, and the interconnectedness of beings. Ultimately, the article calls for a more culturally sensitive approach within ecocriticism and animal studies, urging a move beyond Western epistemologies to fully appreciate the nuances of non-Western literary representations of animals
Prison nostalgia and the collapse of emancipatory futures: Women‘s writings from the Egyptian prison of al-Qanāṭir al-Ḫayriyya
No full textDuring the 1960s and 1970s, many intellectuals and ordinary citizens in Egypt were imprisoned and detained for political reasons. Many of them wrote about their experiences, creating a corpus of prison memoirs known by the Arabic name of adab al-suğūn (prison literature). These texts reflect the ambivalent position of intellectuals during the Nasser and post-Nasser periods, oscillating between their faith in the state, even when it revealed its repressive nature, and their progressive loss of trust in it. This article focuses on memoirs written by women who were imprisoned in the al-Qanāṭir al-Ḫayriyya prison in 1981. I will first highlight some common themes in women’s prison writing, particularly within Egyptian literature. Then, I will closely examine two memoirs: Nawāl al-Saʿdāwī’s Muḏakkirātī fī siğn al-nisā’ (‘My Memories from Women Prison,’ 1983) and Laṭīfa al-Zayyāt’s Ḥamlat taftīš: awrāq šaḫṣiyya (‘The Search: Personal Papers,’ 1992), pointing at the way these authors use the resources and conventions of the genre of prison literature to deconstruct the rhetorical image of the imprisoned intellectual. Building on Mikhail Bakhtin’s idea of the chronotope and on recent scholarship regarding the interplay between temporality, post-colonial memory, and trauma, I will demonstrate how the mass arrests of 1981, the emergence of a neo-liberal order in Egypt, and the failure of revolutionary and emancipatory ideals disrupt a linear perception of time. This creates a rupture, leading to what can be described as a ‘post-colonial melancholia’ that leads the women authors toward an idealization of the prison experience
L’idrogeno come vettore energetico, analisi degli aspetti di gestione e di sicurezza per un uso sicuro ed affidabile attraverso la figura del tecnico della prevenzione
No full textL’idrogeno è considerato come potenziale forza motrice della transizione energetica sostenibile, questo soprattutto grazie alla sua capacità di immagazzinare e trasportare energia senza emissioni di CO2. Tuttavia, il suo utilizzo è ancora poco diffuso a causa delle sfide legate alla sicurezza e alla sua gestione, in quanto per essere garantite queste due condizioni richiedono competenze specifiche e conoscenza in materia. A tale scopo il seguente articolo sottolinea l’importanza del ruolo deltecnico della prevenzione nella gestione e nell’uso sicuro dell’idrogeno, andando ad evidenziare le criticità e le possibili accortezze da intraprendere per garantire un utilizzo affidabile