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Massimo Chiossi, Pasquale Di Pietro, Enrico Giunta, La mirabile epopea. Le origini della Pediatria a Genova e in Liguria
No full textLa violenza della fede.: Vattimo e Kierkegaard
No full textThis paper explores the persistent connection between religion and violence, with a focus on Vattimo’s and Kierkegaard’s perspectives. Vattimo’s definition of violence as the imposition of unquestionable foundations is contrasted with Johann Galtung’s structural violence and Kierkegaard’s “violence of faith,” exemplified in Fear and Trembling. Drawing on Vattimo’s hermeneutics and notions of kenosis, the discussion examines how dialogue and peace can emerge through the rejection of immutable truths. The interplay between faith, reason, and violence is further contextualized through reflections on Abraham’s sacrifice and contemporary philosophical discourse
Los avatares de Max Aub en la España tardofranquista a través de los epistolarios con Jaime Salinas y Javier Pradera
No full textLa correspondencia que mantuvo Max Aub con Jaime Salinas y Javier Pradera, geniales renovadores del libro español en la época tardofranquista, aporta numerosos datos de interés para reconstruir la difícil vuelta editorial a España del escritor exiliado. En este artículo se ilustran los pasajes fundamentales del carteo conservado en la Fundación Max Aub, aclarando en particular algunas circunstancias que limitaron la presencia de Aub en el catálogo de Alianza.The correspondence that Max Aub maintained with Jaime Salinas and Javier Pradera, brilliant innovators of the Spanish book in late Francoism, provides numerous interesting data to reconstruct the difficult editorial return to Spain of the exiled writer. This article illustrates the fundamental passages of the correspondence preserved in the Fundación Max Aub, clarifying in particular some circumstances that limited Aub's presence in the Alianza catalogue
Narrativa española fuera de España (1963): el epistolario Max Aub-José Ramón Marra-López
No full textEl epistolario inédito entre Max Aub y José Ramón Marra-López, que se conserva en el Archivo de la Fundación Max Aub (AMA) de Segorbe, consta de veintiséis cartas cruzadas entre ambos desde 1960 hasta 1971: doce de Marra-López y catorce de Aub, cuya edición se publicará en El Correo de Euclides (Aznar Soler 2025b). En este artículo me propongo estudiar, a partir de su correspondencia, la relación entre el autor de Narrativa española fuera de España, residente en aquel Madrid franquista, y el escritor exiliado en México.
The unpublished correspondence between Max Aub and José Ramón Marra-López, preserved in the Archive of the Max Aub Foundation (AMA) in Segorbe, consists of twenty-six letters exchanged between the two from 1960 to 1971: twelve from Marra-López and fourteen from Aub, an edition of which will be published in El Correo de Euclides (Aznar Soler 2025b). In this article I propose to study, based on their correspondence, the relationship between the author of Narrativa española fuera de España, resident in that Francoist Madrid, and the writer exiled in Mexico.The unpublished correspondence between Max Aub and José Ramón Marra-López, preserved in the Archive of the Max Aub Foundation (AMA) in Segorbe, consists of twenty-six letters exchanged between the two from 1960 to 1971: twelve from Marra-López and fourteen from Aub, an edition of which will be published in El Correo de Euclides (Aznar Soler 2025b). In this article I propose to study, based on their correspondence, the relationship between the author of Narrativa española fuera de España, resident in that Francoist Madrid, and the writer exiled in Mexico.
El epistolario inédito entre Max Aub y José Ramón Marra-López, que se conserva en el Archivo de la Fundación Max Aub (AMA) de Segorbe, consta de veintiséis cartas cruzadas entre ambos desde 1960 hasta 1971: doce de Marra-López y catorce de Aub, cuya edición se publicará en El Correo de Euclides (Aznar Soler 2025b). En este artículo me propongo estudiar, a partir de su correspondencia, la relación entre el autor de Narrativa española fuera de España, residente en aquel Madrid franquista, y el escritor exiliado en México
Presentación
No full textEl fermento crítico alrededor de la escritura aubiana no ha disminuido en Italia, al contrario, entre los y las jóvenes hispanistas italianos e italianas no son pocos los que se han medido con la multiforme producción de este escritor; el intento de este monográfico es justamente estimular sus reflexiones acerca de la vigencia actual de unos testimonios literarios procedentes de una época ya lejana. Junto con las perspectivas de especialistas académicamente más jóvenes, el número se completa con un estudio introductorio a cargo de Silvia Monti y un ensayo de Manuel Aznar Soler.
The critical ferment surrounding Aub's works has not diminished in Italy; on the contrary, among young Italian Hispanists, there are many who have been interested in the multifaceted production of this writer, and the aim of this monograph is precisely to stimulate their reflections on the current relevance of literary testimonies coming from a now distant era. Along with the perspectives of academically younger specialists, the issue is completed with an introductory study by Silvia Monti and an essay by Manuel Aznar Soler.The critical ferment surrounding Aub's works has not diminished in Italy; on the contrary, among young Italian Hispanists, there are many who have been interested in the multifaceted production of this writer, and the aim of this monograph is precisely to stimulate their reflections on the current relevance of literary testimonies coming from a now distant era. Along with the perspectives of academically younger specialists, the issue is completed with an introductory study by Silvia Monti and an essay by Manuel Aznar Soler.
 
J. S. Bach’s 'Well-Tempered Clavier' in TV Commercial Advertisement
No full textRecently, academia has renewed interest in the role of music in the complex interaction between narration, image, text, and sound in creating an advertising message (Graakjær and Jantzen 2017; 5, Deaville-Tan-Rodman 2021). In this context, Peter Kupfer has investigated the presence of classical music in US television advertising (Kupfer 2017), also focusing on Bach (Kupfer 2019).
Starting from these premises, in this contribution, I focus on a corpus of television advertisements that include excerpts from Bach’s Well-Tempered Clavier and have been broadcast in Europe and the United States since 2000. First, I propose a taxonomy of brands that choose Bach, investigating their respective target audiences from a sociological perspective. Then, I examine how Bach’s music is used, concentrating particularly on a series of advertisements by Poltronesofà. Finally, we discuss the reasons why Bach's music continues to be used in advertisements and the values it aims to convey.Recentemente l’accademia ha riservato un rinnovato interesse sul ruolo della musica nella complessa interazione tra narrazione, immagine, testo e suono nel processo di realizzazione di un messaggio pubblicitario (Graakjær e Jantzen 2017; 5, Deaville-Tan-Rodman 2021). In quest’ambito, Peter Kupfer ha indagato la presenza del repertorio di musica classica nelle pubblicità televisive statunitensi (Kupfer 2017), concentrandosi anche su Bach (Kupfer 2019).
Partendo da queste premesse, nel presente contributo mi concentro su un corpus di pubblicità televisive che includano estratti dal Clavicembalo ben temperato di Bach e siano state trasmesse in Europa e negli Stati Uniti a partire dal 2000. Innanzitutto si propone una tassonomia dei brands che scelgono Bach, indagando sui rispettivi target di pubblico con una prospettiva sociological. Quindi si considera il modo di adoperare la musica di Bach, concentrandosi in particolare su una serie di pubblicità di Poltronesofà. Infine si ragiona sulle ragioni per cui viene ancora adoperata la musica bachiana nelle pubblicità e i valori che questa è chiamata a veicolare
The new era of Sino-American coproduction: “Chinese national culture” in “White snake” (2019) and “Over the Moon” (2020)
No full textMythologically-themed animationsare ideal texts to discern many issues related to notions such as cultural and social identity, collective memory and nationalism. In the case of coproductions, a locus where different national interests ideally cooperate, the investigation of these aspects allows not only to confirm how myths perpetuate their crucial role in modern societies through intertextuality, but also to elucidate how their usage changes according to communication targets and purposes. In the present essay, I address the new era of Sino-American coproduction from the perspective of Chinese mythology and discourse on mythological animation. Two case studies, White Snake (Baishe yuanqi 白蛇: 缘起, Light Chaser and Warner Bros, 2019) and Over the Moon (Feibenqu yueqiu 飞奔去月球, Pearl Studio/Netflix/Glen Kean Productions, 2020), have been chosen to elucidate one specific aspect of this complex phenomenon, i.e. how, despite the “homogenizing effect” of globalization (Dégh 1994: 23), cultural and national orientations emerge from different textual choices. After providing a necessary literary-historical (Zhou 2020; Du 2019; Kokas 2017; Chen 2016; Yang and Zhen 2015), discursive (Wang 2024; Zhao and Zheng 2023; Tang and Gong 2021; Wu and Wang 2020; Dong 2020) and institutional (Brzeski 2017, 2018; Frater 2015) backgrounds, the textual analysis demonstrates that the Sino-American coproduction that is US-lead (OtM) follows Hollywood traditions and established coproduction trajectories, while the PRC-lead one (WS) responds more closely to national official discourse on guochan 国产 (national cultural production). The analysis and comparison are carried out in the framework of Folklore and Popular culture studies (Leskosky 1989, 2020; Koven 2013; Bird 2006) and applies content and visual/multimodal tools (Whyke 2024; Kriss 2016)
The ‘Ferrante phenomenon’ in China: Circulation and reception of the “Neapolitan Novels” and “My Brilliant Friend”
No full textFrom the perspective of comparative and world literature, the global curiosity for Italian author Elena Ferrante’s “Neapolitan Novels” tetralogy has been described based on a four-element framework: Naples; a new female identity; the long narrative; and the memoir-style extended autobiography. This paper measures the applicability of the first two elements to the circulation and reception of Ferrante’s four-book series and the tetralogy-inspired TV series “My Brilliant Friend” (Seasons 1 and 2) in the People’s Republic of China. Firstly, considering Italian and Chinese cultural policies, the study describes the main factors participating in their distribution in the Chinese context. Secondly, it draws a connection between circulation and reception by examining the audiences’ and critics’ discourses generated therein around the editorial and audiovisual products. Specifically, the qualitative mixed method design integrates corpus analysis tools into the exploration of content analysis data to examine posts drawn from a select sample of social networks and newspaper and magazine articles. The findings confirm the validity of Naples and a new female identity as elements playing a considerable role in the success obtained by the “Neapolitan Novels” and “My Brilliant Friend” in China but add to the framework the emphasis on the cross-media and transnational nature of the products, the contribution of their international fame, and the mystery built globally around Elena Ferrante
Chinese descriptions of Sanskrit: The concept of ‘root’ and puruṣa nominal declension
No full textThe paper focus on two aspects: the acceptability of some previous interpretations of the term zìtǐ (字體) as 'word root' or 'word stem' in Chinese descriptions of Sanskrit lexemes; and the phonological analysis of the declension of puruṣa 'man', transcribed into Chinese characters by the monk Hui Li (慧立 , 629-665 A.D.). As will be seen, zìtǐ seems to refer to the description of Sanskrit words as they are composed in the writing system (by letter addition), rather than to their grammatical structure. With regard to the declension of puruṣa, it appears that the phonetic reconstructions proposed by Pulleyblank (1991) for the Middle Chinese pronunciation of the characters employed seem to be accurate with respect to the corresponding Sanskrit syllables