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Deconstructing and reconstructing holy meanings through an ‘exegesis’ of W. E. Mkufya’s novels
No full textThis study introduces an original reading of William Mkufya’s Swahili novels through an investigation of not only direct and indirect intertextual links from the sacred texts, namely the Bible and the Qur’an, but also explicit or implicit references to them.
Mkufya either refers to or critiques some religious prescriptions deconstructing and reconstructing meanings as an exercise to ‘decolonise the mind’ (Wa Thiong’o 1986). Beside this, Mkufya in his novels experimented with style and genre-blending to articulate plural philosophies and epistemologies.
This ‘exegesis’ of Mkufya’s novels has been conducted through a combination of personal conversations with the author and in-depth textual analysis of the following novels: The Wicked Walk (1977) which Mkufya self-translated into Swahili as Kizazi Hiki (“This Generation,” 1980), Ziraili na Zirani (“Azrael and Zirani,” 1999), Ua La Faraja (“The Flower of Consolation,” 2004) and Kuwa Kwa Maua (“The Existence of Flowers,” 2019)
La ricerca etnografica in Cina e sulla Cina (globale)
No full textThis article examines the evolving challenges of conducting ethnographic research in and on (global) China, focusing on how the political and social context has shifted over the past two decades. Using personal experiences and references to key studies, the author highlights the difficulties posed by increasing surveillance, censorship, and ideological pressures under Xi Jinping’s administration.Questo articolo analizza le sfide in evoluzione nella ricerca etnografica in e sulla Cina (globale), concentrandosi sui cambiamenti del contesto politico e sociale degli ultimi due decenni. Attraverso esperienze personali e riferimenti a studi chiave, l’autrice mette in luce le difficoltà derivanti dall’aumento della sorveglianza, della censura e delle pressioni ideologiche sotto l’amministrazione di Xi Jinping
“Cineplastia”. Dalla plastica al post-cinema (e ritorno)
No full textPlasticity generally refers to the property of natural or synthetic materials that can be molded into any shape. However, the term is also used to describe images that are either three-dimensional or involve the representation of solid objects with haptic values and a three-dimensional effect. Cinema has been characterized as a plastic art form in both senses. In the first sense, cinematic plasticity refers to the ability of animated films to manipulate the shape of their characters at will. In this article, I focus instead on the second sense of the term and reconstruct the utopian quest for a “plastic cinema”, that is, a post-cinematic device capable of overcoming the traditional limitations of the film surface and thus achieving a complete detachment or “emersion” of the image from the twodimensional surface of the screen.Plasticity generally refers to the property of natural or synthetic materials that can be molded into any shape. However, the term is also used to describe images that are either three-dimensional or involve the representation of solid objects with haptic values and a three-dimensional effect. Cinema has been characterized as a plastic art form in both senses. In the first sense, cinematic plasticity refers to the ability of animated films to manipulate the shape of their characters at will. In this article, I focus instead on the second sense of the term and reconstruct the utopian quest for a “plastic cinema”, that is, a post-cinematic device capable of overcoming the traditional limitations of the film surface and thus achieving a complete detachment or “emersion” of the image from the twodimensional surface of the screen.Plasticity generally refers to the property of natural or synthetic materials that can be molded into any shape. However, the term is also used to describe images that are either three-dimensional or involve the representation of solid objects with haptic values and a three-dimensional effect. Cinema has been characterized as a plastic art form in both senses. In the first sense, cinematic plasticity refers to the ability of animated films to manipulate the shape of their characters at will. In this article, I focus instead on the second sense of the term and reconstruct the utopian quest for a “plastic cinema”, that is, a post-cinematic device capable of overcoming the traditional limitations of the film surface and thus achieving a complete detachment or “emersion” of the image from the twodimensional surface of the screen
Un Progetto sperimentale di supervisione-coaching nel contesto della formazione/lavoro in medicina generale: comunicazione preliminare
No full textABSTRACTIntroductionGiven the nationwide shortage of general practitioners, physicians attending the three-yearCourse of General Practice were given the possibility to begin professional activity without aprior internship, equating it to internship.The Trento School of General Practice, with the intention of favouring a gradual transitionfrom training to work, identified supervision and coaching as a possible alternative totutorship, and in the absence of structured supervisory experiences at a national level,decided to launch an experimental project, training a new figure of supervisor that respondsto the needs of the current training in the field context.Three functions of this figure were identified: 1) coaching (stimulating and enhancing workautonomy and growth), 2) counselling and 3) evaluation of the trainee doctor.
Methods and toolsA group of experienced general practitioners attended a specially designed 12-hour courseand subsequently followed a trainee doctor.In parallel, the ‘community of practice’ of the supervisor-coaches (SC) was activated in orderto share experiences and reflect on the new role assumed.The evaluation of the experience was carried out through the administration of satisfactionquestionnaires and project work.ResultsThe analysis of the questionnaires administered and the project works indicates that therewas an improvement in the participants’ ability to interpret the role of SC and an improvementin specific skills.DiscussionThe SC is a useful response to the complexity of the transition from training to work in thecurrent training system, helping to restore the gradualness of this transition and ensuringpatient safety.ABSTRACTIntroduzioneVista la carenza a livello nazionale dei medici di medicina generale è stata data ai medicifrequentanti il Corso Triennale di Formazione Specifica in Medicina Generale (FSMG) lapossibilità di iniziare l’attività professionale senza una previa attività di tirocinio, equiparandolaad esso.La Scuola FSMG di Trento, nell’intento di favorire un graduale passaggio dalla formazione allavoro, ha individuato nella supervisione e nel coaching una possibile modalità alternativa allatutorship, e in mancanza di esperienze di supervisioni strutturate a livello nazionale, hadeciso di avviare un progetto sperimentale, formando una nuova figura di supervisore cherisponda alle esigenze dell’attuale contesto di formazione/lavoro.Si sono identificate tre funzioni di questa figura: 1) coaching (stimolare e valorizzarel’autonomia lavorativa e la crescita), 2) consulenza e 3) valutazione del medico corsista.Metodi e strumentiUn gruppo di medici di medicina generale esperti hanno frequentato un corso di 12 oreprogettato ad hoc e successivamente seguito un medico corsista.Parallelamente è stata attivata la “comunità di pratica” dei supervisori-coach, al fine dicondividere le esperienze e riflettere sul nuovo ruolo assunto.La valutazione dell’esperienza è stata eseguita attraverso la somministrazione di questionari
di gradimento e di project work.RisultatiL’analisi dei questionari somministrati e dei project work indica che c’è stato un miglioramentodella capacità di interpretare il ruolo di supervisore coach da parte dei partecipanti e unmiglioramento delle competenze specifiche.DiscussioniIl supervisore coach è un’utile risposta alla complessità del passaggio dalla formazione allavoro nell’attuale sistema formativo, contribuendo a ripristinare la gradualità di questopassaggio e garantendo la sicurezza del paziente
L'uso del disegno per aiutare gli studenti di infermieristica a riflettere sulla morte e il lutto
No full textABSTRACT
Introduction Nursing students often find themselves anxious and ill-prepared to deal with death and bereavement situations. Traditional methodologies, such as lectures, prove to be insufficient to provide students with subject matter expertise and effective coping strategies.
Objectives To foster students' awareness of emotions related to death and bereavement, to develop skills in accompanying people and carers in these difficult situations and to promote the sharing of experiences as a tool for personal and professional growth.
Methods and tools The workshop involved 135 first-year nursing students from a university in north-eastern Italy. The four-hour activity was designed for groups of 25 participants led by an academic tutor assisted by experienced clinical nurses. Through non-verbal techniques such as drawing and guided visualisation to encourage the exploration of beliefs and emotions related to bereavement and death, self-awareness and shared experiences were stimulated.
Results The students graphically represented feelings of fear, sadness, loneliness and acceptance. The presence of experienced nurses enriched the experience, promoting discussion as well as personal and professional growth. The experience created a safe learning environment, stimulating sharing and mutual support. Participants expressed satisfaction with the approach used and suggested further similar activities for the future.
Discussion This experience demonstrated the importance of addressing the topic of bereavement and death in nursing education. The use of drawing and other non-traditional techniques facilitated the expression of emotions and promoted greater awareness and understanding by students. It is important to integrate these educational practices into academic programmes to improve students' preparedness and resilience in dealing with end-of-life situations.RIASSUNTO
Introduzione Gli studenti di infermieristica spesso si trovano ansiosi e poco preparati per affrontare situazioni di morte e di lutto. Metodologie tradizionali, come le lezioni frontali, si rivelano insufficienti per fornire agli studenti competenze sull’argomento e strategie di coping efficaci.
Obiettivi Favorire la consapevolezza degli studenti riguardo alle emozioni relative alla morte e al lutto, sviluppare competenze nell’accompagnamento delle persone e dei caregiver in queste situazioni difficili e promuovere la condivisione delle esperienze come strumento di crescita personale e professionale.
Metodi e strumenti Il workshop ha coinvolto 135 studenti del primo anno di Infermieristica di una Università del Nord-Est Italia. L’attività, della durata di quattro ore, è stata progettata per gruppi di 25 partecipanti guidati da un tutor didattico affiancato da infermieri esperti di clinica. Attraverso tecniche non verbali come il disegno e la visualizzazione guidata per favorire l’esplorazione delle convinzioni e delle emozioni legate al lutto e alla morte, è stata stimolata l'autoconsapevolezza e la condivisione di esperienze.
Risultati Gli studenti hanno rappresentato graficamente sentimenti di paura, tristezza, solitudine e accettazione. La presenza di infermieri esperti ha arricchito l'esperienza, promuovendo il confronto e la crescita personale e professionale. L’esperienza ha creato un ambiente di apprendimento sicuro, stimolando la condivisione e il sostegno reciproco.
I partecipanti hanno espresso soddisfazione per l'approccio utilizzato e hanno suggerito ulteriori attività simili per il futuro.
Discussione Questa esperienza ha dimostrato l’importanza di affrontare il tema del lutto e della morte nella formazione infermieristica. L’uso del disegno e di altre tecniche non tradizionali ha facilitato l’espressione delle emozioni e ha promosso una maggiore consapevolezza e comprensione da parte degli studenti. È importante integrare queste pratiche educative nei programmi accademici per migliorare la preparazione e la resilienza degli studenti nell’affrontare situazioni di fine vita
Ricordando Luca Marconi, tra suoni, ricerche e passioni
No full textBiographic portray of Luca MarconiRitratto biografico di Luca Marcon
Lamentation and Lay Symbolism in De Martino and Pasolini
No full textThis essay examines the complex intellectual relationship between Ernesto de Martino and Pier Paolo Pasolini, focusing on their shared yet divergent engagement with folk poetry, lamentation, and secular symbolism. Despite their common affiliation with Marxism and Gramscian thought, Pasolini and de Martino developed distinct methodologies: de Martino’s “progressive folklore” emphasized the political and existential dimensions of popular culture, while Pasolini interrogated the aesthetic and ideological layers of folk expressions, stressing their subordination to hegemonic forms. The study explores how Pasolini, through works like Canzoniere italiano and The Ashes of Gramsci, critically reworks de Martino’s historicism by emphasizing irreducible residues of human experience, mourning, and contradiction within history. It also highlights Pasolini’s secular reinterpretation of symbolic forms—such as the red flag—in poetry and cinema, contrasting it with de Martino’s anthropological framework. Ultimately, the essay uncovers a paradoxical affinity between the two thinkers: a shared concern for the existential crises of subaltern communities, and a mutual, though differently articulated, resistance to the abstraction and rationalization of human experience.This essay examines the complex intellectual relationship between Ernesto de Martino and Pier Paolo Pasolini, focusing on their shared yet divergent engagement with folk poetry, lamentation, and secular symbolism. Despite their common affiliation with Marxism and Gramscian thought, Pasolini and de Martino developed distinct methodologies: de Martino’s “progressive folklore” emphasized the political and existential dimensions of popular culture, while Pasolini interrogated the aesthetic and ideological layers of folk expressions, stressing their subordination to hegemonic forms. The study explores how Pasolini, through works like Canzoniere italiano and The Ashes of Gramsci, critically reworks de Martino’s historicism by emphasizing irreducible residues of human experience, mourning, and contradiction within history. It also highlights Pasolini’s secular reinterpretation of symbolic forms—such as the red flag—in poetry and cinema, contrasting it with de Martino’s anthropological framework. Ultimately, the essay uncovers a paradoxical affinity between the two thinkers: a shared concern for the existential crises of subaltern communities, and a mutual, though differently articulated, resistance to the abstraction and rationalization of human experience
Notoriété des langues construites
No full textThere are many constructed languages, but awareness of them among the general public is low. In 2022, the Espéranto-Développement-45 association carried out a survey to find out how well known 10 constructed languages were, using paper and internet questionnaires. The questions concerned knowledge of the name of the language, the ideas associated with this name, and the desirability of learning the language. 600 responses were analysed. Esperanto is the best-known language, especially among the over-60s. Elvish languages are best known among young people. Esperanto also appears to be the most desirable language for children to learn.There are many constructed languages, but awareness of them among the general public is low. In 2022, the Espéranto-Développement-45 association carried out a survey to find out how well known 10 constructed languages were, using paper and internet questionnaires. The questions concerned knowledge of the name of the language, the ideas associated with this name, and the desirability of learning the language. 600 responses were analysed. Esperanto is the best-known language, especially among the over-60s. Elvish languages are best known among young people. Esperanto also appears to be the most desirable language for children to learn
Plant Names in Constructed Worlds: Typological Issues
No full textThis study investigates the extent to which plant names, coined within the context of fictional world-building, reflect the morphosyntactic and semantic-motivational structures characteristic of natural language phytonyms. The analysis begins by outlining the repertoire selection criteria, encompassing fictional worlds, sources, and methodologies for plant name identification. It then explores the strategies used to integrate plants into fictional settings, categorizing them into four distinct types based on two variables: the plant's real or fictitious nature and whether the naming language is natural or constructed (artlang). Furthermore, the study examines the alignment of invented plant names with Brent Berlin's five principles of ethnobotanical nomenclature, focusing on morphosyntactic and semantic aspects. The presence of phenomena such as synonymy and borrowing, typical of folk phytonyms repertoires, is also analyzed, offering insights into the linguistic parallels between natural and constructed ecosystems