KUFS-IR Kyoto University of Foreign Studies Repository / 京都外国語大学機関リポジトリ
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90年代ナポリのポッセの言語と音楽的伝統
Get PDFPDFTra la fine degli anni ’80 e ’90 gruppi musicali chiamati “posse”, formatisi presso i centri sociali, si fecero portavoci di un grido di denuncia attraverso l’Hip-Hop, il Raggamuffin e il Dub. Alcuni di essi, qui in particolare quelli meridionali, si sono serviti dei dialetti e delle tradizioni musicali locali, come nel caso del Sud Sound System di Salento con il salentino e la “pizzica”. Il loro intento, però, non può essere semplicemente etichettato come “revival dell’identità locale”, poiché essi volevano piuttosto denunciare i problemi e le condizioni sociali del proprio territorio. Questo vale soprattutto per le posse di Napoli, una metropoli ricca di una tradizione secolare sia musicale che letteraria. Attraverso un’accurata analisi di due gruppi posse, 99 Posse e Almamegretta, mi propongo di individuare la realtà dei “connective marginalities” nella scena musicale di Napoli negli anni ’90
メキシコ近代建築の位相 : ルイス・バラガンの感情的建築思想と、機能主義および地域主義との比較を通じて
Get PDFThe “Emotional Architecture” advocated by Barragán and Goeritz was meant to be a reaction against functionalism in the context of the times, but it also stated that architecture, like art in general, should reflect the spirit of the times, and to this end, architecture should have the function of working on the human emotions. The Philosophy of “Emotional Architecture,” which Barragán explored early in his architectural career and which Goeritz named in 1954, was extremely different from the “functionalism” that prevailed at the time. In contrast to Mexican “functionalism,” which was strongly tied to post-revolutionary political ideology and excluded decorative and aesthetic elements from architecture, the former’s conception of architecture’s role was to restore humanity, and it was extremely aesthetically concerned and attempted architecture as an art form. Although some consider “emotional architecture” to be the precursor of the “regionalism” that followed, the architectural expression of “emotional architecture” was more abstract and universal than that of “regionalist” architecture, which expressed regional characteristics in a figurative manner
