SHARE Riviste
Not a member yet
7422 research outputs found
Sort by
V.9 N.2 (2024)
No full textIssue 2 of 2024 of our journal features intriguing contributions that span various scales, urban, architectural, and artistic, while never losing sight of the broader historiographical issues related to the transformations of the city's image. It emphasizes the sources, events, and key figures that have shaped its development over the course of the modern and contemporary eras. This issue stands out for the interdisciplinary framework it presents, as well as for the common thread of studying sources relevant to recovering the urban image and identity in their numerous connections between urban planning, art, and history, and their implications for present-day decision-making.Il numero 2 del 2024 della nostra rivista ospita interessanti contributi, che spaziano alle diverse scale urbana, architettonica e artistica, senza mai perdere di vista, più in generale, le problematiche della storiografia inerente alle trasformazioni dell’immagine della città, ponendo l’accento sulle fonti, sugli eventi e sui protagonisti che ne hanno caratterizzato la vicenda nel corso dell’età moderna e contemporanea. Il presente numero si distingue per lo scenario interdisciplinare proposto, ma anche per il comune denominatore dello studio delle fonti utili al recupero dell’immagine e dell’identità urbana nelle sue molteplici connessioni tra urbanistica, arte e storia, e nelle sue implicazioni per le scelte del presente
Organising the grain trade in the early Renaissance Southern Italy. The Medici in Apulia
Get PDFThe grain trade from Apulia to the Mediterranean and Europe was, during the late Middle Ages, a basicasset of the economy of the Kingdom of Naples. A trade that, however, was led not by local merchants butby merchants coming from more commercial developed areas, with a central role played by commercialelite coming from Florence. A history that during the second half of the 15th century had, among itsprotagonists, the mercantile-banking firm of the Medici.Il commercio di cereali dalla Puglia verso il Mediterraneo e l'Europa è stato, nel tardo Medioevo, un asset fondamentale dell'economia del Regno di Napoli. Un commercio che, tuttavia, non era condotto da mercanti locali ma da mercanti provenienti da aree commercialmente più sviluppate, con un ruolo centrale svolto da élite commerciali provenienti da Firenze. Una storia che nella seconda metà del XV secolo ebbe tra i suoi protagonisti l'impresa mercantile-bancaria dei Medici
Choral reflections and refractions on the contemporary British stage
Get PDFIl cospicuo numero di adattamenti britannici di drammi antichi testimonia il sostanziale impatto della tragedia greca sul palcoscenico contemporaneo. Probabilmente l’elemento più distintivo della tragedia greca, il coro – il cui esprimersi all’unisono e la cui omogeneità contrastano diametralmente con l’individualismo promosso dalla società occidentale contemporanea – è frequentemente considerato un tratto perturbante, che costringe drammaturghi e theatre-makers ad adattare la propria mentalità e ad adottare nuove strategie drammatiche e teatrali per trattare questo device innegabilmente sfidante. Il presente articolo esamina la ripresa e il ruolo del coro in una selezione di appropriazioni di tragedie greche riscritte da quattro drammaturghi britannici contemporanei – Martin Crimp, Liz Lochhead, David Greig e Gary Owen – e messe in scena in Inghilterra, Scozia e Galles (nonché, in un caso, in Germania) tra il 2000 e il 2016. Questo contributo dimostra come il coro, nonostante ponga una questione spinosa, possa divenire, in una luce maggiormente positiva, “an extraordinary and thrilling theatrical resource” (Goldhill 2007: 79) attraverso cui riconsiderare le nostre nozioni di Sé e comunità.The considerable amount of British adaptations of ancient plays gives a sense of the substantial impact of Greek tragedy on the contemporary stage. Probably the most distinctive feature of Greek tragedy, the chorus – whose unison and homogeneity starkly contrast with the individualism promoted by today’s Western societies – is frequently considered a disturbing feature, which compels playwrights and theatre-makers to adapt their mindset and to adopt new dramatic and theatrical strategies to deal with an undeniably challenging device. This article examines the rendition and the role of the chorus in a selection of appropriations of Greek tragedies re-written by four contemporary British dramatists – Martin Crimp, Liz Lochhead, David Greig, and Gary Owen – and staged in England, Scotland, and Wales (as well as in Germany, in one case) between 2000 and 2016. This contribution shows how the chorus, despite posing a thorny problem, in a more positive light can become “an extraordinary and thrilling theatrical resource” (Goldhill 2007: 79) to re-negotiate our notions of self and community
Per una grammatica della coralità narrativa
Get PDFWhat is choral storytelling? How can the narrative genre integrate within itself something that by statute does not seem to belong to it, namely a chorus, ‘a set of voices singing simultaneously’? The essay attempts to answer these questions starting from the narratological problem of voice and formulating a grammar that moves between two ‘poles’: the monodic chorus and the polyphonic chorus. Texts such as Verga’s I Malavoglia belong to the former category, while texts such as Woolf’s The Waves belong to the latter, two examples that offer two models at the antipodes of what we commonly call the ‘choral novel’: on the one hand a single voice, which becomes the expression of a collective point of view, and on the other several voices, which end up blending into one. On the one hand the anonymous crowd, on the other the voices that become indistinct. On one side the speech of the fabulant community, on the other the lyrical music of soliloquies.Che cos’è la coralità narrativa? Come può il genere narrativo integrare in sé qualcosa che per statuto non sembra appartenergli, e cioè un coro, ‘un insieme di voci che cantano contemporaneamente’? Il saggio cerca di rispondere a queste domande a partire dal problema narratologico della voce, formulando una grammatica che si muove tra due ‘poli’: il coro monodico e il coro polifonico. Alla prima categoria appartengono testi come I Malavoglia di Verga, mentre alla seconda testi come The Waves di Woolf, due esempi che offrono due modelli agli antipodi di ciò che comunemente chiamiamo ‘romanzo corale’: da una parte un’unica voce che si fa espressione di un punto di vista collettivo, dall’altra più voci che finiscono per confondersi in una. Da una parte la folla anonima, dall’altra le voci che diventano indistinte. Da una parte il parlato della comunità fabulante, dall’altra la musica lirica dei soliloqui
Us is a voice. Hypotheses on the chorus in 20th century Italian poetry
Get PDFIl contributo si propone di indagare la funzione del coro in espressioni anche molto diverse (per ispirazione e sostrato ideologico) della poesia italiana novecentesca. A partire dalla reinvenzione dei generi e dalla deflagrazione dei confini tra pagina scritta e performance, si vuole osservare come tra le macerie (o le postreme manifestazioni) del soggetto lirico si ritaglino spazio voci terze, spesso collettive, che commentano le situazioni raccontate nei testi a trazione narrativa, suggerendone spesso chiavi di lettura morali, oppure ancora offrono un punto di vista divergente, in grado di restituire il “senso della Storia” latente nella produzione poetica. Dati questi obiettivi, l’indagine prende in considerazione testi pubblicati dall’inizio agli ultimi anni del secolo (fino a toccare, in qualche caso, il nuovo millennio). Simili presenze vengono indagate all’interno di narrazioni in versi, nella cui polifonia emerge un’istanza corale, e in testi che si collocano a metà strada tra poesia e teatro. Attraverso il confronto tra diversi procedimenti corali, riconoscibili tanto da esplicite indicazioni d’autore quanto da rimandi interni ai testi, si intende verificare come cambi e cosa persista di una funzione che affonda le radici in una lunga tradizione letteraria.This paper aims to investigate the function of the chorus in different expressions (speaking of inspiration and ideological substratum) from 20th century Italian poetry. Considering the reinvention of genres and the deflagration of the boundaries between the written page and performance, the goal is to observe how third or collective voices find their way among the rubble (or its latest manifestations) of the lyric subject. These choruses comment on the situations recounted in narrative texts, often suggesting moral interpretations, or offer a diverging point of view, which could restore the “sense of History” latent in poetic production from the beginning to the last years of the century (in some cases even touching on the new millennium). Given these objectives, the investigation takes into consideration texts published from the beginning to the last years of the century (up to, in some cases, the new millennium). The presences of choruses are investigated within narrations in verse in whose polyphony a choral instance emerges, and in texts that are halfway between poetry and theatre. By comparing different choral procedures, that are recognisable as much by explicit author’s indications as by references within the texts, the aim is to verify how a function – rooted in a long literary tradition – changes and which of its features persist
La poesia vernacolare di Muẓaffar al-Nawwāb: l’innovazione modernista attraverso la poetica della lingua madre
Get PDFThe first two printed collections by the Iraqi poet Muẓaffar al-Nawwāb (1934-2022), which circulated predominantly in oral form, are entirely composed in the southern Iraqi dialect rather than his native dialect of Baghdad. This deliberate choice by the author reflects his intent to embody political and social themes. The collections feature a significant number of elegies spoken through female characters. This contribution presents an analysis of some of the most significant vernacular texts from his oeuvre, highlighting their discontinuity with Iraqi authors of the previous era while identifying traces of inheritance from the ancient elegiac tradition. The result is the discovery of a coherent poetics of reinvention of a literary mother tongue, characterized by a clear political perspective.Le prime due raccolte a stampa del poeta iracheno Muẓaffar al-Nawwāb (1934-2022), circolate prevalentemente in forma orale, sono interamente redatte nel dialetto del sud dell’Iraq, non nel suo nativo di Baghdad, per una deliberata scelta dell’autore di incarnare istanze politiche e sociali, e contengono un gran numero di elegie per bocca di personaggi femminili. Questo contributo presenta un’analisi di alcuni testi fra i più significativi della sua produzione in vernacolo, mettendone in luce la discontinuità con gli autori iracheni della stagione precedente, e rintracciandovi, al contempo, i segni dell’eredità della tradizione elegiaca arcaica. Il risultato è la scoperta di una coerente poetica di reinvenzione di una lingua madre letteraria, dalla nitida prospettiva politica
Il soggetto di Nino Bolla “Eleonora Duse. La grande tragica”
Get PDFThe article’s principal topic is the screenplay by Nino Bolla Eleonora Duse. La grande tragica, thick manuscript acquired by the Library of Centro Sperimentale di Cinematografia in 2023. The screenplay, an unpublished and unknown document, is put into context as a historiographical sign of the actress, connected to the broader Nino Bolla’s work, analyzed in its sequences and in regard to performing arts video documentation.L’articolo ha come argomento principale il soggetto cinematografico di Nino Bolla Eleonora Duse. La grande tragica, voluminoso manoscritto acquistato nel 2023 dalla Biblioteca del Centro Sperimentale di Cinematografia. Il soggetto, inedito e sconosciuto, viene contestualizzato quale traccia storiografica dell’attrice, messo in connessione con il più vasto operato di Nino Bolla, analizzato nelle sequenze di cui si compone e in relazione alla documentazione video del performativo
Frictions in Fiction. La rappresentazione dell’invecchiamento femminile nella serie televisiva Feud: Bette e Joan.
Get PDFThe focus of the article consists in the analysis of the ways frictions and crises linked to aging are depicted in the first season (Bette and Joan) of the TV series Feud (2017-2024, FX), through the story of two cinema icons, Bette Davis and Joan Crawford. On screen the aging process is narrated at a critical moment for Hollywood at a time when women after the age of forty were no longer deemed suitable or interesting for movie making. The narrative modulation recalls the set of problems connected with sexism and misogyny, quite present in the film industry of the time. In Feud: Bette and Joan (2017) Bette Davis and Joan Crawford are in their turn played by two other important protagonists of the cinema industry: Susan Sarandon and Jessica Lange. The presence of these two great actresses further define an additional level of textual interpretations, linked to contemporaneity. The complexity of the storytelling therefore provides the audiences with the opportunity to move on, and around, several levels and frameworks, as Feud: Bette and Joan recalls differing time frames, making them overlap. On the one hand, an ‘archival’ model is being used through fragments which are remakes of past excerpts, and open up to a specific and shared historical memory for parts of the audience. On the other hand, there are different jumps which lead viewers elsewhere, closer to the present from the central focus of storytelling. In essence, reality is constantly recalled, in a form similar to docu-fiction, thus expanding the possibility for the TV series to establish ties with contemporaneity as well. A feature emerging from the analysis of Feud: Bette and Joan refers to the use of the Hollywood setting as the metaphor of a bigger space-world than the mere cinema industry, thus promoting a reflection on the issue of women’s aging more broadly. Therefore, the sparks caused by fiction-friction give rise to discursive explosions capable of bringing new light – and new values – to aging, becoming part of the broader debate at a socio-cultural level
Husserl e l’empiriocriticismo. L’interrelazione tra io, corpo e mondo nella costituzione dell’esperienza
Get PDFThe contribution investigates the influence of Avenarius and Mach’s empiriocriticism on Husserl’s phenomenology. Despite his critical reservations, Husserl acknowledges the role of both in anticipating his phenomenological method and appreciates their critique of materialistic metaphysics and the prevailing physicalism in psychology. Phenomenology and empiriocriticism share the goal of a science of conscious experience, free from reductionism and capable of preserving the specificity of its object. Husserl adopts Mach’s analyses of the living body and spatial sensations, developing a phenomenology of kinesthesia in which transcendental consciousness, body, and world are fully integrated. This approach influences his theory of constitution, aimed at overcoming Cartesian dualism and adequately accounting for the subject’s rootedness in the world.
Keywords: Empiriocriticism, Lived Body, Natural World, Phenomenology, Transcendental ConsciousnessThe contribution investigates the influence of Avenarius and Mach’s empiriocriticism on Husserl’s phenomenology. Despite his critical reservations, Husserl acknowledges the role of both in anticipating his phenomenological method and appreciates their critique of materialistic metaphysics and the prevailing physicalism in psychology. Phenomenology and empiriocriticism share the goal of a science of conscious experience, free from reductionism and capable of preserving the specificity of its object. Husserl adopts Mach’s analyses of the living body and spatial sensations, developing a phenomenology of kinesthesia in which transcendental consciousness, body, and world are fully integrated. This approach influences his theory of constitution, aimed at overcoming Cartesian dualism and adequately accounting for the subject’s rootedness in the world.
Keywords: Empiriocriticism, Lived Body, Natural World, Phenomenology, Transcendental Consciousnes