SHARE Riviste
Not a member yet
7422 research outputs found
Sort by
The broken mirror: The voices of the crowd in the Theatre of Elias Canetti
Get PDFIl contributo si sofferma sulla produzione teatrale di Elias Canetti evidenziando come i tre drammi (Nozze, La Commedia della Vanità, Vite a Scadenza) siano permeati dagli stessi temi chiave che l’autore affronta nel saggio Massa e Potere. Il contributo propone un’esplorazione dell’interconnessione tra le influenze teatrali di Canetti e le sue riflessioni sulla natura del soggetto e della massa, suggerendo che la sua incapacità di immaginare una coralità drammatica rifletta l’impossibilità di concepire una comunità libera dalle dinamiche del potere.The paper examines Elias Canetti’s theatrical production, highlighting how the three dramas (Hochzeit, Kömodie der Eitelkeit, Die Befristeten) are permeated by the same key themes addressed by the author in his essay Crowds and Power. It proposes an exploration of the interconnection between Canetti’s theatrical influences and his reflections on the nature of the individual and the crowd, suggesting that his inability to imagine dramatic choral unity reflects the impossibility of conceiving a community free from power dynamics
“Le cœur absolu” de Philippe Sollers, entre Dante et Debord
Get PDFThrough an analysis of Philippe Sollers’ novel Le Cœur Absolu (1987), whose composition appears emblematic of the author’s post-1983 novelistic work, the article illustrates how the encounter-rewriting of two authors, Dante and Debord, is at the foundation of the second Sollersian manner. Indeed, as early as 1965, Sollers had written the seminal essay Dante et la traversée de l’écriture, which has been reprinted several times as proof of the Florentine poet’s importance in his work. This second Sollersian style is characterized by what we have called the aesthetics of the surface, i.e. the process by which, thanks to autofictional novel writing, the empty surface of the society of the spectacle is traversed, overturned and subverted by the emergence of the full surface of the text. The opposition between the flatness of the spectacular image and the depth of the surface of the written page is therefore central to understanding Philippe Sollers’ post-1983 novels. Beyond the oft-repeated accusation by critics of a betrayal of his previous values after the stylistic turn taken by Femmes, we note the coherence of the two main phases of Sollers’ writing.Par l’analyse du roman Le Cœur Absolu (1987) de Philippe Sollers, dont la composition apparaît emblématique de l’œuvre romanesque post-1983 de l’auteur, l’article illustre comment la rencontre-réécriture de deux auteurs, Dante et Debord, est au fondement de la seconde manière sollersienne. Du reste, dès 1965, Sollers avait écrit l’essai fondateur Dante et la traversée de l’écriture, essai plusieurs fois réédité à preuve de l’importance du poète florentin dans son œuvre. Cette seconde manière sollersienne se caractérise par ce que nous avons nommé esthétique de la surface, à savoir le processus par lequel, grâce à une écriture romanesque autofictionnelle, la surface vide de la société du spectacle se trouve traversée, renversée et subvertie par le surgissement de la surface pleine du texte. L’opposition entre la platitude de l’image spectaculaire et la profondeur de la surface de la page écrite s’avère donc centrale pour comprendre l’œuvre romanesque post-1983 de Philippe Sollers. Par-delà l’accusation maintes fois réitérée par la critique d’une trahison de ses précédentes valeurs après le virage stylistique opéré par Femmes, on relève donc la cohérence des deux principales phases de l’écriture sollersienne
“Simply the Way God Made Us”. Religious Language in Phyllis Schlafly’s Antifeminist Manifesto
Get PDF-
Multi-local Arrangements and Impact on Work-Life Balance. An International Research on Flight Attendants
No full textMulti-locality and mobility issues have recently appeared as an important research subject. Flight attendants and civil aviation personnel are clearly amongst the main professional groups concerned with this issue of multi-locality. In our research, we analyzed the impacts of this situation and mobility on work-life balance, comparing the situation in Canada, Germany and France. Our research is based on an online survey and also on interviews conducted with cabin crews in these three countries. The research shows that the challenges in multi-locality, and multiple layovers in the specific case of cabin crews, lead to many issues as concerns workloads, working time and work-life balance, themes that are central to our research and will be discussed in this article. While the majority of flight attendants agreed that layovers are opportunities to spend time with colleagues, the fatigue levels and shortness of layovers at destination combined with the number of legs can imply that respondents are often not in the mood to socialize with the crew and mainly focus on recovering for the next flight. Regarding work-life balance, work demands were more likely to interfere with family life than the contrary. Many reported that the requirements of their work in terms of mobility and working time interfered with their home and family life, and this was put forward in the survey as in the interviews we conducted. The unpredictability of the schedule in the first years of one's career brings along a lot of child care issues for parents. Even though the flight attendants’ schedule is flexible per se, only a minority of respondents reported having a flexible schedule (7% of French; 16% of German and 40% of Canadian respondents), indicating that the flexibility is rather employer-driven than employee-driven, which has clearly different impacts. With the mobility and multi-locality issue, which is characteristic of the flight attendants’ work, this represents an important challenge for cabin crew.Multi-locality and mobility issues have recently appeared as an important research subject. Flight attendants and civil aviation personnel are clearly amongst the main professional groups concerned with this issue of multi-locality. In our research, we analyzed the impacts of this situation and mobility on work-life balance, comparing the situation in Canada, Germany and France. Our research is based on an online survey and also on interviews conducted with cabin crews in these three countries. The research shows that the challenges in multi-locality, and multiple layovers in the specific case of cabin crews, lead to many issues as concerns workloads, working time and work-life balance, themes that are central to our research and will be discussed in this article. While the majority of flight attendants agreed that layovers are opportunities to spend time with colleagues, the fatigue levels and shortness of layovers at destination combined with the number of legs can imply that respondents are often not in the mood to socialize with the crew and mainly focus on recovering for the next flight. Regarding work-life balance, work demands were more likely to interfere with family life than the contrary. Many reported that the requirements of their work in terms of mobility and working time interfered with their home and family life, and this was put forward in the survey as in the interviews we conducted. The unpredictability of the schedule in the first years of one's career brings along a lot of child care issues for parents. Even though the flight attendants’ schedule is flexible per se, only a minority of respondents reported having a flexible schedule (7% of French; 16% of German and 40% of Canadian respondents), indicating that the flexibility is rather employer-driven than employee-driven, which has clearly different impacts. With the mobility and multi-locality issue, which is characteristic of the flight attendants’ work, this represents an important challenge for cabin crew
Exploring Multilocality: Family Transformations, Belonging, and the Challenges of Mobility - Interview with Laura Merla
No full textIl senso del lavoro: storie di vita e traiettorie lavorative di donne ucraine dal settore domestico-assistenziale al terzo settore
No full textThe Russian invasion of Ukraine has had consequences for a segment of Ukrainian female workers who have been living for years in Naples, a city with a rooted presence of that community. The growing demand for linguistic and cultural mediators in the local third sector, linked to needs of the fleeing population, has necessarily intercepted a workforce that has been present in the area for a long time and employed exclusively in the domestic and home care sector.
Adopting the biographical-narrative approach, we have identified ten Ukrainian female workers as protagonists in the transition to the third sector with the aim of investigating those career trajectories characterized by the exit from the «domestic work trap» (Fullin & Vercelloni, 2009, p. 433). Capturing them in this phase of transition between jobs has allowed, first of all, to reconstruct the processes of creation and transformation of their courses of action also in relation to broader social phenomena. Furthermore, the continuous reference to past, present, and future - typical of the adopted approach - has allowed to shed light a posteriori on the paths of migrant workers involved in the domestic and home care sector characterized by social and work invisibility.
Following a work-oriented interpretation, in the analysis of transition from old to new employment, the interviews are mainly analysed through the three functions that work fulfils: material, expressive, and socialization. Starting from the three functions, the interviewees make sense of work, weighing the meanings attributed to them. The attributed meaning that prevails in terms of subjective relevance becomes a selecting principle that guides the sense of work choices and the purposes of profit between the material and symbolic plane. They testify, therefore, that individual work choices do not respond solely to criteria of a strictly economic nature and that economic and non-economic motivations are deeply intertwined: the daily new work experiences are an opportunity both to express one’s potential and work capabilities repressed by years of work within domestic walls and to promote renewed horizons starting from the awareness of an integration so far not successful. All mothers, it is when they talk about their children that the meaning attributed to the current work trajectory is revealed: that related to the desire to achieve greater social recognition pursued with the transition from the role of caregiver and/or housekeeper to that of social worker, which is perceived as a lever of emancipation for themselves and their families.L'invasione russa dell'Ucraina ha avuto conseguenze per una componente di lavoratrici ucraine che vive da anni a Napoli, città con una presenza radicata di quella comunità. La crescente richiesta di mediatori linguistici e culturali nel terzo settore locale, legata alle esigenze della popolazione in fuga, ha necessariamente intercettato una forza lavoro presente sul territorio da tempo e impiegata esclusivamente nel settore domestico-assistenziale.
Adottando l'approccio biografico-narrativo, abbiamo individuato dieci lavoratrici ucraine come protagoniste nel passaggio al terzo settore con l'obiettivo di indagare quelle traiettorie di carriera caratterizzate dall'uscita dalla «trappola del lavoro domestico» (Fullin & Vercelloni, 2009, p. 433). Coglierle in questa fase di transizione tra lavori ha permesso, innanzitutto, di ricostruire i processi di creazione e trasformazione dei loro percorsi d'azione anche in relazione a fenomeni sociali più ampi. Inoltre, il continuo rimando tra passato, presente e futuro – tipico dell'approccio adottato – ha permesso di far luce a posteriori sui percorsi delle lavoratrici migranti inserite nell'ambito domestico assistenziale caratterizzato da invisibilità sociale e lavorativa. Seguendo una lettura lavoristica, nell'analisi del percorso tra vecchia e nuova occupazione, le interviste sono analizzate principalmente attraverso le tre funzioni a cui assolve il lavoro: materiale, espressiva e della socializzazione. A partire dalle tre funzioni, le intervistate danno un senso al lavoro, soppesando i significati attribuiti ad esse. Il significato attribuito che prevale in termini di rilevanza soggettiva diviene principio selezionatore che orienta il senso delle scelte lavorative e gli scopi di profitto tra il piano materiale e quello simbolico. Testimoniano, quindi, che le scelte lavorative individuali non rispondono unicamente a criteri di natura strettamente economica e che motivazioni economiche e non economiche sono profondamente intrecciate: le nuove esperienze lavorative quotidiane sono un'occasione sia per esprimere le proprie potenzialità e capacità lavorative represse da anni di lavoro all'interno delle mura domestiche sia per promuovere orizzonti rinnovati a partire dalla consapevolezza di un'integrazione finora non andata a buon fine. Tutte madri, è quando parlano dei propri figli che si disvela il significato attribuito all'attuale traiettoria lavorativa: quello relativo alla volontà di raggiungere un maggiore riconoscimento sociale perseguito con il passaggio dal ruolo di badante e/o colf a quello di operatore sociale, che viene percepito come volano di emancipazione per sé e per la propria famiglia
Leonardo’s Figure of the Thoughtful Commentator in the Adoration of the Magi: Origin and Interpretation
Get PDFThe last decade has seen some new approaches to Leonardo’s highly complex composition of the Adoration of the Magi, aspects of which are not yet fully explored. This paper investigates the sources of two figures flanking the principal scene –the youth at the far right and the middle-aged man at the left– as well as Leonardo’s method of rendering them. Scholarship has offered thought-provoking interpretations of the elder character, who, standing in deep contemplation, observes –with his hand on his chin– the scene in front of him. However, the origins of this figure’s pose have not been examined. It is argued here that the origins of the pensive man in the Adoration of the Magi may be traced back to Roman sarcophagi that were known to Leonardo and other Renaissance artists. It is further suggested that the elderly man in the Uffizi panel is related iconographically to figures in works by 15th- and 16th-century artists, namely Donatello, Raphael, Gian Francesco Rustici, and Giorgio Vasari.Nell’ultimo decennio sono emerse nuove letture sull’Adorazione dei Magi di Leonardo, una composizione di straordinaria complessità di cui restano ancora da esplorare pienamente numerosi aspetti. L’articolo esamina le fonti iconografiche di due figure che fiancheggiano la scena principale – il giovane a destra e l’uomo di mezza età a sinistra della composizione – e indugia su come Leonardo le ha sviluppate. Gli studiosi hanno proposto interpretazioni interessanti della figura anziana che, immersa in una profonda contemplazione, osserva la scena dinanzi a sé con la mano appoggiata al mento. Tuttavia, le origini della posa di questa figura non sono state oggetto di un’analisi approfondita. Si avanza l’ipotesi che questa figura dell’Adorazione dei Magi possa derivare dai sarcofagi romani conosciuti da Leonardo e da altri artisti del Rinascimento. Per la stessa figura si suggeriscono inoltre alcune connessioni iconografiche con personaggi raffigurati in opere di artisti del XV e XVI secolo, tra cui Donatello, Raffaello, Gian Francesco Rustici e Giorgio Vasari
Dal diagramma al paesaggio: i capitoli sulla prospettiva aerea nel Trattato della pittura
Get PDFThe landmark publication of Leonardo da Vinci's Traitté de la peinture and Trattato della pittura in Paris in 1651 brought attention to Leonardo's theory of aerial perspective. The early prepublication copies of the abridged version had line diagrams for four of the chapters on aerial perspective, some of which presented conceptual difficulties to the illustrators. The tendency was to enhance their ornamental character, not their didactic value. Two seventeenth-century innovators are responsible for their transformation into landscapes exemplifying the precepts of aerial perspective in practice: Gaspare Berti, hired by Cassiano dal Pozzo, transformed the line diagrams into illusionistic pictures. Charles Errard completed the transformation by envisioning landscape pictures in fictive frames combining engraving and etching to capture atmospheric effects on distant hills and buildings. A half-century later, full page illustrations in the 1716 pocket-sized edition of the Traité testify to the success and continuing importance of Errard's contribution.La pubblicazione del Traitté de la peinture e Trattato della pittura di Leonardo da Vinci, editi a Parigi nel 1651, hanno contribuito alla diffusione della teoria della prospettiva aerea vinciana. Le copie apografe, anteriori all'edizione a stampa, in corrispondenza dei quattro capitoli sulla prospettiva aerea presentano diagrammi lineari, non erano sempre chiari agli illustratori. L'analisi di questi diagrammi evidenzia la tendenza di valorizzare il loro carattere ornamentale, a scapito di quello didattico. A due illustratori seicenteschi si deve la trasformazione dei diagrammi in paesaggi che esemplificano i precetti della prospettiva aerea: Gaspare Berti, incaricato da Cassiano dal Pozzo, ha trasformato i diagrammi in immagini illusionistiche e Charles Errard ha completato la trasformazione con illustrazioni di paesaggi, entro cornici fittizie, creati con segni diversificati per catturare e rappresentare gli effetti atmosferici su colline ed edifici in lontananza. Mezzo secolo dopo, le illustrazioni a pagina intera dell'edizione tascabile del Traité del 1716, testimoniano il successo e l'importanza del contributo di Errard.
 
Sodoma e la Battaglia di Isso, la fascinazione della Battaglia di Anghiari di Leonardo
Get PDFThe text analyzes the stylistic influence of Leonardo da Vinci's Battle of Anghiari (1503-06) on the fresco with the Battle of Isso (1516-17) by Giovanni Antonio Bazzi, known as Sodoma, in the Villa of Agostino Chigi in Rome. Leonardo's painting though never completed is known to us through the surviving original drawings and copies made as early as the 16th century. They all relate to a specific episode, The Conquest of the Banner, perhaps the first to be started. The Sodoma fresco presents iconographic echoes from Leonardo's painting that are punctual to stylistic analysis, especially in the central part. Sodoma is documented in Florence between 1514 and 1516 and had the opportunity to see, probably, what Leonardo had left unfinished on the wall of the Sala Grande that he would later use. The Battle of Isso should therefore be counted, together with Raphael's drawing (ca. 1505), among the earliest evidence of Leonardo's work. This conclusion not only reaffirms Sodom's fascination with Leonardo but also contributes to the broader ongoing debate about the actual making of Leonardo's Battle by reinforcing the point of view of those who are convinced of the existence on the wall, albeit fragmentary, of the Conquest of the Banner.Il testo analizza l'influenza stilistica della Battaglia di Anghiari (1503-06) di Leonardo da Vinci sull'affresco con la Battaglia di Isso (1516-17) di Giovanni Antonio Bazzi, detto Sodoma, nella villa di Agostino Chigi a Roma. Il dipinto di Leonardo, anche se mai completato, è noto attraverso i disegni sopravvissuti e le copie eseguite già nel XVI secolo: tutti documenti che si riferiscono a un episodio specifico: la conquista dello stendardo, forse il primo ad essere dipinto. L'affresco di Sodoma presenta puntuali echi iconografici del dipinto leonardesco, soprattutto nella parte centrale. Sodoma è documentato a Firenze tra il 1514 e il 1516 ed ebbe modo di vedere, probabilmente, ciò che Leonardo aveva lasciato incompiuto sulla parete della Sala Grande di Palazzo Vecchio. La Battaglia di Isso va quindi annoverata, insieme al disegno di Raffaello (ca. 1505), tra le prime testimonianze dell'opera di Leonardo. Questa conclusione non solo riafferma il fascino di Sodoma per Leonardo, ma contribuisce anche al dibattito in corso sul l'effettiva realizzazione della battaglia di Leonardo, rafforzando il punto di vista di coloro che sono convinti del l'esistenza del muro, anche se frammentario, della scena con la conquista dello Stendardo