TESeO - Trento Editions Service for Open science
Not a member yet
2407 research outputs found
Sort by
La lettura bilingue della poesia autotradotta: Un caso di edizione bilingue
No full textT
This article starts from the hypothesis that the bilingual reading of self-translated poetry presents a new key of interpretation, different from both the monolingual and the bilingual reading of translation. The study is an investigation of this key, as it appears in the reading of the poetry of Gentiana Minga (b. 1971), an author of Albanian origin, active in Italy since the 90s. Through the reading of her latest collection of poems, a bilingual edition written in Italian and partly self-translated into Albanian, published by Terra d\u27ulivi edizioni in 2021, this study aims to demonstrate that the self-translated version in a bilingual edition is not read as a translation, but as part of one whole multilingual text.
Quest’articolo parte dall’ipotesi che la lettura bilingue della poesia autotradotta offra una nuova chiave di lettura, diversa sia dalla lettura monolingue, sia da quella bilingue della traduzione. Lo studio è un’indagine di questa chiave, così come appare nella lettura della poesia di Gentiana Minga (n. 1971), autrice di origine albanese attiva in Italia dagli anni ‘90. Attraverso la lettura della sua ultima raccolta di poesie, un’edizione bilingue scritta in italiano e in parte autotradotta in albanese, pubblicata da Terra d’ulivi edizioni nel 2021, questo studio si propone di dimostrare che la versione autotradotta in un’edizione bilingue non viene letta come traduzione, ma come parte di un unico testo multilingue.
 
“Questa specie di farsa che è la mostra” ou les Brillo Boxes “à l’italienne”. Méta-indiscernabilité, pseudo-littéralité, mise en figure et illusions de rupture dans l’art italien des années 60
Get PDFDespite the insistence of modernist discourses, especially in the peculiar case of Danto\u27s theory, this analysis shows the impossibility of literalness in art, thus pointing towards a necessarily figurative nature of art (in the rhetorical sense of what a "figure" is). I have chosen to concentrate on the major historical "breaks" in Italian Art of the 60s, celebrated by the Italian "modernist" and the Arte Povera supported by Germano Celant, in order to show how they may all be redescribed only as figures of discontinuity (here again, in the rhetorical sense of "figure"), rather than as true breaks with the past.Despite the insistence of modernist discourses, especially in the peculiar case of Danto\u27s theory, this analysis shows the impossibility of literalness in art, thus pointing towards a necessarily figurative nature of art (in the rhetorical sense of what a "figure" is). I have chosen to concentrate on the major historical "breaks" in Italian Art of the 60s, celebrated by the Italian "modernist" and the Arte Povera supported by Germano Celant, in order to show how they may all be redescribed only as figures of discontinuity (here again, in the rhetorical sense of "figure"), rather than as true breaks with the past
Continuous Spaces: Object and Imagination in Superarchitettura
Get PDFThis paper examines the relationship between image and space in 1960s Italy as it was rearticulated by the architectural groups Archizoom and Superstudio. Both groups began in Florence in 1966 and jointly organized in that year an exhibition in Pistoia titled “Superarchittetura.“ Their projects remained largely as installation or as image, countering the flood of images in the period of the Economic Miracle in Italy with absurd utopias, verging on the dystopia or hetereotopia. Projects like Superstudio’s The Continuous Monument, or Archizoom’s No-Stop-City, present visions for global cities, at once fanciful and threatening. But such continuous spaces also offer a vision of endless exploration as drift, in the spirit of a Constantian New Babylon. Such spaces, I argue, open up the closed consumer city, in which buildings as monuments are challenged through an extension of principles of modernity, the grid and modular architectural units. The megastructructural environments proposed articulate positions for complex visual and mental constructions and in fact cite the history of ideal perspectival spatial relationships from the Italian Renaissance. The projects and writing of both groups appeared in the Italian architectural magazines Casabella and Domus, thus placing them within a certain Rationalist tradition in Italian urban theory in which the subject of history had been a focus. History of the modern is, I propose, present in the work of Archizoom and Superstudio as memory of the urban realm, and as memory is ambiguous and mixed with fantasy able to destabilize the fetishization of stable visions of architecture as monument. Architecture thus functions here not as iconic and singular object set into the public sphere, but as structure for the experience of space in the social realm. In this context, these two architectural groups are particularly interesting, because they operate between architecture and idea, so that architecture as a form of theory is given. I bring this proposal into a discussion of spatial theory and argue for a potential understanding of space based on object relations theory (such as in the work of Donald Winnicott) in which objects may act as projective containers for the imaginary. This ties into a general understanding of the art of the sixties in a move away from the autonomous art object and into a wider field of associations, including political and social. While Superstudio and Archizoom engaged with objects, their visual constructions for unrealizable projects played with the imagination and blurred the boundaries between object, physical and mental spaces.This paper examines the relationship between image and space in 1960s Italy as it was rearticulated by the architectural groups Archizoom and Superstudio. Both groups began in Florence in 1966 and jointly organized in that year an exhibition in Pistoia titled “Superarchittetura.“ Their projects remained largely as installation or as image, countering the flood of images in the period of the Economic Miracle in Italy with absurd utopias, verging on the dystopia or hetereotopia. Projects like Superstudio’s The Continuous Monument, or Archizoom’s No-Stop-City, present visions for global cities, at once fanciful and threatening. But such continuous spaces also offer a vision of endless exploration as drift, in the spirit of a Constantian New Babylon. Such spaces, I argue, open up the closed consumer city, in which buildings as monuments are challenged through an extension of principles of modernity, the grid and modular architectural units. The megastructructural environments proposed articulate positions for complex visual and mental constructions and in fact cite the history of ideal perspectival spatial relationships from the Italian Renaissance. The projects and writing of both groups appeared in the Italian architectural magazines Casabella and Domus, thus placing them within a certain Rationalist tradition in Italian urban theory in which the subject of history had been a focus. History of the modern is, I propose, present in the work of Archizoom and Superstudio as memory of the urban realm, and as memory is ambiguous and mixed with fantasy able to destabilize the fetishization of stable visions of architecture as monument. Architecture thus functions here not as iconic and singular object set into the public sphere, but as structure for the experience of space in the social realm. In this context, these two architectural groups are particularly interesting, because they operate between architecture and idea, so that architecture as a form of theory is given. I bring this proposal into a discussion of spatial theory and argue for a potential understanding of space based on object relations theory (such as in the work of Donald Winnicott) in which objects may act as projective containers for the imaginary. This ties into a general understanding of the art of the sixties in a move away from the autonomous art object and into a wider field of associations, including political and social. While Superstudio and Archizoom engaged with objects, their visual constructions for unrealizable projects played with the imagination and blurred the boundaries between object, physical and mental spaces. 
L\u27esposizione pubblica di una collezione privata. Nota introduttiva ad un testo inedito di Tommaso Trini
No full textThe article presents an unpublished text of Tommaso Trini, written for the presentation of Marzona\u27s collection.The article presents an unpublished text of Tommaso Trini, written for the presentation of Marzona\u27s collection
“Comunicazione”, “Ambiente” e “Relazione” Il Laboratorio di Comunicazione Militante nel contesto dei movimenti video degli anni settanta
Get PDFTrovandosi al punto di incontro tra arte e politica, il Laboratorio di Comunicazione Militante - attivo a Milano tra il 1976 ed il 1978 – occupa una posizione che la Storia dell\u27Arte trova difficile da definire. Questo articolo colloca il gruppo da cui ebbe origine Studio Azzurro nel contesto della retorica dei movimenti video internazionali e gettando nuova luce sul linguaggio del Laboratorio, in particolare sullo sviluppo di una pratica artistica relazionale che riflette le specificità mediatiche del video, propone una rivalutazione del suo lavoro.Trovandosi al punto di incontro tra arte e politica, il Laboratorio di Comunicazione Militante - attivo a Milano tra il 1976 ed il 1978 – occupa una posizione che la Storia dell\u27Arte trova difficile da definire. Questo articolo colloca il gruppo da cui ebbe origine Studio Azzurro nel contesto della retorica dei movimenti video internazionali e gettando nuova luce sul linguaggio del Laboratorio, in particolare sullo sviluppo di una pratica artistica relazionale che riflette le specificità mediatiche del video, propone una rivalutazione del suo lavoro
“Piacevole a leggersi e anche da vedersi”. Fotografie ambientate nella prima serie della rivista Metro (1960-1968) di Bruno Alfieri
Get PDFThe article deals with the publishing activity of Bruno Alfieri and his art review Metro, especially concerning the use of photographs and photo-reportage as a new documentative genre in the field. The article deals with the publishing activity of Bruno Alfieri and his art review Metro, especially concerning the use of photographs and photo-reportage as a new documentative genre in the field. 
Uno sguardo oltreoceano: assenze, presenze e fraintendimenti nella ricezione dell\u27arte americana a Roma (1958-1963)
No full textThe article outlines a first inquiry on American visual sources arrived in Italy - especially in Rome - between the \u2750s and the beginning of the \u2760s. A new contribution came from the analysis of the art reviews of the time and the circulation of the reproductions of artworks by Jackson Pollock, Jasper Johns and more specifically Mark Rothko. The article outlines a first inquiry on American visual sources arrived in Italy - especially in Rome - between the \u2750s and the beginning of the \u2760s. A new contribution came from the analysis of the art reviews of the time and the circulation of the reproductions of artworks by Jackson Pollock, Jasper Johns and more specifically Mark Rothko. 
Sovvertire il domestico. Femminismo e mitologia del femminile nell’arte di Clemen Parrocchetti
Get PDFThis contribution focuses on the figure of Clemen Parrocchetti (1923-2016) and her activity from 1969 to 1989. In these two decade the artist’s work evolves from painting into a specific use of the textile medium where she combines the female imaginary to a feminist identity. Clemen Parrocchetti, in fact, subverts the sphere of domesticity to a new relationships between feminism and creativity. Moreover the experience of collective work with Gruppo Immagine up to the end of the ’70s and the begin of the ‘80s marks the transition through a "mythological" point of view. The activity of Clemen Parrocchetti will be re-read in this essay following the guidelines of a vision of art history that tends to dismantle the female stereotype within the inclusive writing processes of art history.This contribution focuses on the figure of Clemen Parrocchetti (1923-2016) and her activity from 1969 to 1989. In these two decade the artist’s work evolves from painting into a specific use of the textile medium where she combines the female imaginary to a feminist identity. Clemen Parrocchetti, in fact, subverts the sphere of domesticity to a new relationships between feminism and creativity. Moreover the experience of collective work with Gruppo Immagine up to the end of the ’70s and the begin of the ‘80s marks the transition through a "mythological" point of view. The activity of Clemen Parrocchetti will be re-read in this essay following the guidelines of a vision of art history that tends to dismantle the female stereotype within the inclusive writing processes of art history
L\u27 ispirazione rosminiana nell’elaborazione del concetto di somaticità in Moretti-Costanzi
No full textThe path of Theodoric Moretti-Costanzi\u27s thought reveals an evident intention: to reach the foundation that explains the reality that surrounds man by going beyond any gnoseologist perspective. In this approach, Antonio Rosmini appears as a constant and significant presence, capable of inspiring this path through a consciential vision of reality and through a conception of faith understood as a sapiential capacity to read reality in its ontological depth
La percezione dei cinque sensi nei soggetti autistici
No full textLo scopo dell’articolo è affrontare la tematica della percezione dei cinque sensi in persone che rientrano nello spettro autistico. Si affronteranno alcune caratteristiche delle neurodivergenze per poi concentrarsi sullo spettro autistico, parlando di che difficoltà ci possano essere dovute agli stimoli sensoriali che vengono presentati ogni giorno per ognuno dei cinque sensi