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La promoción de la Historia Pública desde dos colegios malagueños: Conocerse a sí mismos y darse a conocer
Get PDFThe aim of this paper is to present the experiences carried out by two very
different schools in the province of Malaga in the 2022-2023 academic year, CEIP Prácticas nº 1 in Málaga and CEIP Joaquín Peinado in Montecorto within the project “Living
and feeling heritage”. Andalusian schools could apply to participate in the project by proposing activities focused on learning about heritage from different perspectives, of which
the one we are interested in is Musealiza tu cole. The proposals made by these schools
and the activities carried out are an example of how historical-educational heritage is an
excellent source for the Public History of education, to make the educational work of
the schools visible, to involve the community in the educational work and to implement
meaningful learning processes. These activities also show that public history can trigger
emotions that, in general, favour the image of schools and education
La République italienne et le patrimoine matériel du fascisme
Get PDFRecension du livre de Giulia Albanese et Lucia Ceci (dir.), I luoghi del fascismo. Memoria, politica, rimozione, Rome, Viella, 2022
La variation linguistique dans la littérature transfuge de l’extrême contemporain (Eribon, Ernaux, Lafon, Louis)
Get PDFThis article explores linguistic variation (diatopic, diaphasic, diachronic, and situational) in the specific
context of French “transfuge literature” as a form of “autosociobiography” (Ernaux, 2023). The paper
focuses on the cases of Annie Ernaux, Didier Eribon, Édouard Louis and Marie-Hélène Lafon. It studies
and compares the stylistic uses of variation in transfuge literature, but it shows how the narration of the
transfuge linguistic experience has as its core theme the shame felt as a provincial speaker from an inferior
social background, as much in the new environment as in the old one. The point is to analyze the linguistic twists associated with the “habitus clivé” (Bourdieu) of any transfuge writer
La cooperativa come esperienza relazionale fra passato e presente
Get PDFLa cooperativa è un’impresa nella quale le relazioni tra i soci sono orientate al conseguimento di un fine comune: la realizzazione dello scopo mutualistico attraverso l’esercizio di una specifica attività imprenditoriale. In pratica, coesistono due dimensioni distinte sia pure non rivali: quella economica, perché si tratta di una impresa che opera entro il mercato, accettandone la logica e le regole, e quella civile, perché persegue fini extraeconomici e genera esternalità positive a vantaggio di altri soggetti e virtualmente dell’intera collettività. In questo contributo, sulla base di stimoli provenienti dall’analisi storica, si riflette sull’impresa cooperativa in chiave di esperienza relazionale.The cooperative is an enterprise where the relations between the members are oriented towards the achievement of a common goal: the realization of the mutual purpose through the exercise of a specific business activity. In practice, two distinct non-rival dimensions coexist: the economic one, because it is a firm that operates within the market, accepting its logic and rules, and the civil one, because it pursues extra-economic ends and generates positive externalities for the benefit of others: i.e. members and virtually the entire community. In this contribution, on the basis of stimuli from historical analysis, the cooperative enterprise is reflected on in terms of relational experience
Da Gesualdo a Cresta: le dimensioni del tempo
Get PDFL'articolo esamina il processo di rielaborazione
musicale attraverso il confronto tra il madrigale
Itene o miei sospiri di Carlo Gesualdo e la composizione In Amoroso canto di Gianvincenzo Cresta.
Viene sottolineato come la musica, liberata dalle
contingenze storiche, possa risuonare con nuove
significanze nel presente. Molti compositori come
Stravinskij, Sciarrino e Mantovani hanno risco perto Gesualdo, dialogando con la sua musica. Il
compositore Gianvincenzo Cresta, in particolare,
combina musica antica e sperimentale per creare
opere che uniscono passato e presente. Nel suo lavoro, si ispira al madrigale di Gesualdo. La presente analisi si concentra su come le sezioni del
madrigale vengono elaborate, con particolare attenzione alle dimensioni temporali, perché per il
compositore la musica è energia che si muove nel
tempo. Dall’analisi si nota come Cresta non si limita a citare o parafrasare l'originale, ma ricalca
la struttura temporale del madrigale, espandendo
e reinterpretando le sue caratteristiche energetiche, questo fa sì che la sua composizione diventi
qualcosa di “altro”. Questo processo crea una musica che, pur richiamando il passato, si presenta
come nuova e originale. In conclusione l'articolo
mette in evidenza un concetto che è alla base della
poetica di Cresta, ossia che la musica è "la forma
del tempo".The article examines the process of musical reworking through a comparison of Carlo Gesualdo's madrigal Itene o miei sospiri and Gianvincenzo Cresta's composition In Amoroso canto.
It is emphasized how music, freed from historical
contingencies, can resonate with new meanings in
the present.
Many composers such as Stravinsky, Sciarrino and
Mantovani have rediscovered Gesualdo, dialoguing with his music. Composer Gianvincenzo
Cresta, in particular, combines early and experimental music to create works that unite past and
present. In his work, he draws inspiration from Gesualdo's madrigal. This analysis focuses on how
sections of the madrigal are processed, with particular attention to temporal dimensions, because
for the composer, music is energy moving through
time. The analysis shows that Cresta does not
merely quote or paraphrase the original; he
traces the temporal structure of the madrigal, expanding and reinterpreting its energetic characteristics, making his composition something
"other." This process creates music that, while recalling the past, appears new and original.
In conclusion, the article highlights a concept that
lies at the heart of Cresta's poetics: music is “the
form of time.
Un cronista a bordo campo: Vittorio Pozzo e i mondiali del 1934
Get PDFIl 10 giugno del 1934, la nazionale italiana vinceva la seconda edizione del Campionato mondiale di calcio. Si trattò di un evento che il regime fascista trasformò in un importante strumento di propaganda e di allargamento del consenso. A novant’anni di distanza il seguente articolo ricostruisce la cronaca peculiare che della competizione venne fatta dalle colonne de “La Stampa” da Vittorio Pozzo, commissario tecnico della nazionale e cronista sportivo del quotidiano di Torino.On 10 June 1934, the Italian national team won the second edition of the World Football Championship. It was an event that the fascist regime transformed into an important propaganda element and broadening consensus. Ninety years later, the following essay reconstructs the peculiar coverage of the competition that was made in the columns of “La Stampa” by Vittorio Pozzo, technical commissioner of the national team and sports reporter for the Turin newspaper
L’archivio partecipato, tra ricostruzione delle fonti e memoria collettiva: “La Tanzi nella storia d’Italia” (1799-2011) – un caso di studio
Get PDFThis contribution intends to present the interactive and transgenerational
laboratory experience relating to setting up a documentary exhibition about the history
of the “Luigi Tanzi” Institute, located in the province of Bari (Apulia, South of Italy),
founded in 1799 following an act of generosity by a private illiterate citizen, as well as
one of the oldest secular educational institutions in the province of Bari, according to the
innovative approach of Public History
Variation en traduction. Analyse de la variation linguistique dans les traductions françaises du Barone rampante
Get PDFThis article aims to study how linguistic variation in Italo Calvino’s Il barone rampante is treated in the
two French translations (Bertrand, 1960; Rueff, 2018) of the novel. Relying on contrastive linguistics and
traductology, the author analyzes the translational strategies employed to recreate the passages characte-
rized by linguistic features typical of literary Italian, of varieties used in informal oral speech as well as
dialect. More specifically, she examines the French varieties features selected by the translators to confirm
whether their choices are coherent with both the evolution of the French diasystem and the history of
translation in France. Addressing the challenge of translating the written form of oral discourses, this
study shows that not only are the translators’ choices consistent with the above historic factors, but also
that they reflect the different statuses – and poetics – of two translations in the reception of Calvino in
French
Iconografia della Commedia dell’Arte: compresenza e trasversalità di pratiche spettacolari, persistenze sceniche e iconografiche
Get PDFSpettacolo fondato su tecniche e competenze
plurime, la Commedia dell’Arte deve gran parte della
sua fortuna anche grazie al suo mito figurativo,
sedimentatosi in tutta Europa dalla fine del ‘500 a
tutto il ‘700, in parallelo all’affermarsi e al
diffondersi della forma spettacolare. Le immagini
dedicate alla Commedia dell’Arte costituiscono
quindi una fonte di primaria importanza, sia in
quanto testimonianza di scambi di pratiche
spettacolari tra differenti contesti produttivi –
esemplare il caso dell’universo spettacolare
gravitante attorno all’Ancien Théâtre Italien, alla
seconda Comédie-Italienne e ai teatri delle fiere
parigine di Saint-Germain e Saint-Laurent – sia per
le modalità di diffusione di pratiche performative e
modelli figurativi, rintracciabili nel duplice
fenomeno delle persistenze sceniche e delle
persistenze iconografiche.A spectacle based on techniques and multiple skills,
the Commedia dell'Arte owes a large part of its
fortune also thanks to its figurative myth, which
sedimented throughout Europe from the end of the
sixteenth century to the whole of the eighteenth
century, in parallel with the affirmation and
development of the spectacular form. The images
dedicated to the Commedia dell'Arte therefore
constitute a source of primary importance, both as
evidence of exchanges of spectacular practices
between different production contexts - exemplary is
the case of the spectacular universe gravitating
around the Ancien Théâtre Italien, the second
Comédie-Italienne and to the theaters of the Parisian
fairs of Saint-Germain and Saint-Laurent - both for
the methods of diffusion of performative practices
and figurative models, traceable in the double
phenomenon of scenic and iconographic
persistences