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La poesia femminile cinese contemporanea: alla ricerca di una nuova libertà creativa
Full text linkContemporary Chinese Women’s poetry: towards a new creative freedom
My work will try to shed light on a complex and heterogeneous phenomenon, which is that of Contemporary Chinese women's poetry through the exploration of some of the most significant trends of the past thirty years.
The use of the term nüxing shige 女性 诗歌 (women's poetry) refers to a critical discourse that has characterized the Chinese literary scene the mid-'80s as a reaction to the publication of several poems written by women. In the wake of the first gender studies, which became popular in China in that decade, there was an increasingly urgent need for a redefinition of the female after a period in which the propaganda of equality between the sexes and the subsequent masculinization of the Maoist woman had overshadowed any discussion about gender differences.
The studies focused on these poetry works, mostly conducted by Chinese criticism, referring to the sharing of certain poetic paradigms, have created some interpretative codes responsible, most of the times, of limited reading of the authors. Recently, the works of critical scholars such as Zhang Xiaohong and Zhou Zan have stressed the importance not only of both the historical and cultural context in which the poets write, but also of the interaction between each individual and the poetic experience, subjects, shared languages and techniques, which have inevitably influenced the discussion on gender issues.
My work, clearly referring to studies conducted by these researchers, aims to explore, with a gender approach, the artistic path of three Contemporary women poets in an attempt to provide some general details of interpretation for the study of this subject. Starting from a reference texts corpus, gradually enriched, depending on the research requirements, I chose to focus on two key aspects of the poetics of Zhai Yongming 翟永明, Zhou Zan周 瓒and Hai Nan 海 男, that are gender consciousness and the theme of death, in order to explain the motives and methods that have characterized the change in the '80s and '90s in the way of thinking about poetry and the role it was assigned to it. The different use of the subject of death during these two decades demonstrates the maturation of a different vision of Contemporary poetry in opposition to the social and ethical role it traditionally played. The gender issue, in fact, on passing "political" stage of the '80s, adds new expressive potentials that betray a stronger emphasis on form over content
Una o divisibile? La questione regionale e il nodo del federalismo in Italia
Full text linkL' articolo tratta del problema regionale in Italia e delle istanze – in atto da alcuni anni nel paese – a favore di una transizione dello Stato italiano verso una forma di governo di tipo federale.
Il lavoro ricostruisce l'origine della questione regionale e del problema del decentramento politico-amministrativo, a partire dall'Unità d'Italia, mettendo a fuoco i riflessi territoriali ed i momenti salienti del dibattito sviluppatosi nel corso del XIX secolo tra “unitari” e “federalisti”.
In particolare, si fa riferimento alla polemica condotta da Carlo Cattaneo per la creazione di un'effettiva autonomia delle comunità territoriali che desse vita alla costituzione dei Regni Uniti d'Italia.
Nel saggio si ripercorre la genesi e l'evoluzione delle regioni italiane come spazio di governo, per comprendere le modalità di diffusione – veicolate prevalentemente dalle rapppresentazioni cartografiche – e la persistenza di tali profili (disegni) regionali nell'immaginario collettivo degli italiani. Attraverso una ricostruzione essenziale della vicenda delle regioni italiane – a lungo inattuate – dall'Unità al fascismo, al secondo dopoguerra, per giungere alla loro effettiva istituzione negli anni Settanta del Novecento.
A cavallo tra il XX ed il XXI secolo, in seguito alla crisi di “Tangentopoli”, si assiste alla consistente affermazione dei movimenti leghisti e alla nascita del partito “personale” di Berlusconi. Il mutato clima politico conduce nel 2001 all'approvazione di una modifica costituzionale, che introduce una legislazione concorrente tra Stato e Regioni. I nuovi quadri normativi, scaturiti in Italia dalla parziale revisione istituzionale, sono anche il frutto di una regionalizzazione conflittuale, che alla storica “questione meridionale” ha opposto l'emergere di una “questione settentrionale”. In chiusura il lavoro pone alcuni nodi problematici che emergono dalla difficile transizione da uno Stato di tipo regionale ad uno federale, nell'attuale fase di crisi tardo-capitalistica
Aspetti del femminile nel teatro grottesco
Full text linkThe thesis - divided into four sections devoted respectively to the production of Chiarelli, Rosso di San Secondo, Cavacchioli and Antonelli - notes the centrality of women in this production and the system reconstructs the intertextual references that have affected the representation of women in the Italian theater in the nineteenth and twentieth centuries.
The survey shows that the female characters of the plays selected despite being born in the wake of the protagonists of the bourgeois theater, and while presenting obvious contamination with certain figures panting D'Annunzio of erotic and religious tensions, are presented as victims of a dehumanized society, and even when they embody a destiny of infamy, are increasingly freed from the perspective of authorial.
Far from being just a 'residual' melodramatic (G. Livio, 1976) the representation of women in the grotesque emerges, then, as a further expression of its originality of this theater. The space given to women and the ways in which it reveals, moreover, suggest to reconsider in a new light and irreducible conflict between the traditional 'Sacred Love' and 'profane love' leading to a substantial revision of the key themes of the drama bourgeois adultery and motherhood.
The betrayal of women, in fact, is not mere infringement of morality, but from a perspective 'existentialist', is an opportunity for personal growth, a source of empowerment through which the woman makes the process of identification. Likewise, the anarchic impulse in which she gives voice, his utter inability to adapt to the established order, finds its natural termination in motherhood by offering the first self-affirmation as a guarantee.
This discussion leads us, finally, the motif of the "sinful pure", the leitmotiv of the matrix expression often present in these texts and reinterpreted through the filter of all Christian morality. Parallel to the thematic discussion, we identify the formal criteria that guide the redefinition of the female character through a complete analysis of references, special attention is paid to the analysis of the symbolic fabric of the texts from which we often see the use of the topos of the 'disease' and 'martyrdom' devouring passion which plans metaphorical; similarly the case for 'war' (symbolic order of the conflict between the sexes) and the 'dance', which is well suited to represent the souls motus, instability and impermanence of feeling, instinct. A note, finally, deserves reflection Expressionism language of the characters examined: closer to a spontaneity is not articulated (crying, screaming and wailing, aphasia), the language of the protagonists exacerbates the conflict between his rational dialectics of 'bourgeois' and 'direct expression, visceral, female ego.
The representation of women in the world of Grotesque Theatre, then, more than a limited residual nature reveals its relevance in a context of deep crisis, as noted Ferrante, "is a reaction against a world where man destroys man," but also a way to recognize the crisis
La terapeutica della crisi. Teoria della regolazione e crisi del marxismo.
Full text linkThe starting point for my research is the hypothesis regarding the role played by Marxism in the financial crisis and, in particular, its capacity to provide a voice for the crisis. Based on the analysis of the theories on the regulation of capitalism, on the confrontation of the latter with some of Althusser’s observations and on Italian opéraismo arises the theory according to which the crisis of Marxism is a theoretical symptom of the crisis of modernity. In order to comprehend this aspect of Marxism, one should not attempt to reconstruct its theoretical unity, but rather follow its interior process of deconstruction.
The deconstruction of theory is not per se a theoretical act, but a social process which develops through contradictions in the system. This hypothesis’ presupposition is that there is no such thing as unambiguous rationality, but that the capitalist market is the birthplace of regional rationalities. These domains are structured around two poles; one is rational in the sense of systemic rationality; and the other pole is that of behavioural ethics which refers to the subject of the needs.
These themes have been developed by regulation theory through the analysis of the inflation crisis of the 1970s. This signalled the emergence of a new configuration of the relationship between the structure and the subject which gave way to the concept of crisis as a principle of regulation of the system.
The main Marxist concepts are analysed by reference to this hypothesis and particular attention is paid to the subject of money. Money, in all its historical forms of credit and finance, represents most clearly the ability to become autonomous from one part of the whole.
In this movement towards separatism, which is at the same time a movement towards abstraction, is situated the identity of modernity as a critical identity that is constantly in crisis. The crux of the problematic reveals the ambivalence of money as a social category and, at the same time, an epistemological principle. Beginning as a precious metal and in its evolution towards finance, the process with which modern philosophers announced the death of God is underway and is located at the origin of the politics of modern peoples and, at the same time, at the origin of scientific knowledge
Spazialità politiche: la natura dello spazio geografico e le sue rappresentazioni
Full text linkIl lavoro propone alcune considerazioni sulla natura “politica” dello spazio geografico e delle sue rappresentazioni, provando a ricostruire alcuni aspetti salienti della espulsione della dimensione del politico dalla riflessione della geografia moderna. In particolare a partire dalla fase di istituzionalizzazione dei saperi fra XVIII e XIX secolo.
A partire dalla sollecitazione proposta da Franco Farinelli per il quale la geografia rappresenta la forma archetipica e originaria del sapere occidentale, si pone l'accento sul ruolo cruciale assunto dalle riflessioni di Kant – nella sua “Geografia Fisica” – per mettere a fuoco la frattura che si consuma tra filosofia e geografia nel cuore della modernità. Al tempo stesso si sottolinea la valenza della funzione perlocutiva dell'immagine cartografica, stabilendo una connessione con la teoria degli atti linguistici di Austin, validata dalle interpretazioni dei contributi di Giorgio Mangani, sulle funzioni retoriche e meditative connesse alla carta geografica.
Infine, nell'oscillazione tra disegno del mondo e racconto del mondo, si affrontano gli aspetti politici insiti nella natura dello spazio geografico, nel periodo in cui si definisce una nuova immagine della Terra in seguito alla scoperta colombiana. Pertanto il trattato di Tordesillas e la carta del Cantino vengono letti alla luce della riflessione di Carl Schmitt sul pensiero per “linee globali”
QUESTIONNAIRES FOR CROSS-CULTURAL SURVEY ON TRUTHFULNESS AND LYING- DEFINITIONS AND ATTITUDES
Full text linkLectura Dantis 2002 - 2009 : omaggio a Vincenzo Placella per i suoi settanta anni: Tomo IV 2009
Full text linkSulle tracce di Krotöa. Storie, memorie e icone del Sudafrica post-apartheid.
Full text linkThis thesis tackles a pivotal commitment of post-apartheid South Africa. A country that still has to re-think the urgent demands of sociality and cohabitation on the ruins and the wounds of the past. The critical perspective here adopted is sceptical towards every unproblematic ‘grand narrative’ that celebrates the triumph of the ‘Rainbow Nation’. It proceeds side by side with the recovery of Krotöa’s traces, the Khoikhoi interpreter who was partially acculturated to Dutch customs and then abandoned and imprisoned in Robben Island until her death. After centuries of silence her traces emerged in 1950, when a politically committed archivist strove to undo the material and bio-political racist archive of apartheid. Such traces are here collected in the vibrant tissue of differently committed art works, which during the Transition period (1989 - 1995 ca.) focused on her figure. At the heart of this interrogation are not the historical documents: this research talks about the archive in order to reopen its conceptual dualisms and epistemological, philosophical premises, and to discuss again the “messianic” bind between memory, future and their spectres (Jacques Derrida, Mal d’archive. Une impression freudienne, 1995).
Chapter I deals with the aporiae of forgiveness and testimony in the work of the Truth and Reconciliation Commission (the court-like restorative justice body which collected hearings from the victims of the crimes of apartheid, granting amnesty to the perpetrators who confessed and repented). In the background, as if bearing witness, there is Krotöa in her role of “Mother Africa”, whose iconic epistemic validity icon is here questioned. Chapter II offers a philosophical, genealogical and postcolonial research on the archive, which emerges as a ‘forthcoming’ promise, more bounded to the multiple possibilities of the present and the future than to commemoration and the past. Chapters III and IV are dedicated to the literary works that present Krotöa, commencing with the Dutch company’s diaries and the incredibly violent prototype of colonial, racist and sexist discourse that appeared, after the interpreter’s death, in the guise of an obituary in a Cape Town journal. Another paramount theoretical issue discussed in the fourth chapter deals with representation as well as with cultural and artistic translation in the Occidental scopic field. The latter is marked by the epistemic violence of conceptual binarisms which confine the ‘black’ woman to the margins of humankind. In chapter IV Jacques Lacan’s theorization of the gaze as the desiring pulsion in the scopic field proves useful to approach an artistic-psychoanalytical querelle on the legitimacy of writing of Krotöa (as an object of personal scopic desires). In chapter V, more focused on the overcoming of perceptive and discursive limits through visual art and a meta-theoretical approach to translation. Here Krotöa lives on ‘in-between’, in the artistic network which draws on her figure to complicate further the myth of reconciliation, through the fractured horizons of the discursive structures which preceeds and exceeds every form of political hegemony
Writing the displaced self. Gender, Language and Transnational Spaces in the Works of Ōba Minako, Tawada Yōko and Mizumura Minae
Full text linkThe purpose of the present dissertation is to analyse the literary representation of the theme of displacement in the works of Ōba Minako, Tawada Yōko and Mizumura Minae.
The first chapter outlines the biographical sketch of Ōba, Mizumura and Tawada and offers an overview of the state of research on their works, suggesting that a comparative approach may be beneficial broaden the critical frameworks of current research.
The second chapter focuses on the representation of the female body in the works of Ōba, Tawada and Mizumura, suggesting its use as literary trope where multiple identities are brought together and negotiated.
Chapter three discusses the relation between displacement and language, focusing on the presence of bilingual characters in Ōba’s works and on the concepts of “exophony” and bilingualism in Tawada and Mizumura’s writings.
Chapter four explores the configuration of the narrative space in Ōba, Tawada and Mizumura’s works showing how the authors opt for “fluid” and liminal spaces which highlights the characters’ position on the “threshold” of two cultures