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Donne-cadavere. La rappresentazione dei corpi femminili tra macabra bellezza e disgusto in Camillo Boito e Igino Ugo Tarchetti
Full text linkIn the late 19th century, the Scapigliati expressed their reaction to the dominant positivist ideology, which governed the interpretation of reality in the contemporary literature, through the fantastic, the macabre, and the horrific. Science, however, was not excluded from their works; rather, it infiltrated the text, transforming the writer into a sort of anat- omist and the female subjects – described in life or in death – of his narratives into dis- sectible anatomical models, like Venere Medicea by Clemente Susini. Constantly envel- oped in a deathly atmosphere that alters their characteristics, these female bodies evoke impressions in the observing men that oscillate between macabre beauty and disgust, eventually becoming corpses that obsessively haunt the male protagonists’ psyches, also imbuing the settings of the stories with a «maestosa orribilità», as Tarchetti states. Starting from this significant presence in Scapigliatura literature, this article intends to focus particularly on some interesting case studies found in the narratives of Camillo Bo- ito and Igino Ugo Tarchetti. The aim is to explore the forms and functions of this type of representation of the female body within the literary text: “corpse-women”, “skeleton- women”, and “wax-women” wander through the pages of Boito’s Storielle vane (Un corpo and Notte di Natale) and Tarchetti’s works (the novels Fosca and Paolina and the stories Lorenzo Alvati and Bouvard).In the late 19th century, the Scapigliati expressed their reaction to the dominant positivist ideology, which governed the interpretation of reality in the contemporary literature, through the fantastic, the macabre, and the horrific. Science, however, was not excluded from their works; rather, it infiltrated the text, transforming the writer into a sort of anat- omist and the female subjects – described in life or in death – of his narratives into dis- sectible anatomical models, like Venere Medicea by Clemente Susini. Constantly envel- oped in a deathly atmosphere that alters their characteristics, these female bodies evoke impressions in the observing men that oscillate between macabre beauty and disgust, eventually becoming corpses that obsessively haunt the male protagonists’ psyches, also imbuing the settings of the stories with a «maestosa orribilità», as Tarchetti states. Starting from this significant presence in Scapigliatura literature, this article intends to focus particularly on some interesting case studies found in the narratives of Camillo Bo- ito and Igino Ugo Tarchetti. The aim is to explore the forms and functions of this type of representation of the female body within the literary text: “corpse-women”, “skeleton- women”, and “wax-women” wander through the pages of Boito’s Storielle vane (Un corpo and Notte di Natale) and Tarchetti’s works (the novels Fosca and Paolina and the stories Lorenzo Alvati and Bouvard)
«Le Matériel verbal comme mémoire seconde» Memory in Paul Valéry’s Cours de Poétique
Full text linkThe aim of this article is to show the interrelationship between, memory, language and artistic production in the reflections of Paul Valéry. If some of Valéry’s essays in this sense were already accessible to readers, the recent publication of the almost entirely unpublished materials of the Cours de Poétique – held at the College de France from 1937 to 1941 – reveals a fruitful theoretical laboratory that can provide numerous insights into Valéry’s reflections on poetic production and the aesthetic importance of observing memory and its role in the creation of artistic forms.The aim of this article is to show the interrelationship between, memory, language and artistic production in the reflections of Paul Valéry. If some of Valéry’s essays in this sense were already accessible to readers, the recent publication of the almost entirely unpublished materials of the Cours de Poétique – held at the College de France from 1937 to 1941 – reveals a fruitful theoretical laboratory that can provide numerous insights into Valéry’s reflections on poetic production and the aesthetic importance of observing memory and its role in the creation of artistic forms
Un’architettura lirica
Full text linkThe article investigates the relationship between architecture and opera and shows that this performative practice is contributing to modifying the approach in architectural design in the direction of overcoming the traditional separation between scenography and urban planning. Two contemporary examples and a genealogical case are proposed, in order to demonstrate that the relationship between architecture and opera maintains an “inescapable” tendency to build consensus, to which is added today a loss of mythopietic potential.The article investigates the relationship between architecture and opera and shows that this performative practice is contributing to modifying the approach in architectural design in the direction of overcoming the traditional separation between scenography and urban planning. Two contemporary examples and a genealogical case are proposed, in order to demonstrate that the relationship between architecture and opera maintains an “inescapable” tendency to build consensus, to which is added today a loss of mythopietic potential
Premessa: Seminario di Studi Dante e il fumetto
Full text linkThe University of Turin has organized a series of events to celebrate the seventh centenary of Dante\u27s death. The final event included a seminar on Dante and comics, a figurative comment which, despite the different purposes and different audiences, still reminds us that Dante\u27s iconic poetry favors illustrations, in which excellent illuminators have distinguished themselves from the very beginning.The University of Turin has organized a series of events to celebrate the seventh centenary of Dante\u27s death. The final event included a seminar on Dante and comics, a figurative comment which, despite the different purposes and different audiences, still reminds us that Dante\u27s iconic poetry favors illustrations, in which excellent illuminators have distinguished themselves from the very beginning
Walt Alighieri. Comix, Commedia, Mixed Media
Full text linkIn this contribution, I discuss the status of comics particularly through the exemplification of Disney’s Dante parodies, in light of some ideas I take in from aestheticological reflection on improvisational art practices. In particular, L’Inferno di Topolino, the first of the great Italian Disney parodies, is paradigmatic for understanding the character of comics as a metafinational hybrid transmedium, capable of appropriating the contents of literary classics, bringing them to life in relation to the contemporary situation.In this contribution, I discuss the status of comics particularly through the exemplification of Disney’s Dante parodies, in light of some ideas I take in from aestheticological reflection on improvisational art practices. In particular, L’Inferno di Topolino, the first of the great Italian Disney parodies, is paradigmatic for understanding the character of comics as a metafinational hybrid transmedium, capable of appropriating the contents of literary classics, bringing them to life in relation to the contemporary situation
«Auf dem Kopf gehen». The speech on madness in Georg Büchner’s Lenz
Full text linkThe essay aims to analyse Georg Büchner’s novel Lenz as a viable argument on madness that overturns the Cartesian perspective of Metaphysical Meditations. In the itinerary of the mind which leads the thinking subject to the self-understanding as res cogitans – the “still and immobile” starting point for understanding the idea of God and thus unravellling the doubt about the very existence of the world and of its own corporeity – Descartes excludes madness considering it what is – and must remain – extraneous to thought so that through the exercise of doubt it can reach reliable knowledge that regulates man’s existence in the world and allows him to get out of doubt as to whether the world is a dream that does not exist ‘outside’ the mind.
In this way, a human subject is outlined who does not know the suffering, nor does he experience the dramas of real existence, the fragility and vulnerability of finiteness. In the novel Lenz Büchner instead gives voice to a poet torn to the point of madness that suffers from doubt about the existence of God, of the world and of his own self. This leads to a discourse on madness as a pathological verse of human existence, a discourse that relates about the darkest parts of the human soul, that is, those eluding any clinical opposition between reason and madness and that represent, for this reason, an extraordinary trial for our main metaphysical categories.The essay aims to analyse Georg Büchner’s novel Lenz as a viable argument on madness that overturns the Cartesian perspective of Metaphysical Meditations. In the itinerary of the mind which leads the thinking subject to the self-understanding as res cogitans – the “still and immobile” starting point for understanding the idea of God and thus unravellling the doubt about the very existence of the world and of its own corporeity – Descartes excludes madness considering it what is – and must remain – extraneous to thought so that through the exercise of doubt it can reach reliable knowledge that regulates man’s existence in the world and allows him to get out of doubt as to whether the world is a dream that does not exist ‘outside’ the mind.
In this way, a human subject is outlined who does not know the suffering, nor does he experience the dramas of real existence, the fragility and vulnerability of finiteness. In the novel Lenz Büchner instead gives voice to a poet torn to the point of madness that suffers from doubt about the existence of God, of the world and of his own self. This leads to a discourse on madness as a pathological verse of human existence, a discourse that relates about the darkest parts of the human soul, that is, those eluding any clinical opposition between reason and madness and that represent, for this reason, an extraordinary trial for our main metaphysical categories
Introduction
Full text linkThis issue of Itinera aims to address the connections between architecture and the performing arts in its various aspects and from multiple points of view. The growing emphasis on the performative character of artistic practices, namely, their ability to involve spectators directly and pervasively (Dixon 2007), imbues the relationship between architecture, the performing arts, and the spectator’s experience. The sharing of the scenic space by spectators and performers is essential for the co-production of a common energy which operates as a “transforming force” and thereby opens up the shared experience of discovering oneself and the other as a union of the body and the mind (Fischer-Lichte 2004).This issue of Itinera aims to address the connections between architecture and the performing arts in its various aspects and from multiple points of view. The growing emphasis on the performative character of artistic practices, namely, their ability to involve spectators directly and pervasively (Dixon 2007), imbues the relationship between architecture, the performing arts, and the spectator’s experience. The sharing of the scenic space by spectators and performers is essential for the co-production of a common energy which operates as a “transforming force” and thereby opens up the shared experience of discovering oneself and the other as a union of the body and the mind (Fischer-Lichte 2004)
Zu einer Ästhetik der Schwelle. Philosophische Reflexionen am Beispiel vom Musiktheater im Revier
Full text linkThe essay develops an aesthetic of the threshold from an analysis of the artistic collaboration between Werner Ruhnau and Yves Klein for the realisation of the Musiktheater im Revier in Gelsenkirchen. The threshold is a figure of thought that stands for the artistic choice to create zones of interaction between work and spectator, in which exchanges of roles and production of meaning take place. The aesthetics of the threshold in Ruhnau manifests itself through the architectural design of playful theatrical spaces in which the theatre audience can stage new identities. In Klein, the threshold becomes a meditative space, through which the subject trains his faculties of feeling and making sense. In the “Verfransung” (Adorno) between the strategies of Ruhnau and Klein, the theatre becomes the threshold for an interaction between public space and sensibility.The essay develops an aesthetic of the threshold from an analysis of the artistic collaboration between Werner Ruhnau and Yves Klein for the realisation of the Musiktheater im Revier in Gelsenkirchen. The threshold is a figure of thought that stands for the artistic choice to create zones of interaction between work and spectator, in which exchanges of roles and production of meaning take place. The aesthetics of the threshold in Ruhnau manifests itself through the architectural design of playful theatrical spaces in which the theatre audience can stage new identities. In Klein, the threshold becomes a meditative space, through which the subject trains his faculties of feeling and making sense. In the “Verfransung” (Adorno) between the strategies of Ruhnau and Klein, the theatre becomes the threshold for an interaction between public space and sensibility
L’esperienza estetica come soglia della percezione. Il museo Schneiberg di Torino1
Full text linkConsidering the case of the recent creation of the Schneiberg Foundation in Turin, an antique Chinese artworks installation in an historical building, this paper tries to produce a philosophical interpretation of both the artworks and the installation, underlines and investigate the attempt of this project to overcome the distinction between the spectator and his object, involving the viewer in a non- dualistic experience through which he is able to produce his own performance and in that way to create an immersive experience that, like an alchemical process, transforms both his perception and the object of his perception. This text intends also to highlight how this experience is strictly and symmetrically connected to the nature, the meaning and the aim of the objects, i.e. antique imperial Chinese carpets provided of alchemical and philosophical meaning for a performative transformation of their spectator. The paper tries to create, in the end, a performative meaningful experience of a visit to that space and collection.Considering the case of the recent creation of the Schneiberg Foundation in Turin, an antique Chinese artworks installation in an historical building, this paper tries to produce a philosophical interpretation of both the artworks and the installation, underlines and investigate the attempt of this project to overcome the distinction between the spectator and his object, involving the viewer in a non- dualistic experience through which he is able to produce his own performance and in that way to create an immersive experience that, like an alchemical process, transforms both his perception and the object of his perception. This text intends also to highlight how this experience is strictly and symmetrically connected to the nature, the meaning and the aim of the objects, i.e. antique imperial Chinese carpets provided of alchemical and philosophical meaning for a performative transformation of their spectator. The paper tries to create, in the end, a performative meaningful experience of a visit to that space and collection
Performativité et habitation urbaine: itinéraires sonores dans la fragilité globale
Full text linkThis article aims to weave the fields of performativity, sound and urban living through philosophical itineraries that follow two motifs: mourning and vulnerability. Through Bonnie Honig\u27s rereading of Antigone, we will trace the characters of a performative Antigone, who hybridises the fields of phoné and logos in her lament. We will then consider the example of contemporary mourning as well as the problem of urban soundscape spread by an ubiquitous technophony. We will address the motif of vulnerability starting from the work and research of Brandon Labelle, who will accompany us on sound walks where listening will emerge as a performative practice. Listening to urban space confronts us with a global and generalised vulnerability. By combining mourning and vulnerability, we will finally express the need for a performativity of fragility in our global condition