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Monst[her]-Making and Dina: Looking at the Creation of the Monstrous Feminine Through the Lens of Derrida’s Différance
Full text linkMan has often written about the creation of the monster. The monstrous figure frequently appears in a way that differentiates itself from the human by its grotesqueness, its potential immortality, and/or, of course, its desire to defile the body of the human (i.e. zombies, vampires, etc.) This trauma–i.e. that of being other than human–is often categorized as wicked and wrong. In the case of Attack on Titan, there is a deviation from the norm–namely, instead of being seen as merely evil, these monsters are seen as some“one” to sympathize with. Attack on Titan forces us to question the blurry line that is used to divide monster from human,and forces the viewer to question the human condition of the demonized and repressed everyday "monsters."
It is our claim that Dina Fritz works as a representation of “monster.” We look at Dina as an example of representative trauma inflicted through horrific events–such as a genocidal war, dehumanization, and, of course, forced bodily violation–and how these traumas create the beasts that lead to such events; i.e. making these “monst[hers]” out of humans. We argue that the characterization of Dina Fritz is a warning to its audience that segregation, violence, and the loss of bodily autonomy perpetuates a cycle of monstrous births/creation. In this article, we will speak not only to the end result of the monstrous creation–i.e. the monst[her]–but also to the line that has been blurred with this monstrous other and the human in the world of Attack on Titan.Man has often written about the creation of the monster. The monstrous figure frequently appears in a way that differentiates itself from the human by its grotesqueness, its potential immortality, and/or, of course, its desire to defile the body of the human (i.e. zombies, vampires, etc.) This trauma–i.e. that of being other than human–is often categorized as wicked and wrong. In the case of Attack on Titan, there is a deviation from the norm–namely, instead of being seen as merely evil, these monsters are seen as some“one” to sympathize with. Attack on Titan forces us to question the blurry line that is used to divide monster from human,and forces the viewer to question the human condition of the demonized and repressed everyday "monsters."
It is our claim that Dina Fritz works as a representation of “monster.” We look at Dina as an example of representative trauma inflicted through horrific events–such as a genocidal war, dehumanization, and, of course, forced bodily violation–and how these traumas create the beasts that lead to such events; i.e. making these “monst[hers]” out of humans. We argue that the characterization of Dina Fritz is a warning to its audience that segregation, violence, and the loss of bodily autonomy perpetuates a cycle of monstrous births/creation. In this article, we will speak not only to the end result of the monstrous creation–i.e. the monst[her]–but also to the line that has been blurred with this monstrous other and the human in the world of Attack on Titan
La Commedia tra testo e immagine: breve viaggio nella letteratura dantesca a fumetti
Full text linkDante Alighieri\u27s Divine Comedy is rich in visual and imaginative suggestions, capable of intertwining in total harmony with words and triplets in alternating rhyme, giving life to a unique and fascinating work. Over the centuries, the “divine poem” has inspired generations of authors and artists, who have re-proposed Dante\u27s journey into the afterlife through different languages and expressive codes, first of all representative art. Above all, the visual and artistic translations of Dante’s work have influenced many writers and cartoonists who, starting from lithographs and ancient tables - think of the Divine Comedy illustrated by Gustave Doré in the second half of the nineteenth century - have developed their own transposition of the poem, in the wake of innovation and experimentation.
In fact, the tradition of Dante in comics has its roots in the early twentieth century and knows an extraordinary development throughout the century both in Italy and abroad. From Disney’s Mickey’s Inferno to Marcello Toninelli’s Divine Comedy, from Go Nagai’s monumental manga work to Hunt Emerson’s Dante’s Inferno, Dante\u27s triplets capture the attention of comic book fans all over the world, presenting themselves not only as an interesting reading for pleasure, but also as an effective didactic-pedagogical tool for students. In fact, the comic is not only synonymous with entertainment, but also a means capable of adapting the complex content of the Divine Comedy to an audience of primary school pupils, from which it is possible to start a profitable didactic planning, which sees protagonists and “cartoonists” the children themselves.Dante Alighieri\u27s Divine Comedy is rich in visual and imaginative suggestions, capable of intertwining in total harmony with words and triplets in alternating rhyme, giving life to a unique and fascinating work. Over the centuries, the “divine poem” has inspired generations of authors and artists, who have re-proposed Dante\u27s journey into the afterlife through different languages and expressive codes, first of all representative art. Above all, the visual and artistic translations of Dante’s work have influenced many writers and cartoonists who, starting from lithographs and ancient tables - think of the Divine Comedy illustrated by Gustave Doré in the second half of the nineteenth century - have developed their own transposition of the poem, in the wake of innovation and experimentation.
In fact, the tradition of Dante in comics has its roots in the early twentieth century and knows an extraordinary development throughout the century both in Italy and abroad. From Disney’s Mickey’s Inferno to Marcello Toninelli’s Divine Comedy, from Go Nagai’s monumental manga work to Hunt Emerson’s Dante’s Inferno, Dante\u27s triplets capture the attention of comic book fans all over the world, presenting themselves not only as an interesting reading for pleasure, but also as an effective didactic-pedagogical tool for students. In fact, the comic is not only synonymous with entertainment, but also a means capable of adapting the complex content of the Divine Comedy to an audience of primary school pupils, from which it is possible to start a profitable didactic planning, which sees protagonists and “cartoonists” the children themselves
Mouvement vivant et architecture: la marche, les escaliers chez Émile Jaques-Dalcroze et Adolphe Appia
Full text linkAt the turn of the nineteenth and twentieth centuries, through the eurhythmics of Émile Jaques-Dalcroze, a new relationship between music and movement was established, which closely involved dance and architecture. Our emphasis, here, will be put on the transformations related to space, with regard to the stage reform by Adolphe Appia, Dalcroze’s friend and collaborator. It is through Appia’s drawings, the Rhythmic Spaces, made between 1909 and 1911, that the connection between living movement and architecture will be approached. In particular, one calls in question the status of straight lines, horizontal and vertical, of which the staircases, on the drawings, are emblematic. These lines, contrasting with the curving and serpentines lines that mark the influence of the dancing movement in the paintings from that period, must be understood with respect to the Dalcrozian conception of rhythmic feeling. Aliveness, for him, which is not to be separated from the relationship to measure - itself alive -, can be acquired by varied and complex exercises of marching within the framework of rhythmic education. Through architecture arises a musical conception of space in rupture with the perspectival conception of pictural space, as the former doesn’t dissociate any more mobility and immobility, aliveness and inertia, grace and gravity.At the turn of the nineteenth and twentieth centuries, through the eurhythmics of Émile Jaques-Dalcroze, a new relationship between music and movement was established, which closely involved dance and architecture. Our emphasis, here, will be put on the transformations related to space, with regard to the stage reform by Adolphe Appia, Dalcroze’s friend and collaborator. It is through Appia’s drawings, the Rhythmic Spaces, made between 1909 and 1911, that the connection between living movement and architecture will be approached. In particular, one calls in question the status of straight lines, horizontal and vertical, of which the staircases, on the drawings, are emblematic. These lines, contrasting with the curving and serpentines lines that mark the influence of the dancing movement in the paintings from that period, must be understood with respect to the Dalcrozian conception of rhythmic feeling. Aliveness, for him, which is not to be separated from the relationship to measure - itself alive -, can be acquired by varied and complex exercises of marching within the framework of rhythmic education. Through architecture arises a musical conception of space in rupture with the perspectival conception of pictural space, as the former doesn’t dissociate any more mobility and immobility, aliveness and inertia, grace and gravity
The Chinese “Streetscape” Investigations on the performative destiny of a social and linguistic space
Full text linkIn Europe the street is traditionally the place of self-representation: the “Strada Nuova” in Genova has been designed in 1550 to allow noble families to build their own palaces in a competition of beauty, richness and power. In the American tradition the street became overall a place dominated by its market role (Venturi on Las Vegas, 1972). In China streets are the real public space for people’s daily life and its essential activities (trading, eating, playing, discussing): their role in urban life is so strong that sometime a street can appear even where the planning didn’t establish that.
The western main urban public/social space is the square, but for the eastern countries - especially China- the streets represent the most representative urban public space that can be used together without the class differences.However, from the ancient cities to today’s high-density cities, the Chinese streets, because of their social role, have experienced also a very important connection with shop signs, posters, notices of all kinds, flags and signs, luminous writings. All these objects are a kind of ornament of daily-life as well as a real interesting documentary material, useful to understand permanencies and variations in the use of the cities during their transition from the former order to the new one.
The paper introduces the framework and the contents of a multidisciplinary research project at work, between urban morphology and Chinese language and culture. (max. 1500 characters, spaces included)In Europe the street is traditionally the place of self-representation: the “Strada Nuova” in Genova has been designed in 1550 to allow noble families to build their own palaces in a competition of beauty, richness and power. In the American tradition the street became overall a place dominated by its market role (Venturi on Las Vegas, 1972). In China streets are the real public space for people’s daily life and its essential activities (trading, eating, playing, discussing): their role in urban life is so strong that sometime a street can appear even where the planning didn’t establish that.
The western main urban public/social space is the square, but for the eastern countries - especially China- the streets represent the most representative urban public space that can be used together without the class differences.However, from the ancient cities to today’s high-density cities, the Chinese streets, because of their social role, have experienced also a very important connection with shop signs, posters, notices of all kinds, flags and signs, luminous writings. All these objects are a kind of ornament of daily-life as well as a real interesting documentary material, useful to understand permanencies and variations in the use of the cities during their transition from the former order to the new one.
The paper introduces the framework and the contents of a multidisciplinary research project at work, between urban morphology and Chinese language and culture. (max. 1500 characters, spaces included
Dialogo sul pianeta. Intervista a Giuseppe Genna e Pino Tripodi
Full text linkGiuseppe Genna, author of Grande Madre Rossa (Mondadori 2004), Dies Irae (Rizzoli 2006), Hitler (Mondadori 2008) and Reality. Cosa è successo (Rizzoli 2020) among others, is one of the most important contemporary Italian writers. Pino Tripodi, author of Settesette. Una rivoluzione. La vita (Milieu Edizioni 2012) and Per sempre partigiano. L’insurrezione di Santa Libera (DeriveApprodi 2016) among others, has been a protagonist of the Italian Movimento del ’77. The book Pianetica (2022) was born from their collaboration as part of a wider project of planetary literature. We have asked the two authors to introduce us in this literary event.Landing on Earth. This now famous formula, which appears in the title of the exhibition/catalogue Critical Zones. The Science and Politics of Landing on Earth, curated by Bruno Latour and Peter Weibel, sums up Latour’s ecological-political project and his attempt to respond to the Anthropocene’s need to bring us back to Earth, to this unstable soil that reacts to our actions and from which the project of Modernity had progressively distanced us. For Latour, climate change and the definition of anthropos as a geological force impose the search for a new habitable territory: the Earth we thought we knew, but which now presents itself as a new terra incognita. However, because of the uncertainty about the shape of the Earth, the need to develop new tools to orient ourselves and describe the situation in which we find ourselves becomes more and more urgent. If what is at stake after the disorientation (spatial, temporal, identity) caused by Gaia’s intrusion is the re-politicization of belonging to the land, what are the cartographic representations that will be able to effectively describe our co-belonging to the space we inhabit, helping to make visible the different chains of agency? What are the tools we can use to learn to see things differently and thus become more “sensitive and responsive” to the fragile shells of this metastable world where life forms other than our own intersect their paths? What kind of map is an earthly map
Monsters before monster science. Monstrous births, superstitions and procedures in the centuries preceding modern teratology.
Full text linkThe purpose of this study is to analyze some peculiar aspects on the conception of monsters and monstrous births in the centuries preceding the emergence of modern teratology. A “new” discipline, a branch of biology and, in particular, comparative embryology, whose scientific basis was laid by the studies of Etienne and Isidore Geoffroy Saint-Hilaire, in the first half of the nineteenth century. At the beginning I will show a brief summary of the multiple and heterogeneous theories which, in very different times, have tried to explain the causes of the nature and genesis of monsters. We will then go inside the very delicate question on the position of the soul, in man and monsters in particular, which had a direct influence on the possibility of saving from eternal oblivion, in the short time they usually survived, those small deformed creatures.The purpose of this study is to analyze some peculiar aspects on the conception of monsters and monstrous births in the centuries preceding the emergence of modern teratology. A “new” discipline, a branch of biology and, in particular, comparative embryology, whose scientific basis was laid by the studies of Etienne and Isidore Geoffroy Saint-Hilaire, in the first half of the nineteenth century. At the beginning I will show a brief summary of the multiple and heterogeneous theories which, in very different times, have tried to explain the causes of the nature and genesis of monsters. We will then go inside the very delicate question on the position of the soul, in man and monsters in particular, which had a direct influence on the possibility of saving from eternal oblivion, in the short time they usually survived, those small deformed creatures
Wunderkammern e divulgazione per l’infanzia: conoscere e immaginare attraverso la meraviglia
Full text linkWunderkammern represent a truly interesting phenomenon not only because of their pe- culiar feature of collecting amazing, even monstrous, items from all over the planet, but especially for the importance given to feelings such as curiosity, wonder and astonish- ment in the process of discovering the world, as a medium to get to knowledge. Wunder- kammern, also known as Cabinets of Curiosities, keep being represented in art and enter- tainment, with particular relevance to their most grotesque aspects; here, the focus is on two depictions coming from non-fiction children’s literature, which has gone through a recent wave of innovation regarding specifically the picturebooks form. The non-fiction picturebooks edited in the last decade appear to have in common a significant illustration and design apparatus, resulting in a strongly creative and aesthetic approach to knowledge: engaging the senses – and therefore inspiring awe and wonder – together with data and information, these non-fiction picturebooks contribute to restore value to art and beauty in the learning process, revealing a sort of relationship with the Wunderkammer paradigm.Wunderkammern represent a truly interesting phenomenon not only because of their peculiar feature of collecting amazing, even monstrous, items from all over the planet, but especially for the importance given to feelings such as curiosity, wonder and astonishment in the process of discovering the world, as a medium to get to knowledge.Wunderkammern, also known as Cabinets of Curiosities, keep being represented in art and entertainment, with particular relevance to their most grotesque aspects; here, the focus is on two depictions coming from non-fiction children’s literature, which has gone through a recent wave of innovation regarding specifically the picturebooks form. The non-fiction picturebooks edited in the last decade appear to have in common a significant illustration and design apparatus, resulting in a strongly creative and aesthetic approach to knowledge: engaging the senses – and therefore inspiring awe and wonder – together with data and information, these non-fiction picturebooks contribute to restore value to art and beauty in the learning process, revealing a sort of relationship with the Wunderkammer paradigm
Alla ricerca del canto perduto: tra Dante e Topolino
Full text linkThis paper is intended to illustrate the possibilities offered by comics in linguistic and literary education. In particular, the subject of analysis concerns a publication by Disney, Zio Paperone e il centounesimo canto, made as a tribute to Dante and the Divina Commedia. The proposal is introduced by a reference to the mystery that surrounds various discoveries of songs of the Divina Commedia supposedly lost; it continues with a description of the comic as a medium in linguistic and literary education; the idea of language varieties and the coexistence of different languages is then presented, linking the proposal to the requirements contained in ministerial school documents. To conclude, an analysis of the language present in the balloons of the comic is carried out, with an examination of the choices made by the authors, also through references in diachrony.This paper is intended to illustrate the possibilities offered by comics in linguistic and literary education. In particular, the subject of analysis concerns a publication by Disney, Zio Paperone e il centounesimo canto, made as a tribute to Dante and the Divina Commedia. The proposal is introduced by a reference to the mystery that surrounds various discoveries of songs of the Divina Commedia supposedly lost; it continues with a description of the comic as a medium in linguistic and literary education; the idea of language varieties and the coexistence of different languages is then presented, linking the proposal to the requirements contained in ministerial school documents. To conclude, an analysis of the language present in the balloons of the comic is carried out, with an examination of the choices made by the authors, also through references in diachrony
Dante e fumetti: Ricadute nella didattica, suggestioni divulgative
Full text linkDante’s Divina Commedia is one of the most influential literary works in Italy and not only. Reading, understanding and analysing it are a fundamental part of the skills every Italian student should reach, due to the national school programs, particularly in middle and high school. Many Italians and internationals comics’authors worked on Divina Commedia, feeding the collective imagination about Dante, giving new readings of popular suggestions – in this paper, we’ll partially analyse Marcello Toninelli’s and GōNagai’s works, as influences in didactics, but also as peculiar products, with a universal approach, inspired by Dante’s world. So comics can also be considered didactic media. In fact students can be involved in a process where they could build their own comics based on Divina Commedia. Considering both Divina Commedia and comics linguistic media, every student will be able to join a travel from literature to comics and back, creating a final original product, testifying comprehension and personalization of the original literary work.Dante’s Divina Commedia is one of the most influential literary works in Italy and not only. Reading, understanding and analysing it are a fundamental part of the skills every Italian student should reach, due to the national school programs, particularly in middle and high school. Many Italians and internationals comics’authors worked on Divina Commedia, feeding the collective imagination about Dante, giving new readings of popular suggestions – in this paper, we’ll partially analyse Marcello Toninelli’s and GōNagai’s works, as influences in didactics, but also as peculiar products, with a universal approach, inspired by Dante’s world. So comics can also be considered didactic media. In fact students can be involved in a process where they could build their own comics based on Divina Commedia. Considering both Divina Commedia and comics linguistic media, every student will be able to join a travel from literature to comics and back, creating a final original product, testifying comprehension and personalization of the original literary work
From Flesh to Words and Back: How Performances Intervene in Space to Realise Rancière’s Politics
Full text linkThis paper inquires what kind of art best enhances what Jacques Rancière means by "politics". It argues that performance (theatre) and other types of artistic manifestations that include a performative component achieve what Rancière considers political equality. The paper argues on two fronts. First, it argues that artistic manifestations should not be understood as a special event, as understood in the traditional form of "ritual". Secondly, the paper takes this discussion to the question of the use of space in artistic manifestations. It is argued that performances should make a differential use of space, constituting spaces of categorical confusion, called thresholds, in order to better enhance Rancière\u27s politics.This paper inquires what kind of art best enhances what Jacques Rancière means by "politics". It argues that performance (theatre) and other types of artistic manifestations that include a performative component achieve what Rancière considers political equality. The paper argues on two fronts. First, it argues that artistic manifestations should not be understood as a special event, as understood in the traditional form of "ritual". Secondly, the paper takes this discussion to the question of the use of space in artistic manifestations. It is argued that performances should make a differential use of space, constituting spaces of categorical confusion, called thresholds, in order to better enhance Rancière\u27s politics