UniCA Open Journals
Not a member yet
4008 research outputs found
Sort by
Giganti in mostra, da Zaha Hadid al tour di «Manneddu». Archeologia e ideologia nelle strategie espositive delle statue di Mont’e Prama
Get PDFThe essay examines the musealisation and valorisation of the Mont’e Prama statues, focusing on the exhibitionary, discursive and symbolic strategies that have accompanied their growing centrality in the cultural and political debate of contemporary Sardinia. Drawing on an interdisciplinary framework that combines critical museology, heritage studies and post-processual archaeology, the paper reconstructs the main stages through which the so-called “Giants” have been transformed from fragmented archaeological remains into powerful identity icons and tools of territorial visibility. The analysis considers open-restoration practices and participatory dispositifs, the international circulation of the statues, and the ambitious yet ultimately unrealised Betile museum project. Particular attention is devoted to the role of iconic architecture, institutional and media rhetoric, and the tensions between central and local actors in heritage governance. The article also addresses the ideological implications of a strongly heroic and masculinised narrative of the past, highlighting the risks of projecting contemporary identity categories onto archaeological material. Mont’e Prama thus emerges as a paradigmatic case for critically assessing the ambivalences and limits of current approaches to the musealisation of archaeological heritage.Il saggio analizza il processo di musealizzazione e valorizzazione delle statue di Mont’e Prama, soffermandosi sulle strategie espositive, discorsive e simboliche che ne hanno accompagnato la crescente centralità nel dibattito culturale e politico della Sardegna contemporanea. Attraverso un approccio interdisciplinare che intreccia museologia critica, heritage studies e archeologia post-processuale, il contributo ricostruisce le principali tappe della trasformazione dei cosiddetti “Giganti” da reperti archeologici frammentari a icone identitarie e strumenti di visibilità territoriale, considerando tanto il restauro “aperto” e le pratiche partecipative quanto la circolazione internazionale delle opere e il progetto, poi naufragato, del museo Betile. Particolare attenzione è dedicata al ruolo dell’architettura iconica, alle retoriche istituzionali e mediatiche, e alle tensioni tra centro e periferia nella gestione del patrimonio. Il saggio mette inoltre in luce le implicazioni ideologiche di una narrazione fortemente eroicizzante e maschile del passato, interrogando i rischi di una naturalizzazione identitaria che tende a stabilizzare il senso più che ad aprire il campo interpretativo. Mont’e Prama emerge così come un caso paradigmatico per riflettere criticamente sui limiti e le ambivalenze delle pratiche contemporanee di musealizzazione del passato archeologico
Il cielo in technicolor. Lo spettro della serialità in Paolo Zanotti
Get PDFPaolo Zanotti’s novels are full of ghosts. Yet none of these ever pose a real threat. Zanotti’s worlds are infested by something completely different. They are the poisoned fruits of mediality: false myths and urban legends, chimeras born from an idle mind, fake and stale clichés, very far from the “Stimmung of the abandoned clearings of romance”. This essay, in light of the notion of hauntology proposed by Mark Fisher, focuses on the way Zanotti stages the nostalgic desire for a re-enchantment of the world, sterile, distorted, and alienated by the perverse logic of global capitalism, of mass society, of technological mediation. By analyzing several passages, in particular from Trovate Ortensia!, this essay highlights a common context in Zanotti’s novels: a tendency to escape, or run away, from a condition of anguish, from a hauntological perspective whose recurring sign is a technicolor sky.I romanzi di Zanotti pullulano di spettri. Eppure, nessuno di questi rappresenta mai una reale minaccia. Quel che infesta i mondi zanottiani è tutt’altro. Sono i frutti avvelenati della medialità: falsi miti e leggende urbane, chimere partorite da una mente oziosa, luoghi comuni finti e stantii, lontanissimi dalla «Stimmung delle abbandonate radure del romance». In questo saggio, alla luce della nozione di hauntologia proposta da Mark Fisher, si illustra il modo in cui Zanotti mette in scena il desiderio nostalgico di un reincanto del mondo, isterilito, snaturato e alienato dalle logiche perverse del capitalismo globale, della società di massa, della mediazione tecnologica. Analizzando diversi brani, in particolare da Trovate Ortensia!, questo saggio evidenzia un contesto comune ai romanzi di Zanotti: una tendenza di evasione, o fuga, da una condizione d’angoscia, da una prospettiva hauntologica il cui segno ricorrente è un cielo in technicolor
Technologies gothiques dans Áwala cu sangui (2000) de Juan Tomás Ávila Laurel : entre fracture et continuité
Get PDFThis paper aims to examine the neocolonial dynamics at play in the novel Áwala cu sangui (2000) by Equatoguinean writer Juan Tomás Ávila Laurel. The study draws on postcolonial theories and psychoanalysis to reveal “gothic technologies”. Two technologies stand out: one the one hand, the ship as a technology of control (equally linked to the history of slavery and colonization), and on the other hand, the presence or absence of electrical light, along with its spectral content, embodied by the figure of the “sandjawel”, which reflects the internal contradictions within the postcolonial state. In this sense, the study proposes two interpretations that are not presented here as dichotomous: the gothic as fracture and the gothic as continuity. Cet article se propose d'analyser les dynamiques néocoloniales à l'œuvre dans le roman Áwala cu sangui (2000) de l'écrivain équatoguinéen Juan Tomás Ávila Laurel. L’étude s'appuie sur les théories postcoloniales et la psychanalyse pour révéler des "technologies gothiques". Deux technologies se démarquent: d'une part, le navire en tant que technologie de contrôle (également associée à l'histoire de l'esclavage et de la colonisation), et d'autre part, la présence ou l'absence de lumière éléctrique ainsi que son contenu spectral, incarné par la figure du « sandjawel », qui témoigne des contradictions internes au sein de l’État postcolonial. En ce sens, l'article propose deux lectures qui ne sont pas ici présentées de manière dichotomique : le gothique comme fracture et le gothique comme continuité
Ghost in the Market. La finanza hauntologica ed eerie in Cosmopolis
Get PDFThis paper aims to analyze the intersections between the Gothic imaginary and Marxist theory using the speculative tools of hauntology and eerie as defined by Mark Fisher. Specifically, we will investigate how the financialization and digitalization of capital have initiated a process of spectralization of the market. The second part of the paper will be a close reading of Don DeLillo’s Cosmopolis (2003), a novel that stages the ghostly movements of high finance by telling of phantom fluctuations in the stock market, people poised between materiality and immateriality, revivals of Gothic architecture, and defective temporalities.Questo contributo intende analizzare le intersezioni tra immaginario gotico e teoria marxista adoperando gli strumenti speculativi dell’hauntology e dell’eerie per come li ha delineati Mark Fisher. Nello specifico, si indagherà come la finanziarizzazione e la digitalizzazione del capitale abbiano avviato un processo di spettralizzazione del mercato, attraverso il quale la merce è evaporata perdendo il proprio corpo fisico, il denaro è diventato un poltergeist la cui agency è difficile da prevedere, e il tempo si è disarticolato cancellando i confini tra passato, presente e futuro. Nella seconda parte del paper verrà effettuato un close reading di Cosmopolis (2003), romanzo di Don DeLillo che inscena i movimenti spettrali dell’alta finanza raccontando di fluttuazioni fantasmatiche della Borsa, individui in bilico tra la materialità e l’immaterialità, rivisitazioni dell’architettura gotica, sublime finanziario e temporalità difettose
Compounded loanwords between historical morphophonology and semantics: the ancient Greek (and Latin) names of Candragupta Maurya
Get PDFAmong Classical sources (Phylarcus, Strabo, Arrian, Plutarch, Justin, and Orosius), there seems to be no common spelling of Candragupta’s name. The spelling Σανδρόκοττος (i.e., the canonical one) is used by Phylarchus (FGrHist 81 F 35b), Strabo (II.1.9; XV.1.53; XV.1.57), and Justin (Epit. XV.4.13) in its Latin transcription Sandrocottus. Then, the spelling Σανδράκοττος is adopted by Arrian (Anab. V.6.2; Ind. 5.3; 9.9), whereas that of Ἀνδρόκοττος by Mnaseas (fr. 14 FHG), Plutarch (Alex. 62.4; Mor. 542d), Appian (Syr. 55.282), and Orosius (III.23) in its Latin transcription Androcottus. This article aims at investigating the reasons behind these different spellings in the light of a wider dynamic involving morphophonological and semantic processes towards compounded loanwords in ancient Greek (and Latin). In order to do that, we carry out an in-depth analysis of the different spellings of Candragupta’s name in Classical sources within the framework of the language-contact linguistics: after focusing on the socio-historical context underlying the language-contact dynamic, we take into account several elements that may contribute to justify the lack of uniformity in the various spellings (e.g., the compounded nature of the name, the constituents’ semantics, and the accent pattern). Finally, we conclude that the spellings of the Classical sources depend on ancient Greek morphophonological processes involving (compounded) loanwords, that end up with a process of folk etymology, thanks to which Candragupta’s name is definitely integrated in the ancient Greek compound system
I riferimenti alla “vendetta” nei casi di ἀνομία e παρανομία: analisi lessicale e prospettive giuridiche nella tragedia greca
Get PDFStarting from the analysis of ἀνομία and παρανομία (and their derivatives) in the plays of Aeschylus, Sophocles and Euripides, this paper tries to isolate some cultural, political and legal assumptions essential to understand the contemporary debate on the νόμος and ‘deviations’ from the polis’ system. Focusing on the relationship / overlap between private and public generated by the absence, in ancient thought, of firm conceptual demarcations such as that between violence and justice, private retaliation and trial, this paper offers an initial classification of the linguistic and lexical elements commonly related to the notion of vengeance. This latter does not exist in ancient Greek but can be reconstructed from terms and expressions widely attested in tragedy, which gave voice to traits well rooted in the coeval political and legal imaginary.Partant de l'analyse des ἀνομία et παρανομία (et leurs dérivés) dans les pièces d'Eschyle, Sophocle et Euripide, cet article tente d'isoler certaines hypothèses culturelles, politiques et juridiques essentielles pour comprendre Questo contributo, muovendo dall’analisi delle occorrenze dei termini ἀνομία e παρανομία (e dei rispettivi derivati) nella produzione drammatica di Eschilo, Sofocle ed Euripide, cerca di isolare alcuni presupposti culturali, politici e giuridici essenziali per comprendere i nessi instaurati dagli autori con il dibattito coevo sul νόμος e le ‘deviazioni’ rispetto alla disciplina normativo della polis. Concentrandosi, in particolare, sulla relazione / sovrapposizione tra privato e pubblico generata dall’assenza, nel pensiero antico, di salde demarcazioni concettuali come quella tra violenza e giustizia, ritorsione privata e processo, l’indagine offre una prima classificazione degli elementi linguistici e lessicali comunemente ricondotti alla nozione di vendetta, di per sé inesistente in greco, ma ricostruibile a partire da una serie di termini ed espressioni largamente attestati in tragedia, che dava voce a tratti ben radicati nell’immaginario giuridico e giudiziario coevo
Momenti di ricezione quattrocentesca di Petrarca: Francesco Palmario, la poesia isottea e una riscrittura della Canzone delle metamorfosi
Get PDFThis paper aims to carry out a survey of the state of anomie of Italian vernacular lyricism in the 15th century by analysing the ways in which Francesco Petrarch’s production was taken up, imitated and reworked. To do this, we will use as a case study the Rime of Francesco Palmario, a poet from Ancona active at the court of Rimini between the 1450s and 1460s, author of a canzoniere written largely in the name of his lord, Sigismondo Pandolfo Malatesta, and dedicated to his lover Isotta degli Atti. The influence of the Rerum vulgarium fragmenta will be analysed, as well as the ways in which the Petrarchan model interacted with Isottean vernacular poetry, concluding with an in-depth analysis of canzone 102, an interesting example of a rewriting of Petrarch’s canzone 23, known as delle metamorfosi, on which Dantean cues are grafted.Il presente articolo si propone di realizzare un sondaggio nello stato di anomia tipico della lirica volgare italiana del XV secolo analizzando le modalità di ripresa, imitazione e rielaborazione della produzione di Francesco Petrarca. Per fare ciò, si utilizzeranno come caso di studio le Rime di Francesco Palmario, poeta anconetano attivo alla corte di Rimini tra gli anni ’50 e ’60 del secolo, autore di un canzoniere scritto in buona parte in nome del signore, Sigismondo Pandolfo Malatesta, e dedicato alla sua amante Isotta degli Atti. Si analizzeranno l’influsso dei Rerum vulgarium fragmenta e le modalità con cui il modello petrarchesco ha interagito con la poesia isottea volgare, concludendo con una analisi stanza per stanza del componimento 102, interessante esempio di riscrittura isottea della petrarchesca canzone 23, detta delle metamorfosi, su cui vengono innestati spunti danteschi
Carlo Baghetti, Labour Narratives. Appunti per una teoria transmediale
Get PDFReview of Carlo Baghetti's Labour Narratives. Appunti per una teoria transmediale.Recensione del volume Labour Narratives. Appunti per una teoria transmediale di Carlo Baghetti
Giulia Fabbri (ed.), Narrazioni dall’Antropocene. (Pre)visioni della crisi ambientale nella letteratura e nella cultura visuale
Get PDFReview of Narrazioni dall’Antropocene. (Pre)visioni della crisi ambientale nella letteratura e nella cultura visuale edited by Giulia Fabbri.Recensione del volume Narrazioni dall’Antropocene. (Pre)visioni della crisi ambientale nella letteratura e nella cultura visuale a cura di Giulia Fabbri
Fenomenologia della lettura
Get PDFPoulet’s classic article on the aesthetic experience of literature is here translated in Italian for the first time. Phenomenology of Reading occupies an interesting place both within the landscape of Poulet’s own critical production and within the broader context of literary theories that, between 1960 and 1980, explored the aesthetic experience of literature in relation to the act of reading. Inspired by Proust, Poulet conceives of reading as the act of subjectivizing within ourselves a consciousness that is not our own. This other consciousness is the work itself, whose textual objectivity—that is, the words that compose it and convey its meanings—serves as a vehicle for the subjectivity that animates it and which constitutes the true core of that consciousness. This theoretical framework carries profound philosophical implications: in a world where our consciousness is condemned never to fully grasp another person’s interiority, knowing and understand it as if it were our own, the experience of literature offers the possibility of doing precisely that.Poulet’s classic article on the aesthetic experience of literature is here translated in Italian for the first time. Phenomenology of Reading occupies an interesting place both within the landscape of Poulet’s own critical production and within the broader context of literary theories that, between 1960 and 1980, explored the aesthetic experience of literature in relation to the act of reading. Inspired by Proust, Poulet conceives of reading as the act of subjectivizing within ourselves a consciousness that is not our own. This other consciousness is the work itself, whose textual objectivity—that is, the words that compose it and convey its meanings—serves as a vehicle for the subjectivity that animates it and which constitutes the true core of that consciousness. This theoretical framework carries profound philosophical implications: in a world where our consciousness is condemned never to fully grasp another person’s interiority, knowing and understand it as if it were our own, the experience of literature offers the possibility of doing precisely that