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Unveiling Women’s Trauma in Arthurian Conception Narratives
Get PDFThe accounts of King Arthur assume a central role for the first time in the Historia Regum Britanniae by Geoffrey of Monmouth (c. 1136), which was first translated into French octosyllabic verse by Wace in his Roman de Brut (c. 1155), and subsequently into semi-alliterative verse by the English poet Laȝamon (c. 1205). In these narratives, two of the primary male figures –– namely Arthur and Merlin –– are depicted as the result of non-consensual unions. Merlin is described as the offspring of an incubus who visits a sometimes-unconscious girl, whereas Arthur is conceived as the result of a plan devised by Merlin and Uther to deceive Igraine, wife of one of the king’s vassals. Both women disappear from the narrative after the birth of their children and both births are imbued with the trappings of magic and romantic tropes, which serve to obscure the absence of explicit consent.
The aim of this paper is to undertake a comparative reading of the two episodes across Geoffrey’s, Wace’s and Laȝamon’s narratives, in order to uncover the strategies adopted to soften the discomfort with the depiction of events imbued with moral ambiguities
The Educational Value of the Library in a Penitentiary Environment
Get PDFThe great challenge of prison is the repair function and not only towards those who have suffered the damage, but also for the recluse. The article focuses on the penitentiary environment as a place for training and learning through the social library: a space in prison free, participated, co-built and attentive to the needs of differences
La spontaneità infantile di Silvia Mei
Get PDFThe interview, accompanied by an introduction and a selection of works, aims to identify the focal points of the poetics and pictorial production of the Sardinian artist Silvia Mei. The author who edited the interview also wanted to highlight the points of contact between the proposed works and a strand of twentieth-century modernist research that find a source of inspiration in children's drawings.L'intervista, corredata da un' introduzione e da una selezione di opere, si propone di individuare i punti focali della poetica e della produzione pittorica dell'artista di origine sarda Silvia Mei. L'autrice che ha curato l'intervista ha voluto inoltre mettere in luce i punti di contatto tra le opere proposte e un filone della ricerca modernista novecentesca che trova una fonte di ispirazione nei disegni infantili
Ritorno all’io. L’intérieur interiorizzato di Edmond De Goncourt e Mario Praz
Get PDFBetween the second half of the 19th century and the beginning of the 20th century, the idea of home is connected to certain ideals, aesthetic as much as existential: a refuge from the world, a mirror of the soul, a voluntary prison, a custody of collections. The personality of the individual, particularly the intellectual, becomes the centre of a different way of living. A new taste in furnishing is also emerging, which absorbs the values of Aestheticism and transforms them into a complex ‘ensemble’ of furniture, objects, bibelots, works of art, draperies, carpets and various fabrics, and books, i.e. into an articulate and autobiographical ‘mise‐en‐scène’. For some authors, the furnishing of oneʹs home also becomes a literary theme, as for Edmond De Goncourt (La Maison dʹun Artiste, 1881) and Mario Praz (La casa della vita, 1958), in which personal life is continually, and voluntarily, intertwined with furnishings.Between the second half of the 19th century and the beginning of the 20th century, the idea of home is connected to certain ideals, aesthetic as much as existential: a refuge from the world, a mirror of the soul, a voluntary prison, a custody of collections. The personality of the individual, particularly the intellectual, becomes the centre of a different way of living. A new taste in furnishing is also emerging, which absorbs the values of Aestheticism and transforms them into a complex ‘ensemble’ of furniture, objects, bibelots, works of art, draperies, carpets and various fabrics, and books, i.e. into an articulate and autobiographical ‘mise‐en‐scène’. For some authors, the furnishing of oneʹs home also becomes a literary theme, as for Edmond De Goncourt (La Maison dʹun Artiste, 1881) and Mario Praz (La casa della vita, 1958), in which personal life is continually, and voluntarily, intertwined with furnishings
La escritura-retablo y el danzante sin memoria: las matrices del testimonio andino
Get PDFI am interested in exploring the matrices of contemporary Latin American testimony, considering its amphibious and undisciplined nature, the legitimization of the Casa de las Américas Prize, and the processes of mediation and translation. I then delineate the particularities of Andean testimony regarding political violence in Peru, tracing a genealogy that connects it to Guaman Poma de Ayala and José María Arguedas, both fundamental to Andean memory. Later, I propose a classification of Andean testimony that, by intersecting image, orality, and writing, reveals how popular cultures, material expressions, and performative acts process the pain and memories of the armed conflict. This classification, which goes beyond its recognition as a literary genre, can be understood as altarpiece-writing: a cultural device encompassing a broad testimonial spectrum. In other words, I conceive testimony as a memory box where the painful recollections of the armed conflict are narrated in multiple ways.Me interesa realizar un recorrido por las matrices del testimonio latinoamericano contemporáneo que aún hoy se reproducen, atendiendo a su carácter genérico anfibio e indisciplinado, el proceso de legitimación del Premio Casa de las Américas y los complejos procesos de mediación y traducción. Luego, pretendo delimitar las particularidades del testimonio andino de la violencia política en el Perú reciente, a través de una genealogía que lo emparenta con las producciones de Guaman Poma de Ayala en la Colonia y José María Arguedas en el siglo XX, que resultan propias de la memoria andina. Más tarde, propongo una clasificación del testimonio andino que, atenta a los cruces entre imagen-oralidad-escritura, evidencia el ingreso de las culturas populares, las materialidades y las performatividades para tramitar los dolores y las memorias del conflicto armado. Esta clasificación del testimonio, que excede su consideración como solo un género literario canónico, puede concebirse como una escritura-retablo: entiendo el retablo como un dispositivo cultural que me permite dar cuenta de un arco testimonial amplio. Es decir, concibo el testimonio como una caja de memoria, en cuyos compartimientos se narran de diversas formas los recuerdos penosos del conflicto armado.Me interesa realizar un recorrido por las matrices del testimonio latinoamericano contemporáneo que aún hoy se reproducen, atendiendo a su carácter genérico anfibio e indisciplinado, el proceso de legitimación del Premio Casa de las Américas y los complejos procesos de mediación y traducción. Luego, pretendo delimitar las particularidades del testimonio andino de la violencia política en el Perú reciente, a través de una genealogía que lo emparenta con las producciones de Guaman Poma de Ayala en la Colonia y José María Arguedas en el siglo XX, que resultan propias de la memoria andina. Más tarde, propongo una clasificación del testimonio andino que, atenta a los cruces entre imagen-oralidad-escritura, evidencia el ingreso de las culturas populares, las materialidades y las performatividades para tramitar los dolores y las memorias del conflicto armado. Esta clasificación del testimonio, que excede su consideración como solo un género literario canónico, puede concebirse como una escritura-retablo: entiendo el retablo como un dispositivo cultural que me permite dar cuenta de un arco testimonial amplio. Es decir, concibo el testimonio como una caja de memoria, en cuyos compartimientos se narran de diversas formas los recuerdos penosos del conflicto armado
Editors' Introduction
Get PDFPresent in a significant way in contemporary philosophy, psychoanalysis has become an object of permanent and lively interest for the main philosophical tendencies of the twentieth century. Wherever one looks, from critical theory to phenomenology, from existentialism to structuralism, from hermeneutics to the philosophy of language, from the philosophy of science to the philosophy of mind, it is possible to attest to the existence of a wide and varied philosophical reception of psychoanalysis. Brazilian philosophy is inserted with protagonism in this great framework of interlocution between philosophical discourse and psychoanalytic discourse..
Le pitture sul muro nord della basilica di San Clemente: ricostruendo il primo Giudizio universale di Roma
No full textOne of the daily challenges faced by art historians, particularly those focusing on the Middle Ages, is the fragmented and altered state of the artworks they study. These works have often been significantly changed both materially and contextually. Studying historical art involves a dual interpretative effort: reconstructing the original appearance of the work and understanding its original context and audience. This study aims to explore such complexities in the mural paintings of the early Christian basilica of San Clemente in Rome, specifically those in the right nave. These murals, believed to depict the Last Judgment, have undergone multiple interpretations. The research involves comparing historical graphic documentation with the surviving paintings. This study supports Joseph Wilpert’s interpretation of the murals as part of a Last Judgment scene, dating them to the 9th century, and linking their stylistic features to contemporary Roman monumental art and manuscripts. Additionally, it examines the unusual location of these murals within the basilica, suggesting it was influenced by the adjacent cult spaces and the basilica's architectural evolution.
Questo studio affronta il problema della frammentarietà e dell'alterazione delle opere d'arte medievali, con particolare attenzione alle pitture murali nella navata destra della basilica paleocristiana di San Clemente a Roma. Le pitture sono interpretate come parte di un'antica rappresentazione del Giudizio Universale, sebbene siano state oggetto di diverse letture storiche. Attraverso un'analisi dettagliata delle testimonianze grafiche e dei confronti stilistici, si supporta l'interpretazione proposta da Joseph Wilpert, che vede nei pannelli raffigurazioni dei Beati e dei Dannati. Lo studio esamina anche la datazione delle pitture, proponendo una collocazione nel IX secolo, e discute l'insolita posizione del Giudizio nella navata laterale, considerando l'evoluzione degli spazi di culto adiacenti
Nicanor Parra, tra antipoesia e antiutopia
No full textIn this article, we analyze the themes and language of Nicanor Parra’s Antipoems to show how its ethical and aesthetic code certify the refutation of any kind of utopia, from the literary to the political one, from the religious to the scientific one, conceived as a mythology of the human progress. Anti-poetry and Anti-utopia, thus, naturally meet due to their shallow pretensions and motives, to the denial of any social compromise or teleological aspiration, and through an Anti-Rethoric based on an irreverent use of language, on irony and, sometimes, on the sarcastic way in which human pulsions and ambitions are observed.Il presente articolo affronta le ragioni tematiche e linguistiche dell’antipoesia di Nicanor Parra in rapporto a un codice etico ed estetico che certifica la negazione di qualsiasi tipo di utopia, da quella letteraria a quella politica, da quella religiosa a quella scientifica, incarnata dal mito del progresso. Antipoesia e antiutopia si incontrano così quasi naturalmente alla luce di un abbassamento di pretese e moventi, in nome del rifiuto di qualsiasi impegno sociale o aspirazione teleologica e attraverso un’antiretorica fondata sull’uso sfrontato della lingua, dell’ironia e, quando è il caso, del sarcasmo con cui sono osservate le umane pulsioni e ambizioni
Alcuni trapianti avveniristici nella fantascienza russa del primo Novecento: Bulgakov, Tolstoj, Beljaev
Get PDFIn this article, the author turns his attention to two specific literary motifs from Russian science fiction literature of the early 1920s: surgically obtained rejuvenation and pioneering transplantation between animal and human organs, in particular brain transplantation. These elements are present in important, mostly contemporary literary works by Mikhail Bulgakov (Heart of a Dog), Aleksey Tolstoy (The Blue Cities), and Alexander Belyayev (Hoity-Toity). By means of a contrastive analysis of these literary motifs in the works of these writers and a reconstruction of the Russian and Soviet 1920s scientific context that generated them, when medicine made enormous strides, the author will attempt to find a connection between these works and thus determine the existence of a common pattern that justifies the similarities in the thematic and stylistic approach of their authors.In this article, the author turns his attention to two specific literary motifs from Russian science fiction literature of the early 1920s: surgically obtained rejuvenation and pioneering transplantation between animal and human organs, in particular brain transplantation. These elements are present in important, mostly contemporary literary works by Mikhail Bulgakov (Heart of a Dog), Aleksey Tolstoy (The Blue Cities), and Alexander Belyayev (Hoity-Toity). By means of a contrastive analysis of these literary motifs in the works of these writers and a reconstruction of the Russian and Soviet 1920s scientific context that generated them, when medicine made enormous strides, the author will attempt to find a connection between these works and thus determine the existence of a common pattern that justifies the similarities in the thematic and stylistic approach of their authors