AlmaDL Journals
Not a member yet
14594 research outputs found
Sort by
Drammaturgie della partecipazione. La Trilogia della Guerra: collaborare alla messa in scena del tragico
No full textThis article aims to explore how theatre can fully express its potential within a participatory and political framework, presenting the initial findings of an ethnographic study focused on the main ways in which a theatrical performance can create an aesthetic and political forum. The performances under investigation were developed by a young theatre company whose work is rooted in collaborative methods and audience participation. The ethnographic research presented here is based on participant observation of both the creative practices of the performers and the engagement of audiences in three recent productions directed by Gabriele Vacis with the theatre company PoEM (Potenziali Evocati Multimediali): Prometeo (2022), Antigone e i suoi fratelli (2023), and Sette a Tebe (2023). These three productions were staged as part of the Teatro Stabile di Torino’s season from November 30, 2023, to December 17, 2024, and collectively framed as a “Trilogy of War.” The research identifies three key aspects as particularly significant: the participatory relationship between actors and audiences during performances; the collaboration between professional theatre-makers and individuals traditionally excluded from the creative process of the performing arts; and finally, the pedagogical project through which performance becomes a space for reflecting on democracy, its contradictions, and its ambiguities.L’articolo si propone di verificare come il teatro possa esprimere tutto il suo potenziale in una dimensione partecipativa e politica, presentando i primi risultati di uno studio etnografico basato sulle principali modalità con cui una performance teatrale può costruire un forum estetico e politico – una performance teatrale che vede tra i suoi realizzatori i ragazzi di una giovane compagnia teatrale che fonda le proprie pratiche sulla collaborazione e sulla partecipazione dei pubblici. La ricerca etnografica illustrata nell’articolo è basata sull’osservazione partecipante delle pratiche dei realizzatori e dei pubblici di tre recenti produzioni dirette da Gabriele Vacis con la compagnia PoEM (Potenziali Evocati Multimediali): Prometeo (2022), Antigone e i suoi fratelli (2023) e Sette a Tebe (2023). Le tre produzioni sono state presentate all’interno della stagione del Teatro Stabile di Torino dal 30 novembre 2023 al 17 dicembre 2024, riunite in quella che è stata presentata come una Trilogia della guerra. Tra i principali aspetti emersi nel corso della ricerca, risultano significativi almeno tre elementi: la partecipazione tra attori e pubblici nella fruizione degli spettacoli; la collaborazione tra professionisti teatrali e individui tradizionalmente esclusi dal processo creativo delle arti performative; e infine il progetto pedagogico dove la performance diviene una riflessione sulla democrazia, le sue contraddizioni e le sue ambiguità
Archivio e pratiche partecipative. Alcune note sul contributo sudafricano a partire da documenta 15
No full textThe Literature on participatory art practices today is characterized by a multiplicity of contributions that restores the complexity of an ongoing transformation characterized by a fragmentary nature of critical positions in the face of the growth of stories and practices. Since these practices are plural, on the one hand, and since the critical gaze has been dominated by the Western historical-critical tradition, it seems to us that today it is necessary to begin to take into account first of all how much the different contexts have characterized these practices. Precisely for these reasons, starting from a survey of the Reggio-Africa archive preserved in Reggio Emilia which testifies to the relations between the Emilian city and the southern African area since the 60s, South Africa has been identified as the territory of investigation. Dwelling above all on some experiences started at the beginning of the twenty-first century, and on collectives present at documenta 15, some questions will be asked with respect to the awareness and attention towards the archive which is the object and instrument of many participatory projects for its being intrinsically linked to the theme of memory, identity and history. Archive subject of participatory actions, but also a possible tool for their historicization.La letteratura critica sulle pratiche partecipate oggi è caratterizzata da una molteplicità di contributi che restituiscono la complessità di una trasformazione in atto caratterizzata da una frammentarietà di posizioni critiche a fronte della crescita di storie ed esperienze.
Dal momento che tali pratiche sono plurali, da un lato, e che lo sguardo critico è stato dominato dalla tradizione storico-critica occidentale, ci pare che oggi sia necessario iniziare a tener conto innanzitutto di quanto i differenti contesti abbiano caratterizzato tali pratiche.
Proprio per queste ragioni, a partire da una indagine sull’archivio Reggio-Africa conservato a Reggio Emilia che testimonia le relazioni tra la città emiliana e l’area dell’Africa australe dagli anni ’60, si è individuato come territorio di indagine il Sudafrica. Soffermandoci soprattutto su alcune esperienze avviate dagli inizi del XXI secolo, ed in particolare su collettivi presenti a documenta 15, si porranno alcuni quesiti rispetto alla consapevolezza e attenzione nei confronti dell’archivio che è oggetto e strumento di molti progetti partecipati per il suo essere intrinsecamente legato al tema della memoria, della identità e della storia. Archivio soggetto delle azioni partecipate, ma anche possibile strumento per la loro storicizzazione
La partecipazione come campo allargato: conflitti, coesistenze e sconfinamenti nella pratica artistica di Aterraterra
No full textThis essay aims to summarize recent research on the artistic experience of Aterraterra, a Palermo-based project founded in 2020 by artists Luca Cinquemani and Fabio Aranzulla. Aterraterra project moves his practice between cultivation, activism, and artistic languages. When trying to critically define the practices in question, two pivotal moments stand out: the 2018 project-cum-guerrilla action Viva Menilicchi!, developed by the collective Fare Ala and Wu Ming 2 in the public space of Palermo, and the 15th edition of the documenta exhibition, curated by ruangrupa.
Throughout the research, the participatory experience is presented as an expanded field, borrowing the Kraussian term, generated by the dilation of its structural terms—artist, space, spectators—no longer sufficient to exhaust the artistic process. The departure of practices from institutional frameworks, their entanglement with neoliberal policies, the increasingly sought-after interaction with the multitude, the hybridization of practices, and the progressive permeation into discourses involving non-human communities not only form the foundation of the Aterraterra project, but also articulate an approach to participatory experience that finds its (ir)realization in conflict and in the reconfiguration of possible forms of coexistence.
As the research was developed through direct contact with the artists, an interview with them is included in the appendix.Il presente saggio condensa le ricerche svolte negli ultimi anni attorno all’esperienza artistica del progetto palermitano di Aterraterra, fondato nel 2020 dagli artisti Luca Cinquemani e Fabio Aranzulla nell’intersezione tra coltivazione, attivismo e linguaggi artistici. Nel tentativo di definire criticamente le pratiche trattate, due momenti appaiono cruciali: il progetto/guerriglia Viva Menilicchi! del 2018, sviluppato dal collettivo Fare Ala e Wu Ming 2 nello spazio pubblico di Palermo, e la quindicesima edizione della rassegna documenta, curata da ruangrupa.
Nel corso della ricerca, l’esperienza partecipata si costituisce, prendendo in prestito la denominazione kraussiana, come un campo allargato generato dalla sovrapposizione di significati dovuta alla dilatazione dei suoi termini strutturali – artista, spazio, spettatori – non più sufficienti a esaurire il processo artistico. La fuoriuscita delle pratiche dalle cornici istituzionali, le relazioni inedite con le politiche neoliberali, l’interazione sempre più ricercata con la moltitudine, l’ibridazione delle pratiche e la progressiva compenetrazione nei discorsi delle comunità non umane rappresentano non solo le fondamenta del progetto di Aterraterra, ma costituiscono un approccio all’esperienza partecipata che individua nel conflitto e nella riconfigurazione di possibili coesistenze il suo punto di maggiore (ir)realizzazione
What Makes Latin American Public Histories Different? Dialogues, Debates, Perspectives
No full textThis article explores how Public History, as developed in the Anglo-Saxon world, has evolved independently in Latin America since the 1970s. Despite its divergence from Northern traditions, Latin American public history, characterized by cultural diversity, offers alternative narratives that challenge dominant histories and support social struggles. We examine three case studies: the rise of comics about characters and historical processes of marginalized populations; the Andean Oral History Workshop (THOA) and Ch’Ixi Collective’s work in Bolivia led by Silvia Rivera Cusicanqui, and a 2010 Colombian museum exhibition addressing historical memory and violence. These examples highlight the region’s contributions to public history
Labor as Public and Digital History in Brazil
No full textThis article examines public, digital, and labor history in Brazil, highlighting the challenges of constructing a public labor history amid neoliberal deregulation, technological changes, and the silencing of workers. It is argued that the practice of Public History should be encouraged as a professional duty of historians and that, in the Brazilian context, Public Labor History emerged as a practice motivated by the pressures of an unfavorable political climate
I Conflitti dell'ecfrasi. Alle origini delle pubblicazioni cinematografiche einaudiane (1948-1952)
No full textThis article examines the early development of Einaudi’s cinematic publishing (1948–1952) by tracing editorial negotiations, intellectual exchanges, and institutional constraints that shaped the selection and rejection of books on cinema. Through an extensive analysis of archival correspondence, editorial minutes, and publication catalogs, the study reconstructs the network of translators, consultants, and critics who contributed to establishing a dedicated space for cinema within Einaudi’s catalog. The investigation focuses on figures such as Bruno Fonzi, Antonio Giolitti, Antonio Pietrangeli, Umberto Barbaro, Carlo Ludovico Ragghianti, and Guido Aristarco, as well as key foreign authors whose works defined the publisher’s editorial approach to cinema. The research highlights the ideological, aesthetic, and commercial factors that influenced Einaudi’s choices, revealing tensions between its pedagogical mission and the emerging industrial dynamics of film publishing. By addressing the conflicts between different conceptions of film criticism – ranging from historical-theoretical studies to collections of screenplays – the article sheds light on how Einaudi positioned itself as a platform for intellectual debate on cinema. Ultimately, this study contributes to broader discussions on the intersection between publishing and cinema, demonstrating how the Turin-based house played a crucial role in shaping Italian film culture in the postwar period.L'articolo indaga lo sviluppo iniziale dell’editoria cinematografica di Einaudi (1948–1952), tracciando le negoziazioni editoriali, gli scambi intellettuali e i vincoli istituzionali che hanno influenzato la selezione e il rifiuto dei libri sul cinema. Attraverso un’ampia analisi della corrispondenza d’archivio, dei verbali editoriali e dei cataloghi delle pubblicazioni, lo studio ricostruisce la rete di traduttori, consulenti e critici che hanno contribuito a creare uno spazio dedicato al cinema all’interno del catalogo einaudiano. L’indagine si concentra su figure come Bruno Fonzi, Antonio Giolitti, Antonio Pietrangeli, Umberto Barbaro, Carlo Ludovico Ragghianti e Guido Aristarco, nonché su autori stranieri le cui opere hanno definito l’approccio editoriale di Einaudi. La ricerca mette in evidenza i fattori ideologici, estetici e commerciali che hanno influenzato le scelte della casa editrice, rivelando le tensioni tra la sua missione pedagogica e le dinamiche industriali emergenti nell’editoria cinematografica. Analizzando i conflitti tra diverse opere critiche — dai saggi storico-teorici alle raccolte di sceneggiature — l’articolo tenta di mostrare il modo in cui Einaudi si presenta quale piattaforma per il dibattito intellettuale. Infine, lo studio contribuisce a una più ampia riflessione sull’intersezione tra editoria e cinema, dimostrando come la casa editrice torinese abbia svolto un ruolo cruciale nella formazione della cultura cinematografica italiana nel dopoguerra
Western and Islamic Constitutionalism
No full textThis essay aims to develop the comparison between Western constitutionalism and Islamic constitutionalism. In the Western tradition the term constitutionalism points to the limitation of government through law. There have been different models of constitutionalism, in particular the American and the French ones, that can be understood in the light of the two interpretive categories of constitutional democracy and legislative democracy, respectively. The developments of contemporary constitutionalism appear very complex, as today's constitutions are the reflection of the cultural, religious, social and political pluralism of current societies. Therefore, the centrality of interpretation is imposed, whose complexity derives from the fact that pluralistic constitutions merge legal issues and moral issues together. About Islamic constitutionalism some Islamic thinkers consider secularism a philosophy, while Islam is another form of philosophy, which has its own vision of human life, rights and duties. In this perspective it follows that it is reasonable to think that constitutionalism can be achieved differently in different societies depending on the conceptions of rights and duties that are accepted and shared
We Would Not Be Here: Reproduction, Scholarship, and the Rise of Techno-authoritarianism
No full textIn this essay, I seek to braid together several ideas related to democracy, academic methodologies, and information technologies, all of which are being used as capital by tech billionaires, and, in partnership with institutions and government, being wielded as means of control. Currently, our reproductive rights are being stripped from us, threatening our very participation in scholarly life, and our students are terrified of authoritarianism at their doorstep. Scholarship has repeatedly shown that technologies are political, and in our current moment of inequality and rising authoritarianism, we should be wary of any promises of technological liberation. The academy, both in its research and teaching, is a pillar of democracy, and it is being threatened on many fronts. Rather than seeking technological solutions, I argue that our research should democratize the production of ideas by bringing in more voices to do the research and telling real human stories that haven’t yet been told
From Fragmentation to Inclusion: Strengthening Employment Protections for Workers with Cancer in Italy.
No full textThis paper examines the Italian legal framework concerning the employment protection of cancer patients and survivors, with particular attention to the challenges posed by discrimination and persistent cancer-related stigma in the workplace. The analysis situates the employment rights of individuals with oncological conditions within the broader context of disability and health and safety law, exploring both existing protections and recent legislative proposals aimed at extending certain rights to this group. The central objective is to assess whether the current disability law framework is adequate to safeguard the employment rights of people affected by cancer, or whether more tailored legal measures are needed. Through a critical evaluation of the strengths and limitations of existing provisions, the paper proposes recommendations to enhance the legal recognition and protection of cancer patients and survivors in the world of work.