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LE PAROLE DELLA CITTÀ: UNA ANALISI BOURDIEUSIANA
No full textL’articolo esplora il rapporto fra linguaggio, potere simbolico e spazio urbano a partire dal pensiero di Pierre Bourdieu. Seguendo una prospettiva teorico-comparativa, si mostra come le parole che circolano nei campi politico, mediatico e accademico non descrivano la città, ma la producano, legittimando gerarchie spaziali e morali. L’articolo fa riferimento alla genealogia di termini come slum, bidonville e blight, per mostrare come essi agiscano come dispositivi performativi che orientano le politiche urbane e naturalizzano la disuguaglianza. Il linguaggio urbano viene inteso come campo di forze in cui si esercita la violenza simbolica, mascherata da neutralità tecnica e discorso meritocratico.
The words of the city: a bourdieusian analysis
The article explores the relationship between language, symbolic power, and urban space based on the thinking of Pierre Bourdieu. Following a theoretical-comparative perspective, it shows how the words that circulate in the political, media, and academic fields do not describe the city, but produce it, legitimizing spatial and moral hierarchies. The article refers to the genealogy of terms such as slum, bidonville, and blight to show how they act as performative devices that guide urban policies and naturalize inequality. Urban language is understood as a field of forces in which symbolic violence is exercised, masked by technical neutrality and meritocratic discourse.
 
GENAI PER LO STUDIO DELLA LETTERATURA ITALIANA CON STUDENTI UNIVERSITARI CINESI: UNO STUDIO DI CASO
No full textQuesto studio si propone di esaminare come gli strumenti di Intelligenza Artificiale Generativa (GenAI) possano essere integrati nella didattica per l\u27insegnamento della letteratura italiana a studenti universitari cinesi. Il lavoro descrive il quadro teorico che supporta lo studio, presenta le attività didattiche implementate e analizza i risultati ottenuti da un questionario qualitativo somministrato agli studenti. Le attività proposte sono state progettate per incoraggiare la riflessione e l\u27approfondimento dei contenuti studiati. Si tratta del primo studio nel suo genere che esplora l\u27uso dell\u27intelligenza artificiale in questo specifico contesto.
GenAI for the study of italian literature with chinese university students: a case study
This study aims to examine how Generative Artificial Intelligence (GenAI) tools can be integrated into the teaching of Italian literature for Chinese university students. The paper outlines the theoretical framework that supports the study, presents the implemented teaching activities, and analyzes the results obtained from a qualitative questionnaire administered to the students. The proposed activities were designed to encourage reflection and a deeper understanding of the content studied. This is the first study of its kind to explore the use of artificial intelligence in this specific context.
 
ITALIANO ACCADEMICO E DINTORNI. STUDI A MARGINE DEL PROGETTO DIA: Contributi di Chiara Arnone, Marco Biffi, Sara Bottana, Emilia Calaresu, Alessandro Canazza, Doriana Cimmino, Daniele D’Aguanno, Michela Dota, Carolina Flinz, Ludovica Maconi, Luca Marano, Davide Mastrantonio, Serena Nardella, Giovanni Piantanida, Laura Pinnavaia, Massimo Prada, Michele Prandi, Maria Silvia Rati, Abdelmagid Sakr, Eugenio Salvatore, Ilenia Sanna, Martin Testa
No full text
Contributi di Chiara Arnone, Marco Biffi, Sara Bottana, Emilia Calaresu, Alessandro Canazza, Doriana Cimmino, Daniele D’Aguanno, Michela Dota, Carolina Flinz, Ludovica Maconi, Luca Marano, Davide Mastrantonio, Serena Nardella, Giovanni Piantanida, Laura Pinnavaia, Massimo Prada, Michele Prandi, Maria Silvia Rati, Abdelmagid Sakr, Eugenio Salvatore, Ilenia Sanna, Martin Testa
CONTENUTI MUSEALI “AUMENTATI”. PROPOSTE PER UNA RISCRITTURA DI TESTI DIFFERENZIATI IN FUNZIONE DI PARAMETRI SOCIOLINGUISTICI
No full textQuesto contributo rientra nelle attività di disseminazione di un progetto di ricerca inserito all’interno del Partenariato 5 del PNRR, la cui tematica è “Cultura umanistica e patrimonio culturale come laboratori di innovazione e creatività”. Il lavoro propone alcune strategie linguistiche per redigere testi museali diversificati, che si adattino ai profili sociolinguistici delle persone, anche grazie all’uso di una particolare curvatura della Realtà Aumentata. I casi di studio qui analizzati sono costituiti da due schede museali, destinate ad un pubblico specialistico, e relative ad altrettanti dipinti, conservati presso lo CSAC (Centro Studi e Archivio della Comunicazione) di Parma: La Giovinezza - Uomo a Cavallo di Mario Sironi e Grande grigio bruno di Carla Accardi. Nella prima parte del lavoro viene presentata una classificazione dei fenomeni lessicali presenti nelle schede. Successivamente si propongono due esempi di riscritture differenziate del testo relativo al dipinto Carla Accardi, in base a parametri sociolinguistici diversificati. Nell’ultima parte viene infine discussa la necessità di affiancare alle riscritture differenziate un sistema di glossari e dizionari consultabili in rete, che possano fungere da piattaforme di aggregazione per la consultazione simultanea di risorse lessicografiche già disponibili. Il modello suggerito come base di partenza è la “Stazione lessicografica” del VoDIM (Vocabolario Dinamico dell’Italiano Moderno).
“AUGMENTED” MUSEUM CONTENT. PROPOSALS FOR THE REWRITING OF TEXTS DIFFERENTIATED ACCORDING TO SOCIOLINGUISTIC PARAMETERS
This paper presents a dissemination activity stemming from a research project within Partnership 5 of the Italian National Recovery and Resilience Plan (PNRR), focused on “Humanistic culture and cultural heritage as laboratories for innovation and creativity”. The study proposes linguistic strategies for drafting diversified museum texts that adapt to the sociolinguistic profiles of visitors, leveraging a specific Augmented Reality curvature. The analyzed case studies consist of two museum catalogue entries, originally intended for a specialist audience, concerning paintings held at the CSAC (Centro Studi e Archivio della Comunicazione) in Parma: La Giovinezza - Uomo a Cavallo by Mario Sironi and Grande grigio bruno by Carla Accardi. The initial section of the work outlines a classification of the lexical phenomena identified within these catalogue entries. Subsequently, two examples of differentiated rewrites for the text related to Carla Accardi’s painting are proposed, based on varying sociolinguistic parameters. The final section discusses the necessity of integrating the differentiated rewrites with a system of online glossaries and dictionaries. This system is envisioned as an aggregation platform facilitating the simultaneous consultation of existing lexicographical resources. The model suggested as a methodological starting point is the “Lexicographical Station” of the VoDIM (Vocabolario Dinamico dell’Italiano Moderno).
 
«The villa drifts in darkness»: space, identity and writing in The English Patient by Michael Ondaatje
No full textThe article focuses on the representation of the villa in the surroundings of Florence in The English Patient (1992) by Michael Ondaatje, where four characters from different countries find themselves living together for a brief period at the end of World War II. It is a precarious space of reconfiguration of identities traumatized by the conflict, beautifully frescoed yet half-destroyed, strewn with unexploded mines. The fragile community that gathers around the English patient is finally scattered after the bombing of Hiroshima and Nagasaki. The historical and intertextual quality of the text develops geographically: the space of the villa overlaps with the North African desert, to which the protagonist’s past is linked. The analysis of the building, which functions as a transitional place of healing and recovery, as a paradise, but also a hell of desolation and death, allows us to investigate some crucial questions of the postcolonial and transnational contemporary world.L’articolo si concentra sulla rappresentazione della villa nei dintorni di Firenze in The English Patient (1992) di Michael Ondaatje, dove quattro personaggi provenienti da paesi diversi si ritrovano a convivere per un breve periodo sul finire della seconda guerra mondiale. Si tratta di uno spazio precario di riconfigurazione delle identità traumatizzate dal conflitto, splendidamente affrescato ma semidistrutto, disseminato di mine inesplose. La fragile comunità multiculturale che si raccoglie attorno al paziente inglese si disperde dopo il bombardamento di Hiroshima e Nagasaki. La dimensione storica e intertestuale si sviluppa geograficamente: lo spazio della villa si sovrappone a quello del deserto nordafricano cui è legato il passato del protagonista. L’analisi dell’edificio, che funge da luogo transitorio di cura e di guarigione, che è un paradiso, ma anche un inferno di devastazione e di morte, permette di indagare alcune questioni cruciali della contemporaneità postcoloniale e transnazionale
An Etruscan (Tarquinian) Perspective on Euboica II. Pithekoussai and Euboea between East and West
No full textL’articolo riconsidera la «questione euboica», così come presentata nei due volumi di Euboica II, da un punto di vista etrusco, ponendo Tarquinia al centro di reti di lunga durata che collegano Eubea, Pitecusa, Cuma, Fenici e comunità tirreniche. Officine, santuari e iscrizioni mostrano le élites tarquiniensi non come destinatarie passive ma come coproduttrici di una koinè mediterranea, fornendo nel tempo evidenze chiave su vie, cronologie e modalità di questi contatti.
The article reconsiders the “Euboean question”, as presented in the two volumes of Euboica II, from an Etruscan viewpoint, placing Tarquinia at the centre of long-term networks linking Euboea, Pithekoussai, Cumae, Phoenicians and Tyrrhenian communities. Workshops, sanctuaries and inscriptions show Tarquinian elites not as passive recipients but as co-producers of a Mediterranean koine, providing, over time, key evidence for routes, chronologies and modalities of these contacts.L’articolo riconsidera la «questione euboica», così come presentata nei due volumi di Euboica II, da un punto di vista etrusco, ponendo Tarquinia al centro di reti di lunga durata che collegano Eubea, Pitecusa, Cuma, Fenici e comunità tirreniche. Officine, santuari e iscrizioni mostrano le élites tarquiniensi non come destinatarie passive ma come coproduttrici di una koinè mediterranea, fornendo nel tempo evidenze chiave su vie, cronologie e modalità di questi contatti.
The article reconsiders the “Euboean question”, as presented in the two volumes of Euboica II, from an Etruscan viewpoint, placing Tarquinia at the centre of long-term networks linking Euboea, Pithekoussai, Cumae, Phoenicians and Tyrrhenian communities. Workshops, sanctuaries and inscriptions show Tarquinian elites not as passive recipients but as co-producers of a Mediterranean koine, providing, over time, key evidence for routes, chronologies and modalities of these contacts
Radici, corpo, ascolto. L\u27arte come pratica per percepire la biodiversità. Conversazione con Laura Pitingaro
No full textRoots, body, listening. Art as a practice for sensing biodiversity. Conversation with Laura Pitingaro
In this dialogue with artist Laura Pitingaro – currently based in Palermo, where she carries out a research practice at the intersection of visual arts and ecology – the deep roots of an artistic approach emerge that weaves together bodily sensitivity, spiritual tension, and attentiveness to the living world. Trained in painting at the Academy of Fine Arts in Verona and further refined through experiences at the Fondazione Ratti with Anish Kapoor and Karel Appel, Pitingaro retraces the key stages of her development, from early explorations in drawing to her most recent site-specific installations and sensory performances. The interview investigates the role of imagination, sensory memory, and the body as instruments of knowledge and relation to the environment. Art is here conceived as a form of listening and care, capable of giving voice to biodiversity beyond scientific language. Reflecting on the transformative power of aesthetic experience, the artist invites us to rediscover a deeper connection between humans and other forms of life.In questo dialogo con l’artista Laura Pitingaro – attualmente residente a Palermo, dove svolge una pratica di ricerca all’incrocio tra arti visive ed ecologia – emergono le radici profonde di un approccio artistico che intreccia sensibilità corporea, tensione spirituale e attenzione al mondo vivente. Formatasi in pittura all’Accademia di Belle Arti di Verona e ulteriormente perfezionatasi grazie alle esperienze alla Fondazione Ratti con Anish Kapoor e Karel Appel, Pitingaro ripercorre le tappe fondamentali del suo percorso, dalle prime esplorazioni nel disegno alle più recenti installazioni site-specific e alle performance sensoriali. L’intervista indaga il ruolo dell’immaginazione, della memoria sensoriale e del corpo come strumenti di conoscenza e relazione con l’ambiente. L’arte è qui concepita come una forma di ascolto e cura, capace di dare voce alla biodiversità al di là del linguaggio scientifico. Riflettendo sul potere trasformativo dell’esperienza estetica, l’artista ci invita a riscoprire una connessione più profonda tra gli esseri umani e le altre forme di vita
Music as the finest disgust? A Kantian take on cacophony in the Critique of Judgement
No full textLa musica come il disgusto più raffinato? Una visione kantiana della cacofonia nella Critica del giudizio
Il sistema kantiano delle belle arti colloca notoriamente la musica all\u27ultimo gradino della scala; per essere precisi, sembra quasi che non meriti nemmeno un posto nella classificazione, in quanto secondo Kant la musica dovrebbe essere considerata più un\u27arte piacevole che un\u27arte raffinata. Lo scopo del nostro articolo è quello di indagare se lo status peculiare che Kant attribuisce alla musica possa fornire un accesso unico ad alcune questioni di estetica negativa che si possono trovare nella Critica del giudizio: in particolare, questioni riguardanti il problema della forma della musica come arte in relazione alla sua capacità di provocare sentimenti sgradevoli e malsani. Solo quelle forme musicali che preservano la purezza formale del Ton dello strumento sembrano prefigurare la possibilità di una musica che pretenda di essere considerata più che semplicemente piacevole.The Kantian system of the fine arts notoriously places music at the bottom of the ladder; to be precise, it looks almost like it does not even deserve a place in the classification insofar as music, according to Kant, ought to be considered more an agreeable than a fine art. The aim of our paper is to inquire whether the peculiar status Kant ascribes to music can provide unique access to some issues of negative aesthetics that can be found in the Critique of Judgement: specifically, questions concerning the problem of the form of music as art in relation to its ability to cause unappealing as well as unwholesome feelings. Only those musical forms that preserve the formal purity of the instrument’s Ton seem to foreshadow the possibility of a music that claims for itself to be deemed more than just agreeable
Making the Music for ViaggIAccademici
No full textHow can human and artificial intelligence converge within a shared creative endeavour capable of giving musical expression to a theatrical work on artificial intelligence? This piece presents an autoethnographic account by musicologist and composer Mattia Merlini, documenting his experience in composing the stage music for ViaggIAccademici – a play addressing academic concerns regarding ChatGPT, conceived and written with the assistance of the same AI system. In seeking to translate the musical ideas emerging from an extended dialogue between ChatGPT and musicologist Maurizio Corbella, Merlini adopted the principal guidelines proposed by the AI, populating a general struc- tural framework with musical materials generated or elaborated through AI-based tools. The breadth of these suggestions resulted in the production of both MIDI files and ready- made phonograms, as well as specific AI-mediated decisions concerning timbre, struc- ture, software and arrangement, and the employment of AI-assisted mastering techniques. Throughout this process, the role of the human composer remained essential – particularly in the selection of materials, the formulation of a coherent aesthetic framework, and the adaptation of the final track to the dramaturgical demands of the play and the synchroni- sation of live performance. As an instance of practice-based research, and in continuity with the GPTheatre Project from which the play originated, this experiment offers a re- flection on the evolving relationship between human and machine creativity within a do- main traditionally regarded as distinctively and profoundly human.How can human and artificial intelligence converge within a shared creative endeavour capable of giving musical expression to a theatrical work on artificial intelligence? This piece presents an autoethnographic account by musicologist and composer Mattia Merlini, documenting his experience in composing the stage music for ViaggIAccademici – a play addressing academic concerns regarding ChatGPT, conceived and written with the assistance of the same AI system. In seeking to translate the musical ideas emerging from an extended dialogue between ChatGPT and musicologist Maurizio Corbella, Merlini adopted the principal guidelines proposed by the AI, populating a general struc- tural framework with musical materials generated or elaborated through AI-based tools. The breadth of these suggestions resulted in the production of both MIDI files and ready- made phonograms, as well as specific AI-mediated decisions concerning timbre, struc- ture, software and arrangement, and the employment of AI-assisted mastering techniques. Throughout this process, the role of the human composer remained essential – particularly in the selection of materials, the formulation of a coherent aesthetic framework, and the adaptation of the final track to the dramaturgical demands of the play and the synchroni- sation of live performance. As an instance of practice-based research, and in continuity with the GPTheatre Project from which the play originated, this experiment offers a re- flection on the evolving relationship between human and machine creativity within a do- main traditionally regarded as distinctively and profoundly human
Per un’ermeneutica dell’arte. Recensione a Lire les images di Johann Michel
No full textThis review discusses Johann Michel’s Lire les images. Herméneutique de l’art (PUF, 2025), emphasizing its original contribution to philosophy of art seen through the lens of an approach grounded in philosophical hermeneutics. Michel articulates a genuinely hermeneutic approach to the “imaginal,” understood as a lived, embodied, and historically sedimented event of meaning. Drawing primarily on Gadamer and Ricoeur, he builds the book as a dialogical space in which art history, semiotics, iconology and visual studies, phenomenology, psychoanalysis, pragmatism, and cultural anthropology intersect without being reduced to a unique paradigm. The review highlights Michel’s capacity to reveal how artworks emerge from, and return to, the lifeworld, preserving traces of experience and configuring new pathways of interpretation. By connecting the imaginal with the ontological dimension of historicity, Michel shows how the artwork continues to walk through time, interpellating us at the same time as embodied subjects, provoked and engaged by the work of art at the aesthetic level of affects and feelings, and as interpretive subjects who put in place a methodical distanciation necessary to explain them more in order to understand them better. The review argues that this book represents a significant advancement in the philosophy of the image and a compelling expansion of hermeneutics into the visual domain.This review discusses Johann Michel’s Lire les images. Herméneutique de l’art (PUF, 2025), emphasizing its original contribution to philosophy of art seen through the lens of an approach grounded in philosophical hermeneutics. Michel articulates a genuinely hermeneutic approach to the “imaginal,” understood as a lived, embodied, and historically sedimented event of meaning. Drawing primarily on Gadamer and Ricoeur, he builds the book as a dialogical space in which art history, semiotics, iconology and visual studies, phenomenology, psychoanalysis, pragmatism, and cultural anthropology intersect without being reduced to a unique paradigm. The review highlights Michel’s capacity to reveal how artworks emerge from, and return to, the lifeworld, preserving traces of experience and configuring new pathways of interpretation. By connecting the imaginal with the ontological dimension of historicity, Michel shows how the artwork continues to walk through time, interpellating us at the same time as embodied subjects, provoked and engaged by the work of art at the aesthetic level of affects and feelings, and as interpretive subjects who put in place a methodical distanciation necessary to explain them more in order to understand them better. The review argues that this book represents a significant advancement in the philosophy of the image and a compelling expansion of hermeneutics into the visual domain