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Archivi di comunità e registri consiliari nella montagna lombarda alla fine del medioevo. Un censimento
No full textThe paper presents an overview of the community archives of the lombard alpine region, focusing in particular on the extant late medieval council proceedings. The research is part of the project Writing communities. Council records in the late medieval Alps (PRIN 2022). The survey sheds some light on the record-keeping tradition of many communities within a vast scenario, from Southern Swiss Alps to East Lombard Prealps. The paper adresses archival practices, registers’ material structure, authentication techniques and content organisation of the sources. It argues that council registers were not just simple collector devices, but also flexible tools for specific administrative purposes.Il presente saggio intende offrire una panoramica sulla ricerca svolta dall’équipe milanese del progetto PRIN 2022 Scrivere la comunità. Le fonti consiliari nelle Alpi del tardo medioevo. Un primo aspetto ha riguardato il censimento complessivo degli archivi comunitari all’interno di un vasto scenario, dal lago Maggiore sino alla Svizzera e al Garda: si è così delineata una peculiare geografia archivistica attraverso cui sono leggibili diverse strategie di conservazione della documentazione. L’altro punto fondamentale è stata un’analisi formale delle serie di registri consiliari conservati per la montagna lombarda. È così emerso come questa tipologia di fonte, a lungo costretta dalla storiografia nel binomio ‘disordine-rigidezza’, sia piuttosto uno strumento malleabile e flessibile al servizio delle esigenze di carattere amministrativo espresse dalle comunità
Una riforma costituzionale per ottenere la pace? La tensione tra ordinamento costituzionale e diplomazia “coercitiva” nel conflitto armeno-azero sul Nagorno-Karabakh
No full textIl contributo analizza l’accordo di “pace” tra Armenia e Azerbaigian sottoscritto l’8 agosto 2025 in merito alla definizione dello status del Nagorno-Karabakh e alla normalizzazione delle relazioni tra i due Paesi, soffermandosi in particolare sulle sue implicazioni costituzionali. Tra i punti contenuti nell’intesa – sebbene non direttamente trasfusi nel documento finale – figura, infatti, la revisione del Preambolo della Carta fondamentale armena del 1995, una richiesta che sta incontrando non poche difficoltà sul piano interno. La vicenda riveste particolare interesse nell’ambito del diritto costituzionale comparato, poiché si inserisce in una tendenza sempre più diffusa a impiegare lo strumento della revisione costituzionale come leva negoziale per imporre la stipula degli accordi internazionali.A Constitutional Reform to Achieve Peace? The Tension between Constitutional Law and ‘Coercive’ Diplomacy in the Armenia–Azerbaijan Conflict over Nagorno-Karabakh
The paper examines the constitutional implications of the agreement signed on August 8, 2025, between Armenia and Azerbaijan, concerning the determination of Nagorno-Karabakh’s status and the normalization of bilateral relations. Among its provisions – though not formally codified – there is a request to revise the Preamble of Armenia’s 1995 Constitution, a condition that has encountered significant domestic resistance. The case is of relevance in the field of comparative constitutional law, as it reflects a growing trend whereby constitutional revision is employed as a strategic instrument of negotiation in the context of international agreements
Recensione. Sevgi Doğan, La libertà accademica nell’era dei mostri. Rischi e sfide. Meltemi, 2025
No full textRecensioneReview. Sevgi Doğan, La libertà accademica nell’era dei mostri. Rischi e sfide. Meltemi, 202
Counterterrorism as an instrument of normalization in foreign policy: Sudan and Algeria in the Global War on Terror
No full textThe Global War on Terror (GWOT), launched by the United States in the aftermath of the terrorist attacks of September 11th, 2001, presented countries all over the world with threats and opportunities, and each one tried to adapt to the situation and exploit it to its own advantage. Apparently, the choice was clear: either stand with Washington or against it. What we argue in this paper, through a comparison between the Algerian and Sudanese case, is that before 9/11 counterterrorism had already become a common ground for cooperation between the U.S. and regimes it deemed “untouchable” in the 1990s. The GWOT accelerated and intensified this trend, but this didn’t result – at least for the cases considered – into the forging of new strategic partnerships, due to domestic “red lines”, enduring mistrust and path-dependence from traditional regional alliances. La lotta al terrorismo come strumento di normalizzazione in politica estera: Sudan e Algeria nella Guerra globale al terrore
La guerra globale al terrorismo (GWOT), lanciata dagli Stati Uniti all\u27indomani degli attacchi dell\u2711 settembre 2001, ha posto ogni paese nel mondo di fronte a una serie di minacce e opportunità, inducendo ogni governo ad adattarsi alla situazione e a cercare di sfruttarla a proprio vantaggio. Apparentemente, la scelta era chiara: bisognava schierarsi con o contro Washington. Questo articolo, attraverso un confronto tra il caso algerino e quello sudanese, mostra come già prima dell\u2711 settembre la lotta al terrorismo fosse diventata un terreno comune tra gli Stati Uniti e regimi che, negli anni \u2790, erano considerati per diverse ragioni “intoccabili”. La GWOT ha accelerato e intensificato questa tendenza, ma ciò non ha portato, almeno nei casi in esame, alla formazione di nuove partnership strategiche. Ciò a causa della presenza di “linee rosse” sul piano della politica interna, di persistenti diffidenze e della dipendenza degli Stati Uniti da alleanze regionali consolidate nel tempo
The Soundscape of Nothing: Raven Chacon’s Silence Against Settler Colonialism
No full textRaven Chacon’s 2022 Pulitzer Prize winning composition Voiceless Mass is only one of many works he has created to engage with cultural and political conceptions of silence. Far from denoting a lack of sound, silence in Chacon’s work often is full of noise that requires different forms of listening. In what follows I argue that Chacon’s use of silence is a direct challenge to the visual and sonic legacy of European landscape art and to a terra nullian ontology that perceives land as empty. In doing so Chacon’s work aligns with a resurgence of Indigenous resistance to settler colonialism and its extractive logics that reached a climax with the resistance to pipeline construction at Standing Rock. By listening to Chacon’s works that engage in silence we can hear a theory of relationship to the land that insists on its sacred fullness of life
Illness and War: Rereading Sontag’s «Illness as Metaphor» in the Post-Pandemic Era
No full textThis paper, building on Susan Sontag’s seminal works Illness as Metaphor (1978) and AIDS and Its Metaphors (1989), aims to offer a framework for reflecting on the meaning of illness and its metaphorical representations, particularly in the aftermath of the covid-19 pandemic. Sontag’s insights into how illness is often depicted using war metaphors – casting disease as an enemy to be fought – remain highly relevant today. The paper seeks to update these reflections by exploring how the same metaphorical language was employed during the recent pandemic. The objective is to critically examine how the limitations of war-based metaphors fail to capture the full complexity of the phenomena we have experienced. Moreover, it argues for a shift towards a new vocabulary centered on concepts like vulnerability and care, which better express the nuances of collective and individual experiences of illness. This shift in perspective compels us to rethink the metaphors that structure our understanding of illness, advocating for a move away from militaristic language that frames disease in terms of conquest and control, embracing a framework that foregrounds interconnectedness and common vulnerability.This paper, building on Susan Sontag’s seminal works Illness as Metaphor (1978) and AIDS and Its Metaphors (1989), aims to offer a framework for reflecting on the meaning of illness and its metaphorical representations, particularly in the aftermath of the covid-19 pandemic. Sontag’s insights into how illness is often depicted using war metaphors – casting disease as an enemy to be fought – remain highly relevant today. The paper seeks to update these reflections by exploring how the same metaphorical language was employed during the recent pandemic. The objective is to critically examine how the limitations of war-based metaphors fail to capture the full complexity of the phenomena we have experienced. Moreover, it argues for a shift towards a new vocabulary centered on concepts like vulnerability and care, which better express the nuances of collective and individual experiences of illness. This shift in perspective compels us to rethink the metaphors that structure our understanding of illness, advocating for a move away from militaristic language that frames disease in terms of conquest and control, embracing a framework that foregrounds interconnectedness and common vulnerability.
The third section will instead be dedicated to analyzing how the defensive strategies Sontag identified have also proven relevant to the recent COVID-19 pandemic, particularly within the Italian context. This will allow for a critique, as in Sontag’s time, of the metaphorization of illness and an exploration of whether other approaches may be possible. In particular, I will focus, albeit briefly, on how the language of the Ethics of Care can help us reflect on these situations and assess whether new and equally practical solutions are possible when addressing illness, both individual and collective
Susan Sontag e il voyeurismo fotografico: Lo sguardo alienato di Diane Arbus
No full textThe power of photography, its strength and its limits, were the subject of Susan Sontag\u27s (1933-2004) attention mainly thanks to her two famous contributions on the subject: On Photography, published in 1977 as a collation of previously published texts in the “New York Review of Books”, and Regarding the Pain of Others published in 2003, shortly before the untimely death of the American writer and activist. The essays on photography that Susan Sontag left us have marked decades of visual culture, both in Italy and abroad, of discussions and reflections on the capacity of this medium to shape consciousness, modify perceptions, and condition information. And while it is true that the theme of the voyeurism of the photographic gaze was explored in depth in the 2003 essay on the experience of the brutal trauma of the fruition of war through images, it is above all the 1977 essay that is still considered a point of reference for a new way of reading and thinking about photography, placed in transversal and dynamic dialogue with other disciplines, first and foremost cinema. This contribution aims to return to rereading the origins of the theme of photographic voyeurism in Susan Sontag\u27s thought, then declining it in her reading of Diane Arbus\u27 poetics as a complex, fascinating, controversial case study.The power of photography, its strength and its limits, were the subject of Susan Sontag\u27s (1933-2004) attention mainly thanks to her two famous contributions on the subject: On Photography, published in 1977 as a collation of previously published texts in the “New York Review of Books”, and Regarding the Pain of Others published in 2003, shortly before the untimely death of the American writer and activist. The essays on photography that Susan Sontag left us have marked decades of visual culture, both in Italy and abroad, of discussions and reflections on the capacity of this medium to shape consciousness, modify perceptions, and condition information. And while it is true that the theme of the voyeurism of the photographic gaze was explored in depth in the 2003 essay on the experience of the brutal trauma of the fruition of war through images, it is above all the 1977 essay that is still considered a point of reference for a new way of reading and thinking about photography, placed in transversal and dynamic dialogue with other disciplines, first and foremost cinema. This contribution aims to return to rereading the origins of the theme of photographic voyeurism in Susan Sontag\u27s thought, then declining it in her reading of Diane Arbus\u27 poetics as a complex, fascinating, controversial case study
Telematic Art: The Italian Case. PostMachina, MIDⱯ, and Tempo Reale before and after the 42nd Venice Biennale
No full textIl caso italiano dell’arte telematica è scarsamente documentato negli studi di settore. Le esperienze di PostMachina, MIDⱯ e Tempo Reale, avviatesi a Bologna, Milano e Calcata (Viterbo) tra il 1983 e il 1986 risultano infatti pressoché assenti dalla letteratura internazionale e poco approfondite anche in Italia. Alla luce dei materiali d’archivio, il presente contributo prende in considerazione le sperimentazioni dei tre gruppi, al fine di rintracciare le cifre espressive; i contatti registrati con alcuni esponenti della scena artistica coeva; l’attenzione di figure della critica quali Maria Grazia Mattei; le partnership culturali, dal Centre Pompidou ad Ars Electronica; aziendali, dalla RAI alla Italcable; nonché politiche, con le principali istituzioni comunitarie del tempo. Se PostMachina enfatizza la variabile dell’intervento umano nel processo tecnico, MIDⱯ sviluppa una neolingua ideografica per la civiltà telematica, mentre Tempo Reale opera con particolare attenzione alle istanze di pace, solidarietà femminile e per l’integrazione dei luoghi esclusi dal network globale. Queste ricerche, prima e dopo il maggiore riconoscimento istituzionale dell’arte telematica alla XLII Biennale di Venezia, delineano un versante dell’operatività estetica nazionale – intrinsecamente e idealmente transculturale – suscettibile di un riposizionamento critico nella fenomenologia dell’arte della comunicazione.The Italian case of Telematic Art remains underdocumented in specialized studies. The experiences of the artist collectives PostMachina, MIDⱯ, and Tempo Reale, founded in Bologna, Milan, and Calcata (Viterbo) between 1983 and 1986, are largely absent from international literature and have received limited scholarly attention even in Italy. Drawing on archival materials, this study examines their experimental practices, tracing their distinct artistic languages, their connections with key figures in the contemporary art scene, the critical engagement of art critics such as Maria Grazia Mattei, and their institutional partnerships: cultural, from the Centre Pompidou to Ars Electronica; corporate, from RAI to Italcable; and political, with major European institutions of the time. While PostMachina emphasized the role of human intervention within technological processes, MIDⱯ developed an ideographic neolanguage for the telematic age, and Tempo Reale engaged with themes of peace, female solidarity, and the inclusion of communities marginalised from global networks. These investigations, both preceding and following the peak of institutional recognition for Telematic Art at the 42nd Venice Biennale, delineate a dimension of Italian aesthetic practice—intrinsically and ideally transcultural—warranting a critical repositioning within the broader phenomenology of communication art