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Much more than a checklist: An introduction to the birds and nature of Cyprus
No full textReview of Flint P. & Richardson C., 2024. The Birds of Cyprus. An annotated Checklist. BOC Checklist Series: 28. British Ornithologists’ Club. Tring, UK, 492 pp
La diglossia nel linguaggio letterario, artistico e museale – Un approccio alla comprensione delle diversità culturali
No full textThis article aims to analyze the concept of diglossia, historically linked to the linguistic field, and extend its applicability to a broader cultural dimension that includes literary, artistic, and, finally, museological language. It is argued that diglossia—understood as the coexistence of different communicative languages and codes within the individual and the community—is not a marginal phenomenon, but an intrinsic and pervasive condition of contemporary life.
The essay is based on a research project concerning the historical-artistic context of post-unification Sardinia, where the concept of visual diglossia was introduced. The Sardinian case, with its historical trajectory of local artists mediating between \u27native\u27 languages and dominant cultural codes, offers an innovative paradigm for understanding the dialogue between hegemonic and subaltern cultures, anticipating phenomena later extended to Italy and other post-colonial contexts.
This visual diglossia, originating in art and reflected in the organizational models of international bodies like ICOM, facilitates the translation between a global exhibition \u27language\u27 and local cultural languages. Considering diglossia as a widespread competence in dissemination enables a dynamic process that favors the re-emergence of even peripheral cultural meanings and their access to a wide audience, overcoming spatio-temporal and cultural barriers. In an era of increasing interconnectedness, the ability to manage this diglossia is crucial for transforming museum heritage into a \u27shared communication theater,\u27 where cultural diversity is actively mediated.This article aims to analyze the concept of diglossia, historically linked to the linguistic field, and to extend its applicability to a broader cultural dimension that includes literary, artistic, and, finally, museological language. It is argued that diglossia — understood as the coexistence of different communicative languages and codes within the individual and the community — is not a marginal phenomenon, but an intrinsic and pervasive condition of contemporary life. The essay is based on a research project concerning the historical-artistic context of post-unification Sardinia, where the concept of visual diglossia was introduced. The Sardinian case, with its historical trajectory of local artists mediating between \u27native\u27 languages and dominant cultural codes, offers an innovative paradigm for understanding the dialogue between hegemonic and subaltern cultures, anticipating phenomena later extended to Italy and other post-colonial contexts.This visual diglossia, originating in art and reflected in the organizational models of international bodies like ICOM, facilitates the translation between a global exhibition \u27language\u27 and local cultural languages. Considering diglossia as a widespread competence in dissemination enables a dynamic process that favors the re-emergence of even peripheral cultural meanings and their access to a wide audience, overcoming spatio-temporal and cultural barriers. In an era of increasing interconnectedness, the ability to manage this diglossia is crucial for transforming museum heritage into a \u27shared communication theater,\u27 where cultural diversity is actively mediated
La lezione di canto come dispositivo narrativo e pedagogico: finzioni letterarie, pratiche didattiche e realtà istituzionali – Riflessioni semi-serie su ciò che si canta, si insegna, si pretende e si subisce
No full textTransformational Experiences. The Role of Immersive Arts and Media in Individual and Societal Change
Get PDFWe live in times of humanitarian and environmental crises. The effects of climate change add to the economic, physical, and mental suffering caused by social discrimination, in the form of gender, class, and race inequalities.
Encounters with and creation of arts have been suggested as a potential remedy, allowing to stay with the trouble rather than running from it, and imagining a different future rather than manifesting the past. But what are the concrete chances that all this really happens?
Similar questions can be raised in relation to immersive media. The latter have been claimed to possess an unprecedented prosocial potential. However, what are the appropriate strategies to ensure that such potential is actually expressed?
For this issue of AN-ICON. Studies in Environmental Images, we selected diverse contributions investigating the role of the arts and media in rethinking (and acting upon) societal and environmental problems, focussing on immersive experiences in particular
Television seriality in Italy. Observatory on the years 2021–2024
No full textIn questo lavoro si traccia un panorama della serialità televisiva italiana degli ultimi anni con uno sguardo comparativo verso la produzione straniera. L’esame è condotto genere per genere: i generi finora poco o per nulla esplorati in Italia, come la fantascienza o il mistery (§ 2.), il biopic e il romanzo di formazione (§ 3.), il poliziesco (§ 4.), il crime (§ 5.), la commedia sentimentale e quella brillante (§ 6.), le serie di taglio sociale (§ 7.), il period drama e le serie storiche (§ 8.).This work describes a panorama of Italian television series in recent years with a comparative look towards foreign production. The examination is conducted genre by genre: the genres that have so far been little practiced in Italy, such as science fiction or mystery (§ 2.), the biopic and the Bildungsroman (§ 3.), the detective story (§ 4.), crime (§ 5.), sentimental and brilliant comedies (§ 6.), social series (§ 7.), period drama and historical series (§ 8.)
