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The Nomadic Subject in Elena Fanailova’s Poem White Tights
No full textСтатья посвящена рассмотрению особенностей субъектной органи- зации в поэзии Елены Фанайловой на примере стихотворения «Белые колготки». В центре внимания находится категория номадиче- ского субъекта, которая трактуется как форма отказа от фиксирован- ной идентичности и устойчивых субъектных границ. Анализируется динамика местоимений, грам- матических форм, временных и пространственных характеристик, множественность голосов и адреса- тов, что приводит к фрагментарно- му, вариативному типу лирического сюжета. Показано, что номадиче- ский субъект позволяет точнее опи- сать поэтику Фанайловой и выявить характерные тенденции новейшей лирики, где нестабильность субъ- екта становится принципиальной художественной установкой.The article examines the peculiarities of subject organization in Elena Fanailova’s poetry, focusing on the poem White Tights. Special attention is given to the category of the nomadic subject, understood as a form of refusal of fixed identity and stable subject boundaries. The analysis addresses the dynamics of pronouns, grammatical forms, temporal and spatial characteristics, as well as the multiplicity of voices and addressees, which together produce a fragmented and variable type of lyric plot. It is demonstrated that the notion of the nomadic subject allows for a more precise description of Fanailova’s poetics and reveals characteristic tendencies of contemporary lyric poetry, in which the instability of the subject becomes a fundamental artistic principle
Introduzione
No full textL’Archivio delle filosofe è una pubblicazione scientifica online in forma di enciclopedia che raccoglie voci sulle donne filosofe. Si avvale del patrocinio di SWIP Italia (Società italiana per le donne in filosofia: https://swip-italia.org/)
Dmitry Prigov’s “Stikhogrammy”: The Intersection of Verbal and Visual
No full textВ статье рассматривается сборник Дмитрия Александровича Пригова ≪Стихограммы≫ (1985) как простран- ство взаимодействия вербального и визуального искусства. Несмотря на то что графическая организация сборника сближает его с традицией визуальной поэзии, в авторском предуведомлении Пригов осознанно отказывается от подобного определе- ния, не желая определять жанр как синтетический, интермедиальный. Вместо этого автору важно остаться внутри бинарной оппозиции текста и изображения и определить импли- цитного реципиента либо как зри- теля, либо как читателя. Исследуя образность сборника, мы выделяем три основных сценария взаимодей- ствия вербального и визуального и комментируем особенности этого жанра, которые позволяют ему вый- ти из традиции визуальной поэзии.The article examines Dmitry Alexandrovich Prigov’s cycle ≪Stikhogrammy ≫ [Poetrygrams] (1985) as a space for the interplay between verbal and visual art. Although the graphic organization of the cycle connects it to the tradition of visual poetry, Prigov deliberately refrains from defining this genre as such, refusing to name it synthetic or intermedial in his authorial preface. Instead, he chooses to remain within the binary opposition of text and image, trying to position the implicit recipient either as a viewer or a reader. By analyzing the imagery of the cycle, we identify three main methods of combining the verbal and the visual used in this genre and comment on its specific features that enable it to transcend the tradition of visual poetry
Real Words, ARTful Intelligence: Vocabulary, Poetry and Prompts
No full textToday, AI and digital dictionaries offer exciting opportunities to stimulate student vocabulary acquisition through creative expression. To put some of these matters into a classroom context, the author created an activity for participants at the AICLU Language Instructors conference in Trieste, Italy in November 2024. The activity was conducted using participants’ own digital devices, primarily smartphones, followed by personal tablets or PCs, connected to the internet. Using imaginative input, participants experienced first-hand how vocabulary acquisition can happen in a playful and engaging manner
“Stalin’s Funeral”: Verbatim Theatre by Kirill Serebrennikov
No full text„Стаљинова Сахрана“ је представа Кирила Серебреникова која је на- стала као реакција редитеља на све учесталије покушаје рехабилита- ције Стаљина у савременом руском друштву. Представа је била изведена само једанпут, а за полазну тачку узет је дан када су били сахрањени и велики диктатор и велики уметник. У овом документарном експерименту Серебреников користи аутентич- не филмске и дневничке записе, мемоаре, аудиоматеријале, фотогра- фије и писма. Помоћу документарне грађе он убедљиво показује контраст између појединца и масе, уметности и власти, слободе и диктатуре, добра и зла, вечног живота и смрти. Кори- стећи вербатим технику интервјуи- сања, он је изводио на сцену сведоке Монолози сведока су били аутентич- ни, искрени, спонтани и емотивни, чиме је створена потпуна слика о култу Стаљина и утицаја тоталитар- ног режима на друштво, те је уочена очигледна аналогија са данашњим тренутком и политиком владајуће структуре. Циљ овог рада јесте да прикаже на који начин коришћење документарне грађе и одабир вер- батим технике омогућавају аутору да на убедљив начин прикаже ши- року слику и судбину једног народа, да едукује и мотивише на промене.“Stalin’s Funeral” is a play by Kirill Serebrennikov, which was created as a reaction of the director to the increasing attempts to rehabilitate Stalin in contemporary Russian society. The play was performed only once, and the starting point was the day when both the great dictator and the great artist were buried. In this documentary experiment, Serebrennikov uses authentic film and diary records, memoirs, audio materials, photographs and letters. Using documentary material, he persuasively demonstrates the contrast between the individual and the masses, art and power, freedom and dictatorship, good and evil, eternal life and death. Using the stenographic interview technique, he brought witnesses on stage to answer the same question “Is Stalin really dead?”. The witnesses’ monologues were authentic, sincere, spontaneous and emotional, creating a complete picture of the cult of Stalin and the impact of the totalitarian regime on society, there was an obvious analogy with today and the policies of the governing structure. The purpose of this paper is to show how the use of documentary materials and the choice of verbatim technique allow the author to convincingly present the big picture and the fate of the people, to enlighten and motivate for change
Innovative financing solutions for resilient, carbon neutral and just communities in Italy
No full textThe purpose of this contribution is to describe how Italy faces the challenge of achieving resilient, carbon neutral and just communities. The focus is only on the financial and organizational aspects. It describes 9 initiatives that range from i) standard Euro¬pean, national and regional funded programmes; to ii) financial tools such as green and climate bonds, Cassa Depositi e Prestiti issuances, private sector issuances, green loans; to iii) public-private partnerships and energy performance contracting; to iv) citizen-led initiatives, energy communities, and energy poverty initiatives. Each ini¬tiative prioritises differen aspects of the challenge and operates at different spatial level. Some are more focus on efficiency, some on promoting renewable sources, some other at tacking social and equity issues
Tradition Against Liberalism in Poland. The Counter-hegemonic Challenge of Illiberal Neo-traditionalism
No full textThe book examines the discursive shift towards illiberalism in Poland, analyzing the period 2015–2020, with a particular focus on its cultural dimension. While much of the existing literature has explored the causes of illiberalism, this study investigates the construction of an illiberal neotraditionalist discourse shaped by traditionalism, anti-modernism, and anticolonialism. The Polish ‘illiberal turn’is explained as a counter-hegemonic reaction that rejects the cultural foundations of liberal democracy, offering an alternative worldview. Grounded in Poststructuralist Discourse Theory, the research seeks to uncover the content of Polish neo-traditionalism, its political and hegemonic strategy, and the fantasies that sustain its ideological appeal. To this end, a discourse-theoretical analysis was conducted on various Polish ‘organic intellectuals’of neo-traditionalism. Instead of focusing on a single actor or party, the study identifies a common (informal and often implicit) discourse coalition that consistently advances a narrative centered on three key elements: tradition, a culturally defined nation, and people-asa- community. This illiberal neo-traditionalist discourse coalition in Poland has deployed a hegemonic strategy that has, at least in part, legitimized the discursive shift towards illiberalism, giving voice to the ‘cultural losers of globalization’.Il libro esamina lo slittamento discorsivo verso l’illiberalismo in Polonia, concentrandosi sul periodo 2015–2020 e ponendo particolare attenzione alla sua dimensione culturale. Mentre gran parte della letteratura esistente si e soffermata sulle cause dell’illiberalismo, questo studio analizza la costruzione di un discorso neotradizionalista illiberale, caratterizzato da elementi tradizionalisti, antimodernisti e anticolonialisti. La ‘svolta illiberale’ polacca viene interpretata come una reazione contro-egemonica che rifiuta i fondamenti culturali della democrazia liberale, proponendo una visione del mondo alternativa. Basata sulla Teoria del Discorso post-strutturalista, la ricerca mira a far emergere i contenuti del neotradizionalismo polacco, la sua strategia politica ed egemonica, nonché le fantasie che ne alimentano il richiamo ideologico. A tal fine, e stata condotta un’analisi teorico-discorsiva di diversi ‘intellettuali organici’ del neotradizionalismo polacco. Invece di concentrarsi su un singolo attore o partito, lo studio individua una coalizione discorsiva (informale e spesso implicita) che promuove una narrazione incentrata su tre elementi chiave: la tradizione, una nazione definita culturalmente e il popolo come comunita. Questa coalizione discorsiva neotradizionalista e illiberale in Polonia ha adottato una strategia egemonica che ha almeno in parte legittimato lo slittamento discorsivo verso l’illiberalismo, dando voce ai ‘perdenti culturali della globalizzazione’
Abitare le lingue tra comunicazione interculturale, Digital Literacy ed etica: il Modello L.I.D.E. per una linguistica educativa integrata
No full textThis paper presents the L.I.D.E. (Language, Interculturality, Digital Literacy, and Ethics) framework as an integrated educational approach for rethinking language education in higher education. Grounded in critical pedagogy, intercultural competence, digital literacy, and linguistic ethics, the model promotes a multidimensional view of language learning as a socially situated, culturally embedded, and ethically aware process. In a context marked by global transitions, pervasive digital communication, and increasing diversity, the article argues for a shift from purely technical linguistic training to a pedagogical paradigm that values reflexivity, responsibility, and active participation. The L.I.D.E. framework proposes a set of interrelated competencies - linguistic, intercultural, digital, and ethical - to be developed through flexible and modular activities within university language curricula. The paper outlines the theoretical foundations of the model, its pedagogical implications, and possible applications in academic language teaching, highlighting the role of universities as spaces for the formation of critical, digitally competent, and responsible communicators