1,205 research outputs found
Un linguaggio che attraversa gli oceani, un ponte tra Ca’ Foscari e Cuba
No full textCa’ Foscari University of Venice, as is its distinctly international tradition, has woven a
dense network of relationships, collaborations, mobility projects with Cuba and Cuban
universities. From these exchanges, which have intensified in the last two years, the
Venetian University has been enriched in terms of knowledge, disciplinary perspectives,
interpretations and opportunities. An emblematic example of these enrichments is the
collaboration between Francesco Della Puppa, the La Habana branch of the Italian Agency
for Development Cooperation (AICS) and the Universidad de Les Artes de La Habana
(ISA), aimed at the implementation of the project “Avenida Italia – Integrated urban
redevelopment for local valorisation and support for innovative, biological, sustainable,
community, creative and circular economies”, intended for the accompaniment and to the
creation of cultural and social activities, which primarily involve young people and
women, in a portion of the Municipality of Centro Habana, adjacent to the so-called
Avenida Italia.
Within this project, Francesco Della Puppa collaborated with young people from the
Municipality, local artists, ISA students and AICS to create a creative writing and “drawn
literature” workshop. The academy and the world of official culture in Cuba include
children's illustration, animation and comics within the category of “high” literature,
differently from what risks happening in Italy, but consistently with tradition and
legitimation that these artistic languages find in Hispanic America. Therefore, this
contribution will give an account of the collaboration with AICS and ISA, of the
experience of the Avenida Italia project, of the creative writing and comics workshop path
with the young people of Centro Habana, not before having reconstructed and analyzed
the experiences and traditions of performing and visual arts of Cuba, framing them within
the broader Latin American context
Parola-corpo-suono. Intorno a Paolo Puppa e ai teatri del monologo
No full textIl ritratto, l'estrazione dei contenuti visionari della scrittura, le implicazioni psichiche dei gesti estetici e di quelli biografici, la ricomposizione della storia teatrale a partire dalle traiettorie umane dei teatranti, sono i principali strumenti metodologici e, al contempo, espressivi, che consentono a Puppa di attraversare indenne ideologismi e problematiche teoriche, traendone, anzi, conoscenze riferibili al turbinoso coacervo pulsionale e intellettivo che determina l'agire umano e persiste poi nelle opere realizzate.
Per queste ragioni, la dimensione accademica e scientifica di Puppa storico del teatro non si contrappone alla molteplice creatività di Puppa dramaturg e performer. Tutto all'opposto, la prepara, la alimenta, le offre di scorcio soluzioni, idee, materiali e prospettive. Studi storici e drammaturgie non sono, qui, sviluppi paralleli e distanziati dei diversi aspetti d'una stessa personalità. Certo, in parte si tratta anche di questo: lo studio storico richiede infatti un'aderenza al documento e al dato, che non è altrettanto implicata dai movimenti dell'invenzione drammatica. Però, al di sotto delle inevitabili differenze di metodo e di stile che separano il “saggio” dal “dramma”, i due macro-filoni dell'opera di Puppa reagiscono a uno stesso bisogno di cogliere nel vivere dei singoli e nella storia le fonti dell'agire. E cioè l'attività di archetipi, che si rendono suscettibili di traduzione verbale allorché il ricercatore narra il proprio processo conoscitivo – ed è questo il caso dello studio storico – o si abbandona all'empatia della scoperta – ed è il caso della scrittura drammatica.
Più che completarsi (come si dice con formula di comodo), l'opera storiografica e quella drammaturgica di Paolo Puppa si problematizzano e scontornano, evidenziando, l'una nell'altra, contesti imprevisti e nascosti, che ne rimettono i circolazione acquisizioni scientifiche e contenuti espressivi. Così la riattivazione personali degli archetipi infiltra l'analisi storica, e quest'ultima contestualizza la drammaturgie scaturita dalla prima
Retracing Their Steps: The Onward Migration of Italian-Bangladeshi Families to the UK and Their Return to Italy
No full textAccording to the Bangladeshi embassy in Italy, in 2015, there were approximately 6,000 Italian households of Bangladeshi origin (approximately 25,000 persons) who left the Italian peninsula and moved to London. (Della Puppa and King, 2019) The Italian National Institute of Statistics reports that, in 2016 alone, among the 29,000 Italians with a non-European country background who left Italy, over 2,500 were of Bangladeshi origin and that 92% of Italians of Asian origin moved to the UK (Istat 2016).
In the context of migration studies, a growing body of literature has dealt with this phenomenon, which can be defined in terms of “onward migration” (Ahrens et al., 2016; Della Puppa et al. 2021; Haandrikman and Hassanen, 2014; Kelly, 2013; King and Della Puppa, 2020; King and Newbold, 2007; King and Karamoschou, 2019; Mas Giralt, 2017; McIlwaine and Bunge, 2019; Ramos, 2018; Stewart, 2012; van Liempt, 2011), that is, for example, migrants originating from non-EU countries, who, once they have acquired EU citizenship in one EU country, move to another (Della Puppa et al. 2021; Della Puppa and Sredanovic, 2017).
This has been analysed for different nationalities of migrants in Europe (Ahrens et al., 2016; Della Puppa et al. 2021; Haandrikman and Hassanen, 2014; Kelly, 2013; King and Newbold, 2007; King and Karamoschou, 2019; Mas Giralt, 2017; McIlwaine and Bunge, 2019; Ramos, 2018; Stewart, 2012; van Liempt, 2011) and many contributions have been produced on the specific case of the intense onward migration of Italian-Bangladeshi to the UK (Della Puppa, 2021; Della Puppa and King, 2019; King and Della Puppa, 2020; Morad and Sacchetto, 2020). Thus, many dimensions of this specific “new migration” have been analysed: the reasons behind it, its modalities, the gap between expectations and real conditions of social and work integration in the British context (Ibidem), the role of emotions and the gender gap in expectations towards this new mobility (Della Puppa, 2019), and even the coping strategies for the Brexit scenario (Sredanovic and Della Puppa, 2020).
However, little or nothing has been written about those who decided to give up their new migration and life project in the UK, retraced their steps and returned permanently to Italy, although it is a growing phenomenon. Therefore, this contribution will focus precisely on the Italian-Bangladeshi families who, after having relocated from Italy to the UK, have returned to Italy. Specifically, it will investigate the reasons for return migration and its modalities.
The chapter is based on two multi-site qualitative pieces of research, carried out in both poles of onward migration. Empirical data consist of 76 in-depth interviews conducted between 2015 and 2019. Specifically, 35 Bangladeshis with Italian citizenship who were planning to move to the UK were interviewed in Vicenza, Venice, Bologna, and Padova. The remaining 41 interviews were conducted in London, Bradford, and Birmingham with Italian-Bangladeshis who had already relocated to the UK.
The respondents report their frustration because of the social downgrading and professional deskilling suffered during their relocation to the UK; the burden of job insecurity and the excessive flexibility of work shifts which resulted in antisocial hours, a reduction in the possibilities of socializing and time to spend with friends and family outside of work, and a general deterioration in the quality of life; the higher cost of living in the UK for a lower salary, compared to Italy; the dependence on welfare, which they had to rely on to face the high cost of living in the UK, and the consequent biopolitical and social control by the State; their disillusionment with the housing conditions they had access to in England compared to those left in Italy; their children’s dissatisfaction with the new national and life context
Conclusion
No full textThe social genres of comics represent a novel epistemological and meth-odological configuration within the field of social sciences, one that goesbeyond a mere medial shift and instead necessitates a redefinition of theboundaries of scientific knowledge, its form, its publics, and its purposes.The convergence between visual narrative and scientific representation,between panel and theory, between drawing and method, opens anunprecedented space of hybridity and experimentation that challengesboth canonical research paradigms and entrenched hierarchies betweenexpert knowledge and lived experience (Della Puppa & Moretti, 2024;Grüning & Scavarda, 2025). Addressing the impact and innovation ofcomics within social sciences does not simply mean highlighting the medi-um’s potential for dissemination or its role in making complex conceptsmore accessible. Rather, its impact and innovation lie in the comic’s capac-ity to intervene in knowledge production processes, to redefine the coordinates of scientific subjectivity, and to expand the epistemic scope of social inquiry. Comics, thus, are not merely a communication medium, but a cognitive and political device that acts upon both the object and the subject of research (Della Puppa & Moretti, 2024; Moretti, 2023). What renders comics socially and scientifically innovative is their inherently relational, dialogical, and performative nature
The actor narrator
No full textLa nuova tradizione del teatro di narrazione, o il monologo epico di impianto storicistic
Universo Duse. Drammaturgie sulla Divina (1947-2017)
No full textNel 2024, per il centenario della sua morte, una scelta di sei copioni in cui Eleonora Duse è protagonista. Queste drammaturgie permettono di comprendere i passaggi sulla scena italiana della Divina dal 1947 al 2017, non più come carismatica interprete ma come personaggio di cui si racconta la singolare esistenza fatta di viaggi, amori tormentati, successi e crisi. Dal secondo dopoguerra al Nuovo Millennio, si susseguono pagine dense di umanità a firma di Mario Apollonio, Gerardo Guerrieri, Ghigo De Chiara (comprensivo del testo annotato di Valeria Moriconi), Paolo Puppa, Maria Letizia Compatangelo, passando per quello radiofonico di Franca Dominici e Marica Razza, che ora si presenta per la prima volta. Si aprono riflessioni teatrali, critico-storiografiche ed estetiche che la Duse non smette di provocare
Introducciòn
No full textAs result of over twenty years of cultural, academic and personal exchanges, woven and consolidated between the Ca’ Foscari University of Venice, the University of Milan and various Cuban universities and research centers, the volume restores the multiplicity of gazes and sensibilities that animate this network of professional, intellectual and human relationships. Transcending disciplinary boundaries – consistently with the impossibility of reducing, within the limited space of the frontiers of the academic field, the richness of these relationships and the intellectual effort that underpins and animates them –, the chapters that compose it delve into the territories of literary and theatrical criticism, travel reportage and comics, sociological theory and cultural studies, cinema and memoirs, mixing these languages and adopting a decentralized perspective, aimed at bringing the two shores of the Atlantic closer and closer
Introduzione a L'opera si Sergio Bettini
No full textLa figura di Sergio Bettini e l'apertura metodologica tra le varie discipline, nell'incrocio tra storia dell'arte medievale e moderna ed estetic
Stranieri in scena
No full textLa presenza dello straniero nell'immaginario, tra scena e pagina, dal mondo antico alla fine del secondo millennio: le diverse tipologie e i diversi punti di vista
- …
