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Semiosi e colonialità in Palestina Riflessioni decoloniali sulla guerrilla visuale contro il muro israeliano
Get PDFThe present essay looks at the Palestinian question within the field ofartistic activism (artivism), which, through a myriad of graffiti (amongwhich Banksy’s, Joy van Erven’s and Blu’s), offers a sort of counter-semiosis within thecoloniality of power (Quijano), in the attempt to symbolically knock down the Israeliwall. This wall-border becomes a herida abierta that bleeds, in the words of GloriaAnzaldúa, the global south’s blood, forced to clash against the global north’swalls, Israel being the product of the latter (Said, Question). This wall-border becomes“global” to the extent that the defence barrier, as it is called by the Israeli, or apartheidwall, as called by the Palestinians, has become a sort of global canvas on which atransnational visual guerrilla is fought. This fight is here interpreted through the lensof decolonial thought and, to put it with Walter Benjamin, from the perspective of thetradition of the oppressed.Il presente saggio prova ad affrontare la questione palestinese sul terrenodell’attivismo artistico (artivismo), che attraverso una miriade di graffiti (fra cui quelli diBanksy, Joy van Erven e Blu), offre una sorta di contro-semiosi dentro la colonialità delpotere (Quijano), nel tentativo di sgretolare simbolicamente il muro israeliano. Questoconfine-muro diventa una herida abierta che sanguina, per dirla con Gloria Anzaldúa,del sangue del sud del mondo costretto a scontrarsi a mani nude contro i muri delnord del mondo, essendo Israele un prodotto di quest’ultimo (Said, Question). Questoconfine-muro diventa “globale” nella misura in cui la defence barrier, come la chiamanogli israeliani, o l’apartheid wall, come lo chiamano gli attivisti internazionali, è diventatauna sorta di tela globale su cui si combatte una guerrilla visuale transnazionale, chequi viene interpretata con le lenti del pensiero decoloniale e dal punto di vista dellatradizione degli oppressi (Walter Benjamin)
Decolonial Mediatic Artivist Engagement and the Palestinian Question
Get PDFThe present chapter takes into account some cases of mediatic artivist engagement of unaffiliated citizens connected to the permission for the Palestinians to narrate (Said 1984). On the one hand, they are considered as forms of decolonial mediatic
engagement in the face of the persisting colonial matrix of power (Quijano 1992), on the
other hand, as linguistic forms and formulas conveying their subversive power in terms of
aesthetic-political appeal in the context of postcolonial intellectual engagements in the
public sphere
Spontaneous dichorionic diamniotic twin pregnancy in bicornis unicollis uterus
No full textSpontaneous dichorionic diamniotic twin
pregnancy in bicornis unicollis uteru
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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