2,375 research outputs found
La forma della libertà. Categorie della razionalizzazione e storiografia a cura di G. Valera
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III Forum Mondiale dei Giovani "Diritto Di Dialogo": Quale Memoria?/ III World Youth Forum "Right to Dialogue": Which Memory? Trieste 2-3 Ottobre 2010
No full textFrom the Introduction by G. Valera: "This is a very complex book, because of the variety of the interventions and of the perspectives from which ‘memory’ as an object has been penetrated in order to recognize its ‘qualities’ (Which memory? was the title of the Forum); but also because the authors of the papers come from different countries and stories, have different cultural backgrounds and life experiences. Even the style of the texts is not homogeneous: some are literarily interesting, others appear in the shape of a brief essay (according to the granted space limitations), others as a simple contribution. But this variety proves to be coherent with the ‘multilingual’ approach the Forum is willing to enact. [...] I have insofar reached the end of this rereading – of course voluntary partial but nonetheless respectful – of the presented papers. But there is still one question worth to consider: I am referring to historiographical perspective suggested by a revisited notion of “cultural memory” (as used by Anastasia Vekshina in her paper). This perspective seems to be at the core of a historiographical reconsideration of the theme of memory (displayed on the other hand by a specialized bibliography, within which I will just mention the foundational work by Aleida Assmann, Erinnerungen, Formen und Wandlungen des kulturellen Gadächtnisses, 1999, It. trans. 2002). The tension between memory and memories revealed to be a constant feature of the various perspectives approaching the theme, urging to a subjective re-appropriation both of memories, in order to contrast a far too rigid and codified public or collective memory, and of memory, contrasting on the other hand a specialistic or experiential dispersion of memories preventing the historical elaboration of life (as a whole as well in private spaces as in time and spaces of history). This way a renovated understanding of cultural memory seems to be capable of contributing the narratives a new reflection on the past. It is certainly a complex category, variously declined by scholars, which has an intrinsic reference to the notion of culture and is marked by the contiguity with other memories otherwise qualified, e.g., public memory, collective memory, shared memory. We cannot investigate here all these themes, neither we can deepen the various aspects regulating that mutual fashioning, through subjective participation, of the individual dimension (even better, personal) of memory, and its collective dimension. Let’s just think about commemoration as an elaboration of memories between private and public spheres (with all the implications involved by this ‘public’ quality) or about sharing as an elaboration of shared memories within a voluntarily defined memory.
Even if we are aware of all the potentials expressed by this notion and as well of the difficulties connected to it, it seems to us that cultural memory, as a heuristic category and as a programmed perspective, might give to memory that temporal openness it requires to become a space for change. (From the introducion by G. Valera)
Papers by Gabriella Valera, Anastasia Vekshina (Russia), Alessandro Cattunar, Katia Knezevic (Croazia), Irma Bilali (Albania), Francesco Querin, Omer Masood Qureshi (Iraq), Hana Sustkova (Repubblica Ceca) Xhudi Berdica (Albania), Salvatore Vaccaro, Iva Ticic (Croazia), Slobodan Nikolic (Serbia), Grancesca G.M. Gastaldi, Tommaso Manzon, ANtony Atandi Anyona (Kenya), Gaetano Dato, Michela MOnferrini, Blessing Onyinyechi Fubara (Nigeria), Max Fassetta, Wiktor Macjej (Polonia), Cjharles MOnkam (Camerun), Kitamura Michiko (Giappone), MOna Seddighi (Iran), Carlos Ermnesto Easpinosa Navas (Ecuador), Zsofia Nagy (Ungheria
Spazi e tempi di una metafora. Poetica del viaggio e cultura giovanile
No full textThe essay is a deep exegesis of a collection of poems by young authors from many different countries and various literary canons. The themes interwoven in these poems constitute a fabric with a changing weft, which invite us to reflect upon the relationship which the poetics of the journey, with its burden of experiences and imagination, of different cultures and emotions, establishes with time and history.
The same places of our civilization, its figures and its words acquire different meanings: the ongoing journey carries a baggage of complex stories. It appears as if the same places, which throughout the centuries have hosted several paths and destinations, spoke the language of prophecy when the past and the present, seen with a swift glance, already talked about the enigma of the future.
Ismael travelling through history, Ismael crossing the desert, Ismael with his Arab-Israeli identity, a refugee, a stranger, a dumb person – the languages surrounding him cannot become his languages – Ismael naked, who is afraid of love – in a civilization which mocks him is represetnative of the poetics of the journay. The poem remains suspended but the journey of Ismael beyond history and civilization goes on just like him, who drinks water from a source which is unable to quench his thirst.
The exegesis of several other poems contextualises the journey in a peculiar post-modernity which retells the “great story” (the reference is to François Lyotard and to the debate surrounding him) between languages and multiple symbolical universes, literary suggestions and poetical experiences.
After history comes the shame, the need to reset the time, to restart the journey, to come back home, to our origins. All around us, the landscapes have undergone a metamorphosis, like in the poem “Adriatic” by the Polish author Agnieszka Żądło-Jadczak: “Stones nestled in the hard skin, / burning with the sun, carving reliefs. // [...] stones like drowned dreams” (cf. the cosmic inspiration in the poem “Before the after”, by Theodora Bauer, Austria).
The poem by Michela Pusterla is a ballad whose rhythms are interrupted by broken metrics which are put together verse after verse through a sequence of enjambments. The great protagonists are: war (she is over), peace, the past, and a long silence in the deepest side of thought. Peace is a past which is falling silent. This deep silence after the grenades, the devastation, the exiles and the death itself wear history down. The protagonist comes back but everybody has already gone away: perhaps to other countries? Did they die? This strange return journey comes back to a history, which no longer exists. However, the dance begins here (the dance of rambling tales) under shattered skies with the tragedy in her heart.
We have to talk about s very “poetics of journey”. This generation of young poets is undoubtedly one of those, which makes virtual or real journeys, more than other generations. However, the exegesis of their verses, though partial and selective, has shown that the journey is not the only element characterising their poems. In all poems, many references and fil rouges could be found. Apart from the aspects pointed out in this introduction, the reader could also find many other recurring themes and discover nothing else than a “culture” with its figures and its changing contexts, ready to be posed with different values in different frames and to compose a mosaic with reverberating colours.
At the heart of this culture, the thought of the word “after” (it is no coincidence that this is one of the most recurring words in the current research on the paradigms of knowledge) has marked the authors’ inspiration. As if the “journey” did not exist without a “after-journey” and this “aftermath” in time could be always represented and lived as a “journey”: return, regret, salvation, bewilderment a memory, oblivion, after civilization, after history.
The young poets who wrote this book, “travelling” from different parts of the world towards the ideal place of poetry, are like an emerald which absorbs reflected faces. The essay focuses primarily on the thematic element of the book, although the expressive force, which overwhelms the reader, cannot be underestimated. There is a lot of thinking in the book (after the journey the thought), which expresses itself with a riveting and emotional poetics, a prophetic answer to the enigma of time and its transcendence
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