6,019 research outputs found
Fatti e finzioni : Dada, la rivoluzione di novembre e la Repubblica di Nikolassee
No full textThis chapter retraces the history of Dada in Berlin against the backdrop of the political situation from 1916 to 1920, analyzing the «bolchevisme in art» and the metapolitical activity of the movement. The technique of bluffing, the making of fake news and «blagues réclames» is perfected to an independent art of deception that the Dadaists use successfully to promote their cause. Inventions such as those of the victory of dada in the battle of Potsdam, of a «Dadaist putsch» and the proclamation of the «Dada Republic of Berlin-Nikolassee» are so plausible that they end up in scholarly publications on the movement. Dada is intrinsically revolutionary because it questions the dominant reason and opens up alternative spaces with its regression to chaos; but it is so radically revolutionary that it goes beyond the historical fact. The case of the Berlin Dada clearly demonstrates in this sense that fact checking fights only the symptoms: it tries to remove from the face of the earth what has already been well assimilated. The actions, proclamations and appeals, which were not followed by the facts, are among the most important “artifacts” of Berlin Dada. The activity of the movement can thus be seen as a sort of theatrical collage made up of fragments of real politics
The pressure of experience pushes language into poetry. Fact, fistion, autofiction, and surfiction in Herta Müller's work
No full textOver the last fifteen years, the emergence of groundbreaking work on trauma in literature and critical theory has made a profound impact both within and beyond the field of literature. Müller surely represents and reflects upon the traumatic events of twentieth-century Europe, as well as the cultural diversity of East Central Europe; she feels compelled to write about them and to show her aversion to all forms of authoritarian rule. There is no doubt that Müller’s all-pervading concern with totalitarianism; her commitment to uncover political and cultural “truths” distinguishes her as an author for whom personal integrity is everything. In fact, Müller’s work is not only structured by a narrative of trauma, articulated with increasing directness, but also by a remarkable lyrical intensity, that manages to preserve a substantial, enriching imaginative space for the reader within such unremitting anger. Thus the reader is not only confronted with “autofiction,” as Müller herself suggests, but also with something akin to “surfiction,” a term coined by American author and critic Raymond Federman. I argue that this characteristic feature is not only a mark of her aesthetic achievement or her consummate artistry, but also the key to her convincing critical voice
Liebe als Prüfung und Prüfstein der Sprache : Dialog und Heteroglossie im Faunus von Sibylla Schwarz
No full textIn her pastoral work “Faunus”, Sibylla Schwarz reproduces the male discourse exactly, but with a female voice, which is, therefore, different and new. The author knows how to stylize different kinds of texts and tailor them to different speech acts. In the search for self-assurance and the suitable literary style, she stages a difficult dialogue of perspectives and voices. This paper investigates the extent to which her own and another’s voice interpenetrate, and the way in which meaning positions of speaker, addressee, and of what is discussed are expressed.In ihrer Schäfererzählung Faunus wiederholt Sibylla Schwarz die männliche Rede identisch, jedoch in weiblicher Zunge und daher anders und neu. Die Autorin versteht es, verschiedene Textsorten zu stilisieren und auf verschiedene Sprechinstanzen zuzuschneiden. Auf der Suche nach Selbstvergewisserung und der passenden literarischen Manier inszeniert sie einen schwierigen Dialog von Perspektiven und Stimmen. Es soll gezeigt werden, inwiefern sich fremde und eigene Stimme durchdringen, wie sich damit die Bedeutungspositionen des Sprechenden, des Angesprochenen und des Besprochenen ausdrücken
Einstein's rocky picture show. Einstein überquert die Elbe bei Hamburg di Siegfried Lenz
No full textIn his short story, Siegfried Lenz explores the possibilities of language, time, and the different art forms through a photograph of a ferry crossing the Elbe near Hamburg. The «snapshot to be read», as the author calls it, relates the «unexpected suspension» of time and space caused by the appearance on it of an old man with a slouch-hat, long grey hair, and a pipe, who seems to control flow and movement and who turns out to be Albert Einstein. Instantly recognizable, like Charlie Chaplin’s Little Tramp, the embodiment of pure intellect, the genius among geniuses is here, ironically, a magician. His thaumaturgic presence reminds us of the existence of «certain uncertainties in what we perceive and say». Playing with the theory of relativity, Lenz experiments with writing and transfers Einstein’s space-time continuum into a language-time continuum. Thus, the reader is invited to enter into the photograph and become aware of its limits
“Learning is an experience, not a download": LabST2@PoliMi
No full textIl laboratorio ST2 del Politecnico di Milano si propone di studiare e sperimentare nuove metodologie e tecnologie didattiche in ambito universitario (ma non solo) nell’insegnamento della fisica (ma non solo), valorizzando la molteplicità di interazioni possibili tra lo studente e il docente [1]. Se da un lato serve lavorare a un cambio radicale del processo di apprendimento, uscendo da stereotipi educativi e aprendoci come docenti a innovazioni tecnologico-pedagogiche, dall’altro vanno riconosciuti lacune e misconcetti presenti negli studenti così da fornir loro alcuni validi ed efficaci strumenti che tentino di colmarli. L’interazione tra scuola secondaria e università non può quindi che partire da un ragionamento comune e condiviso che ha le basi nelle 3 regole sull’apprendimento [2]. “Bridge the gaps” è il motto che sostiene i MOOCs (Massive Open Online Courses) realizzati del Politecnico di Milano a partire dal 2004 e caricati sul portale POK (Polimi Open Knowledge), in un approccio completamente open e gratuito. L’integrazione dei MOOCs nel processo di apprendimento può cambiare e migliorare l’educazione in ambito universitario aumentando le possibilità di accesso, diminuendo il rischio di drop-out e fornendo un approccio più flessibile all’apprendimento [3]; possono quindi essere una modalità didattica che ben si presta ad un apprendimento massivo soprattutto se integrati in una progettazione didattica mista (blended learning), come ad esempio mostrato dai Corsi di ripasso di fisica erogati a tutte le matricole dell’Ateneo [4]. Se è noto che ormai gli studenti hanno a disposizione una quantità di materiale principalmente digitale pressoché infinita, questo pone però la necessità di discernere ciò che sia corretto dalle falsità e di avere una spiegazione attendibile e competente di ciò che si sta leggendo/osservando; risulta quindi rilevante, ancor più di colmare le lacune, l’identificazione dei misconcetti presenti negli studenti, perché più difficili da rimuovere e poi sostituire con la giusta percezione del fenomeno fisico. In tale direzione si muove il progetto internazionale “Highlight misconceptions in Physics” [5], con l’obiettivo di costruire strumenti ad hoc per individuare e poi superare i misconcetti mostrati nella fisica dagli studenti, con una filosofia di accesso OER (Open Educational Resources) [1] M. Zani, M. Bozzi, “La fisica tra la scuola secondaria e l’università. Riflessioni e orientamenti”, Nuova Secondaria, vol. XXXVI, no. 1, pp. 84-88, 2018. [2] M. Zani, The 3 rules on learning, http://www.mauriziozani.it/wp/?p=6473 [3] P. Ghislandi, “The fun they had” or about the quality of MOOC, Journal of E-Learning and Knowledge Society, 2016, 12(3), 99-114, http://doi.org/10.20368/1971-8829/1178 [4] J. Raffaghelli, P. Ghislandi, S. Sancassani, M. Bozzi, M. Zani et al., “Integrating MOOCs in physics preliminary undergraduate education: beyond large size lectures”, Educational Media International, vol. 55, no. 4, pp. 301-316, 2018. [5] M. Bozzi, P. Ghislandi, M. Zani et al., “Highlight misconceptions in Physics: a T.I.M.E. project”, INTED2019 (XIII International Technology, Educational and Development Conference) - Valencia (Spain) 11-13/3/2019 - Proceedings of INTED2019 pp. 2520-2525, 2019
Eva contro Eva. Identità femminile ed ebraica nell’opera di Rose Ausländer
No full textAs the first woman in the religious traditions of Judaism, Christianity, and Islam, Eve comes to symbolize all women. In the Western civilization, her creation has been viewed as secondary to the man’s; her substance, derivative; her eating the fruit of the forbidden tree, culpable; her status relative to her man, subordinate. Rose Ausländer's poetry emphasizes Eve's active role in the Garden of Eden and constitutes a playful revision of the Biblical creation myth. In this manner, she continues the project of midrash; she mines the biblical texts to yield new treasures buried within them
Thomas der Lügner : und seine Geistesmenschen : Vom Lebenswerk als Lebenslüge
No full textThe tension between truth and lie shapes the whole oeuvre of Thomas Bernhard. At its centre stands a certain human type: the Spirit Man, whose life is mostly devoted to a study of art or science. This life's work refers to an obsession of the male subject which has no view of fulfillment. By its absence, the never realized work or the failed study is thus not only "Bernhard’s motive of the motives", but the suggestive metaphor of a lifelong lie. In this sense, Bernhard, who is considered a writing patriarch or author of misogynic texts, does not pursue an affirming reproduction of the gender discourse but rather its subtly subversive deconstruction.La tension entre vérité et mensonge caractérise toute l'oeuvre Thomas Bernhard. A son centre on trouve un type humain particulier : l’homme d'esprit, qui consacre toute sa vie à un ouvrage ou une étude de science ou d'art. Cette obsession du sujet masculin n'a en verité aucune chance d'accomplissement. L'ouvrage jamais réalisé, l'étude échouée représente ainsi non seulement "le motif des motifs de Bernhard", mais, en tant que vide au centre des textes, il est aussi la métaphore suggestive du mensonge de toute une vie. Considéré comme écrivain patriarche ou auteur des textes misogynes, Bernhard ne se limite pourtant pas à une simple reproduction affirmative du discours de genre : il en fait plutôt une décomposition subtilement subversive.Das Spannungsfeld zwischen Wahrheit und Lüge prägt das ganze Oeuvre Thomas Bernhards. In seinem Mittelpunkt steht ein bestimmter menschlicher Typus: der Geistesmensch. Seine Konzentration auf Wissenschaft und Kunst soll sich meist in der Form eines Werks bzw. einer Studie konkretisieren. Dieses Lebenswerk verweist auf eine Obsession des männlichen Subjekts, die keine Aussicht auf Erfüllung hat. So stellt das nie verwirklichte Werk bzw. die gescheiterte Studie nicht nur „das Motiv der Motive Bernhards“, sondern durch ihre Abwesenheit das fehlende Zentrum seiner dezentrierten Texte dar und wird als Leerstelle zur suggestiv bildlosen Metapher einer Lebenslüge. Bernhard, der als schreibender Patriarch bzw. Verfasser von frauenfeindlichen Texten gilt, betreibt in diesem Sinne weniger eine bejahende Reproduktion des Geschlechterdiskurses als vielmehr dessen subtil subversive Zersetzung
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