1,721,362 research outputs found
L’atlante delle rievocazioni storiche in Toscana. Dal censimento alla progettazione del sito resistenza della memoria
No full textLe Memorie di una nazione. Riflessioni su uno Stato che ricorda tra eccessi, amnesie e conflitti
No full textSant’Anna di Stazzema: un’ etnografia nel paese del ricordo e dell’oblio
No full textIL TESTO OFFRE UNA RIFLESSIONE AGGIORNATA SUL PERCORSO DELLA MEMORIA TRAGICA DELLA PICCOLA COMUNITà DI SANT'ANNA A PARTIRE DAI PRIMI RICONOSCIMENTI NAZIONALI E INTERNAZIONALI. IN PARTICOLAR MDO TRACCIA UNA SORTA DI ARCHEOLOGIA DELLA MEMORIA, DENATURALIZZANDO LE SUE TRACCE MATERIALI E CONTESTUALIZZANDOLE STORICAMENTE ATTRAVERSO IL LEGAME TRA PICCOLA E GRANDE COMUNITà
La resistenza della memoria. Sant'Anna di Stazzema: per un'archeologia del ricordo traumatico
No full textDal peccato all’eucarestia. La nuova parabola del figliol prodigo
No full textThis paper is about the critical and responsible consumer’s movement in Italy. The author is
mainly concerned with life histories of critical consumers: using ethnographic materials from
two different research projects in Tuscany, she shows how ideas about purity and danger,
natural-artificial, sin and salvation are linked to food consumption and play a central role in
autobiographical narrative
The massacre-centered memory of Sant'Anna di Stazzema, Italy
Full text linkThis article is based on an anthropological study on memory carried out between 2002 and 2010 in Sant’Anna di Stazzema, a village located in the mountains of Tuscany, where the Nazis exterminated almost all of the civilian inhabitants on 12 August 1944. Nearly 400 people died, mainly women, children and the elderly. Despite what occurred, neither historical nor legal acknowledgements were forthcoming until as late as 2007. Through the study of ethnographical documents, the author analyses the cultural value of memory of the massacre narrated by survivors and the relatives of victims from 1944 to the present day. To examine how this memory has been passed down through time both inside and outside the martyred village, the author reflects on the complex intertwining of the individual and collective remembrances during the long and drawn-out elaboration of the trauma
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe 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
Full text link“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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