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Verlagsinfo: This pathbreaking work pursues two interwoven themes. Firstly, it engages in a deconstruction of Ancient philosopher's texts - mainly from Plato, but also from Homer and Parmenides - in order to free four Greek female figures from the patriarchal discourse which for centuries had imprisoned them in a particular role. Secondly, it attempts to construct a symbolic female order, reinterpreting these figures from a new perspective. Building on the theory of sexual difference, Cavarero shows that death is the central category on which the whole edifice of traditional philosophy is based. By contrast, the category of birth provides the thread with which new concepts of feminist criticism can be woven together to establish a fresh way of thinking.

[ita] In questo lavoro di ricerca mi sono proposta di analizzare lo sviluppo e le virate del teatro dopo la rivoluzione degli anni '60. In particolare, ho analizzato il contributo teorico e estetico politico della Fura dels Baus nel periodo in cui Marcel.lí Antúnez Roca ha costituito uno degli elementi portanti di questo collettivo artistico, (tra il 1979 e il 1989), periodo in cui si realizzò la trilogia della Fura: «Accions» (1984), «Suz o Suz» (1985), «Tier Mon» (1988). Le azioni di questo gruppo teatrale rimandano a concetti rivoluzionari dell'arte provenienti inizialmente dal teatro di strada, in cui si possono riscontrare tematiche fondamentali come la scomparsa di una gerarchia tra direttore ed attore, la manipolazione e il controllo sullo spazio dello spettatore, l'assenza di una narrazione psicologica, la partecipazione attiva del pubblico all'interno dello performance, la scomparsa di un palcoscenico. Questa interpretazione politica del teatro, trova le sue radici nelle riflessioni e nei lavori di Antonin Artaud e del suo teatro della crudeltà, dove per crudeltà si intende vita, necessità e morte. Da cui il teatro della crudeltà propone uno spettacolo totale e di massa in cui rimarrà esclusa la rappresentazione come mimesi e nel quale rimarrà come unica protagonista la vita stessa in quello che porta di non rappresentabile. Per questo motivo la voce di Antonin Artaud risuona costantemente in questo lavoro di ricerca, quale riferimento necessario ed insostituibile. D'altra parte un'arte che si fonda su una nuova percezione del corpo e dell'identità, che cerca di portare sulla scena la vita e non la sua rappresentazione, richiama altre voci oltre a quella di Artaud: dalla carne macellata di Deleuze, alla biopolitica di Foucault, al rituale sacrificale di Girard, al Butō, all'attraversamento rivoluzionario del pensiero della differenza sessuale sino a spingersi alle utopie cyborg di Donna Haraway. ; [eng] During this research, I realized how much it was necessary to introduce philosophically the sexual difference, to give the fundamental coordinates and the instruments i used to approach "Fura dels Baus and Marcellì Antunez Roca" aesthetics. As Carla Lonzi pointed out already in the 70s, the revolutionary significance of the philosophy of difference has not much to see about with the traditional aesthetics critic, which consider artists and works as analysis-objects, serving a strict interpretative structure, static and bearer of disimbodied words,enslaved to a dead symbolic order and not much effective by now. The Fura trilogy represented for me the passport to a research work, free of the weight of a certain aesthetic philosophy, still bound to classic traditions, with not much experimentations and blocking movement of the pen and the body. From the first meeting with Marcellì Antunez, i immediately realized having in front of me exactly what Artaud used to write, madly insisting with subjectil, primordial sacrificial violence, incredibly written from Girard, for the liberation of a total artistic gesture. All that butcher meat of Deleuze and the incessant frantic movement of transfiguration, remind me immediately back the ancestral transforming power of the ritual connected to the roots of the earth. And in the power of the earth did not resound only Moya,the earth of the origin of the catalan collective but also Tohoku,the earth of Hijikata, master of life and death of the Buto. For this parallelism that run in all the research between Fura and Buto it is absolutely unescapable, I do not think it is possible understand the Furero's symbolic order without investigate the philosophy and the aesthetics of the dance of darkness. All the artistic and philosophic movements used in this thesis work from and to the body, that is the main element and heart. The beginning point is to consider the body as an artistic privileged material, a place where everything happens and can change sign, battlefield in which is possible to act, as Foucault underlines, one of the authors who is more interested in biopolitic.

In 1964 American writer and philosopher Susan Sontag wrote a prescient essay entitled Against Interpretation, while in 1969, Italian art critic and feminist Carla Lonzi published Autoritratto, a book-montage consisting of a series of conversations tape-recorded with fourteen artists between 1965 and 1969. Rejecting the authority of interpretation in favour of "an erotic of art", these texts radically renowned the traditional art historical discourse introducing the notions of desire, participation and intimacy at the core of art history and political activism. The essay focuses on these issues and discusses Sontag and Lonzi's poignant legacy investigating how they resonate within contemporary culture and society as well as their ongoing influence on art criticism and theory. ; Peer reviewed

Islands have traditionally been considered by canonical male authors as subordinated to the mainland. They have been alternately depicted as wild spaces to be tamed, civilized and colonized, or as sites of imprisonment. Often they appear as desirable, utopian elsewheres where one can escape from the real world and its turmoil. In my dissertation Verso un nuovo arcipelago mediterraneo: le isole di Grazia Deledda, Fabrizia Ramondino, Anna Maria Ortese ("Toward a New Mediterranean Archipelago: the Islands of Grazia Deledda, Fabrizia Ramondino, and Anna Maria Ortese"), I discuss and connect ― as in a kind of alternative feminist archipelago ― literary texts about Italy's islands by canonical and lesser-known Italian women authors, including Grazia Deledda on Sardinia; Fabrizia Ramondino on Ventotene; and Anna Maria Ortese on the imaginary island of Oca�a. My archipelago expands progressively in the dissertation's three chapters, addressing questions about Italian identity first, then European identity, and, finally, global identity. I combine textual analysis with critical perspectives from gender and feminist theory, Mediterranean thought, postcolonial studies, ecocriticism, and the new field of island studies. My dissertation shows how women authors have highlighted surprisingly positive, nuanced and politically productive dimensions of the island's space and symbolic potential. I demonstrate that the work on islands by Italian women writers subverts the binary oppositions of island/mainland, inside/outside, and closed/open in order to create, instead, a new Mediterranean archipelago that reimagines physical, social, and political boundaries.

Feminist thought, since its origins, has always been hampered by political, religious and social reactionary rhetoric determined to maintain a hegemonic narrative of gender roles. A strongly essentialist form of feminist thought, known as the sexual difference theory, emerged in contrast to the creation and maintenance of rigid models based on ideologies and theories defining the woman as "wife, mother and angel of the hearth". The sexual difference theory, theorized by Luce Irigaray, philosopher and psychoanalyst (1985), includes Luisa Muraro and Adriana Cavarero (1987) among its highest Italian representatives. This theory presents elements of reconciliation between feminist thought and Christian Catholic beliefs, generally radically separated. In this study we have explored the representation of corporeality, faith and feminism in feminist activists and in catechists, in order to reflect on the current positions of the representatives of both parties in analysis. ; l pensiero femminista, fin dalle sue origini, è sempre stato ostacolato da retoriche politiche, religiose e sociali reazionarie fermamente intenzionate a mantenere una narrazione egemone dei ruoli di genere. In contrapposizione alla creazione e al mantenimento di rigidi modelli basati su ideologie e teorizzazioni che vorrebbero la donna "moglie, madre e angelo del focolare", è emersa anche una particolare forma di pensiero femminista, di matrice fortemente essenzialista, nota come pensiero della differenza sessuale. Il pensiero della differenza sessuale, teorizzato dalla filosofa e psicoanalista Luce Irigaray (1985), e che annovera Luisa Muraro e Adriana Cavarero (1987) tra le sue massime esponenti italiane, trova elementi di conciliazione tra il pensiero femminista e il credo cristiano cattolico, generalmente separati in maniera radicale.Con questa ricerca abbiamo voluto esplorare le tematiche della corporeità, della fede e della concezione del femminismo in catechiste e femministe, per avviare un dibattito su quelli che sono gli attuali posizionamenti delle rappresentanti delle due parti in analisi.

This book explores the link between gender and urban space, attempting to incorporate a joyful activism into geographical research and embracing forms of ""self-awareness and self-ignorance"" (Harding 1992) to reconsider established theoretical and methodological approaches and enact research practices informed by liberatory politics (Federici 2023). The author worked together with transfeminist activists in Cagliari and Brussels, socialised as white and cisgender women as her, to observe the urban space by considering the intersection between gender oppression and the privilege of whiteness and cisgenderness.
The result is a deeply reflexive book, because the theory it contains is conceived out of the personal experiences and individual histories of the people involved and is marked by a constant questioning of the author's presence and limits; joyful, because it chooses the path of attention by focusing on the relationships between the people involved and embracing feminist practices of parody; political, because it offers both individual and collective representations that express how power relations work in urban space.
Parody is the feminist practice for a joyful geography that the author and participants chose to critically imitate discrimination and create three collaborative short films, entitled: ""By Bike She Lives"", on the right to slowness from a feminist perspective; ""Urban Piss-Ups"", on the act of urinating in public space as a metaphor for the right to the city; and finally ""Freedom for Jeanneke-Pis"", on the symbolism associated with sexist public representations. While the individual cartographies contribute to a theoretical discourse on the city, the films are suitable for public debate, to be discussed, disseminated and used to exercise the right to critique, the right to ask questions and to imagine, think and share urban scenarios other than the existing ones.

John Langshaw Austin (1911-1960) was one of the most influential British philosophers of his time, for his rigorous thought, extraordinary personality and innovative philosophical method. According to John Searle, Austin was a philosopher both passionately loved and hated by his contemporaries, because, like Socrates, he seemed to destroy all philosophical orthodoxy without presenting an alternative, and equally comforting, orthodoxy. Austin's work is known for two major contributions to contemporary philosophy. On the one hand, his 'linguistic phenomenology', a peculiar method of philosophical analysis of the concepts and ways of expression of everyday language. On the other hand, Speech Act Theory, the idea of a performative dimension in any use of the language: with a well-known slogan, "to say something is to do something." Speech Act Theory has had consequences and import in research fields as diverse as philosophy of language, ethics, political philosophy, philosophy of law, linguistics, artificial intelligence and feminist philosophy. Here we will focus on Austin's contributions to philosophy of language, epistemology and philosophy of action, and on two main developments of speech act theory: the dispute between conventionalism and intentionalism on the one hand, and the debate on free speech, pornography, and censorship on the other. ; John Austin (1911-1960) è stato uno dei filosofi britannici più influenti del suo tempo, per il rigore del pensiero, la personalità straordinaria e il metodo filosofico innovativo. A parere di John Searle Austin era molto amato e molto odiato dai contemporanei – disorientati da un pensiero che sembrava distruggere più che costruire, sfidare l"ortodossia della filosofia tradizionale ma anche dell"allora imperante empirismo logico, senza sostituirvi nessuna confortante nuova ortodossia. L"opera di Austin è tuttavia oggi poco conosciuta e gli elementi di novità della sua riflessione non sufficientemente apprezzati. Costituiscono un"eccezione due risultati, universalmente riconosciuti e celebrati: da un lato la tecnica di analisi filosofica – quella versione della "filosofia linguistica" praticata da Austin con la pazienza, il rigore e il talento di un entomologo; dall"altro la teoria degli atti linguistici. Austin viene ricordato soprattutto per aver evidenziato la dimensione performativa che permea ogni nostro proferimento: con uno slogan diventato famoso, ogni dire è anche un fare. Una tesi con ripercussioni in aree di ricerca molto diverse, dalla filosofia del linguaggio all"etica, dalla filosofia politica al diritto, dalla linguistica alla filosofia femminista. Ci concentreremo qui sui contributi di Austin alla filosofia del linguaggio, ma faremo cenni anche estesi ai suoi contributi in epistemologia e teoria dell"azione, nonché al vivace dibattito che a partire dalla teoria degli atti linguistici si è sviluppato negli anni "60 e "70. Un dibattito che è tornato ad accendersi in tempi recentissimi nelle discussioni su libertà di espressione e censura.