The emergence of risk as the dominant issue of the second modernity is primarily due to a crisis in scientific knowledge and the ability to foresee the consequences of human decisions on the socio-natural environment. The concept of risk highlights the limitations of deterministic approaches and the difficulty of recomposing disciplinary knowledge and decision-making criteria within a consistent epistemological framework, suitable to complexity, uncertainty and ambiguity. The apparent irreducibility of languages, scientific cultures and normative claims, along with the illusion of self-sufficiency of knowledge, have often amplified risks rather than mitigating them. Risk communication goes far beyond to be a set of messages conveyed by experts (scientists, public authorities), thus becoming a place of complexity, where the process of mediation of knowledge is aimed at inclusion, confidence building and the construction of rules and shared procedures for a more open, participatory and democratic management of risks. Keywords: Risk Communication, Risk Society, Risk governance, Complexity, Theoryof Systems
Il presente lavoro riflette in prospettiva sociologica,sulla riscoperta degli aspetti etici del consumo. I cosiddetti consumi critici, sostenibili e responsabili, che presuppongono un agire sociale dotato di senso, rappresentano una pratica di acquisto tesa al ben-vivere. Il consumo da vicario della produzione -qual' è stato per un lungo periodo- è diventato uno dei principali, se non il principale, punto di snodo della società in cui ci muoviamo. I consum-attori postmoderni, tecnicamente più preparati e in grado di esprimere richieste al mondo della produzione e della distribuzione, sono consapevoli che l'atto di acquisto è diventato uno strumento per esprimere impegno e responsabilità nella sfera pubblica. Tale pratica contribuisce all'affermazione e alla determinazione di nuovi modi di essere e di agire dove confluiscono nuovi valori simbolici legati all'emergere di nuove abitudini di spesa. Partendo da tale ipotesi, la parte empirica del lavoro affronta un'analisi qualitativa prendendo in esame lo sviluppo del farmer's market, il mercato degli agricoltori, forma ed espressione della filiera corta. Si osserva un caso di studio nella Regione Molise allo scopo di comprendere cosa si cela dietro l'atto di acquisto e perché si predilige un atteggiamento alternativo al sistema della grande distribuzione. Il farmer's market è un luogo di convivialità dove è possibile fermarsi, parlare, consumare qualcosa in compagnia. E' un'occasione in cui vengono accorciate le distanze fisiche, economiche e soprattutto sociali, in cui diventa sempre più lontana l'idea della spesa intesa come atto funzionale ed alienante tipico dell'homo consumericus. Concezioni, abitudini e atteggiamenti che propongono il passaggio da un modello di consumi in cui l'elemento fondante è rappresentato dal benessere soggettivo -componente primario della felicità personale anche dal punto di vista identitario ed espressivo - ad un modello in cui i consumi restano fondamentali, ma come ingredienti di una migliore qualità del vivere. La prima parte del lavoro a valenza introduttiva, ripercorre con un excursus sulla letteratura, le teorie dei classici e dei contemporanei del pensiero sociologico, tentando di fornire una definizione di consumatore postmoderno. A questa, seguono i temi della sostenibilità ambientale e responsabilità sociale che mirano ad opporsi alle logiche proprie dello spreco-consumo, radici della crisi ambientale, del degrado e del rischio globale. La questione ecologica diventa, economica e politica, e ancor più una questione sociale, frutto di una nuova logica organizzativa in materia di consumo. La seconda parte affronta la ricerca sul campo riportando tra gli altri, i dati sulle motivazioni alla base di tale pratica di consumo e successivamente esplorando il ruolo del produttore/venditore attraverso l'attribuzione di credibilità che gli viene conferita. Il concetto di comunità, ambito tutt'oggi aperto nel dibattito sociologico, conclude il percorso di ricerca ponendo attenzione alla riscoperta del localismo. ; This thesis focuses on the rediscovery of the ethical aspects of consumption. Principal consumption that is both sustainable and responsible presupposes what Weber termed a rational social action and represents an aspiration to live well. Vicarious consumption - which has existed for a long time – has become one of the principal if not the principal turning point in the society in which we live. Post-modern consumers, technically more prepared and able to express their wishes to the world of production and distribution, are aware that shopping has become an instrument with which to express commitment and responsibility in the public domain. Shopping has contributed to the affirmation and the determination of new ways of being and behaving, which converge with the new symbolic values tied to the emergence of new shopping habits. Using this hypothesis as a starting point, the empirical part of this thesis engages with a qualitative analysis of the development of the farmers' market, the embodiment of a short distribution chain. It examines a case study in the region of Molise, with the aim of understanding what is concealed behind the act of shopping and why there is now a preference for an alternative way of thinking that goes against the model of mass production. The farmers' market is a place of conviviality, where it is possible to stop, talk and consume something in company. It is an occasion in which physical, economic and above all social distances are diminished, where the idea of food shopping as merely an essential and alienating act, typical of the homo consumericus, is remote. Conceptions, habits and attitudes now promote a move away from a model of consumption founded on the principle of subjective well-being – a primary component of personal happiness, even when seen from the point of view of identity and expression – to a model in which consumers remain fundamental, but are now the main players in the quest for a better quality of life. The first part of the thesis, as an introduction, reviews the literature and discusses both classic and contemporary sociological theory, with the aim of producing a definition of the post-modern consumer. This is followed by a discussion of environmental sustainability and social responsibility, two concepts that are set in opposition to the logics of wasteful consumption, something that can be seen at the heart of the global environmental crisis. The ecological debate has become not only economic and political but social; the fruit of a new organisational logic in the field of consumption. The second part of the thesis deals with the field work, presenting amongst other things, data concerning the motivation at the heart of this new model of consumption. This is followed by a detailed exploration of the role of the producer/seller by focusing on the attribution of credibility which has been conferred upon them. A discussion of the concept of community, a concept still wide open in sociological debate, with a particular emphasis on the rediscovery of localism, concludes this research. ; Dottorato di ricerca in Sociologia e Ricerca Sociale (XXIV ciclo)
This article aims to bring to light the unpolitical nature of the philosophical investigation. To pursue this goal, I will focus on the disenchantment before modern conception of philosophy that led Karl Löwith and Leo Strauss to diagnose the crisis of modernity. In the first section, I will present the problem of human nature and its historicity as opening the debate on the crisis of modernity in their correspondence. In the second section, I will compare the two contrasting models they adopt for describing the disenchantment of the philosopher before the cave of modernity, namely Burckhardt for Löwith and Socrates for Strauss. In the third section, I will show that Strauss's rediscovery of a Socratian political philosophy is one with the recognition of the unpolitical origin of philosophizing. In the fourth, focusing on Löwith's interpretation of Valéry, I will argue that Löwith defends himself from Strauss's accuse of remaining in the perspective of historicism, by adopting a new form of conventionalism.
The challenges of education, today more than in the past, invite pedagogicalreflection to combine the needs of the person with the urgency of transformingin everyday situations from late modernity. Already Bauman, in fact,had highlighted the characteristics of the modern citizen, reframing and criticizingthe very concept of citizenship. The relevant and complex theme thatenquires is to analyse the increasingly strong relationship between socialpolicies and educational policies with a view to a renewal of the welfare statewhich, in the light of the current economic crisis, has led to the emergenceof new vulnerable social categories and greater inequalities. Pedagogy, againfor that broad scope and for that idea of intrinsic planning, has worked onbehalf of the person, emphasizing some of the essential elements of thesame, such as the concept of dignity and that of identity: the first understandingas that ability to recognize others and themselves as citizens of theworld; the second, while following the dignity in a significant continuum thathas as glue the person, underlined the absolute singularity of the same,breaking down that concept of man's supremacy over its like.This paper aims to reflect on the concept of citizenship today, moving fromthe reinterpretation of Dewey and the meanings of democracy and education,declining them through a modern idea of social citizenship. The concept,introduced by Marshall, will be central to the treatment and will putitself in a new pedagogical perspective of the construction of the responsiblecitizen. ; Le sfide dell'educativo, oggi più che in passato, invitano la riflessione pedagogicaa coniugare i bisogni della persona con l'urgenza di trasformare nelquotidiano le emergenze provenienti dalla tarda modernità. Già Bauman, infatti,aveva evidenziato le caratteristiche del cittadino moderno, riformulandoe criticando il concetto stesso di cittadinanza. Il tema rilevante ecomplesso che ne scaturisce mira ad analizzare il rapporto, sempre più forte,tra le politiche sociali e le ...
Italy is a society with a long history of urbanization, which reflects on the present. Urban growth has gone on uninterrupted from the Unity to the present day, but the traditional contraposition between town and countryside has disappeared, substituted by a novel type of sprawling urban settlements. Not differently from what happened in other countries, but with a more negative impact on social and political institutions, large part of the urban settlement has now taken the form of a sprawling periurban. In the Italian literature on politics there is little consideration for the relation between urban or spatial morphology and political system. Politics as such is highly valued while urban geography, aside from the traditional regional differences, is hardly considered more than an inert frame of reference. The main contention of this essay is that, having disregarded the mutations in the urban settlement patterns, or even worse, having misrepresented them, often through obsolete ideological frames of thought, people not only has prevented a sound administrative handling of these changes, but it has contributed considerably to let them become unmanageable. This work will sketchily trace the main trends of urbanization from the Italian unification to today. For reasons of space, however, it will above all concentrate on the post WWI period with the two major interrelated cycles: that of the creation of the "first generation metropolis" in coincidence with the so called "economic miracle" and that of the formation of the "second generation" metropolises or meta-cities that characterizes the present time. Adapted from the source document.
La presente ricerca affronta l'analisi del mito di fondazione della nazione spagnola, la battaglia di Covadonga, e del culto della Vergine delle Battaglie ad essa vincolato nei secoli dell'Età Moderna e Contemporanea. In primo luogo, occupandosi delle rielaborazioni nazionaliste del mito delle origini della Spagna, lo studio ha l'ambizione di inserirsi nelle analisi costruttiviste sul nazionalismo culturale; in secondo luogo, attraverso lo studio del culto di Nostra Signora di Covadonga, l'indagine si pone l'obiettivo di costituire un contributo alla conoscenza generale del cattolicesimo europeo fra l'età liberale e l'era dei totalitarismi. In linea generale, infine, come contributo alla storia religiosa, la ricerca si propone di mettere in discussione il paradigma della secolarizzazione, dimostrando la vitalità e la centralità del cattolicesimo sociale e politico nella modernità europea. La prima parte della ricerca si occupa della disamina del mito delle origini della nazione spagnola nella storiografia e nella letteratura prodotte fra la metà del Cinquecento e gli anni Cinquanta del Novecento. Attraverso l'analisi del racconto della fondazione e della discendenza lo studio evidenzia le successive risignificazioni e i variegati usi pubblici della mitologia delle origini ai fini di legittimare ordinamenti politici e progetti di nazione anche antitetici. Nella seconda parte, lo studio ripercorre l'imposizione dell'egemonia sacra della devozione di Nostra Signora di Covadonga nelle Asturie e la costruzione simbolica del culto, associato a caratteristiche antiliberali e conservatrici, nel secondo Ottocento. L'uso politico della devozione mariana asturiana in funzione controrivoluzionaria nel quadro generale della seconda fase delle guerre culturali europee costituisce l'argomento dell'ultima sezione della disamina. Lo studio ha cercato di fare della comparazione e della multidisciplinarità i suoi punti di forza, confrontando il caso di studio con altre esperienze europee contemporanee e ponendosi all'incrocio fra storia culturale, antropologia religiosa, sociologia della religione, storia dell'arte e della letteratura e storia locale. ; This research faces the analysis of the myth of the foundation of the Spanish nation, the battle of Covadonga, and the cult of the Virgin of the Battle linked to it in the Modern and Contemporary Ages. First, dealing with the nationalist re-workings of the myth of the origins, the study is part of the constructivist analyses on cultural nationalism; second, through the study of the cult of Our Lady of Covadonga, the investigation contributes to the general knowledge of European Catholicism between the liberal age and the era of totalitarianisms. Finally, as a contribution of religious history, the research questions the paradigm of secularization, demonstrating the vitality of Catholicism in European modernity. The first part of the research is dedicated to the examination of the myth of the origins of the Spanish community in the historiography and literature produced between sixteenth century and twentieth century. In this section, the study highlights the re-significations and the public uses of the mythology of the ancestry in order to legitimize political systems even antithetical. In the second part, the study retraces the imposition of the sacred hegemony of the devotion of the Virgin of Covadonga in Asturias in the second half of the nineteenth century and investigates the symbolic construction of the cult, associated with anti-liberal and counter-revolutionary characteristics. The political uses of Mount Auseva Marian cult in the context of the mobilization of the Spanish Catholicism against the secularizing policies of the republican government is the topic of the last section of the examination. The research has tried to make of comparison and multidisciplinary approach its core points, comparing the case study with other experiences from Latin Europe and placing itself at the intersection of cultural history, religious anthropology, sociology of religion, history of art and literature, and local history.
The shift between the first and second half of the twentieth century marked a watershed. It represented the "sunset of modernity" and made tradition unattainable, thereby calling into question the very survival of poetry. This collection focuses on the work of Giuseppe Ungaretti as poet, translator, and critic, which took the lead from this fracture. As the essays gathered here show, this fracture took a specific shape in Ungaretti's work, which was reviewed in distinct ways and had a lasting impact up to the present day, alongside twentieth-century history and poetry. The book thus offers a multifaceted picture aimed at assessing albeit provisionally the later Ungaretti's writings and his legacy for future generations of writers.
Grazia Deledda, insignita del Premio Nobel per la letteratura nel 1926, è stata generalmente considerata una delle voci maggiori della scrittura al femminile di primo Novecento, sospesa tra Verismo e Decadentismo e spesso tacciata di regionalismo. Tuttavia la critica italiana e nordamericana più recente ha cominciato a sottolineare la rilevanza della narrativa deleddiana nel discorso sul moderno. Il romanzo "Dopo il divorzio", generalmente trascurato dalla critica, rappresenta un caso esemplare della riflessione deleddiana sulla crisi del moderno 'sub specie Sardiniae' per la sua tormentata vicenda editoriale. Pubblicato dapprima nel 1902, all'apice di una rovente polemica pluridecennale sull'introduzione del divorzio in Italia, "Dopo il divorzio" appare poi in una traduzione inglese corredata di alcune significative modifiche nel 1905, e infine in una seconda versione italiana nel 1920 con il titolo di "Naufraghi in porto". L'analisi delle varianti di carattere strutturale e semantico alla luce della critique génétique dimostrerà che il percorso seguito dall'autrice nella geografia culturale dell'Italia post-unitaria si snoda lungo la dialettica tra margine e centro che definisce la poliedrica identità del modernismo italiano. Inoltre "Dopo il divorzio", profondamente radicato nel paesaggio sardo dei più noti romanzi deleddiani, emerge come opus in fieri del moderno attraverso un dialogo intertestuale con le maggiori espressioni contemporanee della riflessione sull'umorismo, da "Le rire" (1900) di Bergson, a "Der Witz" di Freud (1905) al "Saggio sull'umorismo" di Pirandello (1908). La lettura di "Dopo il divorzio" quale work in progress a colloquio con le teorie sull'umorismo di primo Novecento sottolinea l'appartenenza di Grazia Deledda al modernismo europeo non a dispetto, bensì grazie al punto d'osservazione privilegiato offertole dalla insularità sarda. L'analisi di "Dopo il divorzio" nel suo percorso testuale e nella sua rilevanza extratestuale rivela dunque come Grazia Deledda, una scrittrice spesso stigmatizzata per le sue radici regionali «minori», abbia aperto la letteratura italiana alla riflessione sui più inquietanti elementi del modernismo europeo. ; Grazia Deledda, the second Italian and the second woman ever to be awarded the Nobel Prize for Literature in 1926, is generally cosidered a significant, yet «regional» Italian woman writer of the turn of the century, suspended between Verismo and Decadentismo. More recently, critical studies published both in North America and Italy have underlined the relevance of Deledda's narrative for modernist discourse. A case in point is the widely neglected novel "Dopo il divorzio". Published first in 1902 at the height of a heated debate about the introduction of divorce legislation in Italy, "After the Divorce" appeared in a modified English translation in 1905, and finally in a revised Italian version in 1920 as "Naufraghi in porto". An investigation of the structural and semantic variations between the three editions in light of Louis Hay e Jean Bellemin-Noël's critique génétique will demonstrate how Deledda's cultural journey from Nuoro to Rome parallels the dialectic between the margin and the center in geographic, linguistic and cultural terms that defined the multifaceted phenomenon of Italian modernism. Moreover, "Dopo il divorzio", a novel that is deeply rooted in the Sardinian landscapes of Deledda's most famous works, emerges as a modernist opus in fieri through its intertextual dialogue with the most significant contemporary reflections on humour, including Bergson's "Le rire" (1900) to Freud's "Der Witz" (1905) and Pirandello's "Saggio sull'umorismo" (1908). Thus, a reading of "Dopo il divorzio" as a work in progress centered on contemporary theories of humor underscores Deledda's belonging to European modernism not in spite of but because of her Sardinian vantage point. An analysis of the textual and extratextual significance of "Dopo il divorzio" demonstrates how an allegedly «minor», peripheral (woman) writer, such as Deledda, who was often stigmatised on account of her regional origins, actually introduced some of the most disquieting traits of European modernism into Italian literature and society. ; Grazia Deledda, the second Italian and the second woman ever to be awarded the Nobel Prize for Literature in 1926, is generally cosidered a significant, yet «regional» Italian woman writer of the turn of the century, suspended between Verismo and Decadentismo. More recently, critical studies published both in North America and Italy have underlined the relevance of Deledda's narrative for modernist discourse. A case in point is the widely neglected novel "Dopo il divorzio". Published first in 1902 at the height of a heated debate about the introduction of divorce legislation in Italy, "After the Divorce" appeared in a modified English translation in 1905, and finally in a revised Italian version in 1920 as "Naufraghi in porto". An investigation of the structural and semantic variations between the three editions in light of Louis Hay e Jean Bellemin-Noël's critique génétique will demonstrate how Deledda's cultural journey from Nuoro to Rome parallels the dialectic between the margin and the center in geographic, linguistic and cultural terms that defined the multifaceted phenomenon of Italian modernism. Moreover, "Dopo il divorzio", a novel that is deeply rooted in the Sardinian landscapes of Deledda's most famous works, emerges as a modernist opus in fieri through its intertextual dialogue with the most significant contemporary reflections on humour, including Bergson's "Le rire" (1900) to Freud's "Der Witz" (1905) and Pirandello's "Saggio sull'umorismo" (1908). Thus, a reading of "Dopo il divorzio" as a work in progress centered on contemporary theories of humor underscores Deledda's belonging to European modernism not in spite of but because of her Sardinian vantage point. An analysis of the textual and extratextual significance of "Dopo il divorzio" demonstrates how an allegedly «minor», peripheral (woman) writer, such as Deledda, who was often stigmatised on account of her regional origins, actually introduced some of the most disquieting traits of European modernism into Italian literature and society. ; Grazia Deledda, insignita del Premio Nobel per la letteratura nel 1926, è stata generalmente considerata una delle voci maggiori della scrittura al femminile di primo Novecento, sospesa tra Verismo e Decadentismo e spesso tacciata di regionalismo. Tuttavia la critica italiana e nordamericana più recente ha cominciato a sottolineare la rilevanza della narrativa deleddiana nel discorso sul moderno. Il romanzo "Dopo il divorzio", generalmente trascurato dalla critica, rappresenta un caso esemplare della riflessione deleddiana sulla crisi del moderno 'sub specie Sardiniae' per la sua tormentata vicenda editoriale. Pubblicato dapprima nel 1902, all'apice di una rovente polemica pluridecennale sull'introduzione del divorzio in Italia, "Dopo il divorzio" appare poi in una traduzione inglese corredata di alcune significative modifiche nel 1905, e infine in una seconda versione italiana nel 1920 con il titolo di "Naufraghi in porto". L'analisi delle varianti di carattere strutturale e semantico alla luce della critique génétique dimostrerà che il percorso seguito dall'autrice nella geografia culturale dell'Italia post-unitaria si snoda lungo la dialettica tra margine e centro che definisce la poliedrica identità del modernismo italiano. Inoltre "Dopo il divorzio", profondamente radicato nel paesaggio sardo dei più noti romanzi deleddiani, emerge come opus in fieri del moderno attraverso un dialogo intertestuale con le maggiori espressioni contemporanee della riflessione sull'umorismo, da "Le rire" (1900) di Bergson, a "Der Witz" di Freud (1905) al "Saggio sull'umorismo" di Pirandello (1908). La lettura di "Dopo il divorzio" quale work in progress a colloquio con le teorie sull'umorismo di primo Novecento sottolinea l'appartenenza di Grazia Deledda al modernismo europeo non a dispetto, bensì grazie al punto d'osservazione privilegiato offertole dalla insularità sarda. L'analisi di "Dopo il divorzio" nel suo percorso testuale e nella sua rilevanza extratestuale rivela dunque come Grazia Deledda, una scrittrice spesso stigmatizzata per le sue radici regionali «minori», abbia aperto la letteratura italiana alla riflessione sui più inquietanti elementi del modernismo europeo.
La ricerca ricostruisce in chiave genealogica i fondamenti teorici e concettuali della cosiddetta tradizione radicale nera del XX secolo, qui interpretata come una critica della modernità, attraverso l'analisi del pensiero politico dell'abolizionismo nero. Più precisamente, è ricostruito dal punto di vista della storia dei concetti politici moderni il pensiero politico prodotto dai principali esponenti delle lotte contro la schiavitù condotte nello spazio transnazionale dell'Atlantico tra la seconda metà del XVIII e la prima metà del XIX secolo. L'abolizionismo nero è letto come un pensiero politico articolato secondo una costante appropriazione sovversiva del lessico e dei concetti politici moderni. Si mostra che la critica nera agisce secondo due linee costanti: lo 'sdoppiamento' dei concetti politici (cioè un movimento di appropriazione e trasformazione) e la sovversione degli assetti spaziali della modernità (cioè la rottura della distinzione tra Stato e colonia). Gli elementi di maggiore originalità del lavoro sono individuabili tanto sul piano contenutistico quanto su quello metodologico. Anzitutto, si tratta del primo studio dell'abolizionismo nero visto da una prospettiva atlantica e di storia concettuale. Il lavoro analizza inoltre diverse tipologie di fonti (petizioni, autobiografie, proclami militari, regolamenti amministrativi, discorsi, romanzi e slave songs) solitamente marginali nella Storia delle dottrine politiche. La tesi è strutturata il quattro capitoli. Nel primo capitolo è presentata un'analisi per temi e concetti del radicalismo nero novecentesco. I tre capitoli successivi sono invece dedicati all'abolizionismo nero e sono strutturati secondo una scansione cronologica volta a individuare tre momenti di discontinuità. Il secondo capitolo discute l'emergere della critica nera durante la rivoluzione americana e all'interno del movimento antischiavista britannico. Il terzo capitolo è invece dedicato alla Rivoluzione di Haiti, interpretata come cesura fondamentale nella storia dell'abolizionismo nero. Il quarto capitolo analizza infine il movimento abolizionista afroamericano. ; The dissertation provides a genealogy of the theoretical and conceptual foundations of the black radical tradition through a reconstruction of the political discourse and practices of the main black abolitionists of the Atlantic World from the so-called Age of Revolutions to the end of the American Civil War. In particular, the black radical tradition is conceived as a peculiar critique of modernity. Indeed, black critique highlights the constitutive duplicity of modernity (i.e. European and colonial) and produces both a 'provincialization' and a transformation of the basic concepts of modern political thought (such as freedom, equality, democracy, nation). In this way, the research shows that black abolitionism is a political thought characterized by two elements: the subversion of modern spatiality and the "doubling" of political concepts. On the one hand, black abolitionism overturns the conceptual distinction between the State, as the space of order, and the colony, as an irrational and uncivilized place. In other words, it shows that slavery, colonialism, and racism are not peripheral moments of modernity but instead one of its foundations. On the other hand, black abolitionists used different political lexicons to communicate a struggle for self-liberation which had its own conceptual originality. The dissertation is structured in four chapters. The first provides a definition of the theoretical foundations of black radicalism in the XX Century, and is focused on some of its main figures. The other chapters provide a reconstruction of the political thought of black abolitionism, defined by three moments of discontinuity. The second chapter is dedicated to the black abolitionists within the American Revolution and the British abolitionist movement. The third chapter is on the Haitian Revolution, conceived as the fundamental turning point in the history of black abolitionism and its critique of modernity. The last chapter is on the African American abolitionist movement.
Resumo:Este trabalho tentará percorrer os caminhos criativos de Grande sertão: veredas de modo a evidenciar como o autor faz confluírem dois vetores de modernização: aquele que tensiona as relações rurais do sertão brasileiro e outro que faz este conteúdo tocar o funcionamento íntimo da lei moderna. Postando-se no umbral da norma, à literatura rosiana seria possibilitado o mergulho nos dilemas da representação moderna, forjando-lhe uma terceira margem da potência representacional, que ao tomar para si a tarefa de fazer a palavra emergir como que de seu lugar de nascimento, coloca sob nova relação as formas do possível (a política e a palavra representadas) e do impossível (a política e a palavra imediatas). Através desta conjugação do possível e do impossível, Guimarães Rosa faria da crise a abertura de um novo horizonte político. Palavras-chave:Guimarães Rosa; Modernidade; Política; Literatura brasileira; Violência Abstract:This work will try to follow Grande sertão: veredas's creative paths to reveal the ways by which the author gathers two historical lines of force: the first one that can be described as a force that stresses the rural relations of the Brazilian sertão, and a second one that makes this literary content touch the intimate functioning of modern law. By placing itself on the edge of modern law, Rosa's work apprehends the potency that animates it, giving it a new use. This is a way of understanding how Grande sertão: veredas can combine, without any contradiction, the possible forms of politics and literary representation with its impossible forms, as imagined in an immediate use of politics and literary word. By combining the possible with the impossible, Guimarães Rosa turns crises into the opening of a new political horizon. Keywords:Guimarães Rosa; Modernity; Politics; Brazilian literature; Violence
The remarkable and still increasing expansion of the international Socialist movement at the beginning of the 20th century was an important matter of concern for Catholic Church. This identified socialism as the last standard bearer of a basically anti-Christian modernity, as outcome and together vehicle of the secularization process, which was deemed as a deadly enemy of the traditional Christian social order and of religion itself. Thus for the Catholic word was the fight against the further spread of Socialist 'heresy' an absolute need. This research focuses precisely on the nature, forms and elements of Catholic antisocialism during the pontificate of Pius X (1903-1914). In doing so, it examines both the Italian and German context, which are investigated by means of two specific case studies: the diocese of Mainz for Germany, the archdiocese of Pisa for Italy. The analysis of the diocesan dimension, therefore of urban and rural parishes – the lowest level of the ecclesiastical framework –, allows to recognise the actual ways in which Catholic clergymen and lay people attempted to counter the growth of socialism in their communities, as well as their thought patterns. Furthermore, the comparative approach of the reaserch brings to light similarities and differences which ultimately concern not only to the selected cases but, with the proper precautions, even Italian and German Catholicism as a whole. The volume is organised in three main parts and several chapters. Topic of the first part is theoretical Catholic anti-socialism, that is the representation of socialism in Catholic culture between the 19th and 20th centuries. The second and the third part focus on practical anti-socialism, regarding respectively the diocese of Mainz and of Pisa. Finally the results of this study, which follow from the adopted methodology, are shown in the last pages.
The research opens a new chapter about the studies conducted until now on the traditional architecture of the smaller towns in Sardinia, which I have been part from 2007 to 2010 and has been completed with the editing of Manuals Retrieval of the historical centers of Sardinia. The research started from a socio-anthropological knowledge of the characters, urban and technological centers and from the study of the traditional Sardinian architecture. Furthermore, having the opportunity to meet the Mediterranean architecture on the same viewpoints, the research investigates the archetypal elements of traditional architecture under the aspect of composition. It looks at the ways in which the contemporary design strategies, released by ideological references, take them over elaborating them, comparing with the memory of places, beyond of every stylistic affiliation. Belonging to minimalist positions, regionalist or post-modern resuming solutions, contextualizing and reinterpreting them in a practical and empirical way, even trying to see which characters and modes could be identified as typical and recurrent. This kind of research, which specifically aims to verify the composition and some elements of the experience of this project, needs to be based on the knowledge of the culture and the debate which marked the activity of designers in the near past, from the first modernity trying to recognize which characters were conditioners, which continue to influence the present and which are typical and original in the actuality. For this reason, the research has an introductory part which incorporates some emblematic moments of the debate on the architecture of the twentieth century, referring to reality and figures of the Mediterranean. One is the myth of modernity celebrated from the first rationalism, especially in Italy and Spain, the other one is the debate about the historical centers of the late twentieth century, still typical of our country: in the first season the traditional Mediterranean architecture is transformed into a progressive ideal used to specify shapes and intentions of the new architecture, especially in its character of anonymity and puristic reduction. The first part of the research, introduces the relationship between modern architecture and Mediterranean inspiration and deepens in a critical manner, the weakness of the concept of Mediterranean, founded on one hand in a sham and on the other on how rationalism looks at the historical landscape searching for a radical overhaul of the style of architecture. The Mediterranean myth in the Italian architecture is mainly influenced by the idea of the correspondence of the formal themes of modernity and is used for political reasons in order to find a place of modern Italian positions within the regime. The Mediterranean architecture is not, therefore, re-interpreted conservatively, but revised into a new paradigm, a new way of imagining the architecture. In the second part, by the pre-war myth, still literary and idealized, we move to a more critical and accurate knowledge to the empirical verification and philological sort order, losing the progressive tension of the first season and building a system of strict preservation rules, revealed, too deterministic and inhibitory. The weakness of the rationalist positions, reveals the architecture of the Second World War, who looked to the Mediterranean, devoid by now, of the ideal tension during the rationalism: it is less parallelism between cutting-edge research and charm of the Mediterranean landscape and the question begins to focus more on the relationship with the towns, with the existing environment, and for a certain range of the debate, with the preservation of historic centers, up to produce more and become part of the theories of critical regionalism, political manifesto, as Frampton says, of resistance towards globalization. The enhancement of local realities is no longer specific to the Mediterranean, but is extended: it is as if the great architecture of Mediterranean figures lost part of the universal value, which instead is recognized during rationalism. In the present, after the crisis of the great paradigms interpretive, the debate about relationship between new and old loses strength and becomes eccentric compared to issues considered preeminent. Some great works receive media attention representing particular methodologies, these are exceptional circumstances, related to charismatic personalities who avoid to define a strong theory. This research select a field of attentive investigation to the works of medium size on which you can recognize an empirical approach (not programmatic), which could be recognized as typical of this period. An approach that addresses issues that in the past were strongly ideological - the relation between modernity and tradition and continuity and rupture with the figures of history - out of those programmatic intentions and norms: in this way many architects of the younger generation, active in the Mediterranean territories, they built a sensitive and imaginative dialogue between the elements inherited from the context and strategies - even radical - of contemporary design, defining a fertile scene and interesting to build new methodologies and practices of intervention. Currently there is no attention to the great paradigm, but an open and practical approach. I will approach the scope of this study as part of the Mediterranean, in order to understand the outcome of discussions which are the current approaches and isolating a specific subject of the tradition, one of the most characteristic, trying to figure out how the projects chosen take up and rework the issue. The modulation of the light, treated according to the manner in which you relate to some elements of tradition: the dematerialization of the building mass, the dimming systems, gaps in the patio and courtyard and places of shade. Each of the examples treated, shows that there is a traditional way to control the light that has characterized the Mediterranean architecture of the past and that has been expressed by the categories identified. I prove that there are contemporary projects which reflect those solutions contextualizing and reinterpreting them in an empirical and practical way: this is very interesting because it demonstrates the vitality of the relationship between contemporary architecture and history and how certain paradigms of the Mediterranean tradition have survived as a cultural and architectural legacy, in the attempt to offer a possible answer to the complexity of the problems posed by the existing historic and how have been reinterpreted. Beyond each "nuovismo", as well as the obsession of memory, which often gave rise to an analytical mummification that carries with it the nostalgic for the unachievable quality of the ancient city and the assurance of the absence of quality of the city modern-contemporary, can be an alternative based on the careful study of places to go back to the essential qualities that the architectures are realized in it.
Per la fascinazione collettiva dell'Occidente, al Giappone è assegnata una dicotomia fra aspetti millenari (il passato, e quindi la tradizione), e virtù tecnologiche (il presente, e dunque la modernità). Se nel primo di questi due macro-contenitori percettivi infallibilmente trovano spazio riferimenti a un popolo 'geneticamente disciplinato' come solo una progenie di samurai saprebbe essere, un'estetica del quotidiano spontaneamente sobria con il timbro distintivo dello zen, un'attitudine congenita a contemplazione e rispetto della natura, nel secondo confluiscono spazi urbani futuristici, sperimentazioni robotiche, nonché una variopinta babele di tendenze e prodotti alla moda. Tuttavia, sarebbe ingenuo ritenere che il Giappone sia stato, e sia, mero oggetto passivo di un 'romantico' bisogno di confortante esotismo. La premessa introduttiva al volume percorre a volo d'uccello alcune fasi storiche cruciali in cui il Giappone, trovandosi nella necessità di conquistare (o riconquistare) un consenso internazionale (riconoscimento di dignità etnica, politico, economico), ha consapevolmente fatto ricorso a tòpoi culturali sul proprio, distinto modo di essere e di pensare. ; On account of the collective fascination for it prevailing in the West, Japan is mostly seen in terms of a dichotomy between age-old aspects (the past, hence tradition) and technological excellence (the present, hence modernity). The first of these two cognitive macro-categories includes references to a people that is 'genetically disciplined' as only the descendants of the samurai can be, to a spontaneously understated aesthetics of everyday life bearing the distinctive mark of zen, to an innate inclination for contemplation, while the second cognitive macro-category encompasses futuristic urban spaces, robotics experiments as well as a multifarious variety of fashionable trends and products. However, it would be naive to think that Japan may have been, and still be, the merely passive object of a 'romantic' need for consolatory exoticism. This introductory foreword to this special issue of LCM on the common places of Japan provides an overview of some crucial historical stages in which Japan, finding itself in a position to conquer (or re-conquer) international consent (as an acknowledgement of its ethnic, political, economic dignity), deliberately made recourse to cultural tòpoi regarding its own distinctive way of being and thinking.
La ricognizione delle opere composte da Filippo Tommaso Marinetti tra il 1909 e il 1912 è sostenuta da una tesi paradossale: il futurismo di Marinetti non sarebbe un'espressione della modernità, bensì una reazione anti-moderna, che dietro a una superficiale ed entusiastica adesione ad alcune parole d'ordine della seconda rivoluzione industriale nasconderebbe un pessimismo di fondo nei confronti dell'uomo e della storia. In questo senso il futurismo diventa un emblema del ritardo culturale e del gattopardismo italiano, e anticipa l'analoga operazione svolta in politica da Mussolini: dietro un'adesione formale ad alcune istanze della modernità, la preservazione dello Status Quo. Marinetti è descritto come un corpo estraneo rispetto alla cultura scientifica del Novecento: un futurista senza futuro (rarissime in Marinetti sono le proiezioni fantascientifiche). Questo aspetto è particolarmente evidente nelle opere prodotte del triennio 1908-1911, che non solo sono molto diverse dalle opere futuriste successive, ma per alcuni aspetti rappresentano una vera e propria antitesi di ciò che diventerà il futurismo letterario a partire dal 1912, con la pubblicazione del Manifesto tecnico della letteratura futurista e l'invenzione delle parole in libertà. Nelle opere precedenti, a un sostanziale disinteresse per il progressismo tecnologico corrispondeva un'attenzione ossessiva per la corporeità e un ricorso continuo all'allegoria, con effetti particolarmente grotteschi (soprattutto nel romanzo Mafarka le futuriste) nei quali si rilevano tracce di una concezione del mondo di sapore ancora medioevo-rinascimentale. Questa componente regressiva del futurismo marinettiano viene platealmente abbandonata a partire dal 1912, con Zang Tumb Tumb, salvo riaffiorare ciclicamente, come una corrente sotterranea, in altre fasi della sua carriera: nel 1922, ad esempio, con la pubblicazione de Gli indomabili (un'altra opera allegorica, ricca di reminiscenze letterarie). Quella del 1912 è una vera e propria frattura, che nel primo capitolo è indagata sia da un punto di vista storico (attraverso la documentazione epistolare e giornalistica vengono portate alla luce le tensioni che portarono gran parte dei poeti futuristi ad abbandonare il movimento proprio in quell'anno) che da un punto di vista linguistico: sono sottolineate le differenze sostanziali tra la produzione parolibera e quella precedente, e si arrischia anche una spiegazione psicologica della brusca svolta impressa da Marinetti al suo movimento. Nel secondo capitolo viene proposta un'analisi formale e contenutistica della 'funzione grottesca' nelle opere di Marinetti. Nel terzo capitolo un'analisi comparata delle incarnazioni della macchine ritratte nelle opere di Marinetti ci svela che quasi sempre in questo autore la macchina è associata al pensiero della morte e a una pulsione masochistica (dominante, quest'ultima, ne Gli indomabili); il che porta ad arrischiare l'ipotesi che l'esperienza futurista, e in particolare il futurismo parolibero posteriore al 1912, sia la rielaborazione di un trauma. Esso può essere interpretato metaforicamente come lo choc del giovane Marinetti, balzato in pochi anni dalle sabbie d'Alessandria d'Egitto alle brume industriali di Milano, ma anche come una reale esperienza traumatica (l'incidente automobilistico del 1908, "mitologizzato" nel primo manifesto, ma che in realtà fu vissuto dall'autore come esperienza realmente perturbante). ; The analysis of F. T. Marinetti's works written from 1909 to 1912 is supported by a paradoxical hypothesis: what if Marinetti's futurism was less an expression of modernity than an anti-modern reaction? Behind a superficial and enthousiastic agreement to some issues coming from the Second Industrial Revolution, Marinetti hides a pessimistic vision of humanity and history. Futurism could be his Trojan Horse to bring this feeling into the citadel of modernity, thus anticipating in Italian literature what Mussolini made in Italian politics: preserving the Status Quo behind a modernistic maquillage. Marinetti is a "Futurist Without Future": despite his enthousiasm for some technological innovations, he is totally abstracted from the scientific culture, like most Italian writers of his time: Unlike H. G. Wells, to whom he was often compared, he doesn't appear very interested in detecting "the shape of thing to come", while he seems more concerned in updating the old mythologies to the new "steel Gods" of technology. This could explain why the futurist literature has not so much in common with Science Fiction. Marinetti's first futurist works (1908-1911) show – behind a quite superficial interest for machines and technologies – a real obsession with the human body and everything related with it: sexuality (Mafarka le Futuriste), food (Le Roi Bombance) and violence (Gli indomabili). As in François Rabelais' Gargantua Et Pantagruel, which they openly recall, Marinetti's bodies in Mafarka le Futuriste or Le Roi Bombance are expanded to grotesque dimensions. These issues are temporarily set aside in 1912, when Marinetti finds a completely new style which is described in the Technical Manifesto of Futurist Literature as "Words-in-Freedom". This step further will cause the first important crisis in the Futurist Movement, as many early subscribers will not follow him. This crisis (the "fracture of 1912") is described in the first chapter, while in the second chapter the "grotesque element" in Marinetti's works is thoroughly analysed. Finally, the third chapter deals with the not so frequent "future projections" in his poems and novels. The observation that machines and future in these works are often tied with Death – the "foundation tale" of Futurism shows the first car accident of Italian literature – leads to a last hypothesis: the young italian poet grown up in Egypt may have experienced the discovery of modern industrial Europe as a real shock; the invention of Futurism could be the result of a traumatic stress disease.
L'obiettivo primario di questo lavoro è quello di esplorare un insieme di documentari corti italiani di tipo etnografico e sociologico. Questi film hanno ricevuto pochissima attenzione critica, mentre sono essenziali alla comprensione del periodo di storia italiana compreso fra gli ultimi anni del Regime fascista e la fine del "Miracolo economico". La prima parte della tesi è dedicata alla descrizione del contesto economico, sociologico, politico in cui questi lavori sono stati prodotti. La seconda parte si concentra su circa un centinaio di documentari corti analizzati sulla base di tre diversi criteri. Innanzitutto li abbiamo considerati a partire da un punto di vista autoriale, secondariamente a partire dalle loro caratteristiche produttive e distributive e infine sulla base di un criterio regionale. A partire dalla discussione antropologica coeva riguardante la scomparsa dei mondi contadini e su una precisa ricerca d'archivio focalizzata sullo stesso tema, abbiamo poi comparato il risultato dell'analisi del corpus con altre forme filmiche di rappresentazione dello stesso soggetto. Oltre a far riemergere un gruppo di autori e film quasi dimenticati, questo lavoro intende lanciare uno sguardo sul veloce, conflittuale e sbilanciato cambiamento compreso fra i mondi rurali tradizionali e la modernità, che ha caratterizzato la società italiana degli anni Cinquanta e Sessanta. ; The primary goal of this work is to explore a group of italian ethnographic and sociological short documentary films. While they received no critical or little recognition, these films are indeed essential to the understanding of Italian history that goes from the last years of the Fascist Regime to the end of the so called Italian "economic miracle". The first part of this dissertation is dedicated to describe the economical, sociological and political context within which these works have been produced. The second part focuses on the analysis of nearly one hundred short documentaries, based on a three-fold methodology. Firstly, I consider these works from an authorial point of view. Secondly, I focus on production and distribution issues, and finally I examine the corpus using a regional criteria. Building on the coeval anthropological discussion regarding the disappearance of the rural worlds and on a focused and in-depth archival research, I compare the corpus' analysis results with other forms of filmic representations about the same subject. In addition to casting a light on a nearly forgotten group of authors and films, this work provides a valuable insights on the fast, conflicting and unbalanced transition between the traditional rural world and the modernity characterizing the Italian society between the Fifties and the Sixties.
