Suchergebnisse

L'obiettivo del presente elaborato è proporre uno studio critico della poesia contemporanea saharawi in spagnolo (dal 1972 a oggi), elaborando un modello di analisi trasversale di un corpus di testi che insiste sull'osmosi tra l'esperienza autobiografica del poeta e l'esperienza collettiva – all'origine della nascita della coscienza identitaria – dell'intero popolo saharawi. Per raggiungere questo obiettivo, si sono posti i seguenti obiettivi specifici: (1) contestualizzare il fenomeno definendone le dinamiche storico-politiche, antropologiche e culturali; (2) stabilire le basi teoriche della proposta di modello di analisi della produzione poetica contemporanea saharawi in spagnolo; (3) applicare il suddetto modello di analisi a una selezione di testi rappresentativi, selezionati da volumi monografici e antologici. L'elaborato combina quindi uno studio descrittivo-concettuale con uno di taglio empirico-sperimentale, approfondendo, in un primo momento, le dinamiche storico-antropologiche, politiche, linguistico-culturali che definiscono l'identità saharawi per poi, a seguire, articolare la proposta di modello di analisi del corpus. Tale modello, combinando gli studi di Analisi Critica del Discorso e di linguistica pragmatica ed avvalendosi trasversalmente degli strumenti di analisi informatizzata del corpus, mira a far leva sulle manifestazioni discorsive della natura polifonica dell'io poetico saharawi e sul tentativo di riscrittura di una biografia collettiva ─ o multi-biografia ─ che si colloca al margine tra autobiografia e autofinzione. Il complesso macro-concetto di identità è quindi declinato su più approcci e discipline. Nel caso specifico del popolo saharawi comporta una riflessione ancor più complessa, ascrivibile alle tappe e agli spazi della colonizzazione, dell'occupazione, dell'esilio algerino e della diaspora e a tre accezioni: l'identità nazionale, politica e l'identità linguistico-culturale. In tal senso, la poesia contemporanea saharawi in spagnolo si fa portavoce delle istanze dell'intero popolo saharawi rivendicandone l'identità nazionale e fungendo da ponte tra le aspirazioni del singolo e le aspirazioni comunitarie, assurgendo a strumento di auto-riconoscimento e resistenza intima e sociale. ; The goal of this dissertation is to propose a critical study of contemporary Sahrawi poetry in Spanish (from 1972) by elaborating a corpus-based analytical model which insists on the osmosis between the poet's autobiographical and the collective experiences of the Sahrawi people, the latter being considered as the basis of identitarian consciousness. To achieve this main goal, the following specific objectives have been accomplished: (1) the contextualization of the phenomenon by defining its historical-political, anthropological and cultural dynamics; (2) the definition of the theoretical bases of the corpus-based analytical model; (3) the application of the analytical model to a selection of representative texts from monographs and anthologies. Thus, the present dissertation combines a descriptive conceptual approach with an empirical experimental focus: first, by deepening the historical, anthropological, political, linguistic and cultural dynamics that define the Sahrawi identity, second by developing the corpus-based analytical model. The latter aims to trace the discursive manifestations of the polyphonic nature of the poetic I in its attempt to rewrite a collective biography (multi-biography) that switches between autobiography and autofiction. This is done mainly by integrating the Critical Discourse Analysis with the pragmalinguistic approach and by using some corpus linguistics tools. The complex macro-concept of identity has therefore been implemented in several approaches and disciplines. In the specific case of the Sahrawi people identity entails an even more complex reflection on the stages and spaces of the colonization, the occupation, the Algerian exile and the diaspora. Moreover, within this context, identity also comprehends three different meanings: the national identity, the political identity and the cultural identity. In this sense, Sahrawi's contemporary poetry in Spanish becomes the mouthpiece of the Sahrawi people, claiming their national identity as a bridge between intimate and communitarian aspirations, ultimately providing a tool for both intimate and communitarian self-recognition and resistance.

The essay examines the text by Gianfranco Baruchello, How to Imagine, a narrative on art, agriculture and creativity, written with Henry Martin and published in 1983. The book is a narrative of Gianfranco Baruchello's extensive project Agricola Cornelia S.p.A (1973-1981) where personal anecdotes, artistic and philosophical speculations are intertwined in the attempt to run a farm as an artistic operation. In his book, the artist addresses several themes related to his work such as: the relationship with Marcel Duchamp, politics, ethics, art and life. How to Imagine is here examined as a diary that responds to a need for self-knowledge. Within the text there are numerous elements that can be traced back to a personal analysis and a willingness to pause in order to reconsider his own experience and his way of making art. This moment of suspension and reflection can be linked to the Covid-19 pandemic when everyone had to deal with a forced pause to find a new rhythm of life from which to start again. ; Il saggio prende in esame il testo di Gianfranco Baruchello, How to Imagine, a narrative on art, agriculture and creativity, scritto con Henry Martin e pubblicato nel 1983. Il libro è una narrazione del vasto progetto di Gianfranco Baruchello Agricola Cornelia S.p.A (1973-1981) dove aneddoti personali, speculazioni artistiche e filosofiche si intrecciano nel tentativo di gestire una fattoria come operazione artistica. Nel suo libro, l'artista affronta diversi temi legati al suo lavoro come: il rapporto con Marcel Duchamp, la politica, l'etica, l'arte e la vita. How to Imagine è qui esaminato come un diario che risponde a un bisogno di conoscenza di sé. All'interno del testo ci sono numerosi elementi che possono essere ricondotti a un'analisi personale e a una volontà di fermarsi per riconsiderare la propria esperienza e il proprio modo di fare arte. Questo momento di sospensione e riflessione può essere collegato alla pandemia del Covid-19, quando tutti hanno dovuto fare i conti con una pausa forzata per trovare un nuovo ritmo di vita da cui ripartire.

Oggetto del contributo è la questione dell'autorialità in tre composizioni iconotestuali e autobiografiche di Michele Mari: Filologia dell'anfibio. Diario militare (1995), Asterusher. Autobiografia per feticci (2015) e Leggenda privata (2017). Nel diario, Filologia dell'anfibio, Mari racconta nella forma di uno pseudo-trattato il periodo trascorso presso il Centro Addestramento Reclute di Como. Il testo è illustrato da disegni tratti dai propri diari dell'epoca. In Asterusher. Autobiografia per feticci, ricalcando la forma tripartita dell'emblematica, Mari ha giustapposto le fotografie di oggetti familiari e alcune citazioni tratte dalle sue opere precedenti. Leggenda privata è un'autofiction dove Mari narra gli anni della sua infanzia e della sua adolescenza e la relazione con i suoi genitori. Anche quest'opera è illustrata con alcune foto di famiglia e con altre realizzate ad hoc, secondo una grande varietà di combinazioni fototestuali. Per ciascuna delle tre opere Mari ha scelto accuratamente una specifica forma iconotestuale: il libro illustrato, l'emblema e l'atlante. A queste forme corrispondono tre diverse modalità autoriali: unitaria, decentrata e multipla. Lo sguardo autobiografico di Mari si rappresenta attraverso l'ossessiva sperimentazione di queste forme iconotestuali. ; The aim of the paper is to investigate the structure of authorship in three iconotextual and autobiographical work by Michele Mari: Filologia dell'anfibio. Diario militare (1995), Asterusher. Autobiografia per feticci (2015) and Leggenda privata (2017). In him diary, Filologia dell'anfibio, Mari writes in the form of a pseudo-treatise the period spent at the military recruitment in Como. The text is illustrated by drawings taken from him diaries of the time. In Asterusher. Autobiografia per feticci, following the tripartite form of the emblematic, Mari juxtaposed photographs of familiar objects and some quotations from his previous works. Leggenda privata is an autofiction where Mari narrates the years of him childhood and adolescence and him relationship with him parents. This work is also illustrated with some family photos and with others taken ad hoc, according to a wide variety of photo-textual combinations. For each of the three works Mari has carefully chosen a specific iconographic form: the picture book, the emblem and the atlas. These forms correspond to three different authorship modalities: unitary, decentralized and multiple. Mari's autobiographical gaze is represented through the obsessive experimentation with these iconocentric forms.

This article aims to analyze the autobiographical practice within the Italian Communist Party (Pci) after the Second World War. Those who attended the political cadres' school between 1945 and 1956 were required to write about their lives, and to submit these writings to the scrutiny of the Party. To take into consideration this practice allows to reflect on the pedagogical dimension within the Pci and on the relations between militants and Party itself, during the transition phase from a restricted organization of «professional revolutionaries» to the «partito nuovo» supported by Palmiro Togliatti. Moreover, the diversity of autobiographical approaches to the self-narration refers to the plurality of trajectories to the communist militancy, allowing to criticize excessively mechanicanistic causal paradigms. The article focuses on the case study of Turin, an industrial metropolis, because of its political and social specificities and its relevance in the history of the Communist Party in Italy.

Nell'ambito di un'indagine sull'identità del rivoluzionario nel XIX secolo, calata tra gli attivisti coinvolti nella Comune di Parigi, si è trattato di selezionare quelle autobiografie scritte e pubblicate da comunardi come parte integrante della loro attività politica, e così porre il problema del rapporto tra pratica autobiografica e rivoluzione, ovvero chiarire le condizioni del passage au récit, la scelta autobiografica e insieme la mise en intrigue tra esperienze individuali e rivoluzione. Questa ricerca si presenta dunque come un lavoro sulle pratiche autobiografiche all'interno delle pratiche di attivismo politico, ovvero più specificamente sulla relazione tra autobiografia e rivoluzione. In altri termini si analizza il modo in cui i rivoluzionari narravano la loro identità in pubblico, perché lo avessero fatto e cosa veicolavo in termini di stili di vita e convinzioni particolari. In quanto rivoluzionari, l'autobiografia diviene fonte e parte di ciò che essi reputavano in quel momento la propria traiettoria rivoluzionaria, la narrazione di quella che in quel momento ritenevano comunicare al pubblico come propria identità narrativa. La ricerca si articola in tre momenti. Nel primo capitolo analizzo le biografie, o meglio un piccolo gruppo tra la massa di biografie di comunardi edite all'indomani della Comune da parte della pubblicistica tanto ostile quanto partigiana della Comune. Queste narrazioni biografiche diffuse nei mesi successivi alla repressione della rivoluzione comunalista consentono di affrontare una delle condizioni fondamentali del passage au récit autobiografico che si manifesterà solo posteriormente. Il secondo e il terzo capitolo sono dedicati a due progetti autobiografici di diversa natura: la trilogia autobiografica di Jules Vallès (1879, 1881, 1886) e le Mémoires di Louise Michel (1886). ; As part of an investigation of revolutionary identity in the XIX century, declined on the activists involved in the Paris Commune, it was to select those life-stories written and published by the Communards as part of their political activity, and thus to pose the problem of the relationship between autobiographical practice and revolution, clarify the conditions of passage au récit, the autobiographical choice and the mise en intrigue of the individual experiences and revolution. This research thus provides an inquiry of the autobiographical practices within the practices of political activism, or more specifically on the relationship between autobiographical narratives and revolution. I analyse the way in which the revolutionaries told their identity in public, the reasons why they had done and what they spreaded in terms of lifestyles and beliefs. As revolutionaries, the autobiography becomes a source and a part of what they considered their revolutionary path, the narrative of what at that time they believed to communicate to the public as their own narrative identity. The research is divided into three parts. In the first chapter I analyse the biographies, or rather a small group among the mass of published biographies of Communards after the Commune. These biographical narratives help address one of the fundamental conditions for the passage au récit which will be appeared only later. The second and third chapters are dedicated to two autobiographical practices of different nature: the autobiographical trilogy of Jules Vallès (1879, 1881, 1886) and Memoirs of Louise Michel (1886).

In Russia, the term "Europeanism" first appeared in the 19th century. The russkij evropeec (European Russian) received a European upbringing that incorporated the moral and cultural values developed within European civilization since the 14th century and can be seen as an embodiment of the European spirit. We argue that the apogee of russkij evropeec may be represented by Maksim Maksimovič Kovalevskij (1851-1916), historian, jurist, sociologist, ethnographer, and political activist, who died on the eve of Empire's fall. This article examines the components of the European idea as they are are found in the autobiographical writings of this outstanding intellectual.

This essay analyses Thomas Ostermeier's Qui a tué mon père, based on the autobiographical novel by Édouard Louis and staged at the Schaubühne in Berlin on 7 October 2021. Auto- biographical novel, sociological-political essay, pamphlet, play, Qui a tué mon père is also a monologue in which the author accuses the policies of oppression of the weaker social clas- ses, carried out by the French government, responsible for having exposed his father's body to an untimely death. The crucial idea that supports Ostermeier's staging is that the author of the novel is the leading actor of the performance. Édouard Louis plays Édouard Louis. Considering this directorial choice, the character/actor/person relationship determines a particular regime of interpretation in the connections between narration, performance and reality, which allows us to investigate not only the performative quality of autobiographi- cal writing, but also to identify, in this particular form of "sociological laboratory" that is Ostermeier's theatre, a new perspective of political theatre, starting from a process of dramatization of the self. ; This essay analyses Thomas Ostermeier's Qui a tué mon père, based on the autobiographical novel by Édouard Louis and staged at the Schaubühne in Berlin on 7 October 2021. Auto- biographical novel, sociological-political essay, pamphlet, play, Qui a tué mon père is also a monologue in which the author accuses the policies of oppression of the weaker social clas- ses, carried out by the French government, responsible for having exposed his father's body to an untimely death. The crucial idea that supports Ostermeier's staging is that the author of the novel is the leading actor of the performance. Édouard Louis plays Édouard Louis. Considering this directorial choice, the character/actor/person relationship determines a particular regime of interpretation in the connections between narration, performance and reality, which allows us to investigate not only the performative quality of autobiographi- cal writing, ...

"Not forgetting" and "not remembering". These two contradictory aspects have always furrowed the autobiographical and collective memory of dramatic historical events, such as the Holocaust. This volume, whose origin lies in a couple of conferences held in Pistoia and Florence during the celebrations of the 2014 Day of Remembrance, moves along these two rough paths of remembrance. At its centre, there is Andrea Devoto's work on the memory of political deportation in Tuscany. The invited authors have tried to weave links and to signal new methods of analysis, as well as reflections, accompanied by the awareness that the keystone for the past lies in the present. For this reason, this book is intended to act as a dialogue partner within the social practices of the citizens' memory and civic training.

Gli scritti autobiografici di Della Walker, Sally Morgan, Nugi Garimara di seguito analizzati contribuiscono a formare e informare il concetto di "dissemi-nazione aborigena" (Bhabha), ossia di una entità politica, sociale e culturale complessa e multiforme, che narra e che si narra dai margini in cui duecento anni di dominazione bianca l'hanno relegata. Si tratta di una voce nativa e autoriflessiva che offre uno sguardo inedito sui concetti di "cittadinanza", "nazione", "letteratura nazionale". ; The following paper analyzes three autobiographical writings by Della Walker, Sally Morgan, Nugi Garimara. In their literary production, these Australian Aboriginal authoresses thoroughly exemplify the concept of "dissemination" as expounded by Homi Bhabha. Their native and self-reflecting voices offer an original perspective on the concepts of "citizenship", "nation", "national literature".

The essay analyses the political memories of Şevket Süreyya Aydemir (1897-1976) and Yakup Kadri Karaosmanoğlu (1889-1974) two founders of Kadro (Cadre), a journal of political and social ideas which aimed to codify Kemalism as a comprehensive revolutionary ideology. Both Aydemir and Karaosmanoğlu, two intellectuals who left their mark in the political and cultural debate of the Republican period, were authors of autobiographical works in which they ascertain the role of the events which led to the fall of the Ottoman Empire and the making of the Turkish Republic in the formation of their political identities. In this perspective the study explores the relationship between personal and collective dimensions of the act of remembering identifying the main turning points which clarify the political evolution of the two mentioned authors.

Enrichetta Caracciolo, autrice di un'opera autobiografica, I Misteri del Chiostro napoletano(1864). L'autrice, monacata a forza e in seguito uscita dal convento dopo disperate battaglie, pubblica le sue memorie, con intento pedagogico e per dimostrare l'utilità del decreto del nuovo governo, succeduto a quello borbonico, con cui si sopprimono i conventi. Le memorie contengono anche altri temi, quali la famiglia, l'educazione, la fede patriottica, ecc., visti tutti da uno sguardo al femminile. ; Enrietta Caracciolo, author of an autobiographical work, The Mysteries of the Cloister in Naples (1864). The author, a nun in force and later out of the convent after desperate battles, published her memoirs, with pedagogical intent, and to demonstrate the usefulness of the new decree of the Government, after the Borbonic one, that suppresses the monasteries. The memoirs also contain other themes, such as family, education, patriotic faith, etc., everything seen from a female glance.

The book is offered as a reflection on psychological practice which, with a light touch of self-irony and a easy, flowing language, addresses various significant nodal aspects of the profession. The different chapters, approached in an autobiographical, diarial and critical key, focus analysis of various significant aspects of both the analytic practice and the training of the analyst. Considerable space is devoted, on the one hand to the narration and commentary of the dreams of the author and of his patients, and on the other to the role of politics in the training of those who, like the writer, began working as psychologists in the seventies. Thus the book is aimed both at professionals and students of psychology, and at a broader public which may be curious about who exactly is the person "on the other side of the couch".

I rapporti politici tra Italia e Somalia hanno sempre destato particolare attenzione, in virtù del passato coloniale in comune. I movimenti diasporici tra i due Paesi, divisi in diversi momenti, sono stati i protagonisti del Novecento. In particolar modo, la diaspora somala assume un ruolo centrale all'interno della letteratura italiana dell'ultimo secolo, grazie alle produzioni autobiografiche di autrici come Shirin Ramzanali Fazel, Igiaba Scego e Maryam Maio. Le voci diasporiche entrano in relazione fra loro, offrendo una visione più completa di questo delicato periodo storico. ; Political relations between Italy and Somalia have always aroused attention because of their common colonial past. The diasporic movements between the two countries, divided at different times, have been the protagonists of the twentieth century. In particular, the Somali diaspora assumes a central role within the Italian literature of the last century, thanks to the autobiographical productions of authors such as Shirin Ramzanali Fazel, Igiaba Scego and Maryam Maio. The diasporic voices establish a relationship between them, offering a more complete vision of this sensitive historical period.

[English]:Il volume presenta il carteggio fra Roberto Michels e i sindacalisti rivoluzionari italiani e francesi (Sorel e Lagardelle), che costituisce un'importante fonte storiografica per la ricostruzione della controversa biografia politica del sociologo. Un saggio introduttivo di Giorgio Volpe fornisce un'interpretazione critica al problema della collocazione di Michels all'interno del movimento socialista. Esso ricostruisce il contesto dei carteggi e studia i momenti della militanza politica di Michels attraverso l'analisi dei suoi articoli politici, studi sociologici, note autobiografiche e degli atti dei congressi del partito socialista italiano e tedesco. / [Italiano]: The book presents the correspondence between Roberto Michels and the Italian and French (Sorel and Lagardelle) syndicalists, which constitutes an essential historiographical source for the reconstruction of the controversial political biography of the sociologist. An introductory essay by Giorgio Volpe provides a critical interpretation of Michels' position within the socialist movement. It reconstructs the background of Michels' correspondences and studies the phases of his political militancy through the analysis of his political articles, sociological studies, autobiographical notes and reports on the Italian and German socialist parties' congresses.