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Why do we remember? And, for that matter, what is remembering? Placed between body and mind, the phenomenon of memory simultaneously involves biological, psychological, semiotic, and metaphysical elements. Memory's place at the heart of our understanding of ourselves is why many of the greatest philosophers of all the time have dealt with the problem – or, better, have had to deal with it. Plato, Aristotle, Augustine, Descartes, Locke, Kant, Hegel, Bergson, Russell, and Wittgenstein, are just a few among many who have proffered explanations. While all such proposals have been deficient in their own ways, each has advanced our understanding of the myriad phenomena associated with memory. With recent developments in phenomenology, analytic philosophy, and the empirical sciences interest in memory has intensified. In the 20th century, philosophers were particularly interested in identifying its causes, the ontology of mnemonic traces, the mechanisms of recall, and its epistemic characteristics. Moreover, as philosophy has directed its sight towards social objects and structures, questions involving memory have developed political and social dimensions as well – extending the debate to collective memory. What are the mechanisms of intersubjective memorization and recall of information, ideas, and representations? What are the ethical dimensions and consequences of public memory?

During the Years of Lead in Morocco state-sponsored violence was embedding not only the privacy of victims' bodies, but also their affective and psychological well-being to the extent that many attempts at the narrativization of violence via testimonials and prison memoirs mostly fail to convey the trauma experienced in Moroccan secret prisons. My concern in the present undertaking is the fragility of testimony as a performative act inhabited by the impossibility of telling together with an obligation of voicing out pain and trauma. After the hearing sessions organized by the Moroccan Equity and Reconciliation Commission in 2004 (ERC) another narrative turn, then, has emerged in Moroccan theatre and other artistic forms whereby re enactments of prison memoirs, testimonials, and other registers of repressed personal archives are employed onstage and else as means of breaching the walls between the personal and political.

This article establishes a discussion in the scope of memory policies based on two works of Rosângela Rennó: Cicatriz and Imemorial. The works are analyzed through a hybrid understanding of memory, articulating concepts from Sigmund Freud and Walter Benjamin, as well as from authors that allow us to relaunch issues related to the body, trauma and anachronism, such as Hannah Arendt, Didi-Huberman, Grada Kilomba and Márcio Seligmann-Silva. Through the artist's works, we revisit and articulate the bodies and the history traumas, both marked by exclusion, forgetfulness and silence. We also emphasize the need for narratives capable of harboring their marks and elaborating new possibilities of existence. In this way, we seek to expand the reverberations of the inexorable marks of bodies and times.

This article focuses on bodily memory and emotional expressions of the Russian male militaries who participated in the Afghanistan war. The research aims to reveal the axis structure of bodily memory and to analyze the structural elements of emotionality objectified in narrations of the male Afghan veterans. The author reflects the loci of concentrated bodily memory, such as corporal inscriptions and skin writings which are optical, perceptible and indelible. They function as "the truth" about the past imprinted on the male body. The following questions are discussed in the article. How does bodily memory function in male militaries' narrations? What are the results of bodily memory work? What role do emotions play during the process of remembering? What kind of emotions do male veterans express in their narrations? What type of connection is there between bodily memory and emotional expressing? ; L'articolo analizza la memoria del corpo e l'espressione delle emozioni dei militari russi di sesso maschile che parteciparono alla guerra in Afghanistan. La ricerca punta a indagare la struttura basilare della memoria del corpo e ad analizzare gli elementi strutturali di tipo emozionale riscontrabili nelle narrazioni dei veterani di quella guerra. L'Autrice riflette sui luoghi fisici nei quali si concentra la memoria del corpo, quali segni e tatuaggi impressi nel corpo, che sono visibili, percepibili e indelebili. Queste iscrizioni assumono il valore della "verità" sul passato, impressa nel corpo maschile. L'articolo si interroga sulle seguenti questioni: che funzione ha la memoria del corpo nei racconti di guerra maschili? Quali sono gli esiti del lavoro della memoria sul corpo? Quale ruolo giocano le emozioni durante il processo del ricordare?

In my essay, I examine Mario Monicelli's La Grande Guerra, in order to verify if its comic and anti-heroic perspective really leads to a new concept of WWI. I first retrace the director's previous filmography, where the characters, genres and patterns which will recur in La Grande Guerra originally take shape. I then reconstruct the movie's genesis, focusing on the sources the screenwriters refer to: not only WWI movies and memories, such as Kubrick's Paths of Glory and Lussu's Un anno sull'Altipiano, but also, quite unexpectedly, La vita militare by De Amicis. On this basis, I analyse the representation of the war, in its figurative and narrative elements. In many senses, it's a war seen from the ground, and indeed the scenography and script take inspiration from the soldiers' pictures of the front and their military songs. In this realistic context, Monicelli develops the plot of two cowardly privates, from a poor, undisciplined background, who ultimately identify with their nation enough to sacrifice themselves for their compatriots. The purpose of highlighting the unacknowledged war contribution of the mass, however, is somehow contradicted by the army's image. The comic and anti-heroic aspects, indeed, concern only the low-ranked soldiers, while the Command is represented in a sentimental way. In this respect, Monicelli confirms a rhetoric coming from De Amicis, and later inherited by Fascism: the army as an image of a model society, where North and South, rich and poor, educated and illiterate unite, and where everyone deserves his hierarchical rank. ; In my essay, I examine Mario Monicelli's La Grande Guerra, in order to verify if its comic and anti-heroic perspective really leads to a new concept of WWI. I first retrace the director's previous filmography, where the characters, genres and patterns which will recur in La Grande Guerra originally take shape. I then reconstruct the movie's genesis, focusing on the sources the screenwriters refer to: not only WWI movies and memories, such as Kubrick's Paths of Glory and Lussu's Un anno sull'Altipiano, but also, quite unexpectedly, La vita militare by De Amicis. On this basis, I analyse the representation of the war, in its figurative and narrative elements. In many senses, it's a war seen from the ground, and indeed the scenography and script take inspiration from the soldiers' pictures of the front and their military songs. In this realistic context, Monicelli develops the plot of two cowardly privates, from a poor, undisciplined background, who ultimately identify with their nation enough to sacrifice themselves for their compatriots. The purpose of highlighting the unacknowledged war contribution of the mass, however, is somehow contradicted by the army's image. The comic and anti-heroic aspects, indeed, concern only the low-ranked soldiers, while the Command is represented in a sentimental way. In this respect, Monicelli confirms a rhetoric coming from De Amicis, and later inherited by Fascism: the army as an image of a model society, where North and South, rich and poor, educated and illiterate unite, and where everyone deserves his hierarchical rank.

The essay aims to analyze the relationship among chronicle, collective memory, and history in Fenderico Buffa's television docudramas. In recent years the sports journalist, well known to the television audience since the 1980s, has proposed in recent years a reconstruction of sport events of the 20th century, turning them into windows through which to observe social, cultural, political, and religious changes. Buffa has chosen to use accounts of sensational events – such as the record of 100 points scored by the American basketball player Wilt Chamberlain in 1962 or the 1950 Soccer World Cup final – as primary sources combining in his project the literary and memorial dimension with a historiographical ambition, intertwining the needs to inform, educate, and entertain. ; Il saggio si pone l'obiettivo di analizzare il rapporto fra cronaca, memoria collettiva e storia nei documentari drammatici di Federico Buffa. Il giornalista sportivo, noto fin dagli anni Ottanta al pubblico televisivo, ha proposto negli ultimi anni una ricostruzione di vicende cruciali dello sport del XX secolo, trasformandole in finestre attraverso le quali osservare cambiamenti sociali, culturali, politici e religiosi. Buffa ha scelto di usare le cronache di eventi sensazionali – come la "partita dei 100 punti" del cestista americano Wilt Chamberlain o la finale dei mondiali di calcio del 1950 – come fonti primarie vestendo il suo progetto di un'ambizione letteraria, memorialistica e storiografica, intrecciando la necessità di informare ed educare con la dimensione puramente ludica dell'intrattenimento affabulatorio.

The Cineguf and the Memory of Fascism (1944-1976) wants to get deeper into the complex metabolisation of the traces of the fascist past, for some of the protagonists of the Cineguf era. The article discusses the way some Cineguf members elaborated upon their own experience into the Cineguf groups - a fascist association of amateur film clubs - and how the social and generational developments regarding the film culture impacted onto this cultural and political metabolisation, in post-war Italy. The article proposes to question the various forms of "silence" that characterizes the archival survival of the films produced by the Cineguf and the narratives of the history of the Cineguf as well. ; L'articolo vuole riflettere su alcune strategie di elaborazione dell'esperienza dei cineguf messe in atto dalla generazione che aveva vissuto quella stagione associazionistica. Il saggio ripercorre quindi un fase cruciale per la storiografia sul cinema e il fascismo, quella tra gli anni cinquanta e gli anni settanta, con l'intento di inquadrarne l'eredità culturale e politica nel dopoguerra e discutere i significati del "silenzio" che ha segnato la storia dei cineguf. La convinzione è che il silenzio e le complesse strategie di costuzione della memoria di quella esperienza siano da collocare all'interno di un complesso intreccio di questioni di ordine politico, culturale e generazionale.