Studi culturali ed estetica EN 3
Blind peer review
La rivista attualmente è presente nell'elenco delle riviste di classe A per l'area 11 dell'Agenzia Nazionale di Valutazione del Sistema Universitario e della Ricerca (ANVUR) ai fini dell'Abilitazione Scientifica Nazionale
(1941-2018), filosofo e saggista. Ordinario di Estetica all'Università degli studi di Roma "Tor Vergata".
Université Paris 8, France
Ricercatrice e docente presso l'ISMAC Paris Business School France-Asie
The purpose of this study is to define “self-narrative” as means of self-representation through comparative research between traditional and contemporary diaries. Self-writing has undergone modifications and mutations in today’s information society. The diary has played a very important role for many centuries in Japanese society. This study will analyse Tosa Nikki土佐日記 written by Tsurayuki Kino, one of the oldest Japanese diaries, as well as Murasakishikibu Nikki 紫式部日記 and Kagerô Nikki 蜻蛉日記. I will also introduce a kind of exchange diary called kôkan nikki 交換日記, which foreshadowed the arrival of new communicational modalities. Today, writing about one self on social media is becoming more and more popular, reducing borders between professional and amateur writers. How can we define contemporary narrative based on the new dramaturgic structure? What is the meaning of these modifications in our self-writing? Throughout my analyses, I will attempt to answer to these questions.
Keywords: diary, intimacy, ancient Japan, self, Twitter.
Università degli Studi di Perugia - Centro Nazionale di Ricerche e Studi Autobiografici “Athe Gracci”
Fabrizio Scrivano si occupa di storia e di cultura letteraria, di scritture, di cultura visuale, e dei loro incroci nelle arti e nella comunicazione. Tra le ultime pubblicazioni: Oggi il racconto. Come resistere alla banalità dell’informazione (Meltemi, 2017); Diario e narrazione (Quodlibet, 2014). Insegna Letteratura italiana presso l’Università degli Studi di Perugia ed è membro del Collegio di direzione del Dottorato di ricerca in Scienza del libro e della scrittura dell’Università per Stranieri di Perugia. Redattore della rivista di estetica e studi culturali Ágalma, della rivista di critica letteraria Symbolon e della rivista d’arte Sdefinizioni. Collabora alle pagine culturali del Manifesto.
The article takes it cue from the widespread fashion of the selfie, wich seems indicative of a desperate plea for attention as well as a weak affirmation of existence, to offer a quick theoretical and historical analysis focusing on the concepts of “care of the self” (as emerges in Foucault’s lectures), of “autobiography” (as generated in confessional and hagiographic patterns of Christianity) and of “amor proprio” (as elaborated in Leopardi’s Zibaldone). The present analysis highlights the relational and social function of auto-fiction and the various pitfalls of self-deception.
Keywords: autofiction, self-deception, selfie, Michel Foucault, Giacomo Leopardi.
CNR Roma, Italy
Sergio Benvenuto è psicoanalista, filosofo e saggista. Già ricercatore presso il CNR (Istituto di Scienze e Tecnologie della Cognizione) a Roma. È presidente del Centro Elvio Fachinelli ISAP (Istituto di Studi Avanzati in Psicoanalisi). Nel 1995 ha fondato l’European Journal of Psychoanalysis, di cui è tuttora direttore. Ha collaborato e collabora a varie riviste culturali nel mondo. Ha tradotto in italiano per Einaudi Le séminaire. Livre XX. Encore di Jacques Lacan.
Tra le pubblicazioni recenti: In Freud’s Track’s (Aronson, 2008), La gelosia (Il Mulino 2011), con A. Lucci, Lacan, oggi (Mimesis 2014), La psicoanalisi e il reale. “La negazione” di Freud (Orthotes 2015), What are Perversions? (Karnac 2016), Godere senza limiti (Mimesis 2018), Leggere Freud (Orthotes 2018).
The author describes the neurological syndrome called Unilateral Spatial Neglect, and analyzes the reasons–not only neurological–for which it is generally the left side of something which patients “neglect”. This specificity explains the meanings that left and right hold in almost all cultures (including today’s political sense), and shows the neurological basis for these different cultural meanings. In the second part, the author widens the scope of his analysis, to ask if we can think of any case involving a universal “neglect” of something by humanity as such--something which, in any case, sometimes breaks our “environmental” space of meanings. The author develops the distinction between “environment” and “world” elaborated by von Uexküll and Heidegger, in order to outline the space of this “real” which we, as Homo sapiens, are all driven to neglect.
Keywords: Unilateral Spatial Neglect, meaning of “left” and “right”, political space and sensitive space, environment and real world, signals and noise.
NUI Galway, Ireland
Paolo Bartoloni è professore ordinario di Studi Culturali e direttore del Dipartimento d’Italianistica presso la National University of Ireland Galway. È membro della Royal Irish Academy. È autore delle monografie: Objects in Italian Life and Culture: Fiction, Migration, and Artificiality (Palgrave, 2016); Sapere di scrivere. Svevo e gli ordigni di La coscienza di Zeno (Il Carrubo, 2015); On the Cultures of Exile, Translation and Writing (Purdue UP, 2008); e Interstitial Writing: Calvino, Caproni, Sereni and Svevo (Troubador Publishing, 2003). Ha curato inoltre il numero speciale della rivista CLCWeb dedicato all’ambiguità, Ambiguity in Culture and Literature (Purdue UP, 2010).
Some of the theoretical hypotheses underpinning my forthcoming book on Italo Svevo, Sapere di Scrivere. Svevo e gli ordigni di La coscienza di Zeno (Carrubo, 2015), namely the relation between life and writing and the search for unity through the narration of internal conflicts and contradictions, also underscore this essay. What does writing about oneself mean? Was it perhaps Kakfa right when he argued that autobiography is like wielding an ax, and breaking the frozen ocean of our solitude? Or is it rather the attempt to search for the internal unity of the subject? Italo Svevo effectively employed the confessional and autobiographical genre in most of his writing. Confession and autobiography enabled him to elaborate the often conflicting relation between literature and life, and between the two parallel identities of Italo Svevo and Ettore Schmitz. The writing of oneself enacted by Svevo looks for an order and a desire for unity, which, however, must pass by necessity through disunity and openness.
Keywords: Svevo, La coscienza di Zeno, unity, openness, interstitiality.
The essay follows some steps of the novel The Invention of Morel by Adolfo Bioy Casares to draw conclusions about the dynamics of self-deception and autofiction. The main results of the analysis lead the attention on the assumption that self-deception and autofiction are mechanisms that cooperate in the framework of an adaptation to das Ding (Lacan), setting the autofiction of the subject as a result of his self-deception, that became tend from narcissism. That link is established by the order in which first the subject deceive itself about the existence of his Ego and, later, autofictions own existential program.
Keywords: Casares, The Invention of Morel, self-deception, autofiction, narcissism.
In his True History, contrary to the words of the title, Lucian of Samosata develops a totally imaginary narration. In the introduction of his book, the author reports explicitly that the only real thing in this novel is that nothing told here is true. With this highly provocative premise, Lucian develops in the text his criticism of myth and of literary and philosophical culture of his time. Lucian deconstructs the mystifying intentions of the myth and of the collective illusion that it suffrages. With his critical engagement, the True History spurs then as now to a more authentic ways of being and thinking. As a forerunner of the Enlightenment, the philosopher exposes us to the radical necessary not to build false certainties against the existential difficulties of life.
Keywords: Myth, Second Sophistic, deconstruction, selfdeception, satire.
Università degli studi di Milano
dottoranda di ricerca presso il Dipartimento di Beni culturali e Notizie sui collaboratori ambientali dell’Università degli Studi di Milano, dove porta avanti un progetto sul documentario animato
The essay addresses that particular typology of mockumentaries, known as hoaxes, that have proved capable of tricking the viewer on their ontological status to the point of inducing him to read as undoubtedly factual the fictional stories in them feignedly documented. More specifically, through an overview of the way in which the veridiction of these texts is constructed is put into light how such works are the demonstration that, as far as the audiovisual realm is concerned, our idea of reality is relative and in fee of a number of different factors.
Keywords: hoax, mockumentary, documentary, realism, fictional story.
The purpose of the following essay is to explore the main concepts emerging from George Kubler’s The Shape of Time. Remarks on the History of Things, within which the author suggests a new definition of the notion of art and an original key of interpretation for the mutation of artistic objects through historical time. On the one hand, Kubler broadens the traditional notion of art by including in it all the products made by mankind from its origins to us; on the other hand, he argues that, rejecting the notion of style, we are able to see the entire becoming of art under a different perspective. From this perspective the “shape of time” comes out: a perennial link binding together works of art (the ones belonging to the same “formal sequence”), even though they seem incompatible between them.
Keywords: Art, Kubler, style, history of things, shape of time.