Although graffiti gained popularity through the expansion of American pop culture, its origins are greatly embedded in Italian culture and history. Not only does the word graffiti come from the Italian word "graffiato" or "scratched "off", but some of the world's first graffiti was found in Pompeii's ruins. Over the last few years, Italy has been governed by right-wing coalitions that have implemented fascist practices once used by Mussolini. Given that there is little space for leftist ideas to emerge in the public space, Italians have used graffiti as a form of political activism and protest. Conversations surrounding fascism, racism, women's rights, immigration and the LGTBQ community have arisen within graffiti, allowing outsiders to better understand Italians' takes on these issues. This study investigates Italy's sociopolitical climate through graffiti as a form of art, and also sheds light on how graffiti provokes its audience. The graffiti found in Florence, Bologna, and Naples proves to be linguistically complex, and provokes observers both through heightened language and visuals. This study suggests that the majority of Italian sociopolitical graffiti belongs to students who are unable to take part in democracy based on their age or legal status. While often deemed a vandalistic act, graffiti has allowed Italian individuals to protest what is unjust, and make themselves heard in a society where their voices are being suffocated by right-wing political parties and their media.
{"title":"La Rivoluzione Macchiata: The Stained Revolution","authors":"Sasha Souillard","doi":"10.33682/nv4g-se2u","DOIUrl":"https://doi.org/10.33682/nv4g-se2u","url":null,"abstract":"Although graffiti gained popularity through the expansion of American pop culture, its origins are greatly embedded in Italian culture and history. Not only does the word graffiti come from the Italian word \"graffiato\" or \"scratched \"off\", but some of the world's first graffiti was found in Pompeii's ruins. Over the last few years, Italy has been governed by right-wing coalitions that have implemented fascist practices once used by Mussolini. Given that there is little space for leftist ideas to emerge in the public space, Italians have used graffiti as a form of political activism and protest. Conversations surrounding fascism, racism, women's rights, immigration and the LGTBQ community have arisen within graffiti, allowing outsiders to better understand Italians' takes on these issues. This study investigates Italy's sociopolitical climate through graffiti as a form of art, and also sheds light on how graffiti provokes its audience. The graffiti found in Florence, Bologna, and Naples proves to be linguistically complex, and provokes observers both through heightened language and visuals. This study suggests that the majority of Italian sociopolitical graffiti belongs to students who are unable to take part in democracy based on their age or legal status. While often deemed a vandalistic act, graffiti has allowed Italian individuals to protest what is unjust, and make themselves heard in a society where their voices are being suffocated by right-wing political parties and their media.","PeriodicalId":119819,"journal":{"name":"The Interdependent: Journal of Undergraduate Research in Global Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123149249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
From Ancient Greece to Hollywood, Medusa has been a global narrative. This article explores poetry and storytelling through the historical and literary legacy of Medusa; it argues for her importance in feminist history and her continued relevance in our post-MeToo world. While a seemingly straightforward tale, Medusa's story explores female dynamics, feminist power against patriarchal forces, and the ultimate defense against the male gaze. This paper showcases a historical account of the handling of the Medusa myth which proves that the rewriting and reclaiming of the myth by women parallels, if not contributes to the success of female empowerment. Accompanying this paper is a poetry collection that explores varying perspectives within rape culture, including the sexualization of Billie Eilish.
{"title":"Medusa: How the Literary Muse Became an Emblem for Feminism","authors":"Beverly Tan","doi":"10.33682/nzgc-1pxs","DOIUrl":"https://doi.org/10.33682/nzgc-1pxs","url":null,"abstract":"From Ancient Greece to Hollywood, Medusa has been a global narrative. This article explores poetry and storytelling through the historical and literary legacy of Medusa; it argues for her importance in feminist history and her continued relevance in our post-MeToo world. While a seemingly straightforward tale, Medusa's story explores female dynamics, feminist power against patriarchal forces, and the ultimate defense against the male gaze. This paper showcases a historical account of the handling of the Medusa myth which proves that the rewriting and reclaiming of the myth by women parallels, if not contributes to the success of female empowerment. Accompanying this paper is a poetry collection that explores varying perspectives within rape culture, including the sexualization of Billie Eilish.","PeriodicalId":119819,"journal":{"name":"The Interdependent: Journal of Undergraduate Research in Global Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126143009","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Japan and South Korea have experienced rising tensions for generations. Beginning with the Japanese annexation of Korea in 1910, contemporary relations are shaped by mutual mistrust. Nevertheless, both countries face common security threats, namely North Korean and China; and both are pushed by the United States to cooperate on an international level. It is increasingly important for Japan and South Korea to take steps toward reconciliation. Analyzing the significant barriers to rapprochement, this article explores soft power as a potential method for improving relations between the two countries.
{"title":"A Raindrop in a Raging Fire? Soft Power as a Tool for Japan-South Korea Reconciliation","authors":"Luna Vassao","doi":"10.33682/vh7y-g2k8","DOIUrl":"https://doi.org/10.33682/vh7y-g2k8","url":null,"abstract":"Japan and South Korea have experienced rising tensions for generations. Beginning with the Japanese annexation of Korea in 1910, contemporary relations are shaped by mutual mistrust. Nevertheless, both countries face common security threats, namely North Korean and China; and both are pushed by the United States to cooperate on an international level. It is increasingly important for Japan and South Korea to take steps toward reconciliation. Analyzing the significant barriers to rapprochement, this article explores soft power as a potential method for improving relations between the two countries.","PeriodicalId":119819,"journal":{"name":"The Interdependent: Journal of Undergraduate Research in Global Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115646371","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Brazilian cultural and political project began in 1822 with the end of colonization. At its outset, colonization stood fictitious in its enormous power to shape reality. In Latin America there was a confluence between the politicians and writers of the 19th century that guaranteed wholly pervasive foundational mythologies—the people building the legal-political state were also setting the mythological ideology of the nation in stone. As such, foundational myths served to unify the people under a common national banner. However, in their attempts to overcome the ghost of colonization, they ended up guaranteeing a wholly pervasive structure wherein the repressed trauma could fester. In Brazil, foundational works, like José de Alencar's Iracema, instead of rejecting the trauma of colonization, engendered myths that repressed it, romanticizing a narrative for the people to fall in love with their colonizer. This love, I argue, led to a specific cultural complex that induces a repetition compulsion of the original traumatic event up to this day, guaranteeing unconscious entrapment and a constant return and submission to the figure of the colonizer.
{"title":"Love for the Colonizer: Literary and Psychoanalytic Investigations of Brazil's Foundational Trauma","authors":"Francisco Attié","doi":"10.33682/mn24-v7av","DOIUrl":"https://doi.org/10.33682/mn24-v7av","url":null,"abstract":"The Brazilian cultural and political project began in 1822 with the end of colonization. At its outset, colonization stood fictitious in its enormous power to shape reality. In Latin America there was a confluence between the politicians and writers of the 19th century that guaranteed wholly pervasive foundational mythologies—the people building the legal-political state were also setting the mythological ideology of the nation in stone. As such, foundational myths served to unify the people under a common national banner. However, in their attempts to overcome the ghost of colonization, they ended up guaranteeing a wholly pervasive structure wherein the repressed trauma could fester. In Brazil, foundational works, like José de Alencar's Iracema, instead of rejecting the trauma of colonization, engendered myths that repressed it, romanticizing a narrative for the people to fall in love with their colonizer. This love, I argue, led to a specific cultural complex that induces a repetition compulsion of the original traumatic event up to this day, guaranteeing unconscious entrapment and a constant return and submission to the figure of the colonizer.","PeriodicalId":119819,"journal":{"name":"The Interdependent: Journal of Undergraduate Research in Global Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126932126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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