“To the centre of the city in the night waiting for you.” Centre and peripheries in English post-punk subculture. Since the first industrial revolution, large mass consumption has always had a decisive impact on cities’ territorial configuration, in relation to centralisation, migration, urbanisation, in an often-unequal relationship between metropolis and de-urbanized contexts. In this scenario of development and geographic change, even the production of the cultural industry has undergone the effects of increasingly evident polarisation between suburbs and centres, implementing the movement from the outskirt towards the centre in an osmotic dialogue between subculture and mass production. Over the years many subcultural phenomena have been born from the suburbs as antithesis to the dominant culture. These, then, became, through the dialectic process of birth, growth and legitimation, part of the integrated system of the mainstream culture. This is the case of the post-punk movement, born in 1978 from experimentation in the outskirts of northern England and in the Midlands in antithesis to the state of emptiness, darkness and disintegration of the period of the post-industrial punk crisis, which was characterised by a more solid identity, built through a methodical research far from anti-music and anti-punk style. This paper intends to draw a map of the English musical subculture of post-punk and new wave, showing how the process of cultural production born from the residential and industrial suburbs has rewritten a new geography of the storytelling. To this end, the centripetal displacement from the outskirt towards the centre can be understood under a double perspective. On the one hand, the geographical migration from the suburbs of Manchester and Sheffield redraws the map of cultural ferment and new artistic production. On the other hand, the narration of the binomial periphery/centre permeates the cultural imagination of this movement, which, over the years, has come to touch every sector of contemporary cultural industry and which, through continuous recalls and re-enactments, re-uses the same subcultural models under different guises.
{"title":"“To the centre of the city in the night waiting for you.” Centro e periferie nella sottocultura post-punk inglese = “To the centre of the city in the night waiting for you.” Centre and peripheries in English post-punk subculture","authors":"A. Amendola, Novella Troianiello","doi":"10.1285/i22840753n13p37","DOIUrl":"https://doi.org/10.1285/i22840753n13p37","url":null,"abstract":"“To the centre of the city in the night waiting for you.” Centre and peripheries in English post-punk subculture. Since the first industrial revolution, large mass consumption has always had a decisive impact on cities’ territorial configuration, in relation to centralisation, migration, urbanisation, in an often-unequal relationship between metropolis and de-urbanized contexts. In this scenario of development and geographic change, even the production of the cultural industry has undergone the effects of increasingly evident polarisation between suburbs and centres, implementing the movement from the outskirt towards the centre in an osmotic dialogue between subculture and mass production. Over the years many subcultural phenomena have been born from the suburbs as antithesis to the dominant culture. These, then, became, through the dialectic process of birth, growth and legitimation, part of the integrated system of the mainstream culture. This is the case of the post-punk movement, born in 1978 from experimentation in the outskirts of northern England and in the Midlands in antithesis to the state of emptiness, darkness and disintegration of the period of the post-industrial punk crisis, which was characterised by a more solid identity, built through a methodical research far from anti-music and anti-punk style. This paper intends to draw a map of the English musical subculture of post-punk and new wave, showing how the process of cultural production born from the residential and industrial suburbs has rewritten a new geography of the storytelling. To this end, the centripetal displacement from the outskirt towards the centre can be understood under a double perspective. On the one hand, the geographical migration from the suburbs of Manchester and Sheffield redraws the map of cultural ferment and new artistic production. On the other hand, the narration of the binomial periphery/centre permeates the cultural imagination of this movement, which, over the years, has come to touch every sector of contemporary cultural industry and which, through continuous recalls and re-enactments, re-uses the same subcultural models under different guises.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"37-56"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47306379","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}
Pub Date : 2018-12-13DOI: 10.1285/I22840753N13P263
A. Santoro
Narrating death: primordial fears and modern anguish. Death is one of the events of human experience that most influences the symbolic production of the collective imagination. Aim of the research will be try to underline the ways in which this fear manifests itself in modern western society. The methodological approach that I will use for this analysis will be a phenomenological type supported by the study of the great cinematographic narrators and their expressive means that are ideal for penetrating the anthropological horizon characteristic of our modern world. On one side, the cinema has spectacularized the death triggering a phenomenon of distancing from the real event; on the other side, it shows itself as an available archive of our dreams, our fears, our most intimate desires, and collective visions: the cinema has staged some of the anguishes and the most common cravings that populate the modern western imaginary.
{"title":"Narrare le morte: paure primordiali e angosce moderne = Narrating death: primordial fears and modern anguish","authors":"A. Santoro","doi":"10.1285/I22840753N13P263","DOIUrl":"https://doi.org/10.1285/I22840753N13P263","url":null,"abstract":"Narrating death: primordial fears and modern anguish. Death is one of the events of human experience that most influences the symbolic production of the collective imagination. Aim of the research will be try to underline the ways in which this fear manifests itself in modern western society. The methodological approach that I will use for this analysis will be a phenomenological type supported by the study of the great cinematographic narrators and their expressive means that are ideal for penetrating the anthropological horizon characteristic of our modern world. On one side, the cinema has spectacularized the death triggering a phenomenon of distancing from the real event; on the other side, it shows itself as an available archive of our dreams, our fears, our most intimate desires, and collective visions: the cinema has staged some of the anguishes and the most common cravings that populate the modern western imaginary.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"263-274"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48270563","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}
Pub Date : 2018-12-13DOI: 10.1285/I22840753N13P197
Valerio Cappozzo
The Path of Imagination Leads to the Center of Reality. Medieval Dreams in the Modern-Day Subconscious. The Somniale Danielis is a manual to dreams and their interpretations, the most popular of its kind in the Middle Ages and in the Renaissance. It consists of a list of dream symbols arranged in an alphabetical order, and interpreted as portending something good or evil for a dreamer. The system established both quick and easy access to terms, symbols, and their meanings, and functioned as a convenient guide to the interpretation of dreams. It serves, too, as an important tool for understanding medieval literary as well as other dreams, and for identifying and describing traditional dream images. The most remarkable fact about this dream dictionary is that the red thread of dream interpretation remains pretty much unchanged from antiquity to today. This is the very reason why it is used coherently by different poets and scientists in the Middle Ages and in the Renaissance. Indeed, interpreting one’s own visions was thus a way to position human beings at the center of the universe, after centuries of confinement at the peripheries of creation. The more evident change in the history of dream interpretation occurred at the beginning of twentieth century, when Sigmund Freud started working on dreams considered as a potential tool to investigate the deepest part of our personality and our past, and not as a possible prediction of the future. But even after the birth of psychoanalysis, popular dream-books continued to be considered the best way to interpret dreams.
{"title":"La strada dell’immaginazione porta al centro della realtà. Sogni medievali nell’inconscio contemporaneo. = The Path of Imagination Leads to the Center of Reality. Medieval Dreams in the Modern-Day Subconscious","authors":"Valerio Cappozzo","doi":"10.1285/I22840753N13P197","DOIUrl":"https://doi.org/10.1285/I22840753N13P197","url":null,"abstract":"The Path of Imagination Leads to the Center of Reality. Medieval Dreams in the Modern-Day Subconscious. The Somniale Danielis is a manual to dreams and their interpretations, the most popular of its kind in the Middle Ages and in the Renaissance. It consists of a list of dream symbols arranged in an alphabetical order, and interpreted as portending something good or evil for a dreamer. The system established both quick and easy access to terms, symbols, and their meanings, and functioned as a convenient guide to the interpretation of dreams. It serves, too, as an important tool for understanding medieval literary as well as other dreams, and for identifying and describing traditional dream images. The most remarkable fact about this dream dictionary is that the red thread of dream interpretation remains pretty much unchanged from antiquity to today. This is the very reason why it is used coherently by different poets and scientists in the Middle Ages and in the Renaissance. Indeed, interpreting one’s own visions was thus a way to position human beings at the center of the universe, after centuries of confinement at the peripheries of creation. The more evident change in the history of dream interpretation occurred at the beginning of twentieth century, when Sigmund Freud started working on dreams considered as a potential tool to investigate the deepest part of our personality and our past, and not as a possible prediction of the future. But even after the birth of psychoanalysis, popular dream-books continued to be considered the best way to interpret dreams.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"197-216"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49570838","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}
FRANK ZAPPA, GERMANY, 1968. A transatlantic paradox and an accusation of cultural provincialism. Besides his autobiography, the rock guitarist and contemporary composer Frank Zappa (1940-1993) has disseminated his thinking through hundreds of highly articulate and seldom repetitive interviews. Published around the world by the international press since 1965, for almost thirty years, his statements, reflections, and analyses display a musicological, sociological, even semiotic and political approach not only to the arts, but to reality in the wider sense. Part of a broader research on his thinking, this paper aims to retrace Zappa’s position towards the protest movement in late Sixties, not only in the USA but also in Europe. A key moment in the development of such position came when he played in West Berlin in 1968 with his band The Mothers of Invention. That concert provides a very good example of a cultural clash between the highly politicized German audience, with its believes and principles, and Zappa’s personal visions for society and the way to improve it. That night the musician realized that ideas and actions implemented by the student protest in Europe, and above all in Germany, were the byproduct of a ‘cultural periphery’ in the worst sense: a sort of provincial extension of the USA which had been culturally colonized by the American model of the ‘youth revolt’, with local distortions and worsening. The crucial evolution of politics in the late Sixties both in Germany and in the USA, the social theories on youth developed during the Fifties and the Sixties, the influence and impact of Zappa’s songs and lyrics during the late Sixties, and the reaction of European media to his statements, are here examined contextually to the unfortunate concert in Berlin and the evolution of Zappa’s sociological and political theories developed after that controversial episode.
弗兰克·扎帕，德国，1968年。跨大西洋的悖论和对文化地方主义的指责。除了自传，摇滚吉他手、当代作曲家弗兰克·扎帕(1940-1993)还通过数百次口齿清晰、很少重复的采访传播了他的思想。自1965年以来，他的言论、思考和分析在世界各地由国际媒体出版了近30年，不仅对艺术，而且对更广泛意义上的现实，都展示了音乐学、社会学甚至符号学和政治的方法。作为对其思想的更广泛研究的一部分，本文旨在追溯扎帕对60年代末抗议运动的立场，不仅在美国，而且在欧洲。1968年，他和他的乐队the Mothers of Invention在西柏林演出，这是他发展这一地位的关键时刻。那场音乐会提供了一个很好的例子，展示了高度政治化的德国观众之间的文化冲突，他们有自己的信仰和原则，而扎帕对社会的个人愿景和改善它的方式。那天晚上，音乐家意识到，在欧洲，尤其是在德国，学生抗议活动的思想和行动是“文化边缘”最坏意义上的副产品:一种被美国“青年反抗”模式文化殖民的美国的外省延伸，伴随着当地的扭曲和恶化。六十年代后期德国和美国政治的重要演变，五十年代和六十年代关于青年的社会理论的发展，六十年代后期扎帕歌曲和歌词的影响和影响，以及欧洲媒体对他的言论的反应，在此以柏林不幸的音乐会和扎帕的社会学和政治理论的演变为背景进行研究。
{"title":"Frank zappa e il ’68 tedesco. Un paradosso transatlantico e un’accusa di provincialismo culturale = Frank Zappa, Germany, 1968. A transatlantic paradox and an accusation of cultural provincialism","authors":"Gianfranco Salvatore","doi":"10.1285/I22840753N13P57","DOIUrl":"https://doi.org/10.1285/I22840753N13P57","url":null,"abstract":"FRANK ZAPPA, GERMANY, 1968. A transatlantic paradox and an accusation of cultural provincialism. Besides his autobiography, the rock guitarist and contemporary composer Frank Zappa (1940-1993) has disseminated his thinking through hundreds of highly articulate and seldom repetitive interviews. Published around the world by the international press since 1965, for almost thirty years, his statements, reflections, and analyses display a musicological, sociological, even semiotic and political approach not only to the arts, but to reality in the wider sense. Part of a broader research on his thinking, this paper aims to retrace Zappa’s position towards the protest movement in late Sixties, not only in the USA but also in Europe. A key moment in the development of such position came when he played in West Berlin in 1968 with his band The Mothers of Invention. That concert provides a very good example of a cultural clash between the highly politicized German audience, with its believes and principles, and Zappa’s personal visions for society and the way to improve it. That night the musician realized that ideas and actions implemented by the student protest in Europe, and above all in Germany, were the byproduct of a ‘cultural periphery’ in the worst sense: a sort of provincial extension of the USA which had been culturally colonized by the American model of the ‘youth revolt’, with local distortions and worsening. The crucial evolution of politics in the late Sixties both in Germany and in the USA, the social theories on youth developed during the Fifties and the Sixties, the influence and impact of Zappa’s songs and lyrics during the late Sixties, and the reaction of European media to his statements, are here examined contextually to the unfortunate concert in Berlin and the evolution of Zappa’s sociological and political theories developed after that controversial episode.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"57-90"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46490008","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}
Pub Date : 2018-12-13DOI: 10.1285/I22840753N13P167
Livia de Tommasi
Entrepreneurship and cultural activism in brazilian peripheries. Periferias, favelas, hills, areas of special interest, subnormal clusters, margins. There are several expressions used in Brazil to name regions of the city in order to demarcate their alterity in relation to the "centers". Place of the fault (of services, opportunities, public policies, State), of violence, of the "plundering" in opposition to the places of the city where the social life that matters. The peripheral regions have always been seen as places of "authenticity", of cultural richness, of the sonority of samba, of popular inventiveness, of struggle and resistance. In the last decade, this positive image has been fed by the diffusion and effervescence of artistic and cultural practices (hip hop, graffiti, sarahs, theater collectives, new dance styles, audiovisual production), as well as by a discursive regime aimed at celebrating "creative" abilities and the enterprising talents of its residents. In the context of neoliberal rationality, these supposedly "resilient" virtues became the model of "good practices". In the text, I propose to describe the peripheral cultural scene and its multiple assemblages, in the context of the profound transformations that occurred in Brazilian cities in the years of the governments of the Workers' Party. In particular argument about the emergence of a new figure of worker, the cultural entrepreneur activist and his "career would run," that is, the specific ways in which his work activities and militancy decline.
{"title":"Empreendedorismo e ativismo cultural nas periferias brasileiras = Entrepreneurship and cultural activism in brazilian peripheries","authors":"Livia de Tommasi","doi":"10.1285/I22840753N13P167","DOIUrl":"https://doi.org/10.1285/I22840753N13P167","url":null,"abstract":"Entrepreneurship and cultural activism in brazilian peripheries. Periferias, favelas, hills, areas of special interest, subnormal clusters, margins. There are several expressions used in Brazil to name regions of the city in order to demarcate their alterity in relation to the \"centers\". Place of the fault (of services, opportunities, public policies, State), of violence, of the \"plundering\" in opposition to the places of the city where the social life that matters. The peripheral regions have always been seen as places of \"authenticity\", of cultural richness, of the sonority of samba, of popular inventiveness, of struggle and resistance. In the last decade, this positive image has been fed by the diffusion and effervescence of artistic and cultural practices (hip hop, graffiti, sarahs, theater collectives, new dance styles, audiovisual production), as well as by a discursive regime aimed at celebrating \"creative\" abilities and the enterprising talents of its residents. In the context of neoliberal rationality, these supposedly \"resilient\" virtues became the model of \"good practices\". In the text, I propose to describe the peripheral cultural scene and its multiple assemblages, in the context of the profound transformations that occurred in Brazilian cities in the years of the governments of the Workers' Party. In particular argument about the emergence of a new figure of worker, the cultural entrepreneur activist and his \"career would run,\" that is, the specific ways in which his work activities and militancy decline.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"167-196"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47116627","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}
Pub Date : 2018-12-13DOI: 10.1285/i22840753n13p131
R. Pavoni
The Gaze of the Other. Representations and Self-representations of Migrants in the Urban Landscape. The “being here” of the migrants acquires meaning only when related to the presence of somewhere “there”, in a polyphonic relation. The dialectic of their gaze tends to withdraw in mainstream media speech. The Italian scenario, in this sense, is particularly significant, as it often abuses of the emergency frame: the Others are invaders, the diversity is a threat. The perception of and interaction with the urban landscape, then, reveals to be crucial: to explore alternative narratives could lead to a change of perception. Recently, Italian cinema has been concerned with these issues. Two examples are particularly meaningful: the Archivio delle Memorie Migranti productions, namely the collective film Benvenuti in Italia (2012) and Dagmawy Yimer’s Va’ Pensiero (2013), and Tumaranke (2018), a juxtaposition of videos made by thirty-eight young asylum seekers. Both modalities of self-representation seem to be extreme: strongly hetero-directed in the former case; strongly self-directed in the latter. This paper will discuss a third way of representing the relationship between diasporic subjects and urban landscape: a hetero-represented self-representation, that is, a process of hybridisation that tends to highlight the distance and irreconcilability of both approaches.
他者的凝视。城市景观中移民的表征与自我表征。移民的“在这里”只有在与某个“在那里”的存在相关时才具有意义，这是一种复调关系。他们凝视的辩证法往往会在主流媒体的演讲中消失。从这个意义上说，意大利的情况尤其重要，因为它经常滥用紧急框架：其他人是入侵者，多样性是威胁。因此，对城市景观的感知和互动至关重要：探索替代叙事可能会导致感知的改变。最近，意大利电影界一直在关注这些问题。有两个例子特别有意义：Archivio delle Memorie Migranti的作品，即意大利的集体电影《Benvenuti》（2012年）和Dagmawy Yimer的《Va’Pensiero》（2013年），以及Tumaranke（2018年），38名年轻寻求庇护者制作的视频并置。自我表征的两种模式似乎都是极端的：在前一种情况下都是强烈的异性恋；后者具有强烈的自我导向性。本文将讨论表现散居主体与城市景观之间关系的第三种方式：异质性的自我表征，即一种混合的过程，倾向于突出两种方式的距离和不可调和性。
{"title":"Gli sguardi degli altri. Rappresentazioni e autorappresentazioni dei migranti nel paesaggio urbano = The Gaze of the Other. Representations and Self-representations of Migrants in the Urban Landscape","authors":"R. Pavoni","doi":"10.1285/i22840753n13p131","DOIUrl":"https://doi.org/10.1285/i22840753n13p131","url":null,"abstract":"The Gaze of the Other. Representations and Self-representations of Migrants in the Urban Landscape. The “being here” of the migrants acquires meaning only when related to the presence of somewhere “there”, in a polyphonic relation. The dialectic of their gaze tends to withdraw in mainstream media speech. The Italian scenario, in this sense, is particularly significant, as it often abuses of the emergency frame: the Others are invaders, the diversity is a threat. The perception of and interaction with the urban landscape, then, reveals to be crucial: to explore alternative narratives could lead to a change of perception. Recently, Italian cinema has been concerned with these issues. Two examples are particularly meaningful: the Archivio delle Memorie Migranti productions, namely the collective film Benvenuti in Italia (2012) and Dagmawy Yimer’s Va’ Pensiero (2013), and Tumaranke (2018), a juxtaposition of videos made by thirty-eight young asylum seekers. Both modalities of self-representation seem to be extreme: strongly hetero-directed in the former case; strongly self-directed in the latter. This paper will discuss a third way of representing the relationship between diasporic subjects and urban landscape: a hetero-represented self-representation, that is, a process of hybridisation that tends to highlight the distance and irreconcilability of both approaches.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"131-166"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48442821","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}
Signs between old Bedouins. An epistolary analysis of Benjamin. Walter Benjamin (1892-1940) and Gerhard Scholem (1897-1982) were bound by a deep friendship, intertwined since 1912 and continuing until 1940, when Benjamin committed suicide in Port Bou, terrified of being handed over to the Nazis. The two intellectuals, both of Jewish faith, made different existential choices: Benjamin remained in Germany until the racial persecution of the Nazi regime forced him to roam around Europe, while Scholem settled in Palestine and worked at the University of Jerusalem, where he could devote himself to the study of Jewish mysticism. The essay concerns the correspondence between the two scholars, particularly on Zionism, the proximity of Benjamin to the communism, the relationship with the scholars of the Institute of Social Research directed by Max Horkheimer and with Bertolt Brecht. On the background of the correspondence is clearly visible Benjamin’s attempt not to give up his intellectual research and friendship, even though he was forced to look for marginal and peripheral places where he could survive in a Europe by then handed over to Hitler's wars.
{"title":"Segni tra vecchi beduini. Un’interpretazione epistolare di Benjamin = Signs between old Bedouins. An epistolary analysis of Benjamin","authors":"S. Cristante","doi":"10.1285/I22840753N13P7","DOIUrl":"https://doi.org/10.1285/I22840753N13P7","url":null,"abstract":"Signs between old Bedouins. An epistolary analysis of Benjamin. Walter Benjamin (1892-1940) and Gerhard Scholem (1897-1982) were bound by a deep friendship, intertwined since 1912 and continuing until 1940, when Benjamin committed suicide in Port Bou, terrified of being handed over to the Nazis. The two intellectuals, both of Jewish faith, made different existential choices: Benjamin remained in Germany until the racial persecution of the Nazi regime forced him to roam around Europe, while Scholem settled in Palestine and worked at the University of Jerusalem, where he could devote himself to the study of Jewish mysticism. The essay concerns the correspondence between the two scholars, particularly on Zionism, the proximity of Benjamin to the communism, the relationship with the scholars of the Institute of Social Research directed by Max Horkheimer and with Bertolt Brecht. On the background of the correspondence is clearly visible Benjamin’s attempt not to give up his intellectual research and friendship, even though he was forced to look for marginal and peripheral places where he could survive in a Europe by then handed over to Hitler's wars.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"7-36"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48626110","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}
Pub Date : 2018-12-13DOI: 10.1285/I22840753N13P247
F. Leone
The feeling of fear in the collective imaginary: The Disney Pixar example. The contemporary scientific debate, in particular starting from the last decade of the last century, has been, often, about a rampant colonization of cognitive sciences. It’s known that the disciplines linked to this scientific field tend to explain the human behavior starting from the analysis of the process that happens in the brain. Thanks to the new techniques of brain studies (like fMRI) it’s possible to establish a material base, which lends itself to the empiric experimentation, to scientific studies of topics like awareness, feelings and emotions, traditionally associated to the purely metaphysical research. Between the basic emotions, or primary emotions, there is fear. In recent years there’s been huge publishing productions of scientific articles on this topic -And it’s easy to understand considering this big paradigmatic change happening- orienting the thoughts towards a different perspective of cognitive type. The object of this work is to comprehend in which terms the emotion of fear is been defined and told in the scientific contemporary debate, with a particular attention to the sociological approach. To be more specific, this work intend to analyze in which measure the way the sociological stories can be placed into an even bigger cultural movement in which the Mithological references that are feeding the contemporary imaginary are changing deeply. Additionally, once highlighted the strength and the limits of some of the proposals coming from the cognitive sciences, we propose a reading - and so an additional possible story telling alternative- of the feeling of fear open and amplified end and a more articulated inter-disciplinary approach. Between the objectives the proposals tends to, we would at the end try to stimulate a more intense opening between the different cognitive sciences and the Sociology of the cultural and communicative processes.
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Pub Date : 2018-12-13DOI: 10.1285/I22840753N13P121
Francesca Fichera
Tales from the Italian suburbs. The return of the Suburra to cinema. Prompted by thoughts and cues read in Stefano Cristante and Valentina Cremonesini’s research La parte cattiva dell’Italia (2015) this paper aims to delve into the study of the media representation of specific Italian places through a comparative analysis of the national audiovisual imaginary. Given the deep connection between cinema and metropolitan scenarios (Abruzzese 2017; Brancato 2003), the setting is the key-concept to use in the selection of the movies and tv series with fictional narratives linked to the main metropolitan realities of our country: Milan, Rome, Naples and Palermo. Defining the setting in the iconic and hyperbolic terms of the suburbs, emerged in a first scan as having already been depicted as an element of growing importance in audiovisual Italian productions explicitly in relation with the territory, is the focus of this research. A definition required in order to compare different images of the Modern Cities (Benjamin 2007) of Italy and the possible stereotypes they could contain, with the objective to cross the dimension of landscapes at the borders of metropolitan areas with that of narrative genres. The distinction between drama and comedy of the sample of films and tv series set in the suburbs, produced and released in a time-frame that goes from the 1990s to nowadays, identifies a first level of breakdown of the elements contained in the audiovisual texts which, preluding to the necessity of a qualitative interrogation of them, mirrors the data of an increasing presence of the suburbs in the audiovisual imaginary of our country as much as the emergence of important quantitative and qualitative differences strictly correlated to the Italian place represented. More than the cinematographic and tv representation of Gomorrah the storytelling of the Roman suburbs is gaining in stature, seemingly committed to the restoration of its historical-cinematographical roots, in the face of a much more feeble and sporadic representation of the respective poles in Northern Italy and the insular reality of Sicily.
意大利郊区的故事。郊区电影的回归。受Stefano Cristante和Valentina Cremonesini的研究La parte cattiva dell 'Italia(2015)的思想和线索的启发，本文旨在通过对国家视听想象的比较分析，深入研究意大利特定地方的媒体表征。鉴于电影和都市场景之间的深刻联系(Abruzzese 2017;Brancato 2003)，设置是在选择与我国主要大都市现实相关的虚构叙事的电影和电视剧时使用的关键概念:米兰，罗马，那不勒斯和巴勒莫。在第一次扫描中，以郊区的标志性和夸张的术语来定义背景，已经被描述为意大利视听制作中日益重要的元素，明确地与领土相关，这是本研究的重点。为了比较意大利现代城市的不同形象(Benjamin 2007)和它们可能包含的刻板印象，需要一个定义，目的是跨越大都市地区边界的景观维度和叙事类型。在1990年代至今的时间框架内制作和发行的以郊区为背景的电影和电视连续剧样本的戏剧和喜剧之间的区别，确定了视听文本中所包含的元素的第一级分解，这包括对它们进行定性讯问的必要性，反映了在我们国家的视听想象中郊区越来越多的数据，以及与所代表的意大利地方严格相关的重要数量和质量差异的出现。与蛾摩拉的电影和电视表现相比，罗马郊区的故事叙述正在获得越来越多的地位，似乎致力于恢复其历史电影的根源，面对意大利北部两极和西西里岛孤立现实的更微弱和零星的表现。
{"title":"Racconti dalle periferie d’Italia. Il ritorno al cinema della Suburra = Tales from the Italian suburbs. The return of the Suburra to the cinema","authors":"Francesca Fichera","doi":"10.1285/I22840753N13P121","DOIUrl":"https://doi.org/10.1285/I22840753N13P121","url":null,"abstract":"Tales from the Italian suburbs. The return of the Suburra to cinema. Prompted by thoughts and cues read in Stefano Cristante and Valentina Cremonesini’s research La parte cattiva dell’Italia (2015) this paper aims to delve into the study of the media representation of specific Italian places through a comparative analysis of the national audiovisual imaginary. Given the deep connection between cinema and metropolitan scenarios (Abruzzese 2017; Brancato 2003), the setting is the key-concept to use in the selection of the movies and tv series with fictional narratives linked to the main metropolitan realities of our country: Milan, Rome, Naples and Palermo. Defining the setting in the iconic and hyperbolic terms of the suburbs, emerged in a first scan as having already been depicted as an element of growing importance in audiovisual Italian productions explicitly in relation with the territory, is the focus of this research. A definition required in order to compare different images of the Modern Cities (Benjamin 2007) of Italy and the possible stereotypes they could contain, with the objective to cross the dimension of landscapes at the borders of metropolitan areas with that of narrative genres. The distinction between drama and comedy of the sample of films and tv series set in the suburbs, produced and released in a time-frame that goes from the 1990s to nowadays, identifies a first level of breakdown of the elements contained in the audiovisual texts which, preluding to the necessity of a qualitative interrogation of them, mirrors the data of an increasing presence of the suburbs in the audiovisual imaginary of our country as much as the emergence of important quantitative and qualitative differences strictly correlated to the Italian place represented. More than the cinematographic and tv representation of Gomorrah the storytelling of the Roman suburbs is gaining in stature, seemingly committed to the restoration of its historical-cinematographical roots, in the face of a much more feeble and sporadic representation of the respective poles in Northern Italy and the insular reality of Sicily.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"121-130"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45702612","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}
Pub Date : 2018-12-13DOI: 10.1285/i22840753n13p231
Raffaella Capriglia
Human peripheries. The invisible beauty. Taranto, the landscapes around the factory. Vito Leone, a photographer of minimalist tradition, has dedicated a lot of energy to photograph the industrial area of Taranto. Here we present a set of images whose result is a comparative study on geometric shapes, looking for a grammar and a mathematics of space and “non-places”.
{"title":"Periferie umane. La bellezza invisibile. Taranto, i paesaggi intorno alla fabbrica = Human peripheries. The invisible beauty. Taranto, the landscapes around the factory","authors":"Raffaella Capriglia","doi":"10.1285/i22840753n13p231","DOIUrl":"https://doi.org/10.1285/i22840753n13p231","url":null,"abstract":"Human peripheries. The invisible beauty. Taranto, the landscapes around the factory. Vito Leone, a photographer of minimalist tradition, has dedicated a lot of energy to photograph the industrial area of Taranto. Here we present a set of images whose result is a comparative study on geometric shapes, looking for a grammar and a mathematics of space and “non-places”.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":"2018 1","pages":"231-244"},"PeriodicalIF":0.1,"publicationDate":"2018-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42671981","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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