Pub Date : 2018-11-05DOI: 10.1285/I22840753N11P139
V. Scalone
Ethical ideas in the linguistic education of pupils children of migrants. Nowadays modern societies have to copy with the multiculturality and the problem of inclusion of foreign people. Migrants are by now a steady presence in our towns and, consequently, also in our schools. So it is not more possible to put the cultural, social and political debates concerning their condition off. But what is ‘good’ in language instruction for students coming from abroad or whose parents were migrants? And how can we set up educational approaches (together with methods and practices of language teaching/learning), whose aim is the pursuit of ‘good’ for this specific target and, consequently, for the entire welcoming and inclusive community? Being engaged in this ethical evaluation is not obvious nor even simple. It is first necessary to clearly explicate language instruction in order to identify its key elements and their specific object of study. A theoretical and a practical reflection on language instruction implies thus the definition of the sustainability of the language teaching system. Teaching and learning in a ethically sustainable way means giving the appropriate value to each single element of the language instruction process: the subject (mainly the student/the class-group), the object (mainly the language/the culture) and the agent (mainly the teacher/language book). So, among the issues concerning the educational inclusion of the children learning a not-native language, the improvement of the L2 (second language) knowledge becomes a real integration strategy for their full inclusion in the native community and also the prelude of a process leading to the collective ‘well-being’, that is the common good.
{"title":"Spunti etici nell’educazione linguistica di alunni figli di migranti = Ethical ideas in the linguistic education of pupils children of migrants","authors":"V. Scalone","doi":"10.1285/I22840753N11P139","DOIUrl":"https://doi.org/10.1285/I22840753N11P139","url":null,"abstract":"Ethical ideas in the linguistic education of pupils children of migrants. Nowadays modern societies have to copy with the multiculturality and the problem of inclusion of foreign people. Migrants are by now a steady presence in our towns and, consequently, also in our schools. So it is not more possible to put the cultural, social and political debates concerning their condition off. But what is ‘good’ in language instruction for students coming from abroad or whose parents were migrants? And how can we set up educational approaches (together with methods and practices of language teaching/learning), whose aim is the pursuit of ‘good’ for this specific target and, consequently, for the entire welcoming and inclusive community? Being engaged in this ethical evaluation is not obvious nor even simple. It is first necessary to clearly explicate language instruction in order to identify its key elements and their specific object of study. A theoretical and a practical reflection on language instruction implies thus the definition of the sustainability of the language teaching system. Teaching and learning in a ethically sustainable way means giving the appropriate value to each single element of the language instruction process: the subject (mainly the student/the class-group), the object (mainly the language/the culture) and the agent (mainly the teacher/language book). So, among the issues concerning the educational inclusion of the children learning a not-native language, the improvement of the L2 (second language) knowledge becomes a real integration strategy for their full inclusion in the native community and also the prelude of a process leading to the collective ‘well-being’, that is the common good.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-11-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N11P139","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49038105","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 : 2018-06-29DOI: 10.1285/i22840753n12p127
Emiliano Chirchiano
Alone, in the dark. Narrative practices and videogame experiences of fear. In contemporary mediascape, video games represent the only narrative medium where the danger for the fate of the protagonist represents an ordinary event. However, this is not an intrinsic bias of the game form, but a potentially problematic convention inherited from an era related to the early days of gaming, where it made sense to look at games from a perspective based on basic rules such as "try again" (James Paul Gee, 2005). I propose to examine the cybernetic interaction between player and machine, where the digital figure - simulating autonomous action - makes the boundaries between the game object and interactive subjectivity blurred. Analyzing the genre called "survival horror", I want to draw a parallel between the architectures of videogames with those of literature and genre cinematography
独自一人，在黑暗中。恐惧的叙事实践和视频游戏体验。在当代媒体景观中，电子游戏代表了唯一一种叙事媒介，其中主人公命运的危险代表了一个普通事件。然而，这并不是游戏形式的固有偏见，而是一种潜在的问题惯例，它继承自一个与游戏早期相关的时代，在这个时代，从基于“再试一次”等基本规则的角度看待游戏是有意义的（James Paul Gee，2005）。我建议研究玩家和机器之间的控制论交互，其中模拟自主动作的数字图形使游戏对象和交互主体之间的界限变得模糊。分析被称为“生存恐怖”的类型，我想将电子游戏的架构与文学和类型电影的架构进行比较
{"title":"Da solo, al buio. Pratiche narrative ed esperienze videoludiche della paura = Alone, in the dark. Narrative practices and videogame experiences of fear","authors":"Emiliano Chirchiano","doi":"10.1285/i22840753n12p127","DOIUrl":"https://doi.org/10.1285/i22840753n12p127","url":null,"abstract":"Alone, in the dark. Narrative practices and videogame experiences of fear. In contemporary mediascape, video games represent the only narrative medium where the danger for the fate of the protagonist represents an ordinary event. However, this is not an intrinsic bias of the game form, but a potentially problematic convention inherited from an era related to the early days of gaming, where it made sense to look at games from a perspective based on basic rules such as \"try again\" (James Paul Gee, 2005). I propose to examine the cybernetic interaction between player and machine, where the digital figure - simulating autonomous action - makes the boundaries between the game object and interactive subjectivity blurred. Analyzing the genre called \"survival horror\", I want to draw a parallel between the architectures of videogames with those of literature and genre cinematography","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/i22840753n12p127","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44924006","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 solitude of the body. The terror of incommunicability in the audiovisual genre imaginary. Starting from a definition of sci-fi imaginary as a space where it is possible to "reinvent reality as fiction" (Baudrillard 1980), the posthuman metaphors (Braidotti 2014) highlighted by recent sci-fi works turn into privileged witnesses of the contemporary rewriting process of the human body, a process which also involves its communication capabilities. In particular, this paper aims to underline, through a joint analysis of three films which are alike in the same narrative genre as in a particularly innovative way of representing the relational dimension of human body, the main role played by the fear of the incommunicability in the postmodernity context, where the meeting point between sci-fi imaginary and social conflict narratives has been confirmed further. The image of a human body affected by the fear of losing its medium vocation comes out from the lonely clone of Moon (Duncan Jones, 2009), from the progressive annihilation of the five senses narrated by Perfect Sense (David Mackenzie, 2011), and from the romance between a young man and an A.I. which leads Her (Spike Jonze, 2013). Its narrative and symbolic isolation definitively mirrors the human sense of disorientation towards his new posthuman dimension.
{"title":"La solitudine del corpo. Il terrore dell'incomunicabilità nell'immaginario audiovisivo di genere = The solitude of the body. The terror of incommunicability in the audiovisual genre imaginary","authors":"Francesca Fichera","doi":"10.1285/i22840753n12p81","DOIUrl":"https://doi.org/10.1285/i22840753n12p81","url":null,"abstract":"The solitude of the body. The terror of incommunicability in the audiovisual genre imaginary. Starting from a definition of sci-fi imaginary as a space where it is possible to \"reinvent reality as fiction\" (Baudrillard 1980), the posthuman metaphors (Braidotti 2014) highlighted by recent sci-fi works turn into privileged witnesses of the contemporary rewriting process of the human body, a process which also involves its communication capabilities. In particular, this paper aims to underline, through a joint analysis of three films which are alike in the same narrative genre as in a particularly innovative way of representing the relational dimension of human body, the main role played by the fear of the incommunicability in the postmodernity context, where the meeting point between sci-fi imaginary and social conflict narratives has been confirmed further. The image of a human body affected by the fear of losing its medium vocation comes out from the lonely clone of Moon (Duncan Jones, 2009), from the progressive annihilation of the five senses narrated by Perfect Sense (David Mackenzie, 2011), and from the romance between a young man and an A.I. which leads Her (Spike Jonze, 2013). Its narrative and symbolic isolation definitively mirrors the human sense of disorientation towards his new posthuman dimension.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/i22840753n12p81","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47321204","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 : 2018-06-29DOI: 10.1285/i22840753n12p141
Sheila Ogochukwu Nnabuife, Yosra Jarrar
Given the economic hardship in Nigeria in the past few years, Nigerians resorted to finding alternative ways as a survival strategy. Bit-coin and a good number of other crypto currencies formed the long sought economic alternative to such extent that it is gradually getting public acceptance as a means of transaction. Subsequent upon the collapse of MMM, the Nigerian government dismissed the use of crypto as legal means of exchange in Nigeria. This brought about reaction from bit-coin participants, experts and government officials. This study therefore is an examination of online media coverage aimed at ascertaining the slant of coverage, the dominant media source and type and how detailed the reports issued in the media concerning Bit-coin are. The researcher used the qualitative and quantitative content analysis research method to examine the manifest contents of the selected online media while framing and social responsibility theory formed the benchmark for the study. The study spanned for three months covering December 2017 through February 2018. Findings revealed that Nigerian online media gave negative slant to their coverage of Bit-coin crypto currency. It was also found that while government source dominates news source, straight news reports dominated the types of media used in the coverage of Bit-coin crypto-currency. The researcher concluded that the media had played their social responsibility role to the public by providing detailed reports on bit-coin and recommended that the mainstream media should also join hands in delivering detailed messages on salient issues.
{"title":"Online Media Coverage of BitCoin Crypto-currency in Nigeria: A study of Selected Online Version of Leading Mainstream Newspapers in Nigeria","authors":"Sheila Ogochukwu Nnabuife, Yosra Jarrar","doi":"10.1285/i22840753n12p141","DOIUrl":"https://doi.org/10.1285/i22840753n12p141","url":null,"abstract":"Given the economic hardship in Nigeria in the past few years, Nigerians resorted to finding alternative ways as a survival strategy. Bit-coin and a good number of other crypto currencies formed the long sought economic alternative to such extent that it is gradually getting public acceptance as a means of transaction. Subsequent upon the collapse of MMM, the Nigerian government dismissed the use of crypto as legal means of exchange in Nigeria. This brought about reaction from bit-coin participants, experts and government officials. This study therefore is an examination of online media coverage aimed at ascertaining the slant of coverage, the dominant media source and type and how detailed the reports issued in the media concerning Bit-coin are. The researcher used the qualitative and quantitative content analysis research method to examine the manifest contents of the selected online media while framing and social responsibility theory formed the benchmark for the study. The study spanned for three months covering December 2017 through February 2018. Findings revealed that Nigerian online media gave negative slant to their coverage of Bit-coin crypto currency. It was also found that while government source dominates news source, straight news reports dominated the types of media used in the coverage of Bit-coin crypto-currency. The researcher concluded that the media had played their social responsibility role to the public by providing detailed reports on bit-coin and recommended that the mainstream media should also join hands in delivering detailed messages on salient issues.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/i22840753n12p141","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43488181","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}
Metropolis, 20th century apparatus. Dystopia as objectification of urban fear. Metropolis (1927) by Fritz Lang represents the first urban dystopia in the history of 20th-century movies. The archetype of the city comes from cultural exchange between the representations of sci-fi literature and the scientific discoveries of the early 20th century: the vertical city by H. G. Wells Tales of space and time, the second industrial revolution, the so-called machine civilization, the theories of the Bauhaus and the Avant-garde. The osmosis between the hard sciences and the humanities forms a dynamic map, which is constructed by the present reality and which determines the design model of the future. But Metropolis is also a powerful representation of man, the transfiguration of the human microcosm in the urban macrocosm, a metaphor of the uncertain human ontological status. It is the dystopian model that – like Trantor by the sci-fi Foundation series of Isaac Asimov and the urban nightmares of Philip K. Dick, or like the Los Angeles of Blade Runner or the Machine City of Matrix – allows us to reflect on the present world.
{"title":"Metropolis, apparato del Novecento. La distopia come oggettivazione delle paure urbane = Metropolis, 20th century apparatus. Dystopia as objectification of urban fear","authors":"Fabio Ciracì","doi":"10.1285/I22840753N12P35","DOIUrl":"https://doi.org/10.1285/I22840753N12P35","url":null,"abstract":"Metropolis, 20th century apparatus. Dystopia as objectification of urban fear. Metropolis (1927) by Fritz Lang represents the first urban dystopia in the history of 20th-century movies. The archetype of the city comes from cultural exchange between the representations of sci-fi literature and the scientific discoveries of the early 20th century: the vertical city by H. G. Wells Tales of space and time, the second industrial revolution, the so-called machine civilization, the theories of the Bauhaus and the Avant-garde. The osmosis between the hard sciences and the humanities forms a dynamic map, which is constructed by the present reality and which determines the design model of the future. But Metropolis is also a powerful representation of man, the transfiguration of the human microcosm in the urban macrocosm, a metaphor of the uncertain human ontological status. It is the dystopian model that – like Trantor by the sci-fi Foundation series of Isaac Asimov and the urban nightmares of Philip K. Dick, or like the Los Angeles of Blade Runner or the Machine City of Matrix – allows us to reflect on the present world.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N12P35","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41783537","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 : 2018-06-29DOI: 10.1285/i22840753n12p107
Antonio Camorrino
Fear of the end. Conspiracies and plots in the imagery of contemporary society. Although contemporary society is the safest society in history, insecurity is one of the most widespread sentiments. For this reason, fear becomes one of the main feelings of this era. The extraordinary success of conspiracy theories reveals this state of affairs. The fear of the end takes the form of hypersemplified visions, thanks to which it becomes possible to explain the obscure mechanisms that regulate the lives of men. Phenomenologically linked in a direct way to the rapid diffusion of fake news, it is an extraordinary indicator of the atmosphere of "cosmic plot" (Douglas 1996) typical of our time. The internet certainly plays a role in amplifying this phenomenon, contributing to its increasingly accelerated propagation. Analyzing the sociological reasons for the growing success of this peculiar type of narratives, taking into account its communicative dimensions, is the goal of this paper.
{"title":"Paura della fine. Cospirazioni e complotti nell'immaginario della società contemporanea = Fear of the end. Conspiracies and plots in the imagery of contemporary society","authors":"Antonio Camorrino","doi":"10.1285/i22840753n12p107","DOIUrl":"https://doi.org/10.1285/i22840753n12p107","url":null,"abstract":"Fear of the end. Conspiracies and plots in the imagery of contemporary society. Although contemporary society is the safest society in history, insecurity is one of the most widespread sentiments. For this reason, fear becomes one of the main feelings of this era. The extraordinary success of conspiracy theories reveals this state of affairs. The fear of the end takes the form of hypersemplified visions, thanks to which it becomes possible to explain the obscure mechanisms that regulate the lives of men. Phenomenologically linked in a direct way to the rapid diffusion of fake news, it is an extraordinary indicator of the atmosphere of \"cosmic plot\" (Douglas 1996) typical of our time. The internet certainly plays a role in amplifying this phenomenon, contributing to its increasingly accelerated propagation. Analyzing the sociological reasons for the growing success of this peculiar type of narratives, taking into account its communicative dimensions, is the goal of this paper.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/i22840753n12p107","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48073314","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}
Travelling fear: the railway disaster as a topos of modern fiction. If we want to trace the antecedents of the anxieties and fears generated by communication systems, we should first recognize a continuity between transport and communication (Abruzzese, 2003), and we should therefore inspect the history of transportation technologies. That said, the image of the shipwreck emerges, it does not matter if the shipwreck is wanted by men or by an evil fate. It is the central topos of many stories and ballads since the dawn of navigation, and it finds its counterpart in industrial modernity in the railway disaster. The railway disaster, an unavoidable possibility since the birth of the railway (Schivelbusch, 1988), is a topic little or nothing considered in the social sciences; on the contrary, the railway disaster is a topos. This topos was variously explored by literature and cinematography, since Charles Dickens, subject to post-traumatic stress syndrome for having himself been involved in a derailment in 1865, poured out his anxieties in The Signal-Man (1982), and Emile Zola made a train wreck the expected conclusion of his Human Beast (2013). And if the railway disaster is uncanny, disturbing for its unexpected arrival, especially for the unsuspecting traveler, its spectacularity has made it a perfect climax for cinematographic works ranging from the famous Cassandra Crossing (Cosmatos, 2008) to Wagon Lits with Murders (Hiller, 1977) and Hugo Cabret (Scorsese, 2012), the latter reinterpreting two really happened incidents. In the present work, it is our intention to trace some relevant uses of the topos of the railway disaster in literature and cinematography, highlighting its efficiency as a trigger of that perturbing feeling that remains one of the most relevant characteristics of modern narratives.
{"title":"Paura in viaggio - Il disastro ferroviario come topos della narrativa moderna = Travelling fear: the railway disaster as a topos of modern fiction","authors":"Lorenzo Fattori","doi":"10.1285/I22840753N12P95","DOIUrl":"https://doi.org/10.1285/I22840753N12P95","url":null,"abstract":"Travelling fear: the railway disaster as a topos of modern fiction. If we want to trace the antecedents of the anxieties and fears generated by communication systems, we should first recognize a continuity between transport and communication (Abruzzese, 2003), and we should therefore inspect the history of transportation technologies. That said, the image of the shipwreck emerges, it does not matter if the shipwreck is wanted by men or by an evil fate. It is the central topos of many stories and ballads since the dawn of navigation, and it finds its counterpart in industrial modernity in the railway disaster. The railway disaster, an unavoidable possibility since the birth of the railway (Schivelbusch, 1988), is a topic little or nothing considered in the social sciences; on the contrary, the railway disaster is a topos. This topos was variously explored by literature and cinematography, since Charles Dickens, subject to post-traumatic stress syndrome for having himself been involved in a derailment in 1865, poured out his anxieties in The Signal-Man (1982), and Emile Zola made a train wreck the expected conclusion of his Human Beast (2013). And if the railway disaster is uncanny, disturbing for its unexpected arrival, especially for the unsuspecting traveler, its spectacularity has made it a perfect climax for cinematographic works ranging from the famous Cassandra Crossing (Cosmatos, 2008) to Wagon Lits with Murders (Hiller, 1977) and Hugo Cabret (Scorsese, 2012), the latter reinterpreting two really happened incidents. In the present work, it is our intention to trace some relevant uses of the topos of the railway disaster in literature and cinematography, highlighting its efficiency as a trigger of that perturbing feeling that remains one of the most relevant characteristics of modern narratives.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N12P95","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46282603","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}
Days of future passed. Emidio Greco's L'invenzione di Morel. Many Sci-Fi movies of the first half of the Seventies often take place on a planet Earth affected by accelerated phenomena of technological intensification that have a strong impact on the environment and on life forms, determining scenarios that have in common the fear of the future. In Europe, one of the most profound reflections on this social mood remains without doubt L'invenzione di Morel by Emidio Greco (1974), based on a short novel by Adolfo Bioy Casares published in 1940. This paper wants to highlight how the meanings of Emidio Greco's work are supported by a specific use of production design, aimed at the construction of a dramaturgical space based on temporal illusion, nostalgia and fear of the future.
未来的日子一天天过去了。埃米蒂奥·格雷科的《莫雷尔调查》。20世纪70年代上半叶的许多科幻电影通常发生在地球上，地球受到技术强化加速现象的影响，这些现象对环境和生命形式产生了强烈影响，决定了对未来恐惧的共同场景。在欧洲，对这种社会情绪最深刻的反思之一无疑仍然是埃米迪奥·格雷科（Emidio Greco，1974）根据阿道夫·比奥伊·卡萨雷斯（Adolfo Bioy Casares）1940年出版的短篇小说改编的《L’invenzione di Morel》。本文旨在强调埃米迪奥·格雷科作品的意义是如何通过具体的生产设计来支持的，旨在构建一个基于时间幻觉、怀旧和对未来的恐惧的戏剧空间。
{"title":"I giorni del futuro sono trascorsi. L'invenzione di Morel di Emidio Greco = Days of future passed. Emidio Greco's L'invenzione di Morel","authors":"Luca Bandirali","doi":"10.1285/I22840753N12P63","DOIUrl":"https://doi.org/10.1285/I22840753N12P63","url":null,"abstract":"Days of future passed. Emidio Greco's L'invenzione di Morel. Many Sci-Fi movies of the first half of the Seventies often take place on a planet Earth affected by accelerated phenomena of technological intensification that have a strong impact on the environment and on life forms, determining scenarios that have in common the fear of the future. In Europe, one of the most profound reflections on this social mood remains without doubt L'invenzione di Morel by Emidio Greco (1974), based on a short novel by Adolfo Bioy Casares published in 1940. This paper wants to highlight how the meanings of Emidio Greco's work are supported by a specific use of production design, aimed at the construction of a dramaturgical space based on temporal illusion, nostalgia and fear of the future.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N12P63","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44072536","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 Anxieties of Imagination. Forms of Fear in Transhumanism. It seems perhaps inevitable that a topic like transhumanism, that encapsulates many issues and problems of the current cultural complex, is able to do so thanks to its many, and somewhat conflicting, psychological tenets. Among these, the emotion of fear will be at the centre of the observations that will follow. I hope to show its significance, not only in the sense of the consistent presence of disruptions derived from fear within the transhumanist literature; but, at a deeper level, sonconjecturing that precisely its advent can be traced back to fear.
{"title":"Inquietudini dell'immaginario. Forme della paura nel transumano = The Anxieties of Imagination. Forms of Fear in Transhumanism","authors":"A. Allegra","doi":"10.1285/I22840753N12P7","DOIUrl":"https://doi.org/10.1285/I22840753N12P7","url":null,"abstract":"The Anxieties of Imagination. Forms of Fear in Transhumanism. It seems perhaps inevitable that a topic like transhumanism, that encapsulates many issues and problems of the current cultural complex, is able to do so thanks to its many, and somewhat conflicting, psychological tenets. Among these, the emotion of fear will be at the centre of the observations that will follow. I hope to show its significance, not only in the sense of the consistent presence of disruptions derived from fear within the transhumanist literature; but, at a deeper level, sonconjecturing that precisely its advent can be traced back to fear.","PeriodicalId":40441,"journal":{"name":"H-ermes-Journal of Communication","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-06-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1285/I22840753N12P7","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41458260","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 : 2018-06-29DOI: 10.1285/I22840753N12P173
M. Serra, Rayco González
From a long distance and a short one. The complex gaze of the Igort's Notebooks. The present article focuses on two works by the comics creator Igort, The Ukranian Notebooks and The Russian Notebooks, that describe the atrocities of the Holodomor and of the Russian-Chechen war. The analysis of these comic-books implies a reflection on the problem of distance (close, not close, distant, not distant) from their sources and the reality, a central issue in any historical, journalistic or documentary narrative. Applying the analytic tools of structural semiotics and of the historiography of present times, this article illustrates the complex strategy of getting close and moving away realised by Igort with the purpose of representing a specific reality. At the same time, it argues about some theoretical issues concerning the use of witnesses, testimonies, and documents among the disciplines that aspire to tell about a historical or cultural reality
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