The role of the family in educating children for the faith

One of the major responsibilities of the Christian Family is not only taking care of their children but also the education of the children for the faith. This role which is so important today is iterated in many Church documents. This is not a recent addition to the responsibilities of the family; in fact, it has been the responsibility of the family since biblical times. This paper seeks to highlight the importance of the role of the family in the education for the faith of children, starting as far back as biblical times, and reaching our contemporary times by reviewing the most important Church documents. Once the role of the family in educating for the faith of children is established, then some practical ways in which the family can educate for the faith today are discussed.peer-reviewe

Send in the clowns. Humor and power in Italian political, social and cultural life

No abstract available

Gilgamesh, i miti e 'l'eterno ritorno': intervista con Paola Capriolo, Milan, September 2003

Since my 1996 interview, recorded in the pages of this journal, Paola Capriolo has continued to be an exceptionally prolific author. Five more novels have appeared since then (bringing her total to ten), in addition to four translations of German texts, and several short stories, not forgetting her regular reviews for the Corriere della sera. My questions at that time focused on the principal themes and motifs recurring in her fiction, such as obsession, solitude, anxiety, music, mirrors, and the prison-like environments. I also addressed issues of responsibility and gender, the fact that her protagonists have no ‘past’ and sometimes no name, the role of the narrator, and the role of the reader. Deriving partly from her fondness for Mann and Rilke, the theme that dominated Capriolo’s writing up to 1996 was the connection – or more accurately, the distinction – between life and art. It found expression in the characters’ search for artistic perfection in music, sculpture, painting, philosophy, or literature, or in an ideal seen as something fixed and eternal. And so Eulalia worshipped the perfect mirror man (‘La grande Eulalia’), Mur and Stiler the female statue (‘La donna di pietra’, Un uomo di carattere), Walter the exotic stranger (Il nocchiero), and Vulpius and Scarpia the perfect gesture or act (La spettatrice, Vissi d’amore). Adele and the prisoner sought the perfect performance (‘Il gigante’, ‘Lettere a Luisa’), Cara and Vulpius repetition and fixity (Il doppio regno, La spettatrice), and Stiler control and order (Un uomo di carattere). To what extent do the post-1996 novels reflect the same concerns

Troubling coalitions. Some remarks on the (hardly audible) voice of pro-equality men’s groups in gender equality advocacy

This paper sets off to outline some reflections on the subject position occupied by pro-equality men’s groups within overarching discourses of gender equality. Discussion makes reference to the cases of Men Engage Europe and Maschile Plurale, two loosely organized networks of men that support gender equality in different ways at the EU supranational-level and the Italian national-level respectively. Fragments of the voices of these organizations were gathered during two semi-structured interview conducted in the context of my doctoral fieldwork. This paper argues that men supporting gender equality attempt to participate in feminism from the difficult position of ‘unspoken’ subjects. More specifically, I argue that the tension between narrative of inclusion and narratives of ‘sisterhood’ within feminism produce overarching discourses of gender equality in which men’s subject position is unspoken. Based on these premises, I attempt to offer some reflections on what is gained and what is perhaps lost in the process.Praca ta ma na celu zarysowanie pozycji zajmowanej przez grupy mężczyzn z prorównościowych organizacji podczas dyskusji odwołujących się do tematu równości płci. Dyskusja odnosi się do przypadków Men Engage Europe i Maschile Plurale, dwóch luźno zorganizowanych grup mężczyzn, które wspierają równouprawnienie płci na różne sposoby, na poziomie ponadna­rodowym Unii Europejskiej, a także odwołując się do realiów panujących we włoskich miastach. Część głosów obu organizacji została zebrana podczas dwóch częściowo ustrukturyzowanych wywiadów przeprowadzonych w ramach mojej pracy doktorskiej. Praca argumentuje, że mężczyźni popierający równouprawnienie płci próbują uczestniczyć w feminizmie z trudnej pozycji „cichych” podmiotów. Mówiąc dokładniej, twierdzę, że podejście „siostrzanego ruchu” w feminizmie prowadzi do nadrzędnych dyskusji na temat równości płci, w których pozycja mężczyzny jest niewypowiedziana. Opierając się na tych przesłankach, staram się przedstawić pewne refleksje na temat tego, co zostało osiągnięte i co być może zagubiło się w tym procesie.This project has received funding from the European Union’s Horizon 2020 research and innovation programme under the Marie Skłodowska-Curie grant agreement No. 67537

Teatro di Narrazione e scrittura scenica

Il teatro di narrazione nasce in Italia sul finire degli anni Ottanta, costituendosi come genere drammatico a partire dalla metà degli anni Novanta. Sebbene sia stato salutato come prolifica antitesi all’estetica del Nuovo Teatro, che veniva riconducendo la sostanza linguistica dello spettacolo all’evento scenico, vogliamo qui sottolineare come il rinnovato interesse per la parola drammatica non escluda il genere dalle medesime dinamiche soggiacenti a tutto il teatro iscritto nella pratica della "scrittura scenica". Se il teatro della scrittura scenica porta alle estreme conseguenze l’opera di decostruzione e disarticolazione spettacolare, analizzeremo quanto e se il teatro della performance epica si sia confrontato con questi medesimi andamenti

Raccontare le favole

Il capitolo affronta il tema della comprensibilità e della narrazione delle favole di Esopo con bambini di età prescolar

La mano di Lisetta e il gomito di Ugo Pagliai. Il teatro di narrazione tra diegesi e mimesi

L'articolo analizza il teatro di narrazione italiano, approfondendo in modo particolare i casi di Marco Baliani e Ascanio Celestini, alla luce del particolare rapporto tra diegesi e mimesi che caratterizza questo genere spettacolare