689 research outputs found

    Appunti di notte e di mattina presto. 3 novembre 1966 – 10 aprile 1967

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    Nel diario intitolato Appunti di notte e di mattina presto, oltre ad affrontare i grandi temi della sua vita privata e pubblica, professionale e intellettuale, Marin definisce i nuclei essenziali della sua spiritualità che rifiuta ogni dogmatismo e ogni visione assiomatica e confessionale, affermando l’assoluta centralità della creatività individuale. L’originalità della persona si scontra continuamente con la pressione del conformismo sociale e con la tendenza al livellamento di istituzioni come la Chiesa Cattolica che ha ridotto la spiritualità a socialità, ossessionata dal dominio delle coscienze. Si tratta quindi di abbandonare mistificazioni e mitologie astratte trasformate in verità eterne, di riconoscere la “coincidenza tra materia e spirito” e la “tragica legge della metamorfosi”, che caratterizza l’esistenza: per Marin la vera salvezza deriva, infatti, soltanto dal “patimento della vertigine”; la moralità è la continua ricostruzione di un’armonia sempre precaria

    “En defensa del arte moderno”. Estética e ideología en el pensamiento crítico de Margherita Sarfatti

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    Màster Oficial en Estudis Avançats en Història de l'Art. Facultat de Geografia i Història de la UB. Curs: 2022-2023, Tutor: Tania Alba RiosLa presente investigación examina los puntos clave del proyecto político cultural de Margherita Sarfatti. La crítica de arte, activa durante los veinte años de fascismo en Italia, contribuyó de manera preponderante a la difusión de un nuevo arte moderno nacional, tanto en su patria como a nivel internacional. A través de una atenta revisión de sus escritos intentaremos profundizar en los elementos conceptuales y estéticos que constituyen la base de su postura crítica y metodológica. Asimismo, contextualizar a Sarfatti dentro un ámbito más estrictamente historiográfico, tomando en consideración el tejido de conexiones con artistas e historiadores del arte, nos permite definir el planteamiento y los procesos de análisis de su aproximación al arte y ubicar las teorías sarfattianas dentro de un marco historiográfico más amplio. Más allá de un discurso meramente historiográfico del arte, este trabajo pretende reflexionar sobre la centralidad de Sarfatti en el contexto político internacional de la época

    HAPTIC FEELING: GENEALOGIE TRA STORIA DELL’ARTE, CRITICA E NEW-MEDIA

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    This doctoral project aims to offer a genealogical investigation of haptic perception in art history. Although haptic perception has been the subject of an extraordinarily articulated and interdisciplinary panorama of studies from the last decade of the 19th century to the new millennium, it has yet to receive systematic recognition in art history and historiography.It was intersecting these directions, the four sections that make up the thesis aim to create a cohesive and harmonious treatment. The motility of the hand is the protagonist of the first section entitled Prehistory of the haptic. From iconography to morphogenesis, which, starting from a philological deconstruction of Jeff Koons' Balloon Venus series (2008-2021) and its relationship with the haptic feeling "of positivity", aims to formulate a hypothesis of a reinterpretation of modernist plastic hinged on this prehistoric artefact and on some of its figures, tracing a submerged historiography that could support this critical proposal. he second section of the project, entitled The History of the Haptic - State of the Literature and Critical Reconnaissance initiates an itinerary into the 20th-century development of the notion of the Haptic in the art-historical sphere through a critical re-reading of a panorama of sources, approaches, and orientations. In posing the haptic as a methodological question, the section moves from a critical reconnaissance of Alois Riegl’s role and an examination of the figures elaborated in the historiographic field to analyses the relations between haptics and the historical avant-garde. Following this, the third section of the work, defined as An Alternative History of Haptics, hypothesizes a 'prehistoric' and laboratory genealogy leading back to the 1892 rehabilitation of the term 'haptic/haptics' in the psycho-aesthetic sphere, tracing a network of relations between the scientific side (Wundt, Dessoir, Titchener, Münsterberg, James) and the artistic side (Berenson and Stein). Such an interweaving gives rise to the fourth section of the present work, entitled In the histories of the haptic, and aims to interrogate some selected nodes by which, in the second half of the 20th century, understood as a conceptual figure and interdisciplinary dynamic, a web of case studies has emerged whose analysis can assist the study of haptic feeling in an art-historical perspective and which, from the New York of 1916 up to the 1990s, allows us to highlight how it has grafted itself onto, actively participating in, stylistic issues and the intermediate development of sculpture. Finally, in the third section, entitled “In the sanctuary cave: haptic feeling and new media”, conceived as an appendix, the discussion interrogates the multimodal disposition of the haptic when sculpture takes over complex environmental and intermedial organisms. It again interrogates the paleo-historical framework about the contemporary mediasphere and the modes of evocation of touch widely probed by artists such as Laure Prouvost, Camille Henrot, Julien Prévieux and Marguerite Humeau

    L'esercizio dello sguardo. Poesia e immagini

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    Lettere alle “tre amiche”

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    This volume presents the letters (approximately 600) that Scipio Slataper wrote between late 1909 and December 1915 to his “three friends” from Trieste, Anna Pulitzer, Gigetta (Luisa) Carniel, and Elody Oblath. These letters bring to light complex existential and intellectual storylines: of friendship, love, and pain, of the search of the purpose of life, cultural commitment, and artistic creation

    «In compendiosa forma di contratto mugugno». Giornalini, scribilli, ghirigori, gazzettini e altre piccole tattiche quotidiane.

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    The thesis aims at the very first global analysis of Edoardo Sanguineti's journalistic activity from 1973 to 1982 (the period collected in the following five volumes: Giornalino; Giornalino Secondo; Scribilli; Ghirigori; Gazzettini)

    Egy elfeledett sajtóorgánum: a Bácsmegyei Napló szerepe a vajdasági magyar irodalom (ki)alakulásában

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    The subject of my doctoral thesis is the newspaper Bácsmegyei Napló and its role in the Hungarian literature in Vojvodina. The newspaper was published between 1903 and 1941 in Subotica. It played a truly important role from 1920 until it was discontinued in 1941, when it was considered the most important daily newspaper of the Hungarian minority in Vojvodina. The beginnings of the Hungarian literature in Vojvodina can be traced back to the newspapers that took upon themselves the task of providing literature for the readers, to give voice to the writers living there and to announce literary competitions to find talent. The Bácsmegyei Napló has not been the subject of any research, even though its literary supplement, first published in 1928, gave space to a generation of writers who, with few exceptions, did not survive the Second World War, and their work is recorded only in this press organ. In addition to literary works, the newspaper sought to find talented young people through competitions. Upon selecting the novels to be published in sequels, it was a priority to introduce authors from Vojvodina. The editorial staff of the Bácsmegyei Napló also published anthologies and volumes, which was a of great importance to the Hungarian culture in Vojvodina in the period between the two world wars. The owner and the editor of the newspaper was Ferenc Fenyves; however, his work was overshadowed by his classmate Dezső Kosztolányi. The study of the newspaper is a good opportunity to focus on his activities as a high school student, a budding journalist and an editor. The dissertation is accompanied by a bibliography of nine thousand items. This is a list of works published in the literary supplement of the Bácsmegyei Napló, which contains the works of authors from Vojvodina, still unknown until now, including novels of interest, as well as a list of reprints of the works of Hungarian authors, which can also be important sources of our literary history. My thesis aims to examine the literary activity of a forgotten press organ, revealing hitherto unknown data on literary history

    Domenico Rea e il Novecento italiano

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    [Italiano]: Sarebbe davvero un errore associare alla figura di Domenico Rea il cliché critico dello ‘scrittore da riscoprire’. A dimostrare l’evidenza di tale errore ci sarebbero importanti ‘indizi’ bibliografici (‘opere di’ e ‘opere su’ Rea, edite con continuità negli ultimi decenni), i quali inevitabilmente ci condurrebbero verso la ‘prova’ mastodontica del Meridiano curato dal compianto Francesco Durante e risalente al 2005. Inutile fare nomi specifici, che sono per lo più indicati e discussi nei saggi di questo volume. Preme invece esplicitare il corollario, che deriva da tale preventiva evidenza. Se le cose stanno così, ovvero se la scrittura di Rea ha continuato in forme e modi diversi nel corso di questi anni a essere letta e discussa, allora la questione non è tanto quella – per dir così – di dare a Rea quel che è di Rea. Il problema diviene piuttosto verificare i modi, i tempi e le formule critiche di tale continuità. Insomma una riflessione sulla produzione dello scrittore napoletano, che si ponga l’ambizioso obiettivo di essere ‘ad ampio raggio’, deve provare a riportare alla luce spazi insondati, materiali inediti e rari, a ricostruire legami amicali e relazioni intellettuali, a ragionare sul tempo lungo della sua opera e sui suoi rapporti interni. A questi obiettivi ha puntato, nel corso degli ultimi anni, l’attività del ‘Comitato nazionale per le celebrazioni del centenario della nascita di Domenico Rea’, istituito con D.M. 220 il 17 giugno 2021 e presieduto da Pasquale Sabbatino. A partire dal Convegno d’apertura Domenico Rea e il Novecento italiano (Napoli, 9-11 novembre 2021), di cui qui si pubblicano gli Atti, si è provato a trasformare tale centenario in una più generale ‘occasione critica’. /[English]: It truly would be a mistake to associate Domenico Rea with the critical cliché of the "rediscovered writer." Important bibliographic "clues" (works by and about Rea, have been consistently published in recent decades), which would inevitably direct us towards the mammoth 'proof' of the Meridiano, edited by the late Francesco Durante in 2005. Specific names need not be mentioned here, as they are mostly indicated and discussed in the essays in this volume. Instead, it is important to highlight the corollary derived from this preliminary evidence. If this is the case, if Rea's writing has continued to be read and discussed in different forms and ways over the years, then the question is not so much one of, so as to say - give Rea what is Rea's. Rather, the problem becomes one of verifying the methods, timing, and critical formulas of this continuity. In other words, a reflection on the production of the Neapolitan writer - and setting the ambitious goal of being 'wide-ranging' - must bring to light unfounded spaces, unpublished and rare materials so as to reconstruct friendships and intellectual relationships, to reason as to the longevity of his work and its internal relationships. In recent years, the activities of the 'National Committee for the celebrations of the centenary of his birth', established by Ministerial Decree 220, 17 June 2021, and chaired by Pasquale Sabbatino, have focused on these objectives. Starting from the opening conference "Domenico Rea and Italian Twentieth Century" (Naples, November 9-11, 2021), the proceedings of which are published here, an attempt has been made to transform this centenary into a broader "critical occasion"

    LA SFIDA DELL'ENCICLOPEDISMO CONTEMPORANEO ALLA COMPLESSITA' DEL REALE. INDAGINI SULLA LETTERATURA ITALIANA DEL NOVECENTO

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    La presente ricerca intende approfondire il paradigma enciclopedico applicandolo alle opere letterarie italiane, in particolare nel segmento temporale che va dagli anni sessanta del Novecento alla contemporaneità. La linea argomentativa, alimentata da un costante confronto con la letteratura critica e le prospettive teoriche, permette di rendere ragione del genere-metodo enciclopedico all’interno di una vasta gamma di autori, caratterizzati, pur nella loro molteplice diversità, dal medesimo desiderio di mappatura minuziosa del reale nell’epoca della liquidità. Prende forma un canone alternativo, nel segno dell’“opera a sineddoche”, che restituisce l’intreccio delle relazioni tra micro e macro-mondi, frammento e totalità, racconto e romanzo, cataloghi e riflessioni universalizzanti. L’analisi della parte in sostituzione dell’intero non è mai volontà di semplificazione, bensì strategia interpretativa che consente di salvaguardare una complessità altrimenti incomprensibile. A partire dal saggio di Umberto Eco, "L’antiporfirio" (1983), dove emerge la differenza tra la struttura rigida dizionariale e quella flessibile dell’enciclopedia, si avvia un’indagine tematica e formale dei testi, che passa per Borges, Calvino, Gadda, Frassineti, Celati e arriva fino a Cavazzoni, Cornia, Baroncelli e Mari. L’obiettivo del lavoro non è esaminare le tracce per sciogliere il caos del totale, ma catturare il lacerto, le cellule indiziarie, preservando l’unità attraverso la contemplazione del disordine.The present research intends to deepen the encyclopedic paradigm by applying it to Italian literary works, in particular in the time segment that goes from the sixties of the twentieth century to the contemporary. The argumentative line, fueled by a constant comparison with the critical literature and theoretical perspectives, explores a vast range of encyclopedic authors, characterized by the same desire to map reality in the age of liquidity. An alternative canon takes shape, in the name of the “synecdoche work”, which analyzes the relationships between micro and macro-worlds, fragment and totality, story and novel, catalogues and universalizing reflections. The analysis of the part in place of the whole is never a desire for simplification, but rather an interpretative strategy that allows us to safeguard an otherwise incomprehensible complexity. Starting from Umberto Eco’s essay, "L’antiporfirio" (1983), where the difference between the rigid dictionary structure and the flexible one of the encyclopedia emerges, a thematic and formal investigation of the texts begins. It passes through Borges, Calvino, Gadda, Frassineti, Celati and reaches as far as Cavazzoni, Cornia, Baroncelli and Mari. The objective of the work is not to dissolve the chaos, but to capture the fragment, preserving unity through the acceptance of disorder

    The Modern Art Week and Brazilian law in the 1920s

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    O ano de 2022 marcou o bicentenário da independência do Brasil e do centenário da Semana de Arte Moderna, que ocorreu no “Theatro Municipal” de São Paulo. Enquanto em 1922 se refletiu sobre o significado da independência, em 2022 pouco se falou do fato, exceto por força da reinauguração do Museu Paulista, construído no local onde D. Pedro I tomou a decisão de transformar o Brasil em novo Estado. Por sua vez, a Semana de Arte Moderna de 1922 foi comemorada pelo impacto que teria causado na cultura brasileira. Estes eventos, carregados de simbolismos e completados por elementos de memórias afetivas individuais que compõem a memória coletiva dessas efemérides, podem suscitar reflexões sobre os motivos pelos quais não houve um movimento similar no direito. Os objetivos deste artigo são os de resumir o modernismo e em que medida teria ocorrido ou não um modernismo no direito, especialmente, no direito brasileiro, ainda que de forma diversa daquela que ocorreu no campo das artes.The year 2022 marked the bicentenary of Brazil’s independence and the centenary of the Modern Art Week, which took place at the Municipal Theatre in São Paulo. While in 1922 the meaning of independence was analyzed, in 2022 little was said about the fact, except due to the reopening of the Paulista Museum, built in the place where Peter I took the decision to transform Brazil into a new State. In turn, the 1922 Modern Art Week was celebrated because of the impact it would have had on Brazilian culture. These events, full of symbolism and complemented by elements of individual affective memories that make up the collective memory of these dates, can raise reflections on the reasons why there was not a similar movement in law. The objectives of this article are to summarize modernism and to what extent modernism has occurred or not in law, especially in Brazilian law, albeit in a different way from that which occurred in the field of arts
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