Commedia, mini-musical e flussi mediali : L'Inferno in sei minuti degli Oblivion

In questo saggio si metteranno in mostra, attraverso una prospettiva mediologica e intersemiotica, i meccanismi testuali, intertestuali e performativi con cui il gruppo teatrale-musicale italiano Oblivion ha ri-mediato la prima cantica della Commedia dantesca in un prodotto audiovisivo e performativo ibrido - un mini-musical dal titolo L'Inferno in sei minuti -, che affonda le radici in più immaginari, da quello letterario fino al paesaggio intermediale alimentato dalla popular music italiana. Tale occasione permette anche di riflettere - più in generale - sulle modalità con cui un'opera letteraria ben impressa nell'immaginario nazionale può essere ri-mediata nel contesto postmediale, consentendo nello stesso tempo una riflessione sugli approcci mainstream alla conoscenza di Dante, la quale risulta fortemente vincolata al canone scolastico, come si può notare analizzando i prodotti realizzati dagli Oblivion legati alle opere letterarie.Aquest assaig mostrarà, a través d'una perspectiva mediològica i intersemiòtica, els mecanismes textuals, intertextuals i performatius amb què el grup italià de teatre-música Oblivion ha remediat el primer càntic de la Comèdia de Dante en un producte híbrid audiovisual i performatiu: un mini-musical. titulat Hell in six minutes - que té les seves arrels en molts imaginaris, des del literari fins al paisatge intermèdia alimentat per la música popular italiana. Aquesta ocasió també ens permet reflexionar -de manera més general- sobre les maneres en què una obra literària ben gravada en l'imaginari nacional pot ser remediada en el context postmediàtic, alhora que permet una reflexió sobre els enfocaments principals de el coneixement de Dante, que està fortament lligat a la taxa escolar, com es pot comprovar analitzant els productes elaborats per Oblivion vinculats a obres literàries.In this essay we show, through a mediological and intersemiotic perspective, the textual, intertextual and performative mechanisms with which the Italian theatrical-musical group Oblivion re-mediated the first cantica of Dante's Commedia into a hybrid audiovisual and performative product - L'Inferno in sei minuti, a mini-musical -, that is linked to several imaginaries, from the literary to the intermedial landscape created by the universe of Italian popular music. This occasion also allows us to reflect - more generally - on the ways in which a literary work that is impressed in the national imaginary can be remedied in the post-medial context, and - at the same time - it allows a reflection on mainstream approaches to the knowledge of Dante, which is strongly linked to the scholastic canon, as can we see thanks to the analysis of the products made by Oblivion, and linked to the literary works.Este ensayo mostrará, a través de una perspectiva mediológica e intersemiótica, los mecanismos textuales, intertextuales y performativos con los que el grupo italiano de teatro-música Oblivion ha remediado el primer cántico de la Comedia de Dante en un producto híbrido audiovisual y performático -un mini-musical titulado Infierno en seis minutos - que tiene sus raíces en muchos imaginarios, desde el literario hasta el paisaje intermedia alimentado por la música popular italiana. Esta ocasión también nos permite reflexionar, de manera más general, sobre las formas en que una obra literaria bien impresa en el imaginario nacional puede ser remediada en el contexto post-mediático, al mismo tiempo que permite una reflexión sobre los principales enfoques de el conocimiento de Dante, que está fuertemente ligado a la matrícula escolar, como se puede comprobar al analizar los productos elaborados por Oblivion vinculados a obras literarias.Cet essai montrera, à travers une perspective médiologique et intersémiotique, les mécanismes textuels, intertextuels et performatifs avec lesquels le groupe de théâtre-musique italien Oblivion a remédié le premier cantique de la Comédie de Dante dans un produit audiovisuel et performatif hybride - un mini-musical intitulé Hell in six minutes - qui puise ses racines dans de nombreux imaginaires, du littéraire au paysage intermédia alimenté par la musique populaire italienne. Cette occasion permet également de réfléchir - plus généralement - aux manières dont une œuvre littéraire bien empreinte dans l'imaginaire national peut être remédiée dans le contexte post-média, tout en permettant une réflexion sur les approches dominantes de la connaissance de Dante, dont elle est fortement liée aux frais de scolarité, comme on peut le voir en analysant les produits fabriqués par Oblivion liés aux œuvres littéraires

"Aging", sessualità e cinema nella cultura italiana del secondo dopoguerra

Special issue on "aging" and sexuality in the Italian culture

Technologies of contraception and abortion

Soon to turn 60, the oral contraceptive pill still dominates histories of technology in the ‘sexual revolution’ and after. ‘The pill’ was revolutionary for many, though by no means all, women in the west, but there have always been alternatives, and looking globally yields a different picture. The condom, intrauterine device (IUD), surgical sterilization (male and female) and abortion were all transformed in the twentieth century, some more than once. Today, female sterilization (tubal ligation) and IUDs are the world's most commonly used technologies of contraception. The pill is in third place, followed closely by the condom. Long-acting hormonal injections are most frequently used in parts of Africa, male sterilization by vasectomy is unusually prevalent in Britain, and about one in five pregnancies worldwide ends in induced abortion. Though contraceptive use has generally increased in recent decades, the disparity between rich and poor countries is striking: the former tend to use condoms and pills, the latter sterilization and IUDs. Contraception, a term dating from the late nineteenth century and since then often conflated with abortion, has existed in many forms, and techniques have changed and proliferated over time. Diverse local cultures have embraced new technologies while maintaining older practices. Focusing on Britain and the United States, with excursions to India, China and France, this chapter shows how the patterns observed today were established and stabilized, often despite persistent criticism and reform efforts. By examining past innovation, and the distribution and use of a variety of tools and techniques, it reconsiders some widely held assumptions about what counts as revolutionary and for whom. Analytically, it takes up and reflects on one of the main issues raised by feminists and social historians: the agency of users as patients and consumers faced with choice and coercion. By examining practices of contraception alongside those of abortion, it revisits the knotty question of technology in the sexual revolution and the related themes of medical, legal, religious and political forms of control

Possibilità intermediali della forma-canzone fra cinema, scrittura, performance e new media. Il caso di Claudio Baglioni

This paper, starting from the notions of intermediality and remediation, explores the relationship between the song-form and other media, in particular cinema, a medium impregnated with intersemiotic translations. In the introduction the author rebuilds the studies between song-form and cinema, mainly focusing on the Italian territory, where cinema and song concurred to create an intermedial imaginary. The paper continues with the analysis of the case-study of the Roman singer-songwriter Claudio Baglioni (1951), investigating the levels of intermediality within his work from different perspectives. Finally, the author states that the intermediality in Baglioni’s works is present at three levels: medial, structural and contextual level. The song-form, thanks to these intermedial levels, broadens its expressive possibilities, concerning the intersection with cinema particularly. Thus, cinema and the other media, at least in Italy, have become a valuable resource for other songwriters. According to Baglioni’s philosophy, intermediality becomes a precious element to configure the style of an individual songwriter.La scrittura del cantautore romano Claudio Baglioni (1951) si è caratterizzata per differenti spinte intermediali che guardano nello specifico soprattutto al cinema, ma anche ad altri media (videogiochi, radio, etc...). La forma-canzone per Baglioni non è stata sufficiente a sé stessa: il cantautore ha avuto bisogno di guardare al cinema (e agli altri media) per attuare vere e proprie traduzioni intersemiotiche e per configurare originalmente il proprio stile di cantautore. Il suo caso può dimostrare come la collaborazione fra canzone e cinema in Italia, dagli anni del boom economico ad oggi, sia stata reciproca: da un lato, il cinema ha avuto bisogno, anche a livello industriale e commerciale, della forma-canzone, influenzando le proprie modalità espressive (il musicarello, i film-opera, i film-album), o semplicemente utilzzando canzoni pre-esistenti per offrire nuove configurazioni di senso (come hanno fatto registi come Pasolini, Dino Risi, Nanni Moretti o Paolo Sorrentino); dall'altro lato, la canzone ha di contro avuto bisogno del cinema (e degli altri media) per ampliare le proprie possibilità espressive

Forme di scrittura audiovisiva del sé: esperienze e pratiche schermiche di studenti e docenti in Didattica a Distanza nel nuovo panorama mediale

La pandemia da Coronavirus ha scosso non solo la scuola italiana, cogliendola impreparata sul piano tecnologico, ma anche la vita degli studenti, alterando molte delle loro abitudini. I giovani della generazione Z tuttavia non stati colti così impreparati dalle innovazioni digitali, poiché da tempo sperimentano quotidianamente, sfruttando le strutture elementari del linguaggio audiovisivo, esperienze schermiche soggettive che poi diventano oggetto di narrazioni del sé, secondo modalità ritenute da loro più efficaci rispetto alla scrittura tradizionale e a quella multimediale. Con la Didattica a Distanza e con la trasformazione dell’ambiente-scuola in mediascape, tali pratiche si sono estese all’ambito scolastico: studenti e docenti si sono così ritrovati ad agire, insieme, in un unico grande ambiente mediale generato dalle rilocazioni del dispositivo-scuola e dell’ambiente domestico, con un cortocircuito tra essi. Le loro esperienze sono state testimoniate dai social network, terreno mediale in cui sia studenti che docenti, come mediantropi, sostanziano adeguatamente le proprie emozioni digitali. Per cogliere i legami tra DaD, schermi, esperienze e pratiche, si analizzerà un corpus testuale di area italiana estratto da TikTok, social network audiovisivo molto utilizzato dai giovanissimi, offrendo focus specifici su casi di docenti e studenti che si sono distinti nel flusso mediale, imprimendosi in poco tempo nell’immaginario pandemico dei giovani italiani.The Coronavirus pandemic has upset not only the Italian school, revealing its unpreparedness on a technological level, but also students' lives, altering their habits radically. Nevertheless, the young people of Generation Z have not been caught so unprepared by digital innovations: since a long time, in fact, by using the elementary structures of audiovisual language, they have been experimenting subjective screen experiences, which then become objects of new self-writing practices, considered more effective than traditional and multimedia writing. With Distance Learning (and the transformation of the school-building into a mediascape), these practices have expanded to the school environment: thus, students and teachers have found themselves acting together in the same single large media environment generated by the relocation of the school-device and the home-environment, with a short circuit between them. Their experiences have been witnessed by social media, a medial area in which both students and teachers, as mediantrophists, can adequately substantiate their digital emotions. In order to grasp the links between Distance Learning, screens, experiences and practices, we will analyze a textual corpus of the Italian area extracted from TikTok, an audiovisual social medium widely used by very young people, offering specific focuses on cases of teachers and students who have distinguished themselves in the media flow, quickly impressing themselves in the pandemic imagery of young Italians

Intersezioni di immaginari in un iper-immaginario postmoderno e postmediale: il caso della serie Once Upon a Time = Intersections of imaginaries in a postmodern and postmedial hyper-imaginary: the case of the series Once Upon a Time

Within the contemporary mediascape, Once Upon a Time (ABC, seven seasons, 2011-2018) represents a rather original serial experiment: starting from the shared westerly (and not only) fairy-tale imagery, fueled and sometimes created by Disney, the series, thanks to its ecosystem structure, is configured in its essence by intersections with other imaginaries. The result is the creation of a contaminated hyper-imaginary novel that rethinks, re-semantizes and reformulates characters and stories already imprinted in the collective imaginary. The architecture of the series resorts to the starting imaginaries as architraves and foundations; the semantic construction, instead, weaves a constant dialogue with the spectators, questioning stories, characters, musical moments, costumes, iconographies, even entire sequences of other films - all materials well impressed in the collective imaginaries of viewers, whose memory is solicited. It is only thanks to the links generated in the audiovisual memory of the spectators – in turn, well evoked by the narrative and metanarrative strategies applied by the authors – it the series manages to carve out its own originality. Therefore, the series under discussion creates, from scratch, a reflective imaginary of imaginaries in a constant evolution. So, the traditional fairy-tale imagery is not forgotten, but reshaped and re-semantized in favor of the new perspectives that dominate in the contemporary mediascape (gender perspectives, villains back history, transmedia storytelling, replicability), combined with an original metanarrative: therefore Once Upon a Time, referring to the paradigm of complexity, proposes itself as a new point of reference that can be useful on several levels, and could be seen as a new postmodern and postmedial myth valid from childhood to adulthood

Forma-canzone, guerre e pratiche di restituzione mediale: immaginari bellici, antimilitarismo e (non) militanze nell'opera di Claudio Baglioni = Song-forms, wars and medial reworking practices: war imaginaries, anti-militarism and (not) militancy in Claudio Baglioni's opera

The Italian song, as a media device for restitution and re-elaboration on a formal, cultural, and social level, dedicates some space to war. After the Second World War, is privileged a dimension not more choral, but aesthetic, carried on by both by committed songwriters and by those deemed disengaged, as Claudio Baglioni. He activates different modes of media restitution of the war experience, through a mediatizing machine that represents war not as a contextual experience, but universal (filtered by the wars of the twentieth century), and the fruit of guilt of a few, but that many suffer. In songs like Ninna nanna, nanna ninna (1974), Loro sono là (1978) and, above all, Requiem (2003), the Baglionian machine refines its semiotic tools to restore emotionally the war imaginary: that's demonstrates that the song-form, through its triple semiotic status, is configured in the Italian mediascape as a medial-aesthetic element to avoid the presence of wars at a time when they appear distan

Usi espressivi della forma-canzone nelle "original soundtrack" del fenomeno Checco Zalone: performance, visioni, immaginario e crossmedialità. Da "Angela" (2009) a "L'immunità di gregge" (2020)

Checco Zalone is one of the most important phenomena of Italian Cinema of the last decades. One of the constants of his cinema is the presence of the song-form, in particular of original songs (original soundtrack), used as a mean to transit from the theatre, radio and TV to the cinema: this paper constitutes a sociosemiotic, interdisciplinary and culturalist analysis of the different expressive modalities with which Zalone makes use of his songs, that become a configuration element of his own style, representing a specific cinematographic way and strengthening Zalone’s authorial role in his cinema in a complex and considerable way

Itinerari di mediatizzazione del ciclismo nella canzone italiana: forme, racconti, immaginario = Itineraries of mediatization of cycling in Italian song: forms, stories, imaginary

This study explores the role of the song-form within the phenomena of mediatization of sport, focusing on the case of cycling in the Italian mediascape. After illustrating the different forms of sports mediatization in songs, by reporting on the case study, this paper will highlight, first of all, the specificity of the paratextual mediatization of the songs in the Giro d'Italia. These songs represent a cohesive and identifying medium in a historical moment in which the media-narrative of this sport loses the epic, romantic and mythological stylistic features that it had possessed for a long time. After that, the investigation of the forms of textual mediatization will reveal to what extent they are addressed to some practices of revitalization of an imaginary of the past, underlining an ancestral dimension of the bicycle that was served in post-war Italy to nurture an emotional inspiration useful for relieving oneself of the difficulties of war. This aspect is re-vitalized on a textual level in songs that are configured as stories, but which have not been able to transform themselves – as happens for example in football – into practices of performative and collective sharin