La moda come sistema di segni nel mondo iperconnesso

This article focuses on the role of fashion as a cross-cultural system capable of expressing tensions, hybridizations, translations, between the languages of the body, in the context of the hyper-connected condition of the contemporary era. The concept of fashionscapes, coined on the model of global cultural flows articulated in Appadurai -scapes, expresses an idea of fashion that today gives life to landscapes, perspectives, territories, real and imaginary, made of physical matter and sign matter, of organic bodies and digital data. The essay will analyze the transformations introduced in the fashion world by the Coronavirus pandemic, with particular reference to the role of digital media.Este artículo se centra en el papel de la moda como un sistema transcultural capaz de expresar tensiones, hibridaciones, traducciones, entre los lenguajes del cuerpo, en el contexto de la condición hiperconectada de la era contemporánea. El concepto de fashionscapes, acuñado sobre el modelo de flujos culturales globales articulados en Appadurai -scapes, expresa una idea de moda que hoy da vida a paisajes, perspectivas, territorios, reales e imaginarios, hechos de materia física y materia de signos, de cuerpos orgánicos y datos digitales. El ensayo analizará las transformaciones introducidas en el mundo de la moda por la pandemia del Coronavirus, con especial referencia al papel de los medios digitales.Questo articolo si concentra sul ruolo della moda come sistema transculturale in grado di esprimere tensioni, ibridazioni, traduzioni, tra i linguaggi del corpo, nel contesto della condizione di iperconnessione propria dell’epoca contemporanea. Il concetto di fashionscapes, coniato sul modello dei flussi culturali globali articolati in -scapes di Appadurai, esprime un’idea di moda che oggi dà vita a paesaggi, prospettive, territori, reali e immaginari, fatti di materia fisica e materia segnica, di corpi organici e dati digitali. Il saggio analizzerà le trasformazioni introdotte nel mondo della moda dalla pandemia di Coronavirus, con particolare riferimento al ruolo dei media digitali.Neste artigo enfoca o papel da moda como sistema transcultural capaz de expressar tensões, híbridos, traduções, entre as linguagens do corpo, no contexto da condição hiperconectada da era contemporânea. O conceito de “paisagens da moda”, cunhado no modelo dos fluxos culturais globais articulados nas paisagens Appadurai, expressa uma ideia de moda que hoje dá vida a paisagens, perspectivas, territórios, reais e imaginários, feitos de matéria física e matéria de signos, de corpos orgânicos e dados digitais. O ensaio analisará as transformações introduzidas no mundo da moda pela pandemia do Coronavirus, com particular referência ao papel das mídias digitais

Language in social reproduction: Sociolinguistics and sociosemiotics

This paper focuses on the semiotic foundations of sociolinguistics. Starting from the definition of "sociolinguistics" given by the philosopher Adam Schaff, the paper examines in particular the notion of "critical sociolinguistics" as theorized by the Italian semiotician Ferruccio Rossi-Landi. The basis of the social dimension of language are to be found in what Rossi-Landi calls "social reproduction" which regards both verbal and non-verbal signs. Saussure's notion of langue can be considered in this way, with reference not only to his Course of General Linguistics, but also to his Harvard Manuscripts.The paper goes on trying also to understand Roland Barthes's provocative definition of semiology as a part of linguistics (and not vice-versa) as well as developing the notion of communication-production in this perspective. Some articles of Roman Jakobson of the sixties allow us to reflect in a manner which we now call "socio-semiotic" on the processes of transformation of the "organic" signs into signs of a new type, which articulate the relationship between organic and instrumental. In this sense, socio-linguistics is intended as being sociosemiotics, without prejudice to the fact that the reference area must be human, since semiotics also has the prerogative of referring to the world of non-human vital signs.Socio-linguistics as socio-semiotics assumes the role of a "frontier" science, in the dual sense that it is not only on the border between science of language and the anthropological and social sciences, but also that it can be constructed in a movement of continual "crossing frontiers" and of "contamination" between languages and disciplinary environments

La moda come traduzione culturale nel pianeta iperconnesso

This paper focuses on the role of fashion as a transcultural system that expresses tensions, hybridizations and translations across body languages in the context of the contemporary hyper-connected world. The methodology is founded on Fashion Theory conception of fashion as a system of meaning within which both cultural and aesthetic representations of the clothed body are produced. Since its origins, in the last decades of the Twentieth century, Fashion Theory has questioned the genealogy of the forms of the clothed body in different eras and different places of the world, as well as the cultural, social and economic processes that allow those forms to fully affirm themselves as “fashion”. Furthermore, the theoretical pledge of Fashion Theory is to deconstruct the universalistic and Eurocentric canons in the light of cultural studies, gender studies, and postcolonial critique. The paper is also an opportunity to re-read some “classic” texts, between the late Eighties and the early Two-Thousands, by Gayatri Spivak and Rey Chow. Moreover, the recent notion of fashionscapes, inspired by the Appadurai’s global cultural flows, sketches a vision of fashion as a process in continuous translation, creating new landscapes, perspectives and territories, both real and imagined, made of physical and sign matter. Within these landscapes, perspectives and territories, clothed bodies reproduce themselves on a planetary scale. Today, social media, fashion blogs, Instagram and YouTube profiles, are conceived no longer simply as virtual spaces, but rather as spaces that can be physically and communicatively perceived and experienced. The synergy among these spaces plays a significant role in the promotion of transcultural communication in fashion. The crisis originated by the Coronavirus pandemic accentuated, and will continue to accentuate, the process of communicative re-intermediation in the fashion digital environment in the perspective of a new idea of “collectivity”, made of interconnected subjects who are also responsible for others

La moda come traduzione culturale nel pianeta iperconnesso

This paper focuses on the role of fashion as a transcultural system that expresses tensions, hybridizations and translations across body languages in the context of the contemporary hyper-connected world. The methodology is founded on Fashion Theory conception of fashion as a system of meaning within which both cultural and aesthetic representations of the clothed body are produced. Since its origins, in the last decades of the Twentieth century, Fashion Theory has questioned the genealogy of the forms of the clothed body in different eras and different places of the world, as well as the cultural, social and economic processes that allow those forms to fully affirm themselves as “fashion”. Furthermore, the theoretical pledge of Fashion Theory is to deconstruct the universalistic and Eurocentric canons in the light of cultural studies, gender studies, and postcolonial critique. The paper is also an opportunity to re-read some “classic” texts, between the late Eighties and the early Two-Thousands, by Gayatri Spivak and Rey Chow. Moreover, the recent notion of fashionscapes, inspired by the Appadurai’s global cultural flows, sketches a vision of fashion as a process in continuous translation, creating new landscapes, perspectives and territories, both real and imagined, made of physical and sign matter. Within these landscapes, perspectives and territories, clothed bodies reproduce themselves on a planetary scale. Today, social media, fashion blogs, Instagram and YouTube profiles, are conceived no longer simply as virtual spaces, but rather as spaces that can be physically and communicatively perceived and experienced. The synergy among these spaces plays a significant role in the promotion of transcultural communication in fashion. The crisis originated by the Coronavirus pandemic accentuated, and will continue to accentuate, the process of communicative re-intermediation in the fashion digital environment in the perspective of a new idea of “collectivity”, made of interconnected subjects who are also responsible for others

La moda e il corpo. Teorie, concetti, prospettive critiche

Questo libro esamina i vari aspetti attraverso cui è possibile intendere oggi la moda nell’ambito delle scienze sociali e umane, a partire dal suo intreccio indissolubile con il corpo. Dai fondamenti classici della sociologia, ai concetti contemporanei della Fashion Theory, sino alle problematiche introdotte dalla pandemia, il volume mostra come la moda esprima le molteplici tensioni dei corpi nella società. La moda è una forma di traduzione culturale: da un lato, essa ha seguito le espropriazioni e le appropriazioni culturali e sociali nella storia dell’umanità; dall’altro, la moda esprime gli incontri, le mescolanze e gli incroci di segni e culture, particolarmente oggi nel mondo iperconnesso. La crisi pandemica ha confermato come sia sempre meno credibile lo stereotipo della moda come sistema futile e superficiale e che in essa invece vivano questioni relative all’inclusione sociale, al genere, alle generazioni, alle diverse abilità del corpo, insieme alla preoccupazione globale nei confronti della sostenibilità etica ed estetica dei nostri comportamenti produttivi, comunicativi e di consumo. La moda rappresenta insomma molto più che una semplice “questione di abiti” e apre la nozione di cultura alla molteplicità e alla complessità