“Transnational Traumas: Terézia Mora’s Alle Tage.” (original) (raw)
TRANS, 2015
Resumen Il modo in cui la musica, in determinati contesti, viene utilizzata per costruire, mantenere e negoziare i confini etnici e culturali viene presentato attraverso la breve analisi delle posizioni espresse a partire dal XX secolo intorno al concetto di confine e frontiera nell'ambito dell'antropologia e dell'etnomusicologia. Abstract The way in which Music, in certain contexts, is used to build, maintain and negotiate ethnic and cultural borders is proposed through a short analysis of the scholarly points of views expressed in the fields of anthropology and ethnomusicology since the 20 th Century, around the concepts of frontiers and border. Esta obra está sujeta a la licencia de Reconocimiento-NoComercial-SinObraDerivada 4.0 España de Creative Commons. Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista que lo publica (TRANS-Revista Transcultural de Música), agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/trans. No la utilice para fines comerciales y no haga con ella obra derivada. La licencia completa se puede consultar en
Narrativa, 2022
Il contributo considera la narrativa a carattere regionale di Donatella Di Pietrantonio e quella a carattere transnazionale di Laila Wadia con l’obiettivo di verificare in che modo lo scambio tra culture sia in grado di rappresentare un futuro di nuove possibilità e soluzioni relazionali. Lo scontro multiculturale nei romanzi della seconda, e l’ostinata sordità degli affetti in un aspro mondo regionale in quelli della prima prima, vengono rinegoziati al fine di offrire spunti per un futuro che decostruisca fissi centri di potere e si apre a una molteplicità di identificazioni relazionali. L’article examine la littérature à caractère régional de Donatella Di Pietrantonio et celle à caractère transnational de Laila Wadia dans le but de vérifier comment l’échange entre des cultures peut représenter un avenir de nouvelles possibilités et de solutions relationnelles. Le choc multiculturel dans les romanes de l’une, et la surdité obstinée des affects dans un monde régional très dur dans les romans de l’autre, sont renégociés afin de proposer des perspectives pour un avenir qui déconstruit les centres de pouvoir figés et s’ouvre à une multiplicité d’identifications relationnelles.
Between 2018, 2018
The paper aims to read David Forster Wallace’s essay “The View From Mrs Thompson” (appeared in the October 25, 2001 issue of Rolling Stone) through the exegetic filter of trauma theory, in order to interpret the manner the author chose to account for his own account of the horror of 9/11, which he experimented not directly, but mediated by the screen of a television in a Midwest living room, namely Mrs Thompson.
Trauma e poeticità nella narrativa di Herta Müller
Caietele Echinox
Among the many ways in which Herta Müller engages in reconstructing historical memory in her prose is her extensive use of poetic devices. This article will focus on illustrating the role of words-images and the collage technique, in short, on the functioning of the visual medium, with its varied signifying potential, in conjunction with words, according to a logic in which the montage encapsulates a fragmentary, exploded, alienated identity. This study will therefore shed light on some central aspects of Herta Müller's prose concerning the problematic layering of the characters' consciousness. These are victims of the most lacerating historical traumas that marked the 20th century and they often appear within the frames of an autobiographical narrative that does not separate ethics from imagination, or the representation of the wounds of history from poeticism and fiction.
In una lettera al fratello Ernesto scritta da Oslo nel gennaio del 1965, durante il primo anno di vita dell'Odin Teatret, Eugenio Barba scrive di se stesso: «Eugenio, massone del teatro, lavora non al teatro, ma alla storia del teatro» 1 . La questione dei rapporti tra Barba, la scrittura e la storiografia rimanda a quella più generale, più volte apertamente posta da Eugenio, del conto aperto tra lui e la Storia, entità che evoca, preferibilmente e frequentemente, scrivendola con l'iniziale maiuscola.
Cantieri tanatologici Trauma vs scrittura nell'opera di Chloé Delaume
This article investigates the relationship between trauma and writing in Chloé Delaume's oeuvre. Autofiction, the genre chosen by the French author, together with her personal idea of literature, creates a fictional universe whose aim is to change the real one. In this way, trauma is, at the same time, the subject of Delaume's books and the result she wants to achieve. The mise en scène of her private story, through formal research and language experimentation, aspires to create a new identity for herself and to involve her readers in an individual search for awareness.
. Michienzi R. (2018), Tradurre esperienze traumatiche
2018
Considering the language as something that is never neutral, and inspired in the notions of ideology and power as proposed by Lefevere (Translation, Rewriting, and the Manipulation of Literary Fame), Carbonell (Traducción y cultura. De la ideología al texto) and Foucault (Vigilar y castigar), the contribution aims to set out a theoretical and empirical digression regarding traumatic events’ representability through intra and interlinguistic translation. Representing the enforced disappearances in Argentina (during the last military dictatorship), a short story by Luisa Valenzuela (Simetrías, 1993) and some testimonies from the Nunca Más report (1984) will be used in order to underline the relationship among language, memory and identity. (LaCapra, History in Transit. Experience, Identity, Critical Theory). Literature functions as a mediation giving the possibility to convey, understand and elaborate an unspeakable reality. Indeed, trauma writing challenges the atrophy of language and builds itself starting from the power of words and, particularly, from the “noise” caused by what is “not said” and which precisely represents the real challenge for the translator. In the space of intercultural communication, translation is destined to be one of the most important sites for the negotiation, understanding and/or contestation of the relationships of power and knowledge, not just across cultures but also across memories. Examining the lack of innocence of translation as the principle medium of intercultural communication, the paper focuses on its role in the construction and/or distortion of different memories. Starting from an interpretative approach, the contribution uses a purely empirical and experimental method arriving at a definition of the key challenges and problems of trauma translation and of a model which could help us to conceive new perspectives of analysis addressing “otherness” and “memories” through a very particular use of language (Vidal Claramonte, Traducción, manipulación, reconstrucción). The power of a translation to manipulate a memory, the relations or ‘not relations’ between victims and perpetrators, traumatic and post-traumatic language are the key elements from which it is possible to re-think translation as a bridge between past and future memories in a society full of individual and collective traumas.
L’amica geniale : anatomia di una comunità interpretativa transnazionale
2020
The article focuses on the international reception of the first season of the TV series L’amica geniale (My Brilliant Friend, 2018-). This Italian media product has been distributed and circulated in numerous countries around the globe as the television adaptation of the first book of Elena Ferrante’s bestselling Neapolitan Novels. Generally, the forms of representation and narration of Italianness in Italian TV series that circulate abroad present two distinctive traits: on the one hand, they feature a globally recognizable image of Italian identity and culture, and on the other hand, they narrate stories that are deeply rooted in Italian local contexts. L’amica geniale places in the middle of this spectrum. The aim of this article is to discuss how the audience of the tv series contributes to defining its identity as a transnational/Italian cultural product by fostering symbolic processes often in tension with each other. L’amica geniale appeals to the foreign public both due to i...
Il trauma come “valore aggiunto”. L’opera letteraria di Gustaaf Peek
LEA : Lingue e Letterature d'Oriente e d'Occidente, 2014
Gustaaf Peek is a Dutch writer and poet who translates art into words. His works are often harsh, difficult to understand for the reader and complicated. He hunts for unknown facts in history as well as in daily life, for instance, in his first novel Armin, with the monstrosity of the Lebensborn project in Nazi Germany, or in his second novel Dover where he discusses the reality of illegal immigration and warlords living in complete freedom in western towns. It is art for art's sake. But the novels written by Peek also contain the red thread of traumatic experiences. All of his characters suffer from one or many traumas, and act consequently. To the author this was a kind of wake-up call, a new way to consider his work and a new way to engage in the literary world. The aim of this article is to try to explain where Peek wrote about trauma and how. His topics and writing methods have also been illustrated.
Tortura e immigrazione - Patrícia Villen; Karina Quintanilha
Sapere l’Europa, sapere d’Europa 5, 2019
This chapter analyzes the relations between torture and immigration in the current context of crisis and rise of far right-wing parties in Latin America, particularly in Brazil. It considers the changes arising from the global economic crisis – which has been deeply hitting the region since 2012 – and from the hegemony of conservative political forces through a renewed alliance with the military power. These changes have direct repercussions on the immigration policies and legislation, as well as on the treatment of im- migrants. Cases of xenophobia, violence and torture against immigrants and refugees from poor countries – especially when they are not white – are constantly registered. Torture is a practice with a long historical tradition in Latin American and was reinforced in the 20th century, during the military dictatorships; now, in this region it finds again a fertile ground to grow. Besides the analysis of the political and ideological-cultural environment charac- terized by a vindication of torture in Brazil, this chapter shows that the mass imprisonment system is a key-space for this practice, being the State its main protagonist. Immigrants, particularly African black women accused of acting as mulas for international drug tra ick- ing, are increasingly exposed to systematic violations of human rights, including torture. Keywords Torture. Migration. Latin America. Brazil. Economic crisis. Far-right parties.
Trauma Studies, cinema americano post-11 settembre e senso di colpa occidentale. Il caso di Babel
2014
Riprendendo alcuni dei concetti chiave ereditati dalla teoria femminista sul cinema, dagli studi di gender e dalla teoria cinematografica sul trauma, in questo lavoro ci proponiamo di analizzare, attraverso l"esempio di un significativo testo cinematografico, alcune delle forme di riconfigurazione del piacere visivo emerse nel cinema americano contemporaneo mainstream in seguito all"influenza esercitata su di esso, a diversi livelli, dal trauma collettivo dell"Undici settembre.
Sapienza Università Editrice, 2020
Il presente saggio ha come scopo principale quello di scandagliare le ragioni emotive che portarono un intero popolo a rifiutare, all’atto stesso della firma, le condizioni di pace del 1920. Partendo dal discorso del diplomatico conte Apponyi a Parigi, l’autrice intende ritrovare quelle stesse ragioni illustrando alcuni versi dei poeti Attila József e Gyula Juhász dedicati al Trianon: in particolare, la poesia Nem, nem, soha! di József, di cui non esiste a tutt’oggi traduzione italiana, e il ciclo di sonetti A Magyar Straszburgok – nonché la poesia Trianon – di Juhász, anch’esse non ancora tradotte in italiano. Mentre il primo scrittore dà libero sfogo alla sua rabbia gridando all’ingiustizia e alla riscossa e i suoi versi ricordano gli incitamenti del Petőfi risorgimentale, il secondo assume un atteggiamento più intimista sussurrando il proprio dolore in una dimensione spirituale ed eterea già intravista in Babits. Due reazioni differenti al dramma nazionale, ma un’unica risposta: quel Nem, soha [No, mai] che riecheggia irremovibile nei loro versi.
Dark Giselle: traumatofilia e pedagogia della rottura
Biblioteca Teatrale. Rivista semestrale di studi e ricerche sullo spettacolo, 2024
Abstract. STEFANO TOMASSINI Dark Giselle: traumatofilìa e pedagogia della rottura Il saggio propone una lettura critica di Giselle definito da Vittoria Ottolenghi come «balletto perfetto». A partire dalla versione di Mats Ek nel 1984, la storia di questo balletto si apre a nuove letture. Ma già a partire dallo studio seminale di Beaumont, si è fatta strada una interpretazione che ribalta l’assunto del trauma subìto dalla protagonista come immutabile (e da redimere), ma invece come accettazione di ciò che, nella vicenda traumatica di Giselle, resta ambiguo, misterioso e opaco. In questa nuova economia, i gesti di rottura e di rifiuto che sono di Giselle (soprattutto nel secondo atto) rappresentano una nuova forma di esistenza, di maturità di fronte al trauma, di una pedagogia capace non di rimozione né di cura ma di accettazione esistenziale. Dark Giselle: traumatophilia and the pedagogy of rupture The essay is a critical reading of Giselle defined by Vittoria Ottolenghi as the “perfect ballet”. Starting from Mats Ek’s version in 1984, the history of this ballet opens up to new readings. But already starting from Beaumont’s seminal study, an interpretation has made its way that overturns the assumption of the trauma suffered by the protagonist as immutable (and to be redeemed), but instead as an acceptance of what, in Giselle’s traumatic story, remains ambiguous, mysterious and opaque. In this new economy, Giselle’s gestures of rupture and rejection (especially in the second act) represent a new form of existence, of maturity in the face of trauma, of a pedagogy capable not of removal or cure but of existential acceptance.
Mise en Abyme. International Journal of Comparative Literature and Arts, Vol. II, issue 1, ISSN2284-3310, 2015
This article analyzes the play by Roberto Bracco L’internazionale (1914), a predictive text, able to describe, through the sensibility of its protagonist, the end of the world and the shock caused by the Great War. At the same time, the article analyzes the staging by Giovanni Meola at the Galleria Toledo Theatre (Naples), a hundred years after the writing of the play. At the end, a conversation with the director.
Metamorfosi del trauma e violenza tragica
Altre Modernità
Sin dall’antichità gli atti di violenza e i fatti di sangue compaiono in molte opere poetiche e letterarie, e in particolare in un genere teatrale, la tragedia attica, contraddistinto da un paradosso evidente: la violenza fisica o psicologica può essere presupposto o nucleo narrativo della trama, ma non è mai mostrata direttamente allo spettatore. Il trauma invece può essere di volta in volta narrato, rievocato, rivissuto dai protagonisti e dai comprimari. Con questo criterio si possono distinguere, tra gli adattamenti e rivisitazioni moderne della tragedia, quelli che scelgono deliberatamente di rappresentare violenza e trauma in scena, in modi più o meno espliciti, o privilegiano invece altre vie, talvolta anche con finalità terapeutiche.