scholarly journals Massimo Quaini e il CISGE

Author(s):  
Annalisa D'Ascenzo ◽  
Elena Dai Prà ◽  
Anna Guarducci ◽  
Carla Masetti ◽  
Massimo Rossi

Among the geographical associations the Italian Centre for Historical and Geographical Studies (CISGE) was the one with which Massimo Quaini maintained a stronger relationship. In addition to the sharing of the study fields, Quaini was also linked to CISGE by the close and inseparable link between geography and history, the combination of concrete research and theoretical reflection, the plurality of approaches, the continuous dialectic and the marked interdisciplinarity. Elements that have always characterized the Centre since its foundation, becoming concrete in meetings, seminars, conferences, research groups, national and international projects and in numerous publications. Through a careful analysis of Quaini’s writings contained in the proceedings, the collections of essays and the journal Geostorie (which since 2000 replaced the Notiziario del CISGE) – a long and uninterrupted series from 1992 to 2017 – the contribution aims at highlighting the original, critical and stimulating contribution offered by Massimo to the four fundamental study streams of CISGE: historical geography, history of cartography, history of geographical thought, history of travels and of explorations.

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 14-27
Author(s):  
Leon F. Seltzer

In recent years, The Confidence-Man: His Masquerade, a difficult work and for long an unjustly neglected one, has begun to command increasingly greater critical attention and esteem. As more than one contemporary writer has noted, the verdict of the late Richard Chase in 1949, that the novel represents Melville's “second best achievement,” has served to prompt many to undertake a second reading (or at least a first) of the book. Before this time, the novel had traditionally been the one Melville readers have shied away from—as overly discursive, too rambling altogether, on the one hand, or as an unfortunate outgrowth of the author's morbidity on the other. Elizabeth Foster, in the admirably comprehensive introduction to her valuable edition of The Confidence-Man (1954), systematically traces the history of the book's reputation and observes that even with the Melville renaissance of the twenties, the work stands as the last piece of the author's fiction to be redeemed. Only lately, she comments, has it ceased to be regarded as “the ugly duckling” of Melville's creations. But recognition does not imply agreement, and it should not be thought that in the past fifteen years critics have reached any sort of unanimity on the novel's content. Since Mr. Chase's study, which approached the puzzling work as a satire on the American spirit—or, more specifically, as an attack on the liberalism of the day—and which speculated upon the novel's controlling folk and mythic figures, other critics, by now ready to assume that the book repaid careful analysis, have read the work in a variety of ways. It has been treated, among other things, as a religious allegory, as a philosophic satire on optimism, and as a Shandian comedy. One critic has conveniently summarized the prevailing situation by remarking that “the literary, philosophical, and cultural materials in this book are fused in so enigmatic a fashion that its interpreters have differed as to what the book is really about.”


2020 ◽  
Vol 17 (1) ◽  
pp. 26-35
Author(s):  
Sultan I. Usuvaliev

This article discusses the formation of style in Soviet film studies of the late 1920s — early 1930s in the aspect of discussions on art movements and trends in Soviet cinema. Although there are some theoretical and historical film studies on the formation of style trends of that period, much less attention has been paid to the historiography of this matter. Because of the small number of comprehensive historiographic research on this topic, the author decides to study the process of forming classifications of those movements. This article uses traditional research methods, introduces new archival sources into scientific circulation for the first time; and its main tasks are the historiographic study of the subject and the analysis of its key concepts and provisions. The article examines the unity of style in Soviet film studies of the 1920s — early 1930s on the example of works by Nikolay Mikhailovich Iezuitov (1899—1941), one of the founders of Russian film studies, who proposed in 1933 a concept of Soviet cinema development, the main category of which was style. Linking the concepts of “style” and “art movement (trend)”, Iezuitov identified two styles: the one of socialist concepts and the other of socialist feelings. In this, Iezuitov followed the logic of the book “Art Movements in Soviet Cine­ma” (1930) by Adrian Piotrovsky (1898—1937) — the author of the “intellectual” and “emotional” film classification. Iezuitov’s concept was criticized, especially at the jubilee session of the Scientific and Research Sector of the State Institute of Cinematography (now VGIK) in 1934. In the same year, the first history of Soviet cinema “The Ways of Feature Film” was published. It regarded the movements and their contribution to the development of Soviet cinematography according to the criteria of innovation and realism. Socialist realism was declared a platform, a common style that included all the various trends and styles of Soviet cinema. Iezuitov, who died in the war in 1941, did not get a chance to complete his fundamental study “The History of Soviet Film Art”. The story of the victory of socialist rea­lism was declared one of the main tasks of the textbook, and the process of formation of socialist rea­lism became the content of the science of film history. The article shows that socialist realism, as a unity of diversities and contradictions, allowed Iezuitov, on the one hand, to adhere to its normative aesthetics and, on the other hand, to conduct a stylistic analysis of schools and specific movies within this aesthetics.


Via Latgalica ◽  
2017 ◽  
pp. 104
Author(s):  
Sigita Kušnere

Latgalian literature has received relatively little attention in most studies of Latvian literature, regardless of the time or the type of the studies made, be they studies of individual or collaborative nature. In the late 19th century and early 20th century, it was largely caused by prohibition of Latgalian publications printed in the Latin alphabet. In the following periods Latgalian literature was overlooked because of lack of awareness, sometimes, also by deliberate ignorance, which was dictated by the political situation. Exploration of the current situation is the goal of this study, namely, to present a summary of what has already been accomplished and to indicate the directions where new studies are urgently needed, ideally – through joint examination of Latvian and Latgalian literatures. The summary is based on the analysis of the regularities and main issues found in the works on the history of Latgalian literature. Careful analysis of the literary processes, authors and significant literary works of the late 19th and early 20th centuries, as well as their exposure in the studies of the history of Latvian literature reveals that a short insight in publishing of Latgalian books and periodicals was given, for instance, by Teodors Zeiferts in his fundamental study ‘History of Latvian Literature, Part 2 and 3’ (Latviešu rakstniecības vēsture, 1923, 1925), and Jānis Niedre in ‘Latvian Literature. Part 2’ (Latviešu literatūra, 1953); small essays were also included in the volumes of the collaborative study developed under Ludis Bērziņš’ chief editing ‘History of Latvian Literature’ (Latviešu literatūras vēsture, 1935–1937). However, Latgalian literature was hardly mentioned in the textbooks for the secondary schools (Vilis Plūdons ‘History of Latvian literature for secondary schools, Part 1 and 2’ (Latvju literatūras vēsture vidusskolām, 1927, 1928); Roberts Klaustiņš ‘History of Latvian Literature’ (Latviešu rakstniecības vēsture, 1907)). Neither was it paid any attention by Andrejs Upīts in his ‘History of Contemporary Latvian Literature’ (Latviešu jaunākās rakstniecības vēsture, 1885–1910 (1911)). This leads to a conclusion that the attitude towards the literature written in Latgalian was ambiguous in the first half of the 20th century as it was not fully incorporated in the conceptual analysis of the development processes of Latvian literature. The voluminous ‘History of Latvian Literature’ (Latviešu literatūras vēsture, Volume 1–6, 1956–1963), which was developed during the Soviet period, included depiction of several Latgalian writers: such as Andrivs Jūrdžs and Pīters Miglinīks (Volume 2, 1963); nevertheless they did not provide a sufficient overview of the singularity and development of Latgalian literature and its comparability with the history of Latvian literature. In the editions of the history of Latvian literature, which were written after regain of the national independence, Latgalian literature has not received any focused attention either by the authors of the 3-volume ‘History of Latvian Literature’ (Latviešu literatūras vēsture, 1998–2001) or by, for instance, Guntis Berelis in his monograph study ‘History of Latvian Literature, from the First Writings to 1999’. Having gained no wide coverage in the historical studies of Latvian literature, Latgalian literature has been fundamentally researched in several monographic works of Miķelis Bukšs, Francis Kemps, Janīna Kursīte, Valentīns Lukaševičs, Ilona Salceviča, Alberts Sprūdžs, Anna Stafecka, Vitolds Valeinis and other researchers at various time periods. Nonetheless, the question still stands: whether and how to compare and synchronise Latgalian literature with periodisation and trends of Latvian literature in order to include it in the comprehensive overview of the literature history.


2016 ◽  
Vol 16 (1) ◽  
pp. 87-105
Author(s):  
Ruth Whelan

The boom in printed sermons in French in the latter half of the seventeenth-century is usually attributed, on the one hand, to the popularity of pulpit eloquence and, on the other, to the piety of both preacher and faithful. However, this study of the rhetorical organisation, imagery, and printing history of the sermons of Jacques Abbadie points to a more ambiguous explanation for the boom. Although the French Reformed Churches counselled their pastors against the pursuit of eloquence in their preaching, Abbadie made a display of it, and engaged in theoretical reflection to justify his practice. According to him, pulpit eloquence promotes receptivity in the faithful; but, with hindsight, it is clear that it also promotes the preacher. Publishing eloquent sermons publicised the hermeneutical and oratorical gifts of the preacher; the epistle dedicatory advertised his social connections; thus the printed sermon was also a strategy for advancing the career of the preacher.


Author(s):  
J.A. Eades ◽  
E. Grünbaum

In the last decade and a half, thin film research, particularly research into problems associated with epitaxy, has developed from a simple empirical process of determining the conditions for epitaxy into a complex analytical and experimental study of the nucleation and growth process on the one hand and a technology of very great importance on the other. During this period the thin films group of the University of Chile has studied the epitaxy of metals on metal and insulating substrates. The development of the group, one of the first research groups in physics to be established in the country, has parallelled the increasing complexity of the field.The elaborate techniques and equipment now needed for research into thin films may be illustrated by considering the plant and facilities of this group as characteristic of a good system for the controlled deposition and study of thin films.


Author(s):  
Jesse Schotter

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.


Author(s):  
Colby Dickinson

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).


2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.


2016 ◽  
Vol 44 (4) ◽  
pp. 50-51
Author(s):  
Philip Tite

The Editor’s Corner is an occasional space for the editors of the Bulletin to share their own, brief musings on theoretical or professional issues facing the discipline. Most of the short essays included, such as the one below, will first appear on the Bulletin’s blog. Our hope is that this section will open fresh lines of dialogue, debate, and theoretical reflection, with the editors playing a role as interlocutors with Bulletin readers (much as they do on the Bulletin’s blog). This particular musing comments on the recent Bulletin subscription agreement between Equinox and NAASR, while also exploring the importance of theory as a focus for a religious studies journal.


2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.


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