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The paper aims to reflect on the crisis of the capacity of media and cultural industries to participate in the construction of a shared memory, which is constituted as the basis of a collective imaginary capable of activating a common cultural identity. The reflection starts from the observation that the radical evolutions of an increasingly hybrid media system, in the direction of convergence, transmedia and platformization, have contributed to erode, to the point of erasing in some traits, the construction of a shared imaginary that can act as a bridge not only between individuals and communities belonging to different generational intervals, but also to those belonging to the same generation. Starting from Alberto Abruzzese's reflection on the relationship between art, society and the cultural industry in the light of the evolution of technology, the paper aims to analyse the impact of the evolution of media and the crisis of educational agencies on the ability to activate cultural innovations, merely representing them. The paper then proposes the results of the first phases of a research aimed at understanding the approach of new generations to cultural consumption from the perspectives of access to and selection of media content; practices of sharing, enjoyment and participation with respect to such content; and finally knowledge and consumption/non-consumption. As a result, a model of approaching cultural objects, products and consumption seems to be taking shape that is increasingly disconnected from the roots of narratives and, as a paradoxical consequence, increasingly linked to their representations, deprived of meaning. A mass imaginary that evolves in a mass of imaginaries, linked together in a "long tail" of volatile consumption, which makes it improbable to reaffirm a shared memory that can give rise to a shared imagination capable of delineating a new model of intellectual and social formation. [ABSTRACT FROM AUTHOR]

Guardia Sanframondi is an ancient village on the Benevento hills where every seven years hundreds of hooded faithful offers their sacrifice to the Assumption, beating their chests until they bleed for hours with a cork sponge in which 33 pins are planted. Penance, martyrdom, the torture of the flesh, blood: ancestral elements immediately attributable to passages of medieval life seem here evoked and staged. The result is the vivid and raw representation of a dramatic theater of pain in which the "battenti", anonymous characters of a drama that is only apparently foreign to modern consciences, gather in the uncertain half-light of the first light of dawn and, like white ghosts of a distant world, with the singular scourge they dye their candid tunics red. Starting from this reference scenario the paper proposes, on the one hand, to outline a partial historical reconstruction of the penitential practice of the "battenti" with semi-structured interviews carried out on the Sannio territory; on the other hand, the paper offers the opportunity to reflect and question about the contamination and interpenetration between memory, tradition and innovation, which alone allows the ritual to survive. [ABSTRACT FROM AUTHOR]

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The paper analyses Vittorio Gassman’s and Luigi Squarzina’s Tieste, staged in Roma in 1953. By means of personal memories, epistles, and chronicles of the time it pieces together the fundamental moments and the cultural background leading to the staging. [ABSTRACT FROM AUTHOR]

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ri-vista: Ricerche per la progettazione del paesaggio is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Following the footsteps of present Italian and German studies, the purpose of this paper is to examine the typical words and expressions of the DDR contained in Als wir träumten by Clemens Meyer (2006) - a novel where the protagonist evokes the DDR, a historic reality no longer existing - and to compare them with the Italian translation entitled Eravamo dei grandissimi (2016). Even if in the first instance the focus is on the lexicon, the goal of this research is to highlight the emotional charge of the "language of the DDR", going beyond mere linguistic and lexical aspects, taking into consideration the cultural dimension of this linguistic variety. This paper aims to determine the main strategies used by the translators in the specific cases analysed, with the aim of reflecting on the concept of translation as a means to transmit both the cultural heritage and the emotional dimension. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents an analysis of A general theory of oblivion, a novel by José Eduardo Agualusa, in light of the Portuguese postcolonial paradigm, specifically by Boaventura de Sousa Santos. It presents the trajectory of the protagonist, Ludovica, as a hybrid of a representant of the past, colonial tradition and a habitant of the emerging postcolonial reality. Agualusa shows two strategies of dealing with those conditions and, in a creative effort of constructing a new Angolan identity, positions himself on the side of the memory perpetuated through time. [ABSTRACT FROM AUTHOR]

Copyright of L'Idomeneo is the property of Salento University Publishing, Dipartimento di Beni Culturali and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Other Modernities / Altre Modernita / Otras Modernidades / Autres Modernités is the property of Altre Modernita and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Storia Urbana is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Reti Medievali is the property of Firenze University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Memory is commonly viewed as the psychic function of recreating in our mind past experiences, as a simple static recollection. On the contrary, it involves a much broader semantics, a prismatic area of meaning, a dynamic and complex process. Therefore, in the spatiality and temporality of fictional worlds, memory is hybrid, depository of falsehood and, nevertheless, vehicle of an experience-shaping truth. If the boundaries between memory's falsities and imagination is unstable, the distance separating the mind recollection from a supposed objective reality constitutes, precisely, the cognitive process of fictional worlds. Analysing Borges's Funes (in Ficciones), Italo Calvino's Le città invisibili, Alice Munro's Hateship, Friendship, Courtship, Loveship, Marriage and Les Années by Annie Ernaux, this paper focuses on the connection between memory and identity, showing the profound link with forgery, revision and falsehood of speech acts, whilst remaining in the domain of verisimilitude. In this sense, the narration 'of' memory is both subjective and objective: because the narrative is conveyed by memories and memory is thematized by the act of narrating itself. The image, true or false, true 'and' false, reflect the ambivalent quality that memory project on objects. From this perspective, memory interact in a very peculiar way with the narrative, working continuously on the true/false dichotomy. [ABSTRACT FROM AUTHOR]

This paper presents a combined analysis of two key issues which are currently at the centre of the field of social sciences: the awarding of heritage status and the politicisation of the past. This will be done by through an unusual lens: namely the work of anthropologists like Sahlins and Julien, and of philosophical historians like Loraux and Rancière. Above all we will examine how words are used in scientific publications on these two key issues, in particular by analysing forms of appropriation that arise in cultural heritage contexts. We will link these analyses to the two-pronged nature that every architectural document carries with it, a two-pronged nature that makes heritage granting practices and their possible politicisation a practically unique case-study of what is an almost ontological problem in cultural heritage: that of the aims of a policy intended to rescue monuments, houses, factories, distributors and furniture from a state of oblivion. The paper contains numerous references to a wide range of literary sources, helping to identify a possible direction for current research on cultural heritage. [ABSTRACT FROM AUTHOR]

Aim of this paper is to investigate Kafka's short story "A Report to an Academy" (1917) with and after the most interesting analysis of the same story by Felice Cimatti in his book Filosofia dell'animalità (Philosophy of the animality, 2014). In his talk to an academic audience the narrator describes his fore-life as an ape in the open jungle, his capture by some men of the "Hagenbeck company" and his entrance into the human world as an escape from his cage and as an act of (self) violence. The ape's decision to be a man requires renouncing freedom: compared with the cage where it is imprisoned after the capture, human life means for the ape just another kind of prison. Even if the ape-man learned without problems to speak (through imitation), its being goes on to be a hybrid one. Focus of the paper is to underscore the Kafkian motif of "assault on the border", insofar as the border is to be intended in Kafka as a mobile one (see the tales "Wish to be a red Indian" [1913], and "An old Manuscript" [1919]). Compared with the ape-figures in E.T.A. Hoffmann, in Robert Musil and in Thomas Bernhard's short stories, the ape of Kafka is really a kind of monster, i.e. a figure that represents the unexpected, the unforeseeable, the unthinkable. It happens because Kafka tries in his tales to assume the point of view of the animals, to enter in the no-man's land of the animals' life. It does not mean simply to explore the world of the other, but also to approach the other in his self. Not just another one, the other as itself, but the other in the self, not just the animal being but the human being. In this way the monsters of Kafka are we ourselves. [ABSTRACT FROM AUTHOR]

In this paper, I reply to the objections and solicitations of the critics who intervened in the symposium on my book L'oggetto buono dell'Io. In this way, I return to discuss some fundamental concepts of the Philosophy of Object Relations, and some theses of its Ethics of Reparation. In doing so, I try to defend and develop some of the most relevant arguments of that complex theory. [ABSTRACT FROM AUTHOR]

The paper proposes an analysis of the social transformations that have been taking place in the city of Taranto since the 1960s up to present days, through the sociological interpretation of novels about the city. Alongside the literary sources, the authors make use of biographical narratives, gathered during an empirical research on the relationship between the city and the Ilva steel industry. By relating excerpts from narrative interviews and literary accounts, they trace the outlines of a factory-city heavily conditioned by internal colonialism. By showing the hiatus between hetero and selfdescriptions of Taranto, the authors hint at the different representations of the city over time: the Sixties and Seventies as the epoch of the development utopia; the Eighties and Nineties as the era in which the city begins to perceive the crisis but is not yet willing to admit it; the last two decades as a period in which scientific and juridical evidences lead to a radical change of the narrative paradigm: the fairy-tale rhetoric of development turns into a tragic narration, and utopia converts into dystopia. [ABSTRACT FROM AUTHOR]

Copyright of Persona y Derecho is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on a series of 25 photographic albums assembled by amateur photographer Giulio Guicciardini Corsi Salviati (1887- 1958) during his lifetime. A close analysis of the photographs and of the materiality of these albums according to Martha Langford's notion of "oral-photographic framework" reveals their inherent narrative content and their original function as mnemonic devices for the construction the family's history. [ABSTRACT FROM AUTHOR]

As a contemporary retelling of the myth of Hercules' death, the impressive play De dood van Heracles (1996, 2003) by the Dutch writer and director Karst Woudstra (Leida, 1947) has not yet been critically studied. This paper provides a first comprehensive examination of the play, with special regard to ancient sources. Through a metatheatrical device, both action and meaning are articulated at three interdependent levels: the timeless, traditional fabula Herculea; the theatrical creativity of IJsbrand Tamminga, an author's avatar who, by reworking a Greek and Roman myth, tries to deal with his internal conflicts and finally, with the crucial contribution of Mauro ~ Philoctetes, ricovers the repressed memory of having been abused by his father (Heracles), as a child; and lastly, the past and the present of all the characters: a level managed directly by the extradiegetic author. [ABSTRACT FROM AUTHOR]

In this paper, I intend to study the contribution of Aby Warburg, a cultural theorist and an art historian, especially his concern with the relations between memory and history, relations that have been theorized in the late 20th century, but which Warburg anticipated, to a certain degree. In his writings, there can be identified those relations that make memory a metahistorical category or an anti-historical discourse (Pierre Nora, Yosef Yerushalmi); then, his writings can be connected with those of Maurice Halbwachs, the first who approached memory as a social phenomenon. Thus, according to Warburg, collective memory can be regarded as a medium for art, which ensures the survival of images and pathos formulas even when the violence of historical development leads to a decline of the creative spirit. One might say that via a detour through the archaic (Pueblo Indian culture), Warburg managed to reduce the distances which the historical method had established to the Antiquity's vestiges (process that started in the Renaissance). His hypothesis was that the employment in the historical development of Western civilization leads to the atrophy of certain potentialities of the human spirit, which can be addressed in the anti-historicist discourse, specific to postmodernity. In the last part of the paper, I propose to dwell on The Mnemosyne Atlas, Warburg’s last project, as a visual synthesis of the research that he conducted throughout his life.

The paper describes the processes of consolidation and reconsolidation of auditory-verbal memory in patients diagnosed with Parkinson’s disease (G20, ICD-10) in comparison with cerebrovascular pathologies of a chronic and acute nature. The research objective was to identify the specifics of consolidation and reconsolidation of auditory-verbal memory in patients of this nosological group. The methods involved an experiment in F. Bartlett’s schema reconstruction, as well as methods of descriptive and comparative statistics. The experiment involved 104 people (67.5 ± 4.5, 21% male), including 30 patients with Parkinson’s disease (G20) (67.8 ± 4.8, 24% male), 34 patients diagnosed with sequelae of cerebral infarction (I69.3) (67.4 ± 4.4, 20% male), and 40 patients with other specified lesions of cerebral vessels on a model of chronic cerebral ischemia (CICI) (I67.8 67.6 ± 4.4, 24% male). All codes were indicated in accordance with ICD-10. The research revealed reliably significant features of consolidation and reconsolidation of auditoryverbal memory in Parkinson’s disease. The greatest number of differences belonged to the comparative analysis with the patients with chronic cerebral ischemia. This nosology was characterized by a greater number of distortion errors but few additions and sequence violations. In Parkinson’s disease, information underwent transformations already at the storing stage, which led to impairment of short-term and long-term memory. Distortion errors were more numerous than consistency errors, which casts doubt on the kinetic factor as the key one.

Copyright of Ricerche di Psicologia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper argues for the identification of an indeterminate biblical quotation in Augustine' s De consensu evangelistarum III 48 as the second part of Jb 37,10 cited according to Jerome' s first version, a revision indeed of the book of Job based on the hexaplar Greek text. A comparison with Augustine' s Adnotationes in Iob, relying upon the same version of the book of Job, makes the identification sure. The paper also provides a comparison of Jerome' s two versions of Job 37,10, as the second one (based on the Hebrew text) notably differs from the first one. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Storia Urbana is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper is based on original sources, the correspondence between Aldo Garosci and Indro Montanelli, which began in the second half of the 1970s. The correspondence is dominated by the two connected issues of antifascism and anticommunism. Through the analysis and contextualization of the letters the article investigates the cultural and ideological evolution of the two correspondents -- an evolution which is in many ways representative of wider trends among Italian intellectuals at the time. [ABSTRACT FROM AUTHOR]

The present text analyses a number of images of artists cre-ated after their deaths. Like any other individual, their ephemeral bodies are destined to rot, while their public figures provide another body to be honored, setting them apart from others. In this way, their memories are kept alive. Firstly, the paper reviews the precedents of post-mortem imagery, and it then explores some photographs of deceased artists from the 19th and 20th centuries, with a focus on issues emerging from the national context of each and from and the double-layered meaning of these artefacts, which serve both as memorial objects and as signs of propaganda, the two dimensions coexisting in this type of document. Finally, the paper examines the burial of Vicente Blasco Ibáñez, his post-mortem images and the issues they raise.

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scienza Riabilitativa is the property of Associazione Italiana Fisioterapisti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ricerche di Psicologia is the property of FrancoAngeli srl and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper seeks to outline the relationship between Geschlecht III and Derrida’s published texts devoted to the mark «Geschlecht» in order to detect the general strategy followed by Jacques Derrida into the construction of his archive during his lifetime. Indeed, we suppose that his archive has to be build in accordance with his deconstructive statements about the classical conception of the archive: a totalizing closure of a textual production able to trace it back to the unity of an ideal identity. In particular, the paper aims to focus on a passage at the end of Jacques Derrida’s Geschlecht III, where the question of the animal in Heidegger comes in the foreground and in a way that is slightly different from what we already know through Derrida’s published Works and could impose a re-reading of its «entire» work.

This study, starting from the representations of a number of projects kept in Palermo in public and private archives, seeks to highlight their role not only in the knowledge of little-known architecture, but above all their value as custodians of memory and bearers of knowledge. “The architecture in the drawer”, that which remains on paper and not debased by compromises, not only takes on a “material” value but above all an ethical value because making visible the thought and operative practice of an architectural scholar is a moral act.Analytical and critical redesign, in this sense, contributes with its natural slowness, which is synonymous with reflection, to nourishing knowledge of the project, of making architecture, of compositional and figurative processes and, last but not least, of the constituent principles of an architectural thought.Through the analysis of a number of drawings preserved in two archives containing projects by Salvatore Caronia Roberti and Salvatore Cardella, the aim is to show part of the points of a timeline, in this case coinciding, describing themes and modes of architecture making in Palermo, with the awareness that many significant passages are left out.Thus a drawing of a timeline, open and welcoming, which however identifies two substantial points in its development; two graphical stages that may constitute further reflections that assist architectural historiography and above all the knowledge of what has often been relegated to an unknown fate.DOI: https://doi.org/10.20365/disegnarecon.31.2023.9

This paper takes the concept of black joy as a corporate practice of resistance against evil and extends it to apply to liturgical feasting as resistance against evil— through ritualized corporate worship (Eucharist) and table fellowship (eating a meal together). The proposal connects current discussions in analytic theology and black theology to propose an account of how the Church can help resist evil. After demonstrating how feasting in both the Eucharist and table fellowship help resist evil, the paper names two challenges to liturgical feasting and presents solutions to both problems by drawing upon the understanding of the human gaze as presented by child psychologist Vasudevi Reddy and upon theologian Eleonore Stump’s work on shame. The paper demonstrates how liturgical feasting as Eucharist and table fellowship helps to anchor and reinforce each other and provides a setting for the sharing of gazes and stories, the defeating of shame, and the forming of a collective memory that helps a community in its resistance of evil.

Following the footsteps of present Italian and German studies, the purpose of this paper is to examine the typical words and expressions of the DDR contained in Als wir träumten by Clemens Meyer (2006) – a novel where the protagonist evokes the DDR, a historic reality no longer existing – and to compare them with the Italian translation entitled Eravamo dei grandissimi (2016). Even if in the first instance the focus is on the lexicon, the goal of this research is to highlight the emotional charge of the “language of the DDR”, going beyond mere linguistic and lexical aspects, taking into consideration the cultural dimension of this linguistic variety. This paper aims to determine the main strategies used by the translators in the specific cases analysed, with the aim of reflecting on the concept of translation as a means to transmit both the cultural heritage and the emotional dimension.

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper aims to assess the involvement of Florentine patrician women in the management of the household and the written memories of the lineage, between the fifteenth and sixteenth century. I will focus on a type of source that has so far received little attention: their books of accounts and ricordi. In a context in which, according to an extensive historiography, women had limited legal and economic rights and in which men kept household accounts and family memories, these women's writings are particularly valuable. Based on the preliminary results of ongoing research, the observation starts from a significant case study: a booklet (1553-1563) opened by a Florentine widow, Francesca Boninsegni, to keep accounts with her mother, Tommasa Sertini. Today this document is kept in a heterogeneous documentary collection. I will try to reconstruct the documentary context and the family networks in which the book was used and circulated. Moreover, the experience of Tommasa and Francesca will be constantly crossed with the account books kept by other women at the same time. Finally, this analysis will allow us to shed light on the multiple meanings that these pragmatic writings could have had in everyday life. [ABSTRACT FROM AUTHOR]

The paper deals with the debate on memory which has characterized the XXth century. It pays particular attention to the notion of collective memory and to the relationship between memory and culture. With regard to the notion of collective memory, the paper discusses the plurality of collective memories, their differentiation and conflictuality; with regard to the relationship between memory and culture, it stresses the ambivalence of modern culture with regard to memory and the role of mass media in shaping today's public memories. [ABSTRACT FROM AUTHOR]

The paper proposes a semiotic analysis of Cityscapes by Valeriana Berchicci, a digital museum of memory of Rome hosted on a permanent and interactive online platform that maps the city through oral narratives collected by the artist and the users themselves. The goal is to test whether the digital platform placed at the service of the museum-archive can constitute a qualitatively innovative way of musealization and memory reprocessing. At the heart of the project is the relationship between representation of urban space, memory and artistic practice, investigated in particular from the perspective of the concepts of museum and his objects, spatial and temporal coordinates, the use of voice in a figurative way, and the intersubjective dimension.

Referring to the postulates of several theoreticians in the field of memory studies, predominantly those of Maurice Halbwachs and Aleida Assmann, this paper explores the distinction between individual and collective memory, with the aim of shedding light on the complex relationship of the two contrasting yet mutually complementing mnemonic aspects in Kazuo Ishiguro’s The Buried Giant. Interestingly enough, in his latest novel Ishiguro decided to approach memory from the perspective of its inevitable counterpart, i.e. forgetfulness. The objective of this paper is to highlight that forgetfulness, for all its seeming mental salubrity, does not have the same healing effect at the individual and collective level.

The paper analyses the feelings of the staff of an old people's home. Following an identification crisis, the group faced a massive regression. An attempt was made to solve this problem by dividing the staff into teams, each of which was entrusted with a group of old people for whose needs they would be entirely responsible. After two years, the staff were faced with problems which had previously seemed resolved. Old people in poor health were not respected as individuals. They were called by name and treated with familiarity; they were kept in bed to prevent them falling, and had to perform all their bodily functions in bed. Rebellious attitudes and depressive states were underestimated and ascribed to arteriosclerosis. An attempt was made to understand the reasons behind this regression. Small discussion groups were formed in order to reestablish the group's memory track which reorganisation and change had caused.

The paper aims to describe the historical path of the Diaristic Archive of Pieve Santo Stefano (Arezzo), starting from its foundation, promoted by Saverio Tutino, with the aim to create a place to preserve the memories written by the "common people", and arriving to its constantly growing "nursery" that collects diaries, letters, e-mails. Some of the preserved documents have become representative of the Archive, like the Bed Sheet of Clelia, in which the story of her life is embroidered; the notebooks of Vincenzo Rabito, an autobiography written in an oral language mixed with "Sicilianisms" and capable of drawing a portrait of his Sicily; the notes written by Orlando Posti, an 18-year-old boy who took part in the Resistance. This work of conservation and care of these "stories in history" leads the Diaristic Archive to take on new opportunities to enhance these memories by digitizing the documents preserved with the aim of networking them and setting up a Digital Autobiographical Archive. [ABSTRACT FROM AUTHOR]