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Questo articolo prende in analisi le figure di donne e di uomini presenti nel testo dell’Orazione in lode alle donne (1545), composta da Alessandro Piccolomini, nella quale ammonisce i colleghi, amici letterati, colpevoli di non saper trattare bene le donne mentre, in alternativa, lui si propone come il loro difensore. Il gioco retorico ha origine in questi destinatari e interlocutrici dell’opera che condividono con l’autore legami familiari, amicizia, gusti letterari e tendenze politiche. L’atteggiamento ironico e ambiguo dell’autore verso i concetti di femminile e maschile è strettamente legato al clima di gioco presente nell’Accademia degli Intronati e alla complicità fra i loro membri che permette i doppi sensi e il finto scontro dialettico, nel quale l’autore rappresenta i suoi compagni come personaggi di una farsa, connotati attraverso le loro idee misogine che vengono “dette” nel testo per essere “contraddette” da Piccolomini. Il testo si sviluppa così sotto il segno dello sdoppiamento del maschile e femminile: uomini cortesi versus uomini volgari, donne virtuose versus male donne in un contesto dell’amore idealizzato versus quello carnale.

Presentación del monográfico

“El proceso de recuperación histórica de la memoria feminista no ha hecho más que comenzar”, con estas palabras Ana de Miguel (1995) señalaba la necesidad de añadir nuevos nombres a la genealogía del feminismo. Las escritoras y escritores italianos que intervienen en la Querella de las Mujeres, siglos (XIV-XVII), son un eslabón escasamente conocido de las ideas Feministas tanto en el contexto de la cultura italiana como europea, a causa de la falta de ediciones modernas, estudios críticos y traducciones. Estudiosas como Joan Kelly (1982), o Gisela Bock (2002a) sostiene que la Querella ha constituido una tradición desde 1400 hasta la Revolución francesa, sosteniendo que la historia del feminismo está estrechamente conectada con el desarrollo de este debate en el que se han nacido y desarrollado la mayor parte de las ideas feministas.

Presentación del monográfico

“El proceso de recuperación histórica de la memoria feminista no ha hecho más que comenzar”, con estas palabras Ana de Miguel (1995) señalaba la necesidad de añadir nuevos nombres a la genealogía del feminismo. Las escritoras y escritores italianos que intervienen en la Querella de las Mujeres, siglos (XIV-XVII), son un eslabón escasamente conocido de las ideas Feministas tanto en el contexto de la cultura italiana como europea, a causa de la falta de ediciones modernas, estudios críticos y traducciones. Estudiosas como Joan Kelly (1982), o Gisela Bock (2002a) sostiene que la Querella ha constituido una tradición desde 1400 hasta la Revolución francesa, sosteniendo que la historia del feminismo está estrechamente conectada con el desarrollo de este debate en el que se han nacido y desarrollado la mayor parte de las ideas feministas.

During the nineteenth century, more than a third of the Argentine population was formed by immigrants, which included the largest Irish diaspora within Latin America. Personal letters and memoirs constitute invaluable first-hand testimonies of immigrants’ lives. Becoming Irlandés: Private Narratives of the Irish Emigration to Argentina (1844-1912), formed by two collections of letters and two memoirs plus contextualized and historical information, edited by independent researcher and writer Edmundo Murray (2006a), offers rich insights about their local experience and culture. The purpose of this paper is to analyse strategies of identification in the discourse of those Irish born or Argentine of Irish descendancy, through a postcolonial studies perspective and a narratological approach.

The protagonist of “Una donna sola” is a housewife who keeps a monologue with herself and with several invisible people outside the stage. As the plot develops different types of dialogic relationships and verbal interactions are introduced in the story. The protagonist, through her mono-dialogue, movesfrom a state of unconsciousness to one of awareness, from a passive victim to an active subject. Her character is the “crazy” woman who shows uncomfortable truths. The deliberate staging of the subordinate role of women becomes a form of Querelle. On the one hand Franca Rame denounces violence and male authoritarianism, on the other hand she proposes the deconstruction and reconstruction of female identities.

La ballata delle madri is one of the most provocative poems in the anthology Poesía in forma de rosa. Through the language of rage as well as the use of devastating metaphors, the “idyllic” representation of family is utterly destroyed: the fathers are absent, the brothers are fratricide and the mothers, “vile, mediocre, servile, ferocious”, are blamed for the origin of bourgeois society and all its evils. Pasolini moves between two opposing scenarios, one mythic and matriarchal, the other modern and patriarchal, which are embodied by the poet’s mother and the vile mothers of his coetaneous. The relentless contrast between the “I” of the poet and the “we” of his interlocutors-detractors-enemies is deciphered in the myth of diversity, related to its sacred origin. Pasolini feels heir to Mother Earth, still not domesticated by bourgeois society, who also incarnates the bare instinct, the spirit, and the archaic force, charged with “a desperate vitality”. The feminine is represented by a double prism: social and anti-social, subordinated and subversive, frenzied and idealized, and as a the foundation of difference and dissidence. Thus, the feminine becomes a sign of its personal and cultural identity while, at the same time, it is degraded and demonized as a symbol of compliance and submission to the bourgeois capital system.

A pesar de las regulaciones no hay guías obligatorias u oficiales que establezcan los elementos mínimos para la evaluación del riesgo ambiental (ERA) de los cultivos transgénicos. No se han definido criterios para la toma de decisiones, no hay investigaciones científicas, ni estudios socio-económicos revisados por pares que muestren los beneficios y riesgos del uso de estos productos, comparados con otras tecnologías en la agricultura. Esta situación ha hecho surgir una "incertidumbre artificial" sobre los cultivos transgénicos, por lo que, en este artículo, se propone una estrategia más sustentable con la inclusión de una base bioética en la ERA.