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The following work aims at analyzing some points of the cinematographic path of the Soviet director Andrej Tarkovskij, intersecting them with his biography and especially with the historical context he inherited. Placing cinema, life and history in a dialectical relationship, the text proposes a horizontal analysis of the director’s works, excluding the major concepts of Tarkovsky’s film theory, in order to address the Cold War as the canvas and matrix of his works. Investigating the moments of greatest crisis between the URSS and the USA and the specter of the atomic weapon in the years immediately following the great world conflict, this essay proposes an analysis of the themes dear to Tarkovsky as a consequence of sensations and ideas closely related to the escalations of the Cold War.

The editorial team of Diségno opens the n. 4 of the journal with a dedication to Vito Cardone who left us prematurely on 17 April. To him we owe the birth of Diségno and to him we, all the editorial team, owe the formulation of the magazine described in the editorial of n. 1. Vito Cardone was a unique scholar, an engineer with a passion for reading and he knew how to combine this peculiarity with a rigorous method and great dynamism. His enthusiasm has infected all of us and not only because of the novelty of the project, but also because we were convinced of the need to equip a scientific society with a journal that was not a mere “institutional bulletin”, but rather a place of exchange and scientific comparison on the founding themes of our discipline and on the less explored and unusual areas of research (read more).

Nel 2018 si svolge, a Milano, il 40° Convegno dei Docenti delle Discipline della Rappresentazione: la prima edizione di questi incontri si tenne il 3-4-5 maggio 1979 a Santa Margherita Ligure. L’Unione Italiana per il Disegno (UID) ricorderà adeguatamente la ricorrenza, avviando in realtà, considerato che nel 2020 cade poi il 40° anniversario della fondazione della nostra società scientifica (formalmente costituita il 4 agosto 1980), un biennio di celebrazioni (continua a leggere).

L’articolo intende mettere in luce i rapporti tra le fonti storiche del Medioevo russo e la resa cinematografica della narrazione medievale nelle poetiche di Ejzenštejn e Tarkovskij. Congelando le filmografie dei due autori sulle due rispettive pellicole che hanno raccontato il Medioevo russo, l’Alexandr Nevskij (1938) di Ejzenštejn e l’Andrej Rublёv (1966) di Tarkovskij, l’articolo propone un’indagine critica sulle modalità d’approccio divergenti dei due registi rispetto al materiale storiografico e l’analisi della portata storica che la narrazione del Medioevo assume in un prodotto artistico cinematografico. Partendo dal pensiero di H. White sulla necessità di affiancare la forma narrativa al contenuto del lavoro storico, l’obiettivo dell’articolo è anzitutto la messa in discussione della presunta oggettività della verità storiografica, spostando l’attenzione, in un’ottica cinematografica, sui precisi processi che portano a compimento una narrazione storica tout court in relazione al presente della narrazione e allo sguardo dello spettatore. This contribution aims to highlight the relationship between the historical sources of the Russian Middle Ages and the cinematic rendering of the medieval narrative in Ejzenštejn and Tarkovskij’poetics. Focusing on two respective films that recounted the Russian Middle Ages, the Alexandr Nevsky (1938) by Ejzenštejn and the Andrej Rublёv (1966) by Tarkovskij, the article proposes a critical investigation into the divergent approaches of the two directors with respect to historiographical material and the analysis of the historical significance that the medieval narrative assumes in a cinematographic product. Starting from the thought of the philosophy of history’s expert H. White on the need to combine the narrative form with the content of the historical work, the objective of the contribution is primarily to question the alleged objectivity of the historiographical truth. Afterwards the focus will be on the precise processes that bring to completion an historical narrative tout court in relation to the present of the narrative and the viewer’s gaze in a cinematographic perspective.

Tratto da "Andrej Rublëv" di Andrej Tarkovskij

On the Italian silver screens as well as in the cities, the feminine bodies have been crossing the most various landscapes. In so doing, they have been tracing peculiar, often unpredicted trajectories, as unpredicted and forbidden their presence was, if not accompanied by a man, in the spaces of the streets. This essay aims at proposing a first glance on these walking women, crossing the steps described in feminine writings to those appearing in films, from the Thirties to the aftermath of the war.

Qualche giorno prima di Natale dello scorso anno la start-up Magic Leap di Rony Abovitz ha finalmente presentato qualcosa di concreto sulla misteriosa “realtà mista”, che dovrebbe andare oltre realtà virtuale e realtà aumentata. Al progetto si sta lavorando dal 2011, in Florida, in gran segreto e con ingentissimi finanziamenti di capitali-rischio di alcune delle maggiori imprese del mondo digitale e non (finora ha raccolto più di due miliardi di dollari). In sostanza è stato solo scostato un po’ il velo che finora ha coperto l’invenzione, della quale era filtrata solo qualche anticipazione ben confezionata per suscitare curiosità e interesse. Il visore è stato fatto testare in anteprima dalla rivista Rolling Stone e sono state rese disponibili ulteriori immagini su YouTube, ove da qualche tempo venivano sapientemente centellinate. In realtà – è proprio il caso di dirlo – il prodotto resta ancora misterioso [...]

In the Preface of his latest book: Del material de los sueños. Dibujos de arquitectura en la modernidad, Carlos Montes begins by stating, “The history of architectural drawing of the last century is still to be written”. Having specified that he does not pretend to fill this void, but only to make a contribution in this sense, Montes offers us a significant insight into the drawing of architecture and of the city in the last century. There is thus a sort of return to a strict disciplinary specific, after the learned digression he indulged in his previous book Cicerón y la cultura artística del Renacimineto (2006), which analyses–within the more general theme of the diffusion of ideas and their migration in different cultural contexts–several aspects of the impact of Cicerone’s rhetorical work in the visual arts, in particular painting and architecture (read more).

Last year, just a few days before Christmas, Rony Abovitz’s startup Magic Leap finally presented something concrete in regards to the mysterious, so-called ‘mixed reality,’ said to surpass both virtual reality and augmented reality. The company has been working on the project since 2011, in Florida, in great secrecy and with huge capital-risk financing by some of the major companies in the digital world, among others (more than two billion dollars have been raised to date). Basically, this revelation raised only a corner of the veil which, up to then, had hidden the invention, of which only a few bits of advance information, well-crafted to arouse curiosity and interest, had previously been disclosed.

L’uscita di una rivista scientifica è evento importante, a maggior ragione quando si attende da anni: se è vero, come è vero, che lo Statuto della UID prevede un organo di stampa le cui caratteristiche, secondo il Regolamento vigente, che dedica a questo argomento un articolo specifico, sono quelle di una vera e propria rivista scientifica. Vero è che nella nostra area vi è stato un discreto fermento nell’ultimo decennio, dopo un lungo periodo che ha visto attiva solo Disegnare. Idee, immagini, l’unica rivista che ha continuato ininterrottamente le pubblicazioni dal primo numero, del 1989. Nel 2006 è stata fondata la rivista on-line, open access, DisegnareCon, che dal 2008 pubblica con regolarità due numeri all’anno e che ha avuto un immediato successo presso i ricercatori del settore ICAR/17, al punto da diventare la seconda rivista per numero di articoli sottoposti alla VQR 2004-2010 da ricercatori dello stesso settore [...]

International human rights law relies on state sovereignty to localize suggested policy with codification and enforcement in an attempt to reconcile universalism with particularity. However, amidst domestic governance developments from post-conflict state building and self-determination, governmental instability complicates and often overlooks priorities of international human rights for more tangible domestic infrastructure, such as basic human needs rather than seemingly suggested rights ideals. This does not diminish the significance of human rights, though, pertaining to the rights of the child in addressing gender-based violence through the elimination of female genital mutilation, for example. While state-centric localization is currently prioritized for implementing international law, the rule of law is more integrated throughout the realms of societal structure, culture, and institutions in addition to the legal realm. If the legal realm is disrupted with instability, violence, and discontinuity, how does society internalize and integrate international human rights law over time, and can it be sustainable despite instability? This research evaluates the development of the rule of law, and its effectiveness, regarding female genital mutilation (FGM) as a case study in Iraqi Kurdistan from the end of the Iran-Iraq War in 1988 until 2013, the early years of the Kurdistan Regional Government’s parliament. Comprehensive rule of law evolution can be measured through comparing domestic legal developments through state-centric policy and enforcement, or lack thereof, with cultural internalization and non-governmental engagements. By studying the legal and cultural realms’ interaction with the anti-FGM discourse over Iraqi Kurdistan’s past two decades, this research will determine the role of a continuous society overlaid by intermittent legal structures in the sustainability of negotiating cultural relativity with universal human rights.

International human rights law relies on state sovereignty to localize suggested policy with codification and enforcement in an attempt to reconcile universalism with particularity. However, amidst domestic governance developments from post-conflict state building and self-determination, governmental instability complicates and often overlooks priorities of international human rights for more tangible domestic infrastructure, such as basic human needs rather than seemingly suggested rights ideals. This does not diminish the significance of human rights, though, pertaining to the rights of the child in addressing gender-based violence through the elimination of female genital mutilation, for example. While state-centric localization is currently prioritized for implementing international law, the rule of law is more integrated throughout the realms of societal structure, culture, and institutions in addition to the legal realm. If the legal realm is disrupted with instability, violence, and discontinuity, how does society internalize and integrate international human rights law over time, and can it be sustainable despite instability? This research evaluates the development of the rule of law, and its effectiveness, regarding female genital mutilation (FGM) as a case study in Iraqi Kurdistan from the end of the Iran-Iraq War in 1988 until 2013, the early years of the Kurdistan Regional Government’s parliament. Comprehensive rule of law evolution can be measured through comparing domestic legal developments through state-centric policy and enforcement, or lack thereof, with cultural internalization and non-governmental engagements. By studying the legal and cultural realms’ interaction with the anti-FGM discourse over Iraqi Kurdistan’s past two decades, this research will determine the role of a continuous society overlaid by intermittent legal structures in the sustainability of negotiating cultural relativity with universal human rights.