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Using a new method, 48 children in an elementary school in Rome, Italy, were taught a foreign language (26 English, 22 German) and tested after three years. The authors attempt to explain the variation in test results in terms of the students' attention, memory, and phonetic discrimination. (CFM)

This article discusses various studies that deal with understanding written and oral discourse and demonstrates the implications of these studies for second language teaching. (CFM)

The contribution offers an analysis of the unpublished pages of Gadda’s Giornale di Guerra e di prigionia (now published in the new Adelphi edition). In addition to being an important reservoir of future gaddian writing, they show at the beginning the need of the aspiring writer to establish a relationship between life and expression. In barrack 15 in Celle, during the last months of his imprisonment in 1918, Gadda completed his apprenticeship driven by the desire to understand what to do with the war experience deposited in his Journal and established the need to overcome diary writing by looking at it «al lume del dopo». The desire for that autobiographical material (Vita notata) to be organized and ‘reworked’ into writing (Pensiero notato) indicates a direction of work. The prose of war, filtering the trauma of that experience, represents the distant outcome of that path intuited by Gadda as necessary for the first time in these pages of the Giornale in which, also if confusedly, he declares his autobiographical poetics.

In Italy alone, dozens of abandoned holiday camps for children are scattered throughout the landscape. The size and diffusion of this heritage calls for a scientific debate on the history and future of these buildings, which are often in a state of serious decay. From Alpine valleys to coastlines, former holiday camps for children tell a long story of educational, architectural, health and social experimentation, which has influenced generations of Europeans in the last 150 years. Holiday camps were hosted in traditional or modern structures, built from long-lasting materials such as reinforced concrete or temporary camping tents. Whatever their nature, holiday camps have left both physical and intangible traces on the European landscape and society. With this issue, in_bo engages in a debate on the history of holiday camps in Europe between the nineteenth and twentieth centuries, with particular consideration of contemporary reuse and restoration strategies of this architectural heritage.

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.

This reading note analyzes Andrea Bozzolo's book Il sogno dei nove anni. Lettura teologica, LAS, Roma 2023, published to celebrate the bicentenary of the dream which revealed don Bosco his mission among young people. At first it talks about the question of sources, which report the different versions of the description of the dream experience, next it deals with the various hermeneutic ideas proposed by the study of the Salesian theologian and, finally, it focuses on its specifically theological dimension. In conclusion, a thought of Saint John Paul II on the relevance of the preventive method is given. [ABSTRACT FROM AUTHOR]

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As life expectancy increases, evidence of various intercurrent diseases is becoming increasingly important. The memory problems associated with Alzheimer's disease and how sufferers describe them during their appointment with the neurologist appear to be an important tool for diagnosis and for assessing the quality of life of people affected by this neurodegenerative disease. The auto-description of forgetfulness disorders and its comparison with the actual assessment of each patient provides an excellent opportunity for the doctor to assess the level of cognitive deficit accurately and give the possibility for selecting the correct treatment.

The article aims to underline how forms of narration in general, and television series in particular, play a fundamental role in the construction of contemporary imagination. Narratives, in fact, perform a peculiar function in that search for meaning which still today raises questions about the insurmountability of death and the problem of evil, the destiny and purpose of human existence. Secondly, the reflection intends to deepen the revival and re-reading of the Christian imagination made by the products of the contemporary cultural industry, regarding the prospect of life after death, the destiny of the soul and the future of corporality between transcendence and immanence. [ABSTRACT FROM AUTHOR]

The exploration of the interplay between names and memory can unveil the latter as a complex entity, marked by various movements, each possessing distinct characteristics and trajectories (representing different forms of memory, thereby exhibiting both clear pathways and, at times, intricate networks). Simultaneously, it can shed light on the less predictable facets of how names function within literary works. As such, three potential connections between names and memory have been proposed: the name as obsession, as testimony, and as a fragment of life. These connections are scrutinized within the writings of three distinct authors (Emily Brontë, W.G. Sebald and Albert Camus), who hail from equally diverse historical and cultural backgrounds. Importantly, these identified categories are not mutually exclusive; rather, they collectively delineate the contours of a plausible path forward. [ABSTRACT FROM AUTHOR]

Despite its form, the term damnatio memoriae was never utilized in antiquity. It is invoked in relation to the Roman world to denote a series of intricate attacks on the memory of vanquished adversaries. This encompasses various public and political actions such as the obliteration of statues and monuments, as well as the effacing of inscriptions. Numerous literary instances, however, indicate that it served not merely as a means of annulment and oblivion, but as a tool for vilifying an enemy, ensuring they were remembered in the most negative light possible. In such a process, the individual's name becomes deeply entwined. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage 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.)

June 2016 marked the end of the British membership of the European Union. Rather than focusing on popular explanations for this «exit», such as immigration, economy, globalization and sovereignty, this article focuses on the role played by history in informing public and political debates. In particular, it shows how preexisting patriotic myths were popularized, notably that of the empire and the belief that Britain had followed a unique historical path that was different from other European nations. Both were used to legitimize the vote to leave the European bloc. The article highlights how this situation influenced the rhetoric of a Global Britain and how some Eurosceptic historians legitimized this narrow historical exceptionalism. [ABSTRACT FROM AUTHOR]

Aleksandar Hemon’s books encapsulate a sense of ghostly, yet concrete belonging to disparate places, as he explores in various forms his own identity as an immigrant in the US. Hemon conveys the complex emotional and geographical displacement through a collage of frames and portraits depicting the relationality between past and present. This article looks into the representations of home, family, and distance in the memoir The Book of My Lives and The Lazarus Project through Ortega y Gasset’s notion of intrabody, renewed by the contemporary philosopher Emanuele Coccia in the study The Sensible Life.

Since 1993, when Alexandru Vona’s novel Ferestre zidite [Bricked-Up Windows] has finally been published, critics and scholars have repeatedly tried to find the right frame for interpreting this exceptional work. Some of them insisted on those strategies that make it, to a certain extent, similar to Surrealists’ writings; others found reasons to compare its bizarre atmosphere to that in Kafka’s or Robert Walser’s prose, while others noticed its affinities with the Gothic novel. However, most of them have acknowledged the uncommonness of Alexandru Vona’s fiction, insisting on the writer’s endeavour to reveal a strange sense of frailty. Written in the first person, Ferestrele zidite represents more than an attempt to harmonise memory and oblivion, writing and remembering, inner exile and mystery. It explores in depth one of the fundamental dimensions of human condition: its frailty in relationship with Death.

The relationship between Leonardo Sciascia and cinema is multifaceted and inherently contradictory. This work touches upon two main trajectories in this relationship: Sciascia as a spectator and film reviewer, and the adaptation of Sciascian novels.Sciascia’s writings on cinema, along with the accounts of his contemporaries, help to trace the beginning of the author’s relationship with the new art form. Initially, cinema brought about phenomenal discoveries (to include Luigi Pirandello’s work), for Sciascia and other young Sicilian enthusiasts, and was fundamental for their education. Sciascia was a very avid filmgoer during his youth but, over the years, his fervent cinephilia waned, and was replaced by an equally strong fascination with the cinema as a locus of memory and reflection. After this analysis, the essay then turns to the many Italian films that have adapted Sciascian novels. Indeed, Sciascia’s work has provided quite many narratives for an entire generation of filmmakers, and for an equally significant portion of politically engaged Italian films.Finally, the essay focuses on the cinematic quality of Sciascia’s novels, as well as on the unique character of his detection narratives which constantly challenge the relationship between appearance and reality, between seeing and believing -- a question and a dilemma which lie at the very heart of cinema itself.

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

Authoritarian regimes in the Iberian and Latin American world have been the subject of different studies in the social sciences and humanities. Throughout the years, we have questioned ourselves about the nature of dictatorships, the mechanisms of repression and the fate of their victims. There have been many investigations that have tried to respond to a specific need: do not forget one of the darkest pages of the history of the Latin American subcontinent and the Iberian Peninsula. In recent years, phenomena such as the denial of dictatorships or the number of victims that occurred during dictatorial trials, as well as the appearance of the idea of a "dictablanda" or nostalgic movements for Videla, Pinochet or Franco have led to a new politically oriented reading of these historical phenomena. The past, in essence, has been charged with new meaning, capable of articulating agendas, narratives and symbologies of new illiberal and authoritarian movements. This dossier starts from this point, from the recognition that the relationship between the past and the present constantly changes the perception of history and the deep meaning attributed to it by collectivities.

This article analyzes the use and disputes of memory about the Araguaia Guerrilla, based on the tribute paid by former president Jair Bolsonaro to Major Curió, accused of atrocities during that conflict. The methodology consisted of a bibliographical review and consultation of the press and documentary records. It was found that the Guerrilla was a subject of voluntary oblivion during the Civil-Military Dictatorship and that, even today, there is a struggle between the defenders of official memory and the groups seeking to reconstitute the memory of the victims of repression and to make historical reparations

This article aims to study the production and circulation of a video by the YouTuber Felipe Castanhari about the Brazilian civil-military dictatorship. It is argued that the narrative elaborated by the YouTuber updates a specific historical and memorial interpretation of the dictatorship – the so-called "theory of the two demons" – and that its placement on YouTube satisfies a demand for a customized and personalized past, a “past on demand”. We contribute to analyzing memory disputes about the dictatorship in virtual environments, relating content and form.

At its focal point, this work attempts to reveal the cultural and social characteristics of the Porticoes of Bologna. The research is conducted in three classes of the Comprehensive Institute of Pianoro’s Lower Secondary School, and targets children with cognitive characteristics, behaviors and interests that usually lead them to distance themselves from school. The laboratory approach managed to make such children demonstrate the motivation to learn and evince the sense of belonging to a group. In this project, the architecture of the city is deemed as a stimulus for stories, illustrations, songs and artifacts that have led to the acquisition of a collective consciousness and identity. In so doing, landscape, territorial and environmental instruction becomes strongly connected to active citizenship education, which paves the way for the training of responsible, reflective and participatory subjects, with attitudes, behaviors and activities that characterize citizens aware of their rights and duties.

Martine Sonnet's Atelier 62 is built on the silence of the author's father, a proletarianized artisan who never talked about his experience as a smith at Renault in Billancourt. Through the analysis of the representation of work in the text and of its impact on human life, this study aims to present possible interpretations for the silence of the smith. First, it will demonstrate that the different kinds of work are articulated in the text on two opposite symbolic poles, one linked to silence, to the non-transmitted; and the other linked to speech, to the sharing of experience, to transmission. Then, it will discuss what would be underlying this opposition, by suggesting that the silence of the smith can be explained, on the one hand, by the physical and psychological traumas suffered in his process of proletarianization; and, on the other hand, by his separation from the sphere of social (re)production, imposed by this same process. The interpretation of the social phenomena portrayed in the text will be supported by the contributions of Marxist, eco-feminist and care ethic theorists who all converge in the criticism of the capitalist logic and its search for economic growth in spite of human life. [ABSTRACT FROM AUTHOR]

The issue of violence seems to be the key to defining and interpreting Colombia’s troubled history. This is also reflected in the extensive scholarly on the causes, the timeline and the methods by which such violence has been perpetuated. In 2016, the Colombian government and the Fuerzas Armadas Revolucionarias de Colombia (FARC) signed a peace agreement after decades of armed conflict, but violence and land issues continue to pose challenges to the real implementation of the agreement. One of the most dramatic chapters in the history of violence in Colombia is that concerning the extermination of Unión Patriótica, the party born in 1984 after the peace agreement signed by the governement of Belisario Betancur and the FARC. From its debut in the political arena until the 2000s, but especially during the 1980s, the party was the target of a cruel campaign of stigmatization and of a plan of extermination that produced more than six thousand victims. Recently the Interamerican Court issued a ruling in which it recognized the responsibilities of the Colombian state in the plot of violence, including symbolic violence, against the Unión Patriótica party. This essay aims to reconstruct that historical chapter, starting with the reconstruction of the context within which the extermination plan matured, a context of impunity and political terror unleashed against an "internal enemy" seen as something to be eliminated.

This contribution aims to introduce the proceedings of the national conference dedicated to “Ernesto Balducci: a pedagogical figure of strong relevance,” which took place one hundred years after his birth (and thirty years after his death) with the purpose of both honoring his memory and scientifically deepening-in an interdisciplinary perspective and through a pluralism of expert voices-both the pedagogical force and the actual relevance of the thought and action of a true master, including in the educational field. [ABSTRACT FROM AUTHOR]

In 1962 Rossana Rossanda undertook, on behalf of the Italian Communist Party, a trip to Spain, aiming to strengthen the anti-Franco forces dispersed after the civil war. Instead, her intinerary seemed to be useless, as the title of the book collecting the report of the expedition suggests (1st edition Bompiani, 1981). Un viaggio inutile springs from a double mnemonic filter: the clandestine operation imposed a ban on transcribing travel notes, which Rossanda drafted only on the way back; secondly, eighteen years passed between the experience in Spain and the rewriting of the notes, which took place in 1980. The present work, therefore, aims to explore both the mnemonic devices of Rossanda’s journey and its reception by the Spanish public, also by resorting to the translation of the text (Un viaje inútil, Laia, 1984 and Tirant Humanidades, 2021).

The poetry of the Republican exile of 1939 was judged on the basis of some clichés that led to the neutralization of its most critical components. Usually enclosed in the sphere of a time shift (melancholic and/or utopian), this poetry testifies an alleged detachment from the historical, political and cultural challenges of the Spain of its time. This reading also frequently included the Political Transition. After highlighting the critical possibilities of “reflective nostalgia” as an opening to the social and political dimension of memory, I analyse the cases of three exiled poets who wanted to join the project of the new nation that many wanted to build: Ernestina de Champourcin, Rafael Alberti and José Bergamín.

Published in 2012, Medusa is the fifth novel by Ricardo Menéndez Salmón, a young Asturian author and an important novelist in the panorama of contemporary Spanish literature. Although the novel plot would seem quite simple – a PhD candidate is writing a thesis on the iconography of evil in the 20th century and ends up reconstructing the biography of Prohaska, a young German who, thanks to his passion for drawing and photography, becomes a propagandist of the Nazi regime – the work results from a complex stratification of different genres and levels of reading, such as the narration of the main historical events in the 20th century; the reflections about existence and the characteristics of human nature; the value of the written word, literature and art as a manifestation and expression of a reality in which time and its passage are essential, captured and therefore communicated to catch the essence of memory and its legacy.

That of the recent theatre of memory in Spain is a complex panorama which, while presenting various constants that constitute its distinctive features with respect to the historic theatre and the documentary theatre, also begins to manifest some variables that invite us to reflect on possible categorizations of the dramaturgical strategies put in place for the recovery of the past through the stage. We propose to start a reflection in this sense, examining some of these differential aspects through a selection of significant plays from an ever wider and more variegated corpus through the lens of the need for trauma negotiation.

In The Cartographer, the playwright Juan Mayorga recovers for the present, and in an original and oblique way, some of the events that took place in the Warsaw ghetto in the first half of the 1940s. The piece makes explicit a parallelism between cartographic art and theatrical writing and at the same time translates it into practice through its own architecture. The map and the human body become there means of resistance to the impositions of History and vehicles of a memory that strives to save a part of the past and which allows to look at it with a renewed gaze and as an invisible part of the present.

Numerous Portuguese texts and paratexts from the era of the dual monarchy (1580-1640) are characterised by eulogies of the Lusitanian language that fulfill the task of defending its prestige over Spanish. Between the end of the 18th century and the first half of the 19th century, when the production of translations, grammars, dictionaries and other glottodidactic tools of various natures increased, the memory of the ancient praises was relied upon for purposes that were (justifying the study of Portuguese as a foreign language), politicocultural (defending the dignity of Portuguese within the neo-Latin stock; making space for the Lusitanian literary tradition in the European cultural space), and commercial (in the context of the modern publishing industry, creating a market for Lusophone texts and manuals).

The parallel reflection on the relationship between truth and writing in the fields of philosophy and literature has contributed to the development of discursive practices aimed at anchoring reconstructed events in reality. Through an example of testimonial writing and two examples of family memoirs, we show the importance of the name in reducing the degree of fiction and saving chapters of individual, family and collective history from oblivion.

The present study approaches the micro-novel Dora Bruder by Patrick Modiano from the perspective of memory (and post-memory) which, through documentary work, restores the identity of the victims definitively annulled by the Nazi regime (victims who have no grave). Our hypothesis is that Modiano is building a literary cenotaph for Dora Bruder. For her part, Herta Müller tries, in at least two of her novels (The Land of Green Plums and The Appointment), to build for the victims of the Securitate (the Political Police in Communist Romania, during the neo-Stalinist regime under Nicolae Ceaușescu), a memorial, a literary tumulus. In this case, it is about victims who have a grave, but the author is building a second grave from an ethical point of view.

Herta Müller’s The Hunger Angel/Atemschaukel is an innovative attempt to remember and narrate traumatic experiences. The novel reads like a document and, at the same time, like fiction. Through a complex overlapping and poetic condensation of the most diverse memories, Herta Müller has created a place where she and her readers commemorate all those who perished or were exterminated in dictatorships, labour camps and death camps. The challenge is to keep lived memories alive by reinventing them in the process of post-memorial writing.

In the graphic novel Heimat. Ein deutsches Familienalbum (2018), the German author Nora Krug documents the analysis of her family’s history. As a member of the third generation after the Holocaust, Krug wants to find out if and in which way her grandparents were involved in the Holocaust. In addition, her research shows whether her own family’s history corresponds to Germany’s cultural history. Krug seeks to improve her understanding of her family’s relations and her ‘Heimat’. The archive is the starting point of her investigations and defines the design of the story. Heimat connects information from the archives with testimonies and memorabilia. In this fashion, Krug creates a creative treatment of the family history. Not only the archive, but also photography is significant in the design of the graphic novel. Hirsch’ theory on postmemory explains the self-representation of the family in photographs. Krugs plurimedial design of the story creates a multilayered narrative that processes the complex themes of Heimat in a sensible way.

After her visit to Germany in 1949/50 Hannah Arendt wrote the essay The Aftermath of Nazi-Rule. Report of Germany (1950) in which she collects her reflections on post-war German society. Starting from this analysis, the present article aims to investigate the causes of the inexplicable indifference to Nazi crimes that Arendt observes in the German people. While Arendt emphasizes the inability to think (and feel) provoked by the regime, A. and M. Mitscherlich focus on the failure to process the traumatic ‘loss of the Führer’. In both cases, a mechanism of reality distortion gets triggered, resulting in the repression of the past and the denial of one’s own guilt and responsibility. The studies by Bar-On, Pohl and Welzer (et al.) show how these repression processes are also active in later generations, even today, representing a threat to a successful reworking of the past, to the preservation of collective memory and to the recognition of one’s own responsibility not only for the past, but also for the present and future.

RESEARCH OBJECTIVE: The aim of the article is to deepen the understanding of the process of coping with a traumatic situation or experience and coming to terms with emotional or material loss over a period of time with reference to historical narratives The Address by Marga Minco and Silent Waters by Sabiha Sumar. THE RESEARCH PROBLEM AND METHODS :The research problem is to analyze the relationship shared between emotional and materialistic abandonment and the effects of such adversities on children. The research method is the method of comparative narrative analysis: a thematic analysis of the two narratives with the help of drawing a correlation between a short story and a film, both depicting the post-traumatic lives of their protagonists. THE PROCESS OF ARGUMENTATION: The research process was a comparative analysis. The first step was developing theoretical foundations for understanding the problem. Then, I focused on the comparative analysis of the two narratives. RESEARCH RESULTS :The comparative analysis of the collected material showed the need for history to rely on the power of narrative in order to understand conflict and trauma. Through the plot of both texts, it is seen that memory and abandonment share a complex relationship with each other. Trauma, even though left much behind with the intention to move on, may garner in present life, causing one to take life-altering decisions. CONCLUSIONS, RCOMMENDATIONS AND APPLICABLE VALUE OF RESEARCH: There is a need to understand the relationship shared by abandonment, subsequent trauma, and memory. These narratives shed light on the need to understand collective trauma faced by children and the way that trauma is carried on through the generations. In the quest to move on, trauma seldom rests, and war-based atrocities direct individual lives much after their physical culmination.

This contribution results from ethnographic research on the reuse practices of abandoned spaces, conducted between 2019 and 2021 in the context of the old city of Taranto, a historic urban centre characterised by depopulation phenomena and a long history of settlement and sedimentation of meanings and practices. The work focuses on the relationship between urban regeneration processes, which promote the transformation and re-signification of abandoned urban spaces, and the experience that inhabitants and social groups reproduce in the narratives of the neighbourhood space through reuse and revisitation from below. This relationship reveals an articulated tension that reflects, on the one hand, the need to find new solutions to the environmental crisis caused by the steel industry (ILVA - Arcelor Mittal) and, on the other, the possibility of rethinking the economy and management of urban spaces to capitalise and re-exploiting a marginalised territory that is now once again central. The relationship between remembrance and oblivion represents a central issue for understanding what meanings and position the old city is taking on and through which practices we attempt to construct new narratives and new experiences of reuse.

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.

Partendo dalla affermazione di Viet Thanh Nguyen che tutte le guerre sono combattute due volte, la prima sul campo di battaglia, la seconda nella memoria, questo contributo intende esaminare il modo in cui l’autore indaga gli effetti della guerra del Vietnam sui rifugiati e sulla generazione successiva nella raccolta di racconti The Refugees (2017). Per quanto riguarda i ricordi conflittuali della guerra, Nguyen nelle sue opere critiche e creative va alla ricerca di una memoria giusta che sia in grado di richiamare il passato in modo da rendere giustizia ai dimenticati, agli esclusi, agli oppressi, ai fantasmi. Lo scrittore invoca una complessa etica della memoria che ponga attenzione al ciclo vitale dei ricordi, alla loro produzione industriale, a come evolvono e cambiano. Secondo l’autore, l’arte gioca un ruolo centrale in questo lavoro etico perché, al suo meglio, è capace di opporsi al potere e alla guerra. In The Refugees Nguyen decostruisce la figura ricorrente del “buon rifugiato” e il mito della “nazione rifugio” creati dagli Americani per far fronte alla “difficile memoria” della guerra del Vietnam, sottolineando come l’intersecarsi di guerra, violenza e potere abbiano costretto i vietnamiti a una dislocazione forzata rendendo le loro vite infestate dalle perdite e dagli spettri del passato. Alla maniera teorizzata da Avery Gordon, i fantasmi, gli spettri e le identità indefinite che popolano i racconti di Nguyen sono la traccia spettrale di giustizie sociali irrisolte. La discontinuità del trauma e la sua problematica eredità sono esaminate in storie che si focalizzano sui rapporti intergenerazionali e invitano i lettori a mettersi eticamente in ascolto delle voci che provengono dalla “ferita che grida.”

Chorus of Mushrooms tells the story of a Japanese family that immigrated to the small city of Nanton, in Canada. It depicts the challenges of three women of different generations - a grandmother, a mother and a granddaughter - and also a father, engaged in the ongoing process of surviving and (re)constructing identities and memories in a foreign environment, which constantly challenges the characters to deal with blurred and overlapping geographies of home. Thus, this essay analyzes briefly the narrative strategies employed by Hiromi Goto in the light of postcolonial studies. The analyses of the narrative act in Chorus of Mushrooms reveals not only how the identities of these three generations of women are (re)constructed in the novel, but also how the story – or stories – is/are creatively told and memories resignified in the process. Before analysing Goto’s novel, a brief account of the author’s and the novel’s sociocultural and historical backgrounds is provided. Then, some narrative strategies are highlighted in the light of Suzan Lanser’s (1982) categories, mainly because of the importance of understanding how memory culture unfolds in the novel via these strategies. Finally, further issues of memory and identity are identified and examined in view of Astrid Erll (2011), Vijay Agnew (2013) and Doreen Massey’s (2014) and Linda McDowell’s (1999) theoretical approaches to space, place and gender. The present study shows not only the role of memories in the narrative and their impact in the characters’ lives, but also Hiromi Goto’s creative and sharp writing skills.

From a clinical and psychopathological point of view, depressive states are not only "mood disorders": many other psychic functions are altered, for instance ideation, basic cognitive functions such working memory, long-term narrative remembering and the forgetting function. The early description of depression in Western classical age was "Nostalgia," a medical category in which memory was in the forefront and that has had a long tradition in psychiatry until Karl Jasper's doctorate thesis. In early XX century, still, Tanzi thoroughly described the phenomenon of "painful hyper-remembering" in melancholic patients. Thereafter, both psychoanalysis and phenomenological psychopathology have stressed the role of the inability to forget painful events and either store them or recollect them abnormally. Past is ever present in melancholic patients' mind and this actualization negatively interferes with the ability to plan the future (so called "melancholic retrospection"). This mechanism is expressed by typical sentences such as "if this had never happened, now I would feel better..." and with retrospective emotions such as nostalgia (homesickness), regret, remorse, fault and even resentment and grievance (in mixed states). This inability to forget painful events is common with other disorders such as PTSD and Complex Mourning, where sometimes the course of time allows to dissociate the events from their painful burden. The altered function of forgetting is a transnosographic model that needs further neurobiological research. [ABSTRACT FROM AUTHOR]

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]

Artistic experience is trace of an “in-between” that extends in the direction of the relationship with oneself, with others, and with forms of transcendence; art thus refers back to an ethical and anthropological dimension, revealing of the human the need to mediate its own immediacy and to make memory of the ways in which the tension between impulse and contemplation has become dictable. A cross between activity and passivity, freedom and necessity, the “in-between” that art exhibits is an inappropriable and irreducibly common place. [ABSTRACT FROM AUTHOR]

This article delves into the sensitive undertaking of "triggering memories" among communities, families, and subjects affected by catastrophic events, using the collection of memories from survivors of the Vajont disaster as a case study. The intersubjective process of constructing memories needs meticulous attention to word choice, active listening, non-verbal communication, and respect for silence. The study presents three emblematic cases that underscore the relevance of cultivating trusting and reciprocal relationships between researchers and the subjects they engage with. Such relationships are pivotal in successfully producing and collecting memories. [ABSTRACT FROM AUTHOR]

This contribution intends to present the reflections and methodological reconsiderations that have arisen following a case of difficult management of a community memory. The episode is part of an investigation promoted in the municipality of Viola (Southern Piedmont) as part of the investigations promoted by the Atlante Toponomastico del Piemonte Montano. In Viola, a place name directly recalls a never shared nor pacified narration of a painful fact of bloodshed that occurred during the Resistance, a historical parenthesis that in the Casotto and Corsaglia Valleys, on the border between Piedmont and Liguria, was of considerable complexity. [ABSTRACT FROM AUTHOR]

The text proposes the notion of «intimate time» as a key for reading and interpreting narrative self-biographical accounts. Within this time, elements of the personal story and of the collective History are both collected and reconnected. It is a time where deep meanings of a man's or a woman's life may be sensed. [ABSTRACT FROM AUTHOR]

The article aims to define an enactive theory of emotions in Kant's philosophy, following a perspective of self-regulation of affectivity in which humans, animals, and the environment interact. After having outlined a taxonomy of Kantian emotions, I will propose a reading between Kant and Damasio regarding the interconnected relationship between cognition and emotion, through a redevelopment of Kantian reflection concerning the contemporary neurobiological approach relating to studies of memory, evolutionary adaptation, and judgment practical in humans and animals, in which the concept of preservation of a state of well-being emerges as a common element. Finally, it will suggest a theoretical model of "non-radical" enactivism, connected to the regulation between body and organism and in which self-normation, sensorimotor organization, and intersubjective interaction contribute to the explanation of emotions in a bodily and cognitiveevaluative sense. To conclude, I will indicate a distinction between biological and social environment [Umwelt] between Kant and von Uexküll, explaining how "nonradical" Kantian enactivism has an intersubjective foundation. [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]