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This article aims to present the interdisciplinary project "My Story from Silence", conceived in 2022. The project represents a pioneering effort in assembling individuals from diverse communities, characterized by varying ethnic, national, and migratory backgrounds, along a historically dynamic border. Its primary objective was to provide a platform for these participants to articulate and share narratives previously shrouded in silence, offering insights into their historical pasts. Emphasizing reciprocal dialogue for the first time, the initiative fostered an environment where participants engaged in the dual act of narrating their own experiences and attentively listening to the narratives of others. These memories were explored in group workshops on both sides of the border. By combining elements of cultural anthropology fieldwork and analytical psychology, the workshops attempted to address hitherto unaddressed traumas and silent personal memories linked to major traumatic historical events such as fascism and Istrian exodus through the narratives of individuals. Three vignettes will illustrate the workshop dynamic and our Jungian understanding of it. [ABSTRACT FROM AUTHOR]

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I Memoriali sono monumenti edificati in ricordo di un accadimento che appartiene alla memoria collettiva. Essi aspirano a una condizione di trascendenza e immanenza al tempo stesso: radicati nel luogo e legati a una precisa circostanza temporale, purtuttavia si svincolano da ogni tempo e luogo in ragione del loro portato universale. I memoriali sono l’espressione di un profondo significato simbolico condiviso da una collettività che in essi si riconosce. In questo modo essi entrano nel nostro presente in modo attivo, capaci di costruire narrazioni e luoghi di una mitologia collettiva entro cui ciascuno di noi possa identificarsi. I memoriali ci parlano, i memoriali evocano: è stato questo il senso del Concorso di Progettazione per un Monumento-Memoriale promulgato dalla rivista FAM nel 2023 e degli esiti qui commentati.

Helen Keller, a child who was deaf and blind from the second year of life, describes, in her autobiography, her childhood and the character of her closest family members. Anne Sullivan, the teacher who will be able to connect her with the world, is an essential example for anyone who wants to measure themselves with the relational dynamics of a painfully dysfunctional family. [ABSTRACT FROM AUTHOR]

The article reflects on the meanings of silence which was encountered in the ethnographic research of memories on the Istrian exodus and a WWII national "hero" in the Primorska (littoral) region of Slovenia. Different kinds of silence are discussed, from the one deriving from the conflict of memories and power relations, violence and fear, to Freudian ideas of repression and trauma, denial and others. From the methodological point of view the question is raised of how to detect silence when filled with words or embodied. A reflection is made on the impact of research on the silenced communities. [ABSTRACT FROM AUTHOR]

Silence is a mysterious psychic experience: what is there in silence? Words have mysterious character because they carries multi-faceted meanings with evocative and symbolic power. But silence maintains an additional aura of darkness: while with words it is possible to start an evocative activity through images, thoughts, ideas, considerations that arise in the therapeutic encounter, in silence everyone remains trapped in their own world. What is expressed and what is satisfied in a person who is simultaneously silent and in relationship with the analyst? Another way to articulate this question is to ask what is the drive (libidinal-aggressive) that fuels silence and what kind of defense is at work. Many considerations arise from the experience of silence during a psychotherapy with a young man. [ABSTRACT FROM AUTHOR]

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Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.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.)

Italian Abstract: Il paper tratta un tema molto importante, quello del femminismo e dell’emancipazione della donna. La scelta del tema è dovuta all’importanza che rivestono la protagonista e il ruolo della donna in generale nella narrativa della scrittrice e fino a quale punto rappresenta Marianna Ucria, protagonista del romanzo la lunga vita di Marianna Ucria, un prototipo della donna siciliana settecentesca di quel tempo. La prima parte esamina la parità tra la donna e l’uomo in diverse situazioni della vita: nell’amore, nella vita coniugale, nel dirittto di cultura e nel matrimonio. La seconda parte sottolinea il rapporto speciale che lega la protagonista al marito, alla madre e al padre. Concludendo si può notare che Marianna a prima lettura appare vittima delle condizioni della sua società, dopo una lettura attenta apparirà una donna forte costretta a combattere con tenacia le sue esperienze dolorose con una forza meravigliosa e di emanciparsi ed imporsi con la sua parola silenziosa. English Abstract: Marianna Ucria, the heroine of the literary work (Mariana Ukria's Long Life), is distinguished among all the women who have occupied the female lead in the works of the writer Dacia Maraini. The choice of the topic of the study is due to the importance the role of women and feminist literature occupies in the work of the writer and the fact that the heroine herself is a symbol of the Sicilian women of this period. The first part of the research deals with equality between men and women in various life situations, including marital life, love relationship, the right to culture and marriage. The second part deals with the special relationship the heroine has with her husband, father and mother. The research ends by confirming how the heroine transformed, passing through different stages in her life, from a victim of societal circumstances to a strong woman who confronts her painful life experiences with remarkable power and how she was able to liberate and impose herself on society and also through her silent words. المستخلص باللغة العربية تتميز ماريانا اوکريا بطلة العمل الأدبي ( حياة ماريانا اوکريا الطويلة) من بين کل النساء اللاتى شغلن دور البطولة النسائية فى أعمال الکاتبة داتشيا ماراينى. ويرجع اختيار موضوع البحث لما يشغله دور المرأة و الأدب النسوي من أهمية في أعمال الکاتبة ولکون البطلة ذاتها رمزاً لنساء صقلية هذه الفترة. الجزء الأول من البحث يتناول المساواة بين الرجل والمرأة في مختلف التعاملات الحياتية ومنها الحياة الزوجية وعلاقة الحب والحق في الثقافة و الزواج. الجزء الثانى يعالج العلاقة الخاصة التي تربط البطلة بزوجها ووالدها ووالدتها. ينتهى البحث بتأکيد کيف تحولت البطلة ، مروراً بمراحل مختلفة فى حياتها ، من ضحية للظروف المجتمعية إلى امرأة قوية تواجه خبرات حياتها المؤلمة بقوة لافتة للانتباه و کيف استطاعت أن تتحرر وتفرض ذاتها على المجتمع وأيضاً عن طريق کلماتها الصامتة.

Il presente studio si propone di analizzare le funzioni pragmatiche degli atti di silenzio utilizzati in Un medico in famiglia e di indagare il rapporto tra silenzio e cortesia. Più specificamente, si concentra sulla super strategia di non fare l’atto minaccioso proposta da Brown e Levinson (1987) ed esplora la misura in cui il silenzio può realizzare le altre principali strategie di cortesia per affrontare gli atti minacciosi per la faccia. Nel quadro teorico abbiamo fatto riferimento alla tipologia del silenzio e al modello di cortesia di Brown e Levinson (1987). Poi abbiamo classificato gli atti di silenzio raccolti dal corpus seguendo lo schema di Saville Troike (1985), abbiamo calcolato la frequenza del silenzio psicologico e di quello proposizionale. Le conclusioni includono i risultati dello studio.

Within the early twentieth-century Italian radiophonic imagination, opera occupied a complex position. The overriding 'voice' of Italy and its radio empire under Fascism, opera supported the new technology as a political and cultural tool, even as it challenged it as a geographical and perceptual fantasy. This article has two aims. First, drawing on materials from 1920s and '30s radio magazines, it sketches a history of early radio listening that restores vision and touch to a more central position than they have had in previous scholarly accounts. Second, it investigates radio and the Italian operatic voice as two mutually broadcasting technologies, ones whose critical co-construction was more than an accident of the fraught political moment. Contemporary definitions of radio as bel canto and of bel canto as radiophonic rested on a subtler, conceptual alignment between the two media, each of which foregrounded a tension between sound and meaning and implied the radial dissemination of voice 'out' in all directions. This article thus seeks to answer two questions. Did opera, a fundamentally audiovisual genre, become invariably 'sonified' through radiophonic transmission? And what happened when that old broadcasting technology, the Italian voice, met the new communications medium? [ABSTRACT FROM AUTHOR]

Using church and judicial court records, this essay focuses on the 1698 case of Antoine Donadieu and Suzanne Abrie to examine how honor, shame, and the difficulties of resistance helped establish a web of gendered silence surrounding clerical sexual assault. The silence was in part created by the records themselves. In our efforts to unearth historical «truth», Historians must ask how we reaffirm the silences that take place in our sources. [ABSTRACT FROM AUTHOR]

Génie la matta is a lucid and sharp, poetic and evocative novel. It is the story of Marie, a girl born from the rape suffered by her mother, and that she will suffer herself. A bitter story of evil transgenerational transmission. Rejected, along with her mother, by all, or almost all, the community in which she lives, Marie describes the wall of silence that is raised between the individual and others, where the absence of speech and deafness meet. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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 Critical Hermeneutics: Biannual Journal of Philosophy is the property of Universita degli Studi di Cagliari 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.)

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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.)

This article aims to present the interdisciplinary project "My Story from Silence", conceived in 2022. The project represents a pioneering effort in assembling individuals from diverse communities, characterized by varying ethnic, national, and migratory backgrounds, along a historically dynamic border. Its primary objective was to provide a platform for these participants to articulate and share narratives previously shrouded in silence, offering insights into their historical pasts. Emphasizing reciprocal dialogue for the first time, the initiative fostered an environment where participants engaged in the dual act of narrating their own experiences and attentively listening to the narratives of others. These memories were explored in group workshops on both sides of the border. By combining elements of cultural anthropology fieldwork and analytical psychology, the workshops attempted to address hitherto unaddressed traumas and silent personal memories linked to major traumatic historical events such as fascism and Istrian exodus through the narratives of individuals. Three vignettes will illustrate the workshop dynamic and our Jungian understanding of it., (© 2024 The Society of Analytical Psychology.)

Nella letteratura postcoloniale appaiono spesso figure di donne afasiche o mute. Si tratta di personaggi che non parlano, per scelta o per inibizione: donne che non hanno o hanno perduto l’uso della parola; ragazze dai tratti quasi autistici; inquietanti, intriganti figure femminili che rifiutano di esprimersi attraverso il linguaggio, donne tutte che vivono il rapporto con il mondo esterno come violenza. Proprio reagendo a questa situazione, i personaggi femminili dei più recenti romanzi postcoloniali iniziano a parlare: prima per lallazioni, come i bambini che sperimentano un nuovo linguaggio, poi mettendo assieme parole, in fine intere frasi. E finalmente arrivano a raccontarsi, a raccontare, la loro storia, rendendosi conto che ogni persona è la propria storia, e che la violenza più subdola, perpetrata sulle donne, è quella di metterle a tacere.

Questo lavoro indaga la figura del silenzio, come si sviluppa in alcuni poemi di Paul Celan. In particolare, analizza l’argumentum e silentio, un’inferenza vera basata sul tacere o sulla mancanza di risposta. In questo silenzio è in gioco la morte della lingua. La lingua tedesca, che è la lingua materna del poeta. Violentata dai nazionalsocialisti e annientata nei forni crematori. La domanda riguarda come sia possibile continuare a scrivere poesia in questa lingua, e come la poesia possa sostenere ancora il mandato etico che le impone di sottrarsi a quella violenza e all’imbarbarimento. Non solo, ma anche come sia possibile, attraverso la poesia stessa, riappropriarsi di quella lingua come lingua materna. A tale proposito, Celan propone un erschwiegene Wort, una parola che sia vinta, conquistata, strappata al silenzio dell’annientamento, e allo stesso tempo una parola silenziata: la parola silenzio. Una parola detta in silenzio che riconduca il più vicino possibile alle spoglie di quella lingua; tanto vicina da mostrarne l’unicità, da rivelarne le pause e le scansioni che la definiscono in proprio rispetto ad ogni altra. In tal senso, si potrebbe affermare che ogni lingua è materna nel modo in cui trova ritmo e misura rispetto a quanto non può dire. Al silenzio in cui tace (e muore) e su cui si articola, parla ed è messa in funzione. La lingua compie un’azione. Nella poesia di Celan è indicata dal termine Spruch. Gesto, come propongo di tradurre: attività e sospensione allo stesso tempo. Il gesto dà corso all’azione e la lascia in sospeso, non la conclude. Solo così può mostrare che la lingua c’è ed è materna. E che, in fine, le parole di questa non sono che ‘puri gesti’ – Unworten, come li chiama Celan. Testimoni veridici di qualcosa che c’è perché non c’è più.

Copyright of Philological Research & Studies. Romance Languages Series / Studii şi Cercetări Filologice. Seria Limbi Romanice is the property of Philological Research & Studies. Romance Languages Series 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 Epos is the property of Editorial UNED 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.)

Moving from Adorno’s statement about the enigmatic nature of modern aesthetics, this paper aims to analyse the forms the enigma takes in the works of the Uruguayan and Argentinian poets Sara de Ibáñez and Alejandra Pizarnik. The essay will consider the figures and the shapes of the enigma as they appear in both poetries. Proper of the revelation of the enigma through its profanation by the poetic language is, in fact, the never-ending and mutual reflection of two different states of the being. Through Martin Heidegger and Giorgio Agamben’s studies on language and negativity, the way in which the enigmatic word appears continuously in its constitutive suspension between infancy and adulthood, absence of time and history, language and silence, the Self and the Other will be revealed. Through the resulting dichotomy of matter and form, emerging from a passage of Agostino’s De natura boni, it will be possible, in conclusion, to recognise in the silent form of the enigma the embryonic proposal of a poetical ethics of writing.

Aim of this paper is to discuss issues related to silence and its role for Byzantine female monasticism. The study explores the importance of silence for the monastic life in Byzantium pn the base of the theories of M. Foucault and A. Jaworski, as well as on Gender Studies. In general, silence was contrasted to speech, idle talk and laughter, which were considered distractions from the spiritual life. Emphasis is given on monastic regulations for nuns who had to be silent, not so much on spiritual grounds but much more in compliance to social norms and gender expectations. [ABSTRACT FROM AUTHOR]

Copyright of Aurora: Papeles del Seminario María Zambrano is the property of Seminario Maria Zambrano 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.)

The aim of this article is to show the ambivalence of silence in the ethical-religious experience. The silence associated with religion could, in fact, be interpreted as "the fear to speak" because of the sacredness which man attributes to the elements of religion, thereby transforming the "sacred" into a "tabu", or simply into an aesthetic experience. As an alternative to this kind of an understanding, we propose an interpretation which has as its objective to provide a conceptual foundation for an ethical-religious argument based on the connection between sacred silence and human suffering. From a methodological standpoint, we assume, in the first place, a vision of the ethical-aesthetic tension of silence which is not to be understood merely according to the primary and simplest signification of the terms; secondly, we intend to confront the question of human suffering in order to investigate whether the "silence" could be an ethical "cry". In order to test the plausibility of this approach, we will study texts from the philosopher Emmanuel Levinas, searching for indications that can offer the elements of a satisfactory response to the questions concerning the rapport between silence and suffering. [ABSTRACT FROM AUTHOR]

Il tempo delle donne in Dessì è sempre un tempo di attesa, un’attesa che dalla gravidanza quella maternità, in atto o in potenza, che sovente caratterizza i suoi personaggi femminili si estende all’intero arco della vita. Un’attesa che è di pietra, come l’Isola. Allo stesso modo mestiere degli uomini è il ritorno, reale o metaforico, tentato o riuscito, vano o proficuo, da tutte le guerre della vita. Ritorno alla donna, alla madre che è la Sardegna, utero e avello delle loro esistenze. Tali attese, nella narrativa dessiana, vengono raccontate dai silenzi più che dalle parole. Dal silenzio ostinato e ingombrante di Mariangela Eca ne Il disertore preghiera e insieme attitu muto alla contrapposizione fra la comprensione afasica della bimba protagonista del testo breve La mano della bambina che pronuncia, in tutto il racconto, una sola parola e l’ottusità verbosa della madre (che sembra suggerire che per comprendere non sono necessarie parole ma empatia), fino all’inquadramento sociale de La serva degli asini, che ricomincia a esistere come persona solo quando viene affrancata dal silenzio delle donne di casa, arma che uccide più che spada e lingua.

Il contributo indaga la funzione del silenzio nella teoria dell’agire comunicativo di Habermas. Se il mondo è Discorso, se è il linguaggio a creare la comunità, il silenzio è allora – ritengo – un elemento imbarazzante nell'ambito della comunicazione. È possibile trovare tracce significative di questa concezione nel brano in cui Habermas tratta le idee filosofiche più strettamente connesse alla figura dell’individuo dominatore. È vero, in questo caso specifico, che la funzione del silenzio risulta marginale o persino insignificante? È corretto affermare che il silenzio si istituisce nel dialogo al modo di una morte del linguaggio, contraria alla sua vita? Ed è vero che, dal momento che non viene condiviso, il silenzio appartiene esclusivamente all'Ego e non è altro che un egoistico atto di esclusione, vuoto e privo di senso? Sarà necessario orientarsi tra due alternative: o il silenzio non partecipa al discorso (il che ci riporta alla antica contrapposizione metafisica di assenza/presenza, silenzio/parola), oppure esso partecipa al discorso, e veicola all'interno di esso vari tipi di indicazioni, a seconda del contesto. In questo modo sarà possibile fornire una corretta interpretazione dell'assenso, del dissenso, dell'accettazione, della sospensione, dell'introduzione all'ascolto.

Il culto romano di Tacita, la ninfa resa muta da Giove perché colpevole di avere rivelato alla sorella Giuturna e a Giunone le mire che il dio nutriva su di lei, prevedeva una liturgia annuale assai complessa, di ambito manifestamente magico-funerario, che sembra ben tradurre sul piano del rito il complesso rapporto che nell’antichità classica lega il buon uso della parola al mondo femminile.