Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

With guidance from the Greek god Hermes, this paper intends to explore the idea that creative processes may involve not only displacement to margins, but, a double displacement as well, to margins of margins. Inspired by readings of Walter Benjamin, this idea also illumines Victor Turner’s anthropology. According to the myth of creation, as told from the standpoint of the trickster, nothing says no to itself.

Este dossiê tem o longo rastro de uma ideia que se iniciou com a proposta lançada pelo professor Daniel Marques da Silva, há mais de dois anos. Seu primeiro formato, concretizado no X Congresso da ABRACE, realizado na Universidade Federal do Rio Grande do Norte, foi o de uma Mesa Temática que reuniu, além do próprio Daniel Marques, os professores Mario Fernando Bolognesi, André Carrico, Andréa Bieri e Alexandre Nunes. A experiência da Mesa Temática e sua posterior publicação nos anais do congresso foi inspiradora, tanto para o grupo de pesquisadores nela comprometido quanto para a plateia presente na sessão da mesa. Os anais do congresso, entretanto, implicaram numa redução muito grande de toda a diversidade de assuntos efetivamente discutidos, tanto ao longo da formatação da proposta quanto na consecução da mesa. Compreendemos a partir dali que a ideia de refletir sobre os caminhos à margem e os arquétipos próprios da malandragem, no contexto das artes da cena, merecia mais aprofundamento e a criação do presente dossiê temático, na Revista Arte da Cena, é parte resultante dessa constatação.  

Confrontando alguns conceitos de Januzelli e Grotowski, esse artigo busca uma reflexão sobre o trabalho do ator/performer e a compreensão de algumas particularidades e diferenças entre o treinamento e a criação no teatro.

SCHEDA TESILa “generazione” degli hijos in Cile; None Fernández, Lina Meruane, Alia Trabucco. Una proposta didattica di Marianna MontanaroRELATORE: prof.ssa Laura ScarabelliCORRELATORE: prof.ssa Elena LandoneCORSO DI LAUREA: laurea magistrale in Lingue e Letterature Europee ed ExtraeuropeeUNIVERSITÀ: Università degli Studi di MilanoANNO ACCADEMICO: 2017-2018

Scritture di donne fra letteratura e giornalismo: undici anni dopo Volume II. Scritture di frontiera tra giornalismo e letteratura      di Roberta TroianoScritture di donne fra letteratura e giornalismo: undici anni dopo Volume III. Scrittrici/giornaliste - giornaliste/scrittrici      di Anna Morena TafuroAntroposcenari. Storie, paesaggi, ecologie      di Cinzia Scarpino

As this contribution shows, the increasing production of German-language postcolonial novels over the last fifteen years has contributed to enhance the dialogue with the vast debate on cultural anthropology promoted by the European late Enlightenment, especially on issues of ethnicity and the ethical relationship to “otherness” as Humanität. Herder has proved a crucial interpreter of it. Explorations in East Africa have featured prominently in Christoph Hamann’s work. Before and after his novel Usambara (2007), he has shared with others the study of mountain symbolism as referred to the ascent of Kilimanjaro, focussing on the relationship between historical event, colonial propaganda and mythography. Going beyond the interest in exoticism and orientalism on the basis of Said’s reflections, German Studies have evolved towards a new appraisal of the intermediality which is inherently bound to the experiential interweaving of exploration, discovery and conquest in the former German colonies

Postcolonial utopia is a notion only recently explored, connecting the original meaning of utopia as a literary genre concerned with hope for a better world to contemporary postimperial conditions. This article reads Andrea Levy’s successful novel Small Island (2004) as a postcolonial utopia. The interaction of stories Small Island develops mirrors the rise of postwar multiracial and multicultural Britain. Levy’s work conveys a counternarrative reshaping the relationships between colonizers and colonized, black and white subjectivities in the context of Caribbean migrations to the United Kingdom, and, ultimately, reconfigures Britain’s hybrid identity itself. The plot oscillates between 1924 and 1948 and moves across multiple geographical locations: London, rural England, Jamaica, India and the United States. Small Island follows the interwoven stories of Gilbert Joseph, a black Jamaican who joins the RAF during the Second World War and in 1948 arrives in London as an immigrant aboard the Windrush, Hortense Roberts, his Jamaican wife, Queenie Bligh, their white landlady, and Bernard, Queenie’s English husband. The first-person narratives of the four protagonists overlap and intersect; Queenie’s house in Nevern Street, a space shared by the migrants and the English, becomes the point of convergence of multiple, interrelated experiences and, finally, the place of the conception and birth of a mixed-race baby. Queenie’s lodgings represent the re-conceptualization of the British nation as a whole as a utopian site. The “happy ending” suggesting the centrality of a hybrid family structure thanks to a deep solidarity between whites and blacks seems to overcome racial discrimination and cultural and emotional dislocation, and to create a new rhetoric of national belonging.

Among the projects for the recovery and reuse of large abandoned industrial areas in Milan - Italy, it is possible to highlight new outcomes that, considering the way in which the redevelopment takes place, both from the perspective of planning, location and relation with the city, create a regeneration process of the industrial historic heritage that produces a completely brand new outcome.An example is that of the two projects “City Life-Portello” and “Porta Nuova”, in which the regeneration of derelict areas, within the urban structure, took place with highly intrusive methods and by creating contrapositions between new architectural elements and some historic buildings.In these areas the abandoned space was completely recycled, reinvented and adapted to new uses allowing for creative experiments and launching completely new design experiences for the city of Milan. This happened through the use of “landmarks” of great connotative and semantic force that led these places to become “something else” in the city.At the same time, however, in both cases, the link between past and future is too weak to create a real regeneration process of the industrial historic heritage and the end result is something completely new, "something else" within the city of Milan, from which it differs in shapes, colours, heights and meanings.

The proposed naming of a new geological era, the Anthropocene, has not only enlivened the notoriously placid waters of geology, but has sparked artistic, political, anthropological, historical and philosophical imagination. Global warming challenges the imagination because it tests sensitive perception with its distribution on micro and macro scales in time and space, presenting itself as an accumulation effect and at the same time as geographically scattered. The limits of everyday language are great, despite the literary and poetic efforts to express the unprecedented experience of a nature that has become unnatural, of a world that has rotated on its axis. In question, even before language, is sensitive perception. In a data and visual culture, do the models, the diagrams, the satellite images, the statistics, the "numbers" that flood the media, make us "see" and "feel" something? The visual arts and the exhibitions dedicated in recent years to the Anthropocene have become an important source of experience and knowledge of the phenomena of the climate crisis. They manage to make the invisible visible, to provoke shock by intensifying sensitivity, favoring through an emotional-sensitive experience the knowledge of an elusive reality. The work of the photograph Edward Burtynsky is discussed as a striking example of representation of the Anthropocene.

Il saggio è diviso in due parti. La prima parte ruota attorno alla critica cui Wiechert sottopone la modernità. Secondo lo scrittore tedesco, la modernità post-illuministica ha subito un processo di autodistruzione dovuto al suo progetto di ingegneria sociale ed umana. Ricorrendo ad immagini anticristologiche, Wiechert mette in luce la volontà dei nazisti di creare un uomo anticristiano ed assume il ruolo di uno scrittore-profeta chiamato a spianare la strada ad un ordine politico utopico. La seconda parte si concentra sul romanzo Das einfache Leben, attraverso il quale Wiechert mira ad aiutare i lettori a riplasmare sé stessi in esseri pienamente individuati.