Given the wide range of interests and theoretical approaches that Cultural Studies embraces, and the relatively short time it has been on the academic and scholarly scene, it is probably too early to offer a definition of this fast growing field which would be accurate enough to satisfy its practitioners on both sides of the Atlantic. Indeed, a great deal of space in the debate on Cultural Studies which has taken place over the last few years has been given over to the vexed question of what exactly this new field is.
Still, despite the uncertainties which both surround and characterize Cultural Studies to the delight of some of its practitioners , a few points at least seem fixed enough to warrant the status of founding principles: namely, a concern for and interest in a plurality of cultural practices and discourses; a concern for and interest in those subaltern discourses, practices and subjects which have been dispatched to the margins of the master narrative s of history; and a decidedly oppositional stance vis-a-vis established cultural practices and discourses and the modes of studying them.
Thus far Italian Cultural Studies has already produced a consistent and high-level body of research work, particularly studies published in Great Britain by the likes of Zygmunt Baranski and Stephen Gundle, among others. Yet, material for teaching undergraduate-level courses on Italian Cultural Studies has been almost non-existent. Although the standard of these contributions is uniformly high, some, however, are more useful than others. The text as a whole, of course, has the primary function of introducing the field, but the main drawback of the essays above is that, interesting and important as they are, they leave very little space for discussion.
Perhaps such matters could have been dealt with in a more perfunctory manner in an enlarged introduction to the volume. As it is, these are essays from which largely one is invited to take notes. This could have been tied in with many of the themes the book addresses so effectively like the Southern question and the issue of national identity. Furthermore, students would also be exposed both to the founding narrative of post-Risorgimento Italian national identity and to the subaltern narratives which have sought to challenge it.
The decision to concentrate on the post-war period was probably dictated by reasons of space. This is, of course, understandable. It does mean, however, that the text is less useful in US-Italian curricula than it otherwise could have been.
Il maestro e lo sciamano (Italian Edition) - Kindle edition by Leonardo Vittorio Arena. Religion & Spirituality Kindle eBooks @ unuludojez.ga Il maestro e lo sciamano (Italian Edition) eBook: Leonardo Vittorio Arena: unuludojez.ga: Kindle Store.
Given the differences in organization of undergraduate majors between Great Britain and the US, there are relatively few departments of Italian in the US which can allow themselves the luxury of offering a course limited to post-war Italy. For this reason, although it is undoubtedly a major asset in the promotion of Cultural Studies within the world of US-Italian Studies, and can be adopted as a course text book as I have done , it does need to be supplemented with material from the pre period.
My suspicion, however, is that this is a text which was not really intended to cater to the needs of US curricula. The reasons for this reluctance are many, go to the roots of Italian history and culture, and are examined in the introduction, albeit briefly. The impression one receives from the introduction is that the major function of this collection is to present a recalcitrant Italian academic world with examples of the best that the British and Italian practitioners of Cultural Studies can produce. Indeed, none of the contributors is either a US or US-based scholar. Toronto Studies In Semiotics.
Toronto: Toronto UP, Colilli giustamente considera il Neoplatonismo ficiniano come il punto di origine di un tale discorso teorico. Nella ricerca di un dire "poetologico" Colilli offre un affascinante esame del pensiero di Giorgio Agamben e del volume di Paolo Valesio Ascoltare il silenzio Con "Voce" Agamben significa "una dimensione del negativo. Il tentativo di Bruno di formulare una scienza delle immagini che si traduca in un linguaggio tropologico, soprattutto in De imaginum, signorum et idearum compositione , viene messa a confronto con il vichiano concetto di "universali.
Colilli sembra alludere a questo nel suo esame di De vinculis in genere di Bruno Public History, Private Stories. Minneapolis: U of Minnesota P, Il suo interesse la porta a privilegiare "those female autobiographies based upon the construction of nondichotomized portrayals of maternal and paternal roles" 9.
E il ricupero quindi del "matrilinearism" di quella struttura che la Parati denomina "gyneology". Il terzo capitolo, dedicato a Le quattro ragazze Wieselberg , teorizza la ricerca di Fausta Cialente per trovare una lingua appropriata a scrivere storie di donne. Her choice of voluntary exile becomes a protracted choice of marginality, because a new land to inhabit permanently is never found" La Parati sottolinea il fatto che il libro si apre e conclude con citazioni maschili, rispettivamente De Chirico e Primo Levi, creando quindi un andamento circolare che mette in rilievo la predominante cultura maschile.
Scrive la Parati che sia per la Cialente che per la Levi Montalcini, "womanhood and motherhood are, within the familial sphere, identified with passivity and acquiescence" e che entrambe cercano di distanziarsi dal silenzio ereditato dalle reciproche madri ed il naturale bisogno personale di farsi ascoltare Il libro si conclude con un approfondito studio di Autoritratto di Gruppo di Luisa Passerini.
La Passerini, diversamente dalle altre scrittrici considerate, si propone di analizzare il significato della sua vita privata nel dominio pubblico. Per la Parati tale saggio indica che "she has finally come to terms with the fact that the narration of the self is rightfully part of her public production, and that her public self is not at odds with the private identity as they are juxtaposed in the narrative of her life" Lo si consiglia anche a chiunque voglia riflettere e capire il difficile iter femminile per la conquista di uno spazio pubblico e privato coesistenti in armonia.
Elaine Fantham. Sather Classical Lectures, Berkeley: U of California P, In Chapter 1, "The Mythomaniac Narrator and the Hidden Author," Conte defines the "hidden author" of his title: "as a deliberate strategy, the author refuses to play a direct role in the account, preferring to make himself a detached external observer, like the reader whose complicity he is seeking" The subsequent appearance of Eumolpus in the picture gallery occasions a useful discussion of parallel scenes in the Aeneid and the Greek novel.
In Chapter 2, "The Mythomaniac Narrator and the Longing for the Sublime," Conte identifies a second source of Petronian irony in addition to the Greek novel: the exaggerated rhetoric of the school declamation. The storm at sea occasions similar treatment. Conte adduces important parallels to the poetic manifesto of Eumolpus, praecipitandus est liber spiritus In Chapter 3, "The Deceptiveness of Myth," Conte examines how Petronius exploits the extraordinary events characteristic of the ancient novel, and gives them a parodic twist.
In the Satyricon , the melodramatic motif of attempted suicide becomes Encolpius and Giton tussling over a mock razor. But Giton himself explicitly invokes a tragic precedent, that of Jocasta interceding between Eteocles and Polynices Persecuted by Priapus, Encolpius imagines himself restored to virility by the ithyphallic deity Mercury. Elsewhere in the novel, Conte notes, "sex, food, and money produce both an alternative scenario and two major antagonists: Quartilla and Trimalchio" Conte notes how literary critics from Bakhtin on have defined Menippean satire in ways which add little to our understanding of the classical context.
By contrast to Menippean satire, which ridicules gods and heroes in trivial contexts, the Satyricon portrays low characters striving for sublimity. At the same time, Petronius preserves the verisimilitude which Menippean satire so readily sacrifices to paradoxical humor. Even the prosimetric form, considered the hallmark of Menippean works, may in fact link the Satyricon to the Greek comic novel, as has been shown by the recent discovery of papyri fragments containing the so-called romances of Iolaus and Tinuphis In Chapter 6, "Realism and Irony," Conte observes that realism in literature lies not in Auerbachian mimesis.
Instead, "Petronian realism, if we want to call it realism, is the capacity to transpose into the text different symbolic systems and different spheres and experiences of life, and to do so with an empathy that excludes both sympathy and the aggressivity of satire" Returning to the theme of realism, Conte concludes with a reading of the short poem, "Quid me constricta spectatis fronte Catones" Like the Petronian narrative, they occasionally digress to offer fascinating glimpses of ancient culture.
Indeed, his episodic essays manage to create a Petronian atmosphere of novelty and variety while repeating the same thematic material. Conte characterizes the Satyricon in words which seem to describe his own study: "the echoes must be heaped up in order to recall powerful moments of the literary universe" One might protest that the "hidden author" of the title is merely what others call the subtext, which in turn is the traditional object of Quellenforschung , a field in which Conte has few peers.
And one might complain that Conte is covering his tracks in his first lecture when, in highlighting the illusory world of the scholastici , he avoids the opening episode of the Satyricon , which explicitly introduces the theme. Only a scholar of the caliber of Raffaele Simone could succeed in prevailing upon four professors of three different countries to cooperate and prepare six essays on psycholinguistics in Italian, Portuguese, and Spanish.
Simone does not need an introduction: not only is he professor of linguistics at the University of Rome "La Sapienza," but, for many years, he has been the prime mover behind the publishing house "La Nuova Italia". In addition to the present Italian edition, the book appeared in Spanish under the sponsorship of Editor Gedisa and in Portuguese by Editor Atica, so that the Italian editor can justly boast that the present book is but one of three variants of an original that does not exist xiv. The challenges encountered in preparing the book were diverse and seemed, at first, overwhelming, since they were of a pedagogical and technical nature.
The writers based their work on many previous studies showing that children, regardless of the language used, try to render the spoken language into written symbols at an earlier age than it was heretofore believed. The authors agreed that the text to be studied would be Cappuccetto Rosso La Caperujita Roja in Spanish , Chapeuzinho in Portuguese , because of its great popularity among children speaking any of the three Romance languages.
The main technical problem was the creation of a data bank and of the appropriate software supporting such data. Once they agreed which software was to be used, the scholars had to agree upon the elements to be analyzed, such as line, punctuation, variants of transcription, and morphology. They then researched the hypothesis that children generally tend toward hyposegmentation, namely, they attach to each other many of the elements that would be separate in a grammatically correctly written string. This is similar to what occurs to someone listening to a foreign language with which he or she is not yet familiar and all sounds combine into what seems to be an unending word.
The complexity of analysis confronting the authors was exacerbated by the different problems encountered in different languages. The book is composed of an introduction, six essays, an appendix, a bibliography, and an index. The first essay, "Lingua scritta e ricerca comparativa" by Pontecorvo and Ferreiro, contains the fundamental problems outlined above. It is followed by "I confini tra le parole" by Ferreiro and Pontecorvo, which studies the historical meaning of the word "word" in its significance of segmentation of a written text and further investigates the statistical distributions of hyper and hyposegmentation.
The final essay by Ferreiro and Moreira, "Le ripetizioni e le loro funzioni testuali," studies the phenomenon of repetition in Italian, Portuguese, and Spanish. The files contained in the diskette attached to the book are in ASCII so that they can be read by any word processor. The remarks made eight years ago are not only confirmed by the language employed by the four writers, but the borrowings from American-English have become matter-of-fact, when it comes to the technical jargon of computerism.
Of course, this book is intended for the specialist of psycholinguistics and requires, in addition to a modest grounding in this discipline, a moderate knowledge of Spanish, and Portuguese. But it should be read also by linguists in related fields, since it contains a wealth of information that is generally assembled not in one, but in many volumes. Additionally, the bibliography is ample and up-to-date. The book should also be read very attentively by reading specialists, since it may open new vistas in pedagogical problems related to reading.
Finally, this treasure warrants the extension of the international cooperation mentioned in my initial paragraph: an English translation should be a matter of course. Robert C. Geografia, storia e poetiche del fantastico. Firenze: Leo S. Olschki Eitore, La storia fantastica permette al lettore di ritrovarsi tra le paure quotidiane. Questa seconda sezione si conclude con le riflessioni di Valentina Contini sulla scrittura di Giorgio Manganelli. Il libro si conclude con una presentazione molto dettagliata della sfortuna di tale produzione a partire dagli anni quaranta. Modi narrativi e stile del Novellino di Masuccio Salernitano.
Sezione di filologia moderna Firenza: La Nuova Italia Editrice, Donato Pirovano has undertaken to follow up the particular stylistic observations of Petrocchi, Gentile, et al. This study, which makes a number of interesting and valuable contributions, is divided into three major sections: one on narrative modes or techniques, a second on rhetorical aspects or figures of speech, and a third on syntax and vocabulary.
Beginning with a look at the macro-structure, i. Later these are gathered under three broader rubrics: 1 narrative modes, the more diffuse "racconto-romanzo" and the more focused "novella-episodio" in which events are primarily told by the narrator with very little dialogue; 2 the more theatrical "novella-contrasto" an encounter between two characters , "mimo" and "commedia" these seem analogous in their more concentrated or diffuse focus to the episodio and romanzo , although Pirovano neither says so nor arranges them in an order to make the parallel evident with an emphasis on dialogue, gesture, props, and an audience the urban crowd, the rest of the convent ; and 3 the "novella-polemica" in which a shameful scene is shown and occasions an impassioned tirade, either by a character or by the author himself.
There is a long list of metaphors, illustrating the variety of areas from which Masuccio drew his vehicles although the tenor seems to be almost always erotic , and comments distinguishing the characteristic aspects of his style his preference for metaphor over simile, the frequency of hyperbole as well as on types of figures which Masuccio used little and only in the most conventional manner e. I am glad to see that Pirovano pays attention also to the phonic qualities of style, pointing out that Masuccio clearly expected his stories to be read aloud.
Fascinating comparisons of an earlier manuscript version of some tales with the later printed version allow Pirovano to note how Masuccio reworked his material to add in some of these effects. Pirovano also analyzes particular passages for their combination of figures to create an effect.
Pirovano examines the differences between framing material and narrative, and between one mode of narrative and another, to see how syntax might contribute to their distinctiveness. He notes features which seem characteristic of Masuccio but are more generally attributable to a fifteenth-century or a Neapolitan, a novellistic or a humanistic style. Pirovano concludes that Masuccio uses a more limited range of focus, mood, style, and tone than Boccaccio, but that this very limitation produces a unified atmosphere which is his most original characteristic in the novella tradition.
This study has its weaker moments when it lapses into lists of examples without much analytic commentary. These are much broader questions, of course, but they would put the list of modes to further use. A long, thorough, and up-to-date bibliography ends the volume. Semiotica dantesca: profetismo e diacronia. Memoria del tempo, 4. Ravenna: Longo, Beginning from the Singletonian premise that the Comedy emulates the "signifying" of Scripture, a kind of writing through which facts retrospectively gloss texts, and textual signs retrospectively gloss each other, the author, a professor of Italian literature at the University of Geneva, has himself produced a text to emulate: a magisterial model of how to decode Dante, who wrote the Comedy "non.
It also has a precise focus: the prophecies of the Comedy , more exactly its predictions of future events, whether fictive post eventum at the time of writing but not at the time of the imagined journey, and thus generally more detailed or real ante eventum , and thus more ambiguous. To be fair, however, these matters are the province of the "eternal" reader, not the decoder of contemporary concrete political references the author aspires to become.
The third chapter is the substance of the book, and it is, in a word, mesmerizing. The author analyzes the messianic predictions of the Comedy as one "profezia in progress " , resolving "dis-homogeneous" textual details into one evolving system: hence the "diacronia" of the title. As contemporary political circumstances change, the prophecy evolves in response, and the text gives new content to earlier prophecies by providing "parallel passages" which re-direct their interpretation. The prophecies are the canonical three, modeled on the three Augustan prophecies of the Aeneid : veltro Inf.
In an analysis that is breathtaking in its ingenuity and precision, though in some especially numerological details perhaps overly subtle, he interprets the "DILigite iustitiam qui iudicatis terraM" of Par. The death of all three by late coincides with a pause in writing the Comedy after Par. He then, through a passage in Par. Through carefully crafted parallel passages, he then begins to prepare the ideological arms Henry VII lacked.
Many of the single interpretations advanced have been proposed at one time or another and sometimes forgotten over the last seven hundred years, but perhaps never have they been integrated into such a coherent, persuasive and carefully argued system. Dozens of proposals are new, illuminating many details of the text. It is startling, however, that the author never raises the possibility that the Letter to Cangrande, at points quite important to his arguments, might not be authentic. The book is beautifully written, lucid, elegantly structured, suffused with gentle ironic humor; despite its daunting title, it is at times as gripping as a detective story.
Il "diletto legno". Saggi di "Lettere italiane", Firenze: Olschki, One suspects though Prandi does not admit it! The book is divided into two separate but related sections. He analyzes its symbolic ramifications in considerable detail and traces the line of imagery connecting trees and the Cross. Sterility is definitively counteracted in the second essay, "Il tema mistico della fioritura nella Commedia " Iannucci, ed.
Dante: Contemporary Perspectives. Toronto: U of Toronto P, It is a habit of Anglo-American dantisti , especially those working in North America, to reflect upon what they are doing, usually with some degree of wonder: how is it that after almost seven hundred years, and in an intellectual, religious, and cultural climate so removed from Trecento Florence, they can produce so much work, such interesting work, on Dante?
While there is of course a world-wide Dante industry Iannucci notes that at least 1, publications on Dante appeared between and [x] , there is a peculiar vitality to English-language Dante scholarship, a sense of new questions, new approaches, new results, new discoveries. Every few years that vitality contemplates itself, perhaps seeking to explain itself, in a volume of commissioned or recent essays covering a broad range of issues.
While these volumes differ in their motivation, origin, and audience, they are all useful, with a number of important contributions. The fourteen essays, of which nine have been previously published in some form, mirror the dominant concerns of recent Anglo-American criticism, as reflected also in most of the collections mentioned above. Three essays are dedicated to "nodal" or "structurally determining" episodes: Paolo and Francesca, Ulysses, and Earthly Paradise.
An invaluable feature of the volume and presumably of the new series in which it appears is that each essay provides a carefully selected but extensive bibliography; taken together, these bibliographies provide an up-to-date road map for many of the major issues in contemporary Dante studies. There is also a thorough index of names and textual passages. Iannucci is echoing his remarks in Dante Today iv.
In "Dante and the Bible: Biblical Citation in the Divine Comedy ," through a number of illuminating analyses of specific passages, Christopher Kleinhenz shows "how Dante uses the biblical text as an integral part of his own text," and "how meaning in the Comedy may be either generated or enhanced by a consideration of the larger referential context provided by the biblical tradition" The Paradiso , if it is to exist at all, cannot fail to be transgressive; its poet cannot fail to be a Ulysses" This Ulyssean component is mirrored in the textual fracturing, stuttering, and "jumping" of the Paradiso.
In "Narrative Design in Earthly Paradise," Richard Lansing studies "the conceptual structure" of Purgatorio , showing how it mirrors that of each terrace of Purgatory: "the eighth terrace, gathering and integrating all of what comes before, embraces the previous seven and simultaneously transcends them by going one beyond, to achieve the definitive view of the role of the individual within the context of human history" Lino Pertile "A Desire of Paradise and a Paradise of Desire: Dante and Mysticism" stresses that what Dante depicts in Paradise is not union with God, but "the way in which Dante the pilgrim draws closer and closer to that point" What he is depicting is desire, "for where there is no desire left to fill, there is no language and no poetry" In "Dante and the Authority of Poetic Language," Steven Botterill argues strongly that Dante did not share the skepticism about language and referentiality attributed to him by postmodern critics, "the fruit of a theologically deracinated criticism" Bernard in the empyrean, ends in falsehood, fiction, and chaos.
Without Christ as Word made flesh, Beatrice would not be the flesh which Dante makes word" Striking, in the volume as we have briefly surveyed it, is the absence of sustained reflection on philosophical, theological, moral, scientific, historical, and philological issues. While Americans have typically left the latter to the Italians, and the Singletonian era has passed for the others, still the volume under-represents the recent work in such fields by Boyde, Durling, Martinez, Scott, Mazzotta, Cornish, Kay, Morgan, Carugati, Armour, Ryan, Najemy, to name just a few among many practitioners , thus perhaps unconsciously helping to define such concerns as marginal in the current critical climate.
Madison: Fairleigh Dickinson UP, Chapter 1 reviews a series of related classical themes. Chapter 2 deals with Petrarch, beginning with his political views of Rienzi and the Visconti, and culminating in an analysis of the topos of fame in his Africa. The second of these, the dream in which Homer reveals to Ennius the future triumph of Scipio, is glossed as a form of "poetic metempsychosis" In Chapter 3, "The Quattrocento and Poliziano," Murphy begins by recounting how Vergerio and Salutati protested the destruction of the Mantuan statue of Virgil in Next, Murphy traces what he calls the tradition of "poetic paleology.
Here Murphy echoes the language of Vico, whose "theological poets" he finds foreshadowed in Petrarch, Boccaccio, and several Quattrocento humanists. There is much to admire and much to be learned in this voluble and often valuable study. Murphy has read widely in classical and humanistic scholarship, and judiciously deploys more recent critical notions in his interpretations.
While his discussion of Greek and Roman texts holds many insights, the heart of the book is the heroic phase of Italian humanism from Petrarch to Poliziano. For all his speculation, Murphy generally writes lucidly, avoiding the jargon and convolutions that make theory so difficult to read. True, there are occasional lapses, as when Murphy borrows from Foucault in discussing poetic inspiration : "The long tradition of poetic furor maintains the positive transcendent function of word magic inherited from archaic culture, before slipping into the status of mere illusion with the advent of modern madness" But Murphy is no ideologue, and among his modern guides only Vico recurs persistently.
This brief synopsis scarcely does justice to the richness of this volume. Floire and Blancheflor and the European Romance. Cambridge Studies in Medieval Literature, Cambridge: UP, Grieve is to be commended for tackling this forgotten text and its vast context. Chapter One discusses proper names, toponyms, genealogical evidence, and narremes. Such correspondences are helpful in attempting to establish textual relations; however, here they are not rigorously investigated.
Ecdotic work is only hinted at by relying on disparate secondary authorities. It is never clear how all the surviving witnesses and traditions fit together. Only after completing the painstaking philological groundwork can one begin to discuss the dependence of one strain or author on another. As it stands, the reader is left with an incoherent and unconvincing hodge-podge.
The study is plagued by too many goals, resulting in its conflicting methodologies and lack of focus. It sometimes historicizes a text, elsewhere gestures in the direction of gendering, and also takes some tantalizing yet unfulfilled steps toward reception theory. The book could best be defined as a comparative study, yet its comparisons tend to be tenuous and not exhaustive: between one text and another, or one national tradition and another, or sometimes among three or four texts.
A less confusing approach would have been to simply compare the respective plots, characters, genealogies, motifs, etc. Grieve has unwittingly fallen into the chauvinism that ensnared so many nineteenth- and early twentieth-century editors and philologists, namely, the insistence upon the primacy of one text over another on nationalistic grounds. Grieve also makes the unsupported claim that the Spanish prose romance may have "perhaps [reflected] what was in the lost part of the Italian Cantare" She confesses her difficulty with Filocolo: "In the beginning of the story.
The second half of Chapter 5 attempts more straightforward Boccaccio criticism Filocolo on its own terms , but this attempt is weakened by a scant knowledge of other Boccaccio works and their critical reception. It does not, however, offer sufficient proof that the newly identified Spanish MS was the original, nor does it furnish convincing evidence regarding its date of composition, nor does it supply a compelling reason why Boccaccio would have relied on a Spanish version.
To her credit, Grieve does assemble a wealth of data and an extensive bibliography on the various European traditions of this medieval legend. The book will be useful for those interested in studying narrative motives such as the "vows of the peacock," the garden, or the shipwreck. Broadly viewed, the study illustrates the intricate web of political, cultural, and literary relations between and among countries in the Middle Ages. Grieve also rightly points out the fluidity of medieval genres and the way in which different redactors shaped a story according to local needs. The book furnishes some precious evidence about female readership in the late Middle Ages and signals what sounds like a very interesting manuscript anthology to be examined in future cyclification studies.
Stanford: UP, In this engaging and substantial study, Wallace sets out to explore various Italian and English cultural events and their impact upon contemporary literary figures, most significantly Chaucer and the great Italian Trecento authors. Bringing considerable erudition to his analyses of literary works, Wallace situates the literary texts in relation to the interlinked sites of "medieval" London and "Renaissance" Florence, testing the validity of such terminology and suggesting that literary critics should instead "suspend belief in cultural partitions" 7.
The literary argument that Wallace makes about Chaucer is thus twofold: Chaucer can be profitably read in relation to his Italian predecessors, and, in turn, the study of Chaucer can provide significant resources and points of departure for the exploration of his predecessors in light of the political contexts of England and Italy.
Visits to Florence, and then to Milan and Pavia, exposed Chaucer to the writings of Boccaccio and Petrarch in conjunction with other forms of cultural production both popular and devotional. Chaucer, Wallace argues, encountered the Italian texts within the context of this Florentine-Lombard struggle, and hence his own understanding and appreciation of the texts themselves were informed by the political situations that helped shape them.
Guild culture and female slavery in Florence had already shown Chaucer how women, "commodified as voiceless figures within a new symbolic order" 19 , posed the threat of coming to recognize their own symbolic significance, which in turn prompted misogynistic complaints from Boccaccio, Wallace finds. Several chapters continue with analyses of the Canterbury Tales and its compagnye. Since Chaucer includes various subgroups as well as unassimilable individuals, Wallace, making clear that it should not be construed as an idealized associational form, explores the extent to which associational polity is refigured and foregrounded in specific tales.
Wallace maintains that gender politics in the Canterbury Tales , a recurring concern for both him and Chaucer, can help us explore aspects of statecraft that are problematic or contradictory, especially if gender theory is employed as a means of approaching medieval people as political subjects. Wallace then travels informally along a trajectory that moves from associational to absolutist forms.
From there Wallace offers a consideration of the interconnected activities of merchants and lawyers in relation to the Man of Law and his Tale. This short treatise dedicated to the empress Anne of Bohemia, Wallace argues, precipitates the rewriting of the F Prologue into the G version, which follows the precedent of Petrarchan humanism and rejects the vernacular poetics of Dante and Boccaccio. Catherine S. Giuliana Berti. Bartolomeo Cerretani. Il dialogo della mutatione di Firenze. In her critical editions, Giuliana Berti brings to print two historical works by the Florentine Bartolomeo Cerretani of interest to historians and literary scholars alike.
Cerretani also penned a third history in treatise form, the Storia fiorentina , which has also been edited by Berti but is not under review here. In the case of the Ricordi , Berti and her colleague Ezio Tongiorgi, following a trail of bibliographical clues and dead-ends, managed to locate a manuscript that had been lost since early this century. Cerretani did not live to see the Sack, but he was certainly a witness to the ample difficulties facing his hometown after Not much is known of the author, and the extent of his education remains particularly unclear. What little one can learn from his writings is best found in his Ricordi.
Following the common Renaissance practice of keeping a private book libro segreto , Cerretani recorded events of his own life as well as other items of interest in a book of memoirs. He began his memoirs in , at the age of 26, and the content is quite revealing. The author chose to focus very little on himself, sticking instead to a detailed chronicle of contemporary events.
His memoirs are deeply historical, and surprisingly impersonal, quite unlike other books of ricordi and ricordanze produced at the same time. The tone of the daily account varies. Cerretani sometimes takes the position of the man in the street, speaking broadly for public opinion. At the same time, the Ricordi assumes the tone of an insider, a figure closely tied to current events and with access to the closed circles in politics and society. Given that Cerretani had served in both the republic and Medicean regimes in the first decades of the sixteenth century, we should not be surprised by this access.
While he has praise for the broadly based government of the first republic , he is also sharply critical of its leading figures, Soderini in particular. He considers himself a supporter of the frate , but his support is qualified at times, particularly with regard to the Savonarolan movement at large. Placing himself and his uncle in a list of supporters, the author includes his father as an opponent of the frate. Consequently the Ricordi certainly provides rich material for literary and psychoanalytic study. For historians, the very depth of detail makes the Ricordi an extremely important source on events of this period.
It sheds further light on the components of a newly fashioned Medici power, the players, disputes, and negotiations involved, as well as contemporary attitudes toward the regime.
In this respect, they complement a host of already published chronicles, including those of Biagio Buonnacorsi, Piero Parenti, Bartolomeo Masi, Luca Landucci, and the well-known aphoristic ricordi of Francesco Guicciardini in providing a portrait of that age. Cerretani may have composed his memoirs in the manner that Marin Sanudo drafted his Diarii simply to serve as a notebook for a later work of history. Consequently, his infrequent personal references may have been an aid to later recollection. However, the appearance of a first-person narrator also suggests that Cerretani wanted to insert himself in a history of Florentine affairs.
The Dialogo is often cited as a source on political events in Florence and on perspectives regarding Savonarola from to L'urban art, la land art e la public art molto spesso condividono luoghi, metodologie e approcci. Occorre quindi superare le definizioni per evitare inutili settorializzazioni e giungere all'essenza dei lavori. The Urban Art section of the Arte Laguna Prize is a great opportunity to bring to light the artistic and project-making skills of many artists who, through classic education or self-taught approaches, have been able to develop authorial languages of high relevance in the public space.
This category includes heterogeneous artists, not all of them perfectly belonging to urban art, because of the confusion caused by having to define the boundaries of what is erroneously inscribed in an alleged "movement". Urban art, land art and public art very often do share places, methodologies and approaches. It is therefore necessary to overcome definitions in order to avoid unnecessary sectorizations and to grasp the essence of the works. As a juror, I proceeded to an analysis that put the formal, technical quality on the same level with the ability to relate to the context that welcomed the works.
Thanks to this methodology the placement of the works in the public space was verified, regardless of the type of intervention, be it pictorial or performative. It is necessary to continue to build the paradigms of this section of the Prize to broaden the possibilities of intercepting important authors who continue to move transversally, but with great personality, in the official places of contemporary art. Viste tutte insieme queste immagini appaiono come una sequenza stravagante, sognante, iperrealista, tuttavia non di tradizione pittorica.
Si tratta di una selezione di autori che ha voluto e saputo scavare un varco tra le rigide regole di genere per trovare uno spazio proprio. In ognuna di esse si riconosce il desiderio di definire una precisa autonomia e, senza mediazioni, di descrivere un nuovo contesto estetico. Qui, come raramente accade, la tecnica, che contiene consapevolezza, si trasforma in linguaggio. Taken as a whole, these images appear as an extravagant, dreamy, hyper-realistic sequence, which however does not belong to the pictorial tradition.
It is a selection of authors who succeeded in breaking through strict genre rules to find their own space. In each of these works you can see the desire to define a precise autonomy and to describe a new aesthetic context, with no mediations. It is the attention to detail. It is the curiosity in constantly asking questions. It is the vertigo of doubt. It is the mental leap that takes us from traces to plots. In short, it is the need to go back to the stories.
What stands out most strikingly however, is the spontaneous complicity with other forms of expression. Which clearly makes a contribution to composing a new vocabulary of the contemporary.
Here, as rarely happens, the technique, which contains awareness, is turned into language. It is hard to call photographers authors like these, who have staged an imaginary universe that is so far removed from reality. Oggi tutti creiamo immagini. Ogni giorno scattiamo fotografie con lo smartphone, e abbiamo numerosi programmi e tecniche digitali a disposizione per rendere speciali queste immagini. Molto spesso gli effetti speciali e gli interventi artificiali sono troppo costruiti. Abbiamo bisogno di immagini che catturino la nostra attenzione e ci facciano fermare in questa abbondanza di immagini.
Come altri, riflettono sul ruolo delle immagini e sulla posizione dell'individuo nel nostro ambiente contemporaneo. We all create images today. In a sense everyone is an artist, capturing things around us that mean something, that we want to keep or hold on to. Every day we all make photographs with our smartphone. And at the same time there are numerous digital programs and techniques at our disposal to make these images special. As an artist working with digital techniques today, it is a challenge to find a language of its own in this web of a multitude of possibilities.
All too often special effects and artificial interventions are too constructed. We are in need of images that catch our attention and make us pause in the abundance of images today. The artists in the Digital Graphics section do just that: they use digital techniques to add a certain perspective to what we know.
These artists give a personal view on elements of society around us, combining what we know with a new way of presenting them to us. They among others reflect on the role of images and on the position of the individual in our contemporary surroundings. The presence of the human figure is central in the choices we have made as a jury, leaving traces and reflecting on his or her relation to the world.
Altre, come SomamappingII di Zhan Jia-Hua, fanno uso di input in tempo reale, in modo che i loro contenuti possano cambiare continuamente in dialogo con il pubblico il contesto. Oggi gli algoritmi hanno un impatto sulle nostre vite. Opere come quella dell'indiano Amitesh Grover registrano il loro rapporto con l'economia, mentre artisti come Oddviz e Jonas Eltas sono interessati a dimostrare cosa possono e cosa non possono fare. The field of contemporary sculpture and installation is hugely diverse, ranging from discrete objects and immersive environments to works that consider space in the broadest possible manner.
The selected finalists are representative of the variety of approaches received, and their vast catalogue of concerns. Today, algorithms impact upon all our lives. La selezione finale per le due categorie di cui sono stata onorata come giurato, arte virtuale e scultura, ha rivelato una connessione davvero intrigante e sintomatica tra esse. La sezione di arte virtuale mette inevitabilmente in discussione il problema del mezzo: che cosa esattamente la dimensione virtuale potrebbe offrire per attuare acutamente l'idea di un artista non solo tecnicamente, ma concettualmente?
Certamente questo porta in primo piano una questione quasi obsoleta, da rivisitare in questo caso: dove finisce la e inizia l'arte? Attraverso l'ibridazione di questioni naturali e tecniche, la forma scultorea tende in gran parte a sfuggire al controllo del suo creatore. Sia che definiscano l'esecuzione formale di un'opera d'arte attraverso flussi di dati, meccanica robotica, reazioni chimiche o fenomeni naturali, gli artisti tendono a lasciare un posto per l'incertezza nel processo di creazione.
Dunque, come gli artisti delineano il loro status oggi? Reviewing the artworks submitted for a respectable art prize enables not only to grasp trends and themes that currently affect artists, but also to define the status that an artist reserves for herself or himself nowadays. The final selection for two sections I was honored to be a juror, virtual art and sculpture, revealed a truly intriguing and symptomatic connection between them. It certainly brings on stage almost an obsolete issue, to be revisited in this case: where ends and arte begins?
Through the hybridation of natural and technical matters the sculptural form largely tends to escape the control of its creator. Whether defining the formal execution of an artwork by data flows, robot mechanics, chemical reactions or natural phenomena, the artists tend to leave a place for uncertainty in the creation process. Thus, how do artists outline their status now? Probably the answer is - researcher, documentarist, hacker, adventurer, alchemist, shaman.
Surroundings - series, Tempera su carta, montata su legno Gouache on paper, mounted on wood 90x25 cm. A Distancing, Acrilico, matita colorata e collage su tela Acrylic, colored pencil and collage on canvas Monkey Madness, Acrilico, matita, collage e stencil su carta Acrylic, pencil, collage and stencil on paper Exhibition Space View, Disegno su parete realizzato con una linea di gesso blu Wall drawing made with a blue chalk line x cm.
Hanging Painting, Season 02, Lana, neoprene, legno, carta, vernice spray acrilica, lacca Wool, neoprene, wood, paper, acrylic spray paint, varnish 60x cm. Packko , Acrilico su tela, carta da imballaggio, canapa e cera lacca Acrylic on canvas, wrapping paper, hemp and sealing wax x cm.
Tasselli, Canon D apsc, foto notturna, esposta con la tecnica del sistema zonale Canon D apsc, nocturnal photo, exposed with the zonal system technique x70 cm. Gluttony, Greed, Installazione in studio, processo di editing, cornice fatta a mano In-studio setup to photograph the models, editing process, handmade frame 86x cm each. Wasp me to the whales 22, Fotografia analogica, stampa in gelatina d'argento, filo di seta Analogue photography, silver gelatin print, silk yarn 70x cm. Song of pomegranate, Nikon D, lente fissa 50 mm, editing Lightroom Nikon D, fixed lens 50 mm, Lightroom editing x70 cm.
Marfa, Stampa fotografica su carta in fibra di cotone Photographic print on cotton paper x74 cm. Endless Empire I, Fotografia digitale, stampa ad inchiostro minerale su carta di cotone Digital photography, mineral ink print on cotton paper x70 cm. Tennis court, Fotografia digitale, stampa montata su Dibond Digital photography, print pasted on Dibond x70 cm. Game Arcade, Scansione da negativo analogico medio formato Scan from analogue medium format negative 70x70 cm.
Nenets family, Fotografia digitale, stampa a getto d'inchiostro Digital photograph, Ink-jet print x70 cm. Les fleurs de sable, Grafica digitale, stampa Fine Art su vellum Digital graphics and Fine Art print on vellum x70 cm. Gardens of compromises always grow faster, Lattice, plastica con protezione UV Latex, plastic with UV protection xx14 cm.
The Ancestor, Neon, cavo ethernet, attrezzature sala server riciclate, elettronica, computer, telecamere IP, algoritmi Neon, ethernet cable, recycled server room equipment, electronics, computers, IP cameras, algorithms 60xx60 cm. Reflecting Light Rays Off A Rough Surface, Tela in cemento e acqua di disgelo glaciale, montata su telai in acciaio Concrete canvas and glacial meltwater, mounted on steel frames xx20 cm.
Dirty Linen, Stampa digitale su carta appesa con mollette Digital print-out on paper hanged with clothespins x56x30 cm. Area V5, Meccatronica, prototipazione rapida, CNC, riconoscimento facciale, computer incorporati Mechatronics, rapid prototyping, CNC, face recognition, embedded computers 20x24x17cm each. Of Genuine Contemporary Beast VI, Calco in poliestere, cuoio, vernice lucida, pastello a cera, pittura ad olio Polyester cast, leather, gloss paint, glass, wax pencil, oil paint x30x cm.
Accessories for Wearing Emotions, Installazione, dispositivi indossabili, media art Installation, wearable devices, media art xx78 cm. BVortex, Tessile: uncinetto, maglia e fili di filato Textile: crochet, knitting and threads of yarn Dimensions variable. Continuum, Acciaio inox, specchio bilaterale, luce fosforescente, componenti elettrici Stainless steel, two-way mirror, fluorescent light, electrical components xx cm.
Future, Installazione, stampelle, lastra di granito con lettere incise di colore argento Installation, crutches, granit slab with engraved letters in silver color 80xx80 cm. Solid, Installazione site specific con gesso e materia organica Site specific installation with chalk and organic inclusions Dimensions variable. Basu Foundation for the Arts Special Selection The Ripple Effect, Manipolazioni digitali dello spazio interstellare e dipinti originali, stampati su pannelli di plexiglass Digital manipulations of the Interstellar space and original paintings, printed on panels of plexiglas Lapin Plague, Pelle di coniglio, oggetti di recupero, componenti elettrici Rabbit skin coats, found objects, electrics x90x cm.
Technical Research, Stampa a getto d'inchiostro su pagine A5 Inkjet print on A5 pages x cm. No Titel, Struttura in metallo saldato, corde, piastra metallica, fil di ferro, filo per maglieria Welded metal structure, ropes, metal plate, wire, knitting yarn xx23 cm. A survey for the history of fertility, Falls From The Skies, Installazione con oggetti di recupero Installation with found objects xx cm.
Centered, Film sperimentale: loop di una gif di 5 secondi. An interrupted investigation of R, Video 2K, colore, stereo 2K video, color, stereo 13' 49". At The Edge, Performance con artista appeso ai cornicioni di diversi edifici Performance with artist hanged at the edge of different buildings Variable duration. The Wash, Performance live interattiva con la partecipazione del pubblico Audience interactive live performance Variable duration. Katerina Polemi was born in London by a Brazilian mother and a Greek father. She has written music for 4 theatrical plays in Greece and has won the 1st award for best music in the first play she worked on.
In she wrote music for the film "Little England" which won 3 awards at the Shanghai International Film Festival this year and for which Katerina was nominated for best music by the Hellenic Academy of Film. Interpreter and traslator, she speaks italian, portuguese, english and spanish. During eight years she is the sales and administration manager for three italian fashion brands. Since she is a Yoga teacher, integrating her sessions with the practical and meditative tools she gains through her studies in contemporary dance, integral transpersonal theatre, singing, painting and through her interests in Bach flowers and crystal therapy.
Together they are currently developing a series of workshops on Toltec Wisdom, to start from September With her background in corporate business, Alyona has her leadership coaching practice in Amsterdam www. She is also conducting the university research on Transcultural Healthcare www. Educating Our Young for the Future that is Coming. History has radically accelerated in both hyper-complexity and fragility. Human civilization is now threatening virtually every natural ecosystem in a world where small events anywhere can have major repercussions everywhere.
Our central challenge is how to ignite new consciousness at a mass level so that humanity activate the kind of creative intelligence required to deal with the future that is coming. This challenge can most optimally begin with education, for this is where the mindsets, skill sets, and tool sets of our young people are established.
They need an education that is personal, digital, integral, modular, mobile, transformational, affordable, collaborative, ceaselessly creative, and global — a whole new kind of education for a whole new kind of world. Graham Hancock. Psychedelics and civilisation. Psychedelics and the visionary states associated with them are demonised by the technological cultures of the 21st century and the mere possession of a psychedelic substance such as LSD, psilocybin or DMT can result in public humiliation, loss of property and reputation, and lengthy jail penalties.
Things were very different in the antiquity. Indeed the evidence shows that many of the greatest civilisations of the past, from ancient Egypt to ancient Greece, and from ancient India to the ancient Americas, enshrined the use of psychedelics as a sacred practise and found immense value in the visions that ensued. Further back still, in the epoch of the great cave art 30, and more years ago, recent archaeological research suggests that shamanistic use of psychedelics was instrumental in the birth of the modern human mind.
In this talk Graham Hancock investigates the possibility that by demonising and criminalising the use of psychedelics, rather than seeking out ways to harness their power for altering consciousness in safe and nurturing spaces, our society may have set itself on a profoundly negative path -- a path that might even deny us the next step in our own evolution as a species. Padre Antonio Gentili. Religious Barnabite. License in theology and a degree in philosophy, he currently resides and works in the convent of Campello sul Clitunno PG , after having been for years animator of the house for spiritual retreats of Eupilio Co.
Student of spirituality, has explored the great meditative traditions of East and West. Driving Courses meditation and deep prayer open to all kinds of people. In collaboration with experts, it organizes weeks of fasting and meditation for the integral purification. Author of spirituality among the best known, oversaw the first Italian edition of The Cloud of Unknowing 7 editions and has also published numerous works for Anchor, among which: God in silence.
Manual meditation now in its 11th edition ; A bread and water. Practice and spirituality of fasting; Our senses light. Essay on the five spiritual senses; The reasons of the body. The centers of vital energy in the Christian; "I will help to God. Verbs of the Word; Hear from Christians. The emotional dimension of the faith; The feeling of Christ. The "spirit" of Jesus of Nazareth. For Travel Notes is being published under the title Learning to meditate, the basic course The prayer of the heart and the course of study In silence before God.
Angaangaq Angakkorsuaq. Kalaalllit Shaman Angaangaq Angakkorsuaq, shaman, healer, storyteller and carrier of the Qilaut winddrum , is an Eskimo-Kalaallit Elder whose family belongs to the traditional healers from Kalaallit Nunaat, Greenland. His engagement for the Environment and Indigenous issues brought him to more than 60 countries in the world.
MovinmeD: Different body and psyche experience researcher among which: dance, theatre, singing, massage, martial arts, holistic disciplines, spiritual and shamanic rituals. Bozesan Mariana Germany The Power of One: How Influential Investors und Business Executives Transform and Lead into a Sustainable Future The presentation explores the phenomenon of becoming a consciousness leader in investing and business as a premise for creating sustainable companies that transcend the current socio-economic, geo-political, and environmental challenges.
The exploration of becoming a consciousness leader in business reveals not only the interiority of exceptional leaders, but supports a paradigm shift in leadership, business, and sustainability. Afterwards there is a sharing. Laughing is tremendously healthy and enhances the acceptance of the situation, of the other s or of yourself. Allow yourself to laugh without a reason. Still any reason can be used. And as a third point - only for those who want to - use a first class trigger, make a top ten of your favorite problems the heaviest one now is your favorite problem number 1.
And so on so forth. It can happen to look at it from a totally different angle. There is nothing to be achieved. The key is to focus every moment on that what there for you in the Here and Now. Be the witness. The essence is : accept, let-go and be aware. Make afterwards your own laughing meditation diary describing in one or two words your feelings before and after the laughing meditation and how the experience was that day. The next day drop all your memories of past laughing situations or laughing meditations and - before starting again - drop all your expectations, ideas and concepts about laughter and do it again AS IF it is the very first time.
Postpone your opinion about this laughing meditation untill you have done it every day for at least 3 weeks. There was a time for living, loving, losing, grieving, dying, a time for shamanic dreamscape journies,healing, a time for large amounts of afterwork from the dreamscapes journies with Spirit of Most High from the memory of a years old Chinese Woman to presentday Liv - that created Tales of Transformations, Shamanistically Speaking - along the Silk Road to Samarkind. The creativity of libido, art, and beauty, [Venus] spontaneously arises from the deep psyche [Neptune] onto the shores of ordinary time [Chronos].
The intersection of linear time with the non-temporal infinite produces creative disorientation. Liminal disorientation allows novelty to appear in the four dimensions of material creation as well as the personal psyche. Virtual realities condense into material forms and psychic energies. In classical myth, access to the numinous realms is restricted, sometimes by terrifying guardians or jealous gods.
Creative confusion often requires relinquishing the security of firm ego defenses, even to the point of ego death and dissolution. What constitutes a passport to return to the realm from which our souls have arisen? Is there a special code granting access?
Certainly dreams, at least some dreams, bring messages from the boundless, eternal realms. These seem, at times, to lack restraint of time or place, culture or conditioning, planet or universe. This paper discusses the therapeutic value of creative acts. Physiological models of contemporary neurobiological brain imaging and the ancient models of Ayurvedic and Hippocratic Medicine will be compared and contrasted.
Ojas and the Lapis Philosophorum will be related liminal space and creativity. The therapeutic potential of creative acts such as drawing, sculpting, dance, sand tray, poetry, drama, music, and song will be discussed. The documented experiences of psychiatric inpatients in a music therapy with an expanded state of consciousness induced by voluntary overbreathing and documented by mandala drawing [Grof Holotropic Breathwork] will illustrate the healing potential of liminal space. The Passage through Zero. First theoretical part: what is the Zero and the Passage through the Zero? What is its use?
How does it happen? Results of the carried out studies. Importance in the current historic era. Method to practice it. Second part: practical experiencing of the Passage through Zero. Vacuum, according to perennial philosophy, is pure consciousness that reveals itself beyond consciousness. In order to grasp it we must empty ourselves, transcend the ego where rationality creates dualisms in the intent of knowing. The Passage through the Zero is the unconditioned surrender of disappearing to everything we put between life and ourselves.
It allows us to live the present, the only time in which we can integrally be through a profound connection with the source. We re-discover ourselves as unit within the Whole. The proposal consists in a workshop on the corporal and energetic psychotherapeutic process, focused on dance, movement and the alchemic knowledge of elements. The workshop will end with the creation of a choreography to perform for the public, based on group process. Dance-therapy tools, biotransenergetics, perceptive meditation and improvised movements will be used; all this will be related to the elements of Nature.
Each element will be perceived through a material the corporal movement in dance , mental images, memories, evoked visions and energetic the perception of the energetic flow internally provoked path. The evolutionary process of the group will give birth to a choreographic form representing this journey, which will be performed for the public.
Ecstatic Kirtan with microphone reverb echo amplifier for large group chanting and Trance Dance evening of joyous transpersonal party! Initial presentation of the encounter between Yoga and BTE: 2 disciplines that walk side-by-side, following the same principles and sharing harmonic forms. The aim of this workshop is to show the practice of the encounter of the two disciplines, through an initial demonstration, in order to allow those who wish to experiment it.
Then the students of Casa Nadi will show a sequence in which the two disciplines will harmonize together. At the end of the first 30 min, all the participants can join the circle and parts of the previous demonstration are practiced for an hour, in order to experiment the force of the archetypes. The workshop ends with a healing circle and sharing. The idea of the soul is quite a mystery to many of us.
These are some of the questions which many of us ask about it. Transpersonal and Osteopathic philosophies offer guiding maps to experiment and comprehend the laws of Perennial Philosophy. Osteopathy talks about Mechanical Master and Vital Breath.
They manifest in individuals in its parts, defining its character, qualities, physical and psychic characteristics, addressing self-healing processes. According to BTE and Osteopathy, sickness is a dis-harmony, a removal from the original vibration, from the Unitive Self. Chronic Trance and Osteopathic Injury are nothing more than interruptions in the flow of the original dynamic, the alternation of opposites, of inspirations and expirations that characterize our journey in this dual world.
Osteopathy and BTE are therapeutic methodologies but also and first of all awareness paths. They both aim to help individuals to unify the body-mind-soul experience this way stopping the interruptions. Tarots and trance-Dance music will be the tools used during this workshop. During this workshop, through Trance-dance with specific music , we will allow the door of intuition to open and we will contemplate the reflection of the masks in which we identify in the mirror of the Tarots.
By accepting to submerge into the more obscure parts of psyche, we will allow the being of life and love of which we are made to dance. Trance-dance allows our body to express by painting what experienced, felt or met thanks to the arcane of the Tarots. If the reaction is an expression of harmony the revealing of the transpersonal Self, which transcending the ego allows the transe and the relationship between composer-interpreter-listener, expression of a macro-cosmos in a continuous becoming in its most profound essence, beauty, truth and absolute love, of which the musical work is an expression.
I will describe my personal experience as a successful dyslexic, tells stories about successes and failures, and relay research in a new field of research known as the Dyslexic Advantage. Mindfulness: Mindfulness can be understood as a state of being in which one experiences moment-to-moment awareness from an internal place of non-judgement. Research now suggests many benefits to mindfulness. Traditionally, mindfulness practice has been associated with meditation, but music can also be used as a form of mindfulness practice.
In this educational, experiential, process-oriented presentation, participants will deepen their understanding of mindfulness through music-based mindfulness activities. Transpersonal Photography: Quoting Roland Barthes photography is "the absolute particular, the supreme contingency, the reality. Through meditation practices participants will move from the first to the second attention, so that they will experience a different way to look through the camera lens. Pictures taken will be shared within the circle and at the festival.
Towards the Psychology of the Soul - Channeling is a human skill which when performed with care may create linkage between inner and outer reality as personal and global- metaphysical information is delivered. It enhances one's ability to focus on timely issues. Soul development is a new theoretical concept based on years of research, suggesting the construct of "self" may have been existed prior to physical manifestation and is therefore able to change throughout a systemic set of early phases. John Rowan UK The Dialogical Self This is a workshop in which we will link the theme of the event with the latest research on the Dialogical Self, an important theory from the constructivist camp.
All of us are familiar with the basic idea of Subpersonalities, but this is a much more extended and better researched version of the idea, which enables us to reach into the transpersonal realm and work there just as easily as with the ordinary everyday world. Instead of being restricted to the normal everyday world, we can invoke the world of archetypes, angels, fairies, nature spirits and polytheistic gods and goddesses, asking them for help and advice.
We can personify them and have dialogues with them, instead of being restricted to praying to them and getting no answers. We can have conversations with the gods and goddesses. This is recent work, not very well known as yet, and this is an opportunity to see how it can be used in everyday practice. Within this inner space we can access healing, information, knowledge, wisdom and guidance in order to enhance our own lives and to assist others on their own journey towards balance, healing and wholeness.
The discussion part of the session will include examples of case studies, refer to traditional and modern methods of shamanic healing practice, including shamanic journeying and transfiguration. During the workshop part of this event we will share several experiential elements to access together the transpersonal realms. We will experience much of what we have discussed including journeying, transfiguration the OM sound and others.
We will do this in an altered state of consciousness using sound and vibration, such as shamanic drum and chanting, as well as via guided visualisation to shift our awareness. Vibrate in unison, in contact with the spark so that the fire of transformation can be lit. We are essentially vibrations; the exchange of between inner and outer world works through information: the coherence between them allows harmonizing the entire system.
The vibration of sound created by different tools is experienced at the same time. A state of oneiric vigil is induced, allowing a personal journey in which blockages are revealed and tensions are released. At the end of the experience we will invite the participants to express their feelings and their creative act through: poetry, drawings, writings, vocal expressions, etc. Presentation of a therapeutic project performed in India with the Ganga Learning Centre association, which helps local women who struggle supporting their families to find a job.
The foundation of our work is the will to show women the practical aspect of sewing as well as the artistic aspect. This material allows to work, share and create relationships within the group putting hands and heart in contact. Textile work has been considered a condemnation, a restriction for women; on the contrary, it can be a chance.
Sewing and writing are actions that come from the necessity of giving a shape, direction and finding a meaning. The needle stings fingers and skin just like it stings fabric, entering and exiting the surface. The needle performs a physical and concrete action. The sky is considered in India as a metaphor for the skin; the sky represents the skin and the stars represent the infinity of pores.
The skin is the place of cutaneous sensibility, of the sense touch, the most important for communication. It is the shield that protects us from the world and that at the same time allows us to communicate with it. It is a sensible barrier that separates us from others and that puts us in contact with others. We created a star, a drawing resembling its shape. Each woman works with frame sewing and creates various figures. By using the archetypes of shapes we created stars though geometrical shapes.
The round sewing frame on the stomach resembles a circle, the original rest and a shelter. This celestial archway above our heads will resemble a protective mantle, a house that gives shelter but at the same time helps our identity to emerge. During the presentation a photographic exposition will also take place. Antonella Trabattoni Svizzera. I've always been reluctant to talk about my ability, even when I was receiving information from the spirit world, I was wondering if there was another explanation for what was happening. Eventually I accepted the knowledge that we are not just a physical body and that life exists beyond the material world.
The phenomena of nature, physical and spiritual, are an expression of Infinite Intelligence. The spirit world is working through conscious and unconscious states of the human mind. Through the opening, the development, the education of our soul, we can access a wider consciousness and get in touch with souls who no longer have a material reality. For fifteen years I follow the activities of the Spiritualists' National Union SNU, Stansted, GB and give evidence of the survival of human personality after death, establishing contacts with people in the spirit world who want to communicate with a loved on earth.
Every communication begins with evidence of their presence: personal information such as physical appearance, habits, past, shared experiences, tastes and more, so that those who are facing can recognize the spirit that occurs. After successful identification, it will be an important message for the recipient. You can interact with the person in the spirit world by asking questions. This is not to predict the future but to give testimony to the continuity of life after death, to establish a liaison between the Earth dimension and another dimension, to give hope and comfort. From your awakening to the awakening of the world: The experience of a successful lawyer who after 30 years decides to embrace and live change.
Even in professions such as mine, it is possible to live according to the transpersonal; actually, this vision changes your approach towards your profession, re-placing human beings at the centre of every controversy. Being able to connect with parts and counterparts stimulates the awareness of single actions increasing personal responsibility of each actor. Connection makes the difference. To free oneself from power delusions typical of the small man and to open to new macrocosmic horizons brings justice to everyone, without winners or losers.
We are living in complex and challenging times. There is a universal demand for the sharing of information as well as technological and economic advances. This fosters a sense of powelessness and disconnectedness from individual and collective purpose, making it impossible to understand the true meaning of, and to honestly address, the many crises facing us today. We are asked to accept our common humaness and the exciting possibilities which emerge when we recognize that we are each other's mirror. We are called to acknowledge that true power can only be experienced when we view ourselves as inteconnected to all other beings; when we dare to stretch and develop an identity which has, at its core, the realization that we are each citizens of the world.
Trhoguh literature, theatre, meditation and psychology Mister Kurtz represents a journey towards the wildest hinterland of the Self. Like an old sailor named Marlow we will navigate on the archetype of the river where dream and dreamer complete each other creating an archetypical image able to make the various aspects of Being dance towards the research of a place beyond judgment. Playing can take shape through writing and theatre group work as long as we remain loyal to the now and here.
We are given the chance to give life to our inner theatre by building villages on the banks of the river, each village with specific characteristics: therefore, it will be possible to build the village of the Warriors without Stain, of the Shy, of the Creative, of the Fearful, of the Fire-eaters etc. The narrator will report, like a blogger, the impressions, encounters, beliefs and problems related to every village.
The search for spirituality can be a stormy journey. The concept of spiritual emergency was developed by Stanislav and Christina Grof in to identify individuals who were on a spiritual journey that could be mistaken for a psychotic illness. This has become one of the most important contributions of transpersonal psychology and has led to a new diagnostic category for religious and spiritual problems in the Diagnostic and Statistical Manual Fourth Edition.
The practices of the Body of the Dream work together with movements of power mudras , breathing and conscious sounds mantra , images and intuitions Yantra. The ritual repetition of the practice allows to release the large amount of energy which is often so compressed that it creates chronic stiffness and physical pain. It also helps you gaining a greater physical fluidity and flexibility which in turn is the reflection of a greater emotional and mental awareness.
The end result, in fact, is the expansion of consciousness and a participatory dialogue with the archetypal forces that act within us. The deeper transpersonal meaning of this practice is finally to bring together our mental blocks and armors with the flow of the interconnected forces living in our field of consciousness, through an ongoing participatory dialogue between the Ego and the Self.
Does an evolutionary suitable model already exist? Regulation is the essential foundation of human coexistence: without it nothing could exist, starting from the biological family, as the minimum natural form of society, to the big international institutions. The rule can then be mutually shared or written and learned; the first mode is to be found in the society of affections, the second mode in the society of needs defense, land, food.
The rule can then be mutually shared or written and learned; the first mode is to be found in the society of the affections, the second mode in the society of needs defense, land, food. It is based on two opposite foundation elements: sharing or imposing, trust or control, responsibility or irresponsibility. In the society of needs, history shows innumerable theme variations of somebody ruling on somebody else: the two ruling systems affecting our lives are civil law control and common law trust.
Religion married to the State originated Civil Law. Religion separated from the State originated Common Law. Trust is the example of a common law institution transplanted in the civil law. Transpersonal psychology, a division of psychology at the crossroad between spirituality, philosophy and science, has its root deep embedded in Western cosmology and philosophy. Having studied the history and structure of psychology, I have noticed a missing link in psychology at large — spiritual morality. The indigenous Chinese spiritual practices of Confucianism and Taoism view morality from a different perspective: morality is the original order the whole universe is built upon; and human being as an active player of the co-creation has its moral responsibility towards the universe.
My paper will review the Chinese understanding of morality from an anthropocosmic perspective, and discuss the moral connection between humanity and ecology. Which way will She turn? Which wolf will we feed? We journey through a landscape of imagery, symbols and archetypes to enable patterns of a higher order in the human collective to emerge. It is Her time to arise and take her place beside Her Beloved. Let us inspire him to take her hand, welcome Her return home.
For each one, that home resides within. Sharing a symbol, word, sound or gesture, evoking the essence of the ceremony as embodied by each one, in turn, around the circle. Potential questions to pose: What is She asking of us?
How do we detect Her? What is your experience of Her? Only if doing so does not diminish the wonder and reverence in the field. Inviting continuation of study and practices to take us deeper into our innate Oneness with Her, with this vital and accessible life force within us and surrounding us. The participants will engage in the exercises as they feel comfortable and be able to ask sexual health and relationship questions as needed -- especially women since women's sexuality is still such a taboo subject in society and an overlooked subject in the fields of research and academia.
Overall, the workshop is designed to allow people the freedom to take charge of their bodies and their lives so that they may fulfill their reason for incarnating this lifetime and regain purpose, if they feel lost. By connecting to the Self and the body, the individual reclaims ownership over Self, something that is all to often forgotten through life's difficulties or through trying to please everyone else and ignoring the needs of the Self. Now is the time of awakening, and my tantrik-based program is a great start on that journey. This method was created by Linda Tellinngton Jones 40 years ago and, at the beginning, it was intended for the treatment of horses, but, then, it has been applied on every living being.
It is a method with an approach dedicated to the body, stimulating the cellular balance, reactivating the cells and reminding them of their functions. Each single cell is a miracle of intelligence and it knows exactly its role to perform, but, sometimes, it simply needs to be reawakened. Balance is the key word of the entire method… it is a real philosophy of life. Steven Schmitz USA Transformative power of shamanic practices to connect with Spirit and our true Self This Circle of sharing will explore the various shamanic practices that are still beneficial in our modern world to help us connect with Spirit, nature, and our true Self.
Through the use of storytelling, sharing of lived experiences, and learnings from research, Dr. Schmitz will lead a lively discussion about shamanic wisdom and practices. We will also have an experiential component using ritual, drums, rattles, singing, and dancing. Daniela Rao — Francesco Catalano Italy. Biodanza SRT — Connecting again with the primeval flow of life.
The conceptual principles of Biodanza derive from an existential meditation, from the desire to come back to life from our broken gestures and reconnect with the source of Life and, certainly, from the nostalgia of love. This is why Rolando Toro created a system that allows humanity to take their potential back, strengthening their bonds to life and natural instincts.
Biodanza is a system of human integration, organic renewal, emotional re-education and re-learning of the original functions of life. Since their first movements in life, human beings experience the world through touch. When an emotion is generated by music the universal language , it becomes movements, dance, fusion of body-mind-soul. We will experience the pulse between the ordinary status of consciousness and the enlarged one. We will strengthen our identity and our thrust toward existential creativity, on the one hand, and, on the other hand, our perception of what is sacred in life in each of our daily gestures.
The workshop will also consist of a short theoretical part followed by an experience moment to contact the archetypical energies and to reawaken our connection with the transpersonal aspects that lie within us. Changing the world, one person at a time: Korzbski and Assagioli talked about the need to create technologies for the harmonic development of man. Human beings, in this vision, are their own primary resource. Innovation cannot be a matter of few individuals, but it is a call to which everybody have immediately to answer. The research of new interior technologies aims to restore the balance between the individual inner strength and the external one.
In so doing, men can achieve their own fulfillment. We immediately have to stop creating changes and start to perform metamorphoses. Change and metamorphosis are two different domains: the first is a re-elaboration of information, in the latter there is death and a new birth — so it is about a complete re-structuring phase. The duty of our time is our metamorphosis from our childhood until our adulthood. In my opinion, each individual on this planet now has to move from a paradigm of consumption to a paradigm of contribution and responsibility.
To apply this metamorphosis we have to learn new tools, which have to do with a strength that is not so common: the female one. The female energy includes behaviors such as observation not analysis and the ability of drawing together, which can allow us to have a glimpse on a new world, an holistic one. Between the external and the internal world, there is, therefore, a tight link: when the first changes the latter changes too.
Therefore, we can get a sense of being connected with everybody that lives on this world. This idea is based on responsibility and acceptance; they are characteristics that have to be part of humanity's adulthood. Each life is an encyclopedia, a library, an inventory of objects, a series of styles, and everything can be constantly shuffled and re-ordered in every way conceivable. Then allowing lucky coincidences, accidents and the unknown lead you. It involves choosing directions, leaving good things behind and editing. It is a fearless act that has no brief.
It follows no external direction. I propose that over the four days of the festival we work on a collective transpersonal artwork. Although each persons sources of content and stories are different, it is possible for a collective to work on an artwork together if it is set up and made an intrinsic part of the work. This work will sit at the edges of the conference, the in between places, the twilight. It will be personal and universal journey. A chance to do something separately whilst being together.
To share. To respond. To challenge. To see an idea shift and move.