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[Commlist] Passeurs. International Conference in Buenos Aires: Italian Culture Beyond Italian Shores (1945-1989). Reception and Imagination
Wed Jan 22 19:10:25 GMT 2020
*/Passeurs/**. Italian Culture Beyond Italian Shores (1945-1989).
**Reception and Imagination*
*Literature – Cinema – Media***
*26-28 August 2020*
*Universidad de Buenos Aires*
*Premise: Reception and Imagination ***
Beginning in the year 2018, a group of Italianists hailing from various
European universities— including Caen Normandie (France), Humboldt zu
Berlin (Germany), Mons (Belgium), Compultense de Madrid (Spain), Siena
Stranieri (Italy), and UCLondon (United Kingdom)—organized several
seminars on the topic of “Italian Literature of the Second Half of the
Twentieth Century (1945-1989): Reception and Imagination”.
By “reception” we mean the set of processes and channels through which
Italian culture (and particularly, literature) of the period being
studied, was received, translated, disseminated, read, interpreted and
also challenged in national and linguistic-cultural contexts outside of
Italy. Reception, therefore, has been studied using the latest
methodological approaches – from the history of reading to the new
studies on publishing and translation – in European and extra-European
contexts. Starting with a “material” research on works that originated
in Italy and circulated in the rest of the world, such an approach
provides a critical insight into what Italian culture ended up
representing outside of its national borders.
By “imagination” the research group intends a mental mechanism which
utilizes images and associations of images – textual and iconographic –
to affirm the power of “poetic thought”, as conceived by the French
philosopher Gaston Bachelard against the absolutism of rationality. The
imagination is thus seen not as a “function” but as a “space” of
exchange, of freedom and of tensions. This concept was successively
adopted by Gilles Durand in his studies on “mythocriticism” in which the
imagination is affirmed as a dynamic force of “polarization of images”:
a recomposition of reality which includes (with no hierarchical
divisions) symbolic, mythical, oneiric, fantastical elements, etc. (with
explicit reference also to psychoanalysis). In light of this
interpretation, the role of the /passeur/ is not limited to the
traditional function of a simple mediator but should also be seen as the
activity of the person—intellectual, artist, scholar, novelist or
poet—who wanted to freely reconfigure an Italian cultural imagination
through “lyrical thinking”. To give an example, our attention will be
directed towards non-Italian writers who chose to set their narrations
in a significantly reinvented Italy, reinterpreted as a reservoir of
sensitive and poetic images or as a screen on which to project their own
The period of time chosen (1945-1989) finds its justification in an
assumption of methodological coherence that refers to the two historical
ruptures of the century: the end of the World War II, on one side, and
the Fall of the Berlin Wall, on the other. Both events entail
socio-political reorganizations at the European level, which were in
turn marked by corresponding events more or less regarding the main
technological, social and cultural changes which (starting in 1945 after
the reconstruction phase) marked the beginning and the end of an
exceptional period of socio-economic development. As for 1989, instead,
it is noted that the Fall of the Berlin Wall imposed coincident and
radical political changes with the end of a certain vision of Europe and
the world. From that moment onwards, the digital culture began and
proceeded to develop, such that, within a few decades, digital culture
imposed itself on all intellectual and cultural players. The two dates
therefore appear to be concurrently symbolic and representative of a
clearly defined Italian culture of the second half of the twentieth century.
*Conference macro-sections and locations in Buenos Aires***
The conference, scheduled on 26-28 August, 2020, will take place in
various venues of the University of Buenos Aires. The conference, open
to the whole scientific community related to it, is divided into two
macro-sections: Literature and Cinema & Media.
The choice of the Argentine capital as the venue for the conference is
not accidental, but is rather the result of extensive planning which
aspires to conclude the meetings on the /Passeurs/ in one of the
symbolic locations imbued with a widespread Italian spirit. Buenos
Aires, a metropolis of 16 million inhabitants, is composed of a mixed
social and cultural fabric, a high percentage of which holds Italian
origins. The Universidad de Buenos Aires, on the other hand, boasts one
of the best positions in international rankings and is always among the
top five academic-learning centers in Latin America.
For these reasons, the three days of the Conference will also include a
guided visit of the city in search not of a “Little Italy”, but rather
of a widespread Italian spirit present in many material and immaterial
traces (buildings, domes, popular districts, coffee shops, signs,
writings) of a “city-world” that, international and cosmopolitan,
jealously preserves its historical ties to Italy and Europe.
The languages of the conference are: Italian, Spanish and English.
*/Passeurs/**. Italian Literature Beyond Italian Shores (1945-1989).
Reception and Imagination***
Marco Carmello (Universidad Complutense de Madrid, Spain)
Alejandro Patat (Università per Stranieri di Siena, Italy)
Brigitte Poitrenaud-Lamesi (Université de Caen Normandie, France)
Thea Rimini (Université de Mons, Université Libre de Bruxelles, Belgium)
Beatrice Sica (University College of London, United Kingdom)
Nora Sforza (Universidad de Buenos Aires, Argentina)
Roberto Ubbidiente (Universität Humboldt zu Berlin, Germany)
The questions posed, as well as those yet-to-be pondered, revolve
around the characteristics of the reception of literature and culture,
focusing on the transmission methodologies and instruments (texts,
publishing, series, anthologies, journals, projects, foundations,
institutions), which either aided, selected or hindered the
dissemination of Italian culture outside of Italy: furthermore, this
section will consider the various figures of “passeurs” – editors,
intellectuals, writers, translations, journalists etc. – who had a
central role in defining an Italian cultural imagination beyond the Alps.
The *Literature* section, therefore, aims to engage with the issue of
cultural mediation with the objective of creating a map of Italian
culture during the second half of the twentieth century outside of
Italy. The section will be divided by the scientific committee in panels
based on themes, authors and issues.
The proposed themes are:
·The /Passeurs/ as protagonists in both the reception and the
imagination of Italian literature of the second half of the twentieth
century outside of Italy.
·Reception,dissemination, and translation of a work by an author of the
second half of the twentieth century outside Italy.
·Anthologies of Italian literature of the second half of the twentieth
century in other languages.
·Monographic issues of magazines or magazines on the debates and texts
of Italian literature of the second half of the twentieth century.
·Critical texts on Italian literature of the period in question written
and published outside Italy.
·Essays and fictional texts on Italy ofthe second half of the twentieth
century published in other literary systems that restore, reinvent or
reinterpret contemporary Italy.
Please submit proposals (maximum 250 words) in Italian, Spanish or
English, together with a biographical note (maximum 150 words) to the
Presidents of the selection committee "Literature" section—Prof.
Alejandro Patat ((patat /at/ unistrasi.it) <mailto:(patat /at/ unistrasi.it)>) and
Prof. Brigitte Poitrenaud ((brigitte.poitrenaud /at/ orange.fr)
<mailto:(brigitte.poitrenaud /at/ orange.fr)>)—no later than 31 January, 2020.
The selection of the proposals will be made by the Scientific Committee
on the basis of scientific quality and originality as well as the
thematic relevance. The outcome of the selection process will be
communicated by the first week of March 2020. Plans are in place for the
publication of a selection of the papers in a single volume.
*Cinema and Media *
*Intersections Between Italian and Latin-American Cinema and Media:
Flavia Brizio-Skov (University of Tennessee, United States)
Milly Buonanno (Sapienza University of Rome, Italy)
Monica Jansen (Utrecht University, Netherlands)
Inge Lanslots (KU Leuven, Belgium)
Flavia Laviosa (Wellesley College, United States)
Mariano Mestman (Universidad de Buenos Aires, Argentina)
Cristina Perissinotto (University of Ottawa, Canada)
Antonio Traverso (Curtin University, Australia)
Maria Bonaria Urban (University of Amsterdam, Netherlands)
Italian cinema and media are translational and transnational. They have
been imported and exported, transferred, translated, adopted, adapted
and re-interpreted. The lure of Italian cinema’s legends and the
interest in revisiting its genealogy create bridges across global
artistic languages. With the intent//to revisit the history of Italian
cinema and media, we are committed to trace the evidence of their
international polysemy and polycentrism, to define the extent of their
inspirational force and to examine other cinemas and media artistic
innovations resulting from their osmosis with the Italian productions.
Italian cinema and media have moved in many directions constantly
intersecting with other cinemas and media in particular with Latin America.
Latin American and Italian cinemas enjoy a long tradition of exchange
which is best manifested in the influence of Neorealism on the Latin
American social and political cinema and also in the works of a
generation of Latin American filmmakers who studied at the Centro
Sperimentale di Cinema in Rome in the 1950s. Furthermore, the work of
Italian filmmakers on Latin American politics and literature is of
considerable interest. It is also worth remembering that, since its
inception, the Latin American film industry employed directors and
actors of Italian origin while Latin American stars acted in Italian
films. More generally, all spheres of popular culture turned out to be a
fertile ground for the relations and exchanges between the television
series and the soap operas, between the /commedia all’italiana /(comedy
Italian style) and the /spaghetti western/ set in Latin America.
Lastly, throughout the years many transnational co-productions of film
and television works took place, which contributed to strengthen the
links between Italian and Latin American visual and media cultures.
Within such transnational framework, scholars are invited to engage in a
methodological tension between studying national cinema and media and
transnational critical approaches thus recovering these overlooked
connections and re-composing them in a historic and aesthetic map,
marked by cross-national dialogues and trans-generational exchanges in
particular in the 1945-1989 period of European and world history.**
*Topics include, but are not limited to:***
·Global Neorealisms: dialogues between Latin-American and Italian cinemas.
·The Centro Sperimentale di Cinema and Cinecittà: Latin American
filmmakers and writers in Rome.
·Links between Italian political cinema and Latin America.
·Popular genres between the two continents: the Western, the /commedia
all’italiana/, the soap operas, the television show, the photo comic,
·Italian films belonging to the tradition of Meridionalism/melodrama
which see the participation of Latin American actors.
·The reception of Italian cinema in Latin America and the reception of
Latin American cinema in Italy.
· “Traveling filmmakers” in Latin America.
·The Cosmopolitanism of the Latin American film industry: filmmakers and
actors of Italian origins.
·Transnational stardom in cinema and television.
·The use of stereotypes and exoticisms in the Italian and Latin American
·Audiovisual representations of Italian migration towards Latin America
and of return migrations.
·Transnational co-productions and the adaptation to the needs of the
respective national markets of film and television productions.
Please submit proposals of 250 words (in Italian, English or Spanish) of
original and unpublished papers together with a bio-note of about 150
words to Prof. Flavia Laviosa ((flaviosa /at/ wellesley.edu)
<mailto:(flaviosa /at/ wellesley.edu)>), Presidentof the selection committee of
the Cinema and Media section by 31^January 2020. The selection criteria
of the papers will be their scientific quality and their relevance to
the themes of the section. The outcome of the selection process will be
communicated by the first week of March 2020. Selected articles will be
considered for publication in a special issue of the /Journal of Italian
Cinema and Media Studies/.
The conference will be held at**the Centro Italo-Argentino de Altos
Estudios and Facultad de Filosofía y Letras dell’Universidad
de Buenos Aires.
Registration will take place after acceptance of proposals following the
review of the Scientific Committee. The registration fee is US$30 for
Latin American speakers, and US$50 for speakers from the rest of the
world. The payment method and deadline will be indicated in a subsequent
Facultad de Filosofía y Letras - Universidad de Buenos Aires
Centro Italo-Argentino de Altos Estudios – Universidad de Buenos Aires
Università per Stranieri di Siena
Ambasciata d’Italia in Argentina
Istituto Italiano di Cultura di Buenos Aires
Museo de la Inmigración de Buenos Aires (Universidad de Tres de Febrero)
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