Incontri. Rivista europea di studi italiani 2021-02-26T14:07:31+01:00 Emma Grootveld Open Journal Systems <p>Since 1985, <em>Incontri. Rivista europea di Studi Italiani</em> has been an international forum for academic publications related to Italian history and culture. As an interdisciplinary journal, <em>Incontri</em> publishes both academic research in various fields (history, literature, linguistics, philosophy, art history, music, cinema and theatre etc.) and contributions that cross the boundaries of traditional Humanities disciplines.</p> <p><em>Incontri</em> is the journal of the <a href="" target="_blank" rel="noopener">Werkgroep Italië Studies</a> (WIS), an Italian Studies workgroup based in the Dutch and Flemish academic research community.</p> 'Renzo e Lucia' (2004) in TV 2021-02-26T14:04:14+01:00 Flavia Laviosa <div class="authors">Interview with Francesca Archibugi.</div> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 Editoriale: un anno sempre particolare 2021-02-26T13:22:38+01:00 Natalie Dupré Inge Lanslots 2020-12-31T00:00:00+01:00 Copyright (c) 2021 'Nasconder l’arte con l’arte’ 2021-02-26T14:07:31+01:00 Els Jongeneel <p>Bespreking van: Annick Paternoster &amp;<ins cite="mailto:Jan%20L.%20de%20Jong" datetime="2020-11-04T09:38"></ins>&nbsp;Francesca Saltamacchia,&nbsp;<em>Le leggi della cortesia. Galateo ed etichetta di fine ottocento: un’antologia</em>, Novara, Interlinea, 2018, 157&nbsp;<ins cite="mailto:Jan%20L.%20de%20Jong" datetime="2020-11-04T09:38"></ins>p.<del cite="mailto:Jan%20L.%20de%20Jong" datetime="2020-11-04T09:38"></del>, ISBN 9788868572259, € 12.</p> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 Religioni letterarie, una via alternativa al contemporaneo? 2021-02-26T13:28:26+01:00 Marco Zonch <div class="authors">Introduzione alla sezione tematica.</div> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 Deus ex-machina 2021-02-26T13:31:08+01:00 Enzo Pace <p><strong>Deus ex-machina</strong><br />Modern Form of Believing in the Relative<br /><br />Secularization continues to produce its effects over the long term, despite the conspicuous recovery of public space regained from 1980 to today by the major world religions. The alleged return of the sacred or the alleged revenge of God, however, does not seem able to contrast the triumph of capitalism as a religion, to take up the formula used by Walter Benjamin. The modern consumer society saves the salvable, incorporating the sacred into the commodities, making the goods a sign of identification, a <em>cult</em>. The appearance of strong religions, so-called fundamentalisms, constitutes a specular and high response to the forms of believing in the relative in the societies of late secularization.</p> <p>The author starts from the prophetic visions on the magnificent fortunes of capitalism, advanced by Max Weber and Walter Benjamin, analyzing the process of commodification of religious symbols in contemporary affluent societies. Therefore, there is not the return of God who was presumed dead. Rather the machine of neo-capitalism saves God by making him prodigiously incarnate in the beauty of goods. </p> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 ‘Darti voce è incontrarti nelle cose’ 2021-02-26T13:36:06+01:00 Michele Bordoni <p><strong>‘Giving You a voice is crossing You in things’</strong><br />The song of return in Filippo Davoli’s between lyric and religion<br /><br />This paper aims at investigating the phenomenon of the return of religion as well as at analysing the return of lyric poetry and French phenomenology as conceptual keys to Davoli’s literary production. The thirty-year poetic activity of Filippo Davoli (Fermo, 1965) may be defined as a very personal “return to reality” where the poet inserts daily situations as part of a wider transcendental plan, which, however, does not imply dogmatic declarations of faith. According to thematic and chronological analyses, Davoli’s poetry may constitute a parallel to contemporary expressions of religious sentiment linked to poetry. In this “initiatic-spiritual” knowledge, the poet’s mystical sentiment, or ‘Song of return’, may be preparatory to a re-reading of reality which goes beyond its material dimension. Such a double level of reading can be as well exemplified by another pivotal theme in Davoli’s production: the body and its limits express both the mere caducity of the present and its “anagogic” dimension, which consists in a further interpretation of its limits.</p> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 Quando lo ‘scandalo’ diventa provocazione 2021-02-26T13:44:14+01:00 Monica Jansen <p><strong>When ‘scandal’ becomes provocation </strong><br>The postsecular and Romeo Castellucci’s theatre of iconoclasm<br><br>Romeo Castellucci’s performance&nbsp;<em>On the Concept of the Face Regarding the Son of God</em>&nbsp;has led to a series of violent protests coordinated by Catholic groups in France (Paris 2011, Le Mans 2018) and Italy (Milan 2012) and has been judged as being blasphemous and ‘Christianophobic'. Castellucci in the media has defended his&nbsp;<em>piece</em>&nbsp;using biblical terms and advocating his artistic right to create ‘scandal’. This contribution intends to investigate the limits between provocation and ‘scandal’ with the help of a work of art that adoperates consciously an ‘iconoclash’ (Latour 2002) montage between avant-garde transgression and the symbolic code of Catholicism. While the freedom of artistic expression enjoys the protection of the state, this ‘natural’ right is put into question by the postsecular ‘return of religion’ in the public sphere (Habermas 2006). The analysis of the Catholic protests against Castellucci’s piece and the director’s aesthetic and ethical goals, both show how the configuration of postsecular art becomes part of the ‘denaturalization’ of secular and religious normativity in postsecular society (Parmaksız 2018).</p> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 Scritture postsecolari 2021-02-26T13:51:36+01:00 Marco Zonch <p><strong>Postsecular writings<br></strong>Hypothesis on truth and spirituality in contemporary Italian narrative<br><br>This article analyzes spiritual motifs in contemporary Italian writings, and proposes a working definition of the category of “postsecular writings”. The analysis draws from sociological categories as well as&nbsp; Michel Foucault’s thought, and focuses on some works by Emanuele Trevi, Aldo Nove and Antonio Moresco. These three authors are here considered as examples of a more general trend, and their works used in order to illustrate the main features of what I define as “postsecular writings”, especially the manifestations of non-materialistic ontologies and beliefs, the view of literature as being intrinsically or incidentally connected with spirituality, herein termed “the poetics of prayer”, and the inherent link between spirituality and social engagement.</p> 2020-12-31T00:00:00+01:00 Copyright (c) 2021 Commemorare vittime di violenza 2021-02-26T13:55:15+01:00 Inge Lanslots Paul Sambre Eliana Maestri <p><strong>The commemoration of victims of violence<br></strong>Street art, activists and their messages of positivity<br><br>The present article analyses how street art and activism intertwine in public spaces addressing wider audiences with messages of growing positivity. Via the comparative analysis of two case studies revolving around the ‘no mafia’ sign on the outskirts of Palermo (Capaci) and the mural dedicated to Carlo Giuliani at the entrance of the Garbatella area within the Ostiense quarter in Rome, we explore the genesis of both works, their specific spatial setting and the role of social actors in the conservation of the mural paintings, as well as in the commemoration of victims of violence. Our analysis draws on key theoretical findings conceptualized within memory studies, sociology and research on visual culture.</p> 2020-12-31T00:00:00+01:00 Copyright (c) 2021