Incontri. Rivista europea di studi italiani <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> en-US <p>Authors who publish with this journal agree to the following terms:</p><p>a. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <a href="">Creative Commons Attribution License</a> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.</p><p>b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</p><p><em>Gli autori che pubblicano sulla Rivista dichiarano di accettare le seguenti condizioni: </em></p><p><em>a. gli autori conservano il diritto d'autore e garantiscono alla Rivista il primato di pubblicazione della loro opera intellettuale, cui viene equiparato per equità di trattamento il diritto applicabile alle opere intellettuali comuni (<a href="">Creative Commons Attribution License</a>), il quale rende lecita la condivisione del lavoro a condizione di indicare il diritto d'autore e la pubblicazione originale in questa rivista;</em></p><p><em>b. agli autori <em>è</em> consentito stipulare convenzioni contrattuali addizionali di distribuzione non esclusiva dell'opera nella medesima versione pubblicata sulla Rivista (ad es. pubblicazione in un volume o collocazione in un archivio o biblioteca), purché sia sempre specificato che la prima pubblicazione ha avuto luogo sulla Rivista</em></p> (Emma Grootveld) (openjournals) Fri, 26 Feb 2021 13:21:32 +0100 OJS 60 Religioni letterarie, una via alternativa al contemporaneo? <div class="authors">Introduzione alla sezione tematica.</div> Marco Zonch Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 Deus ex-machina <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> Enzo Pace Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 ‘Darti voce è incontrarti nelle cose’ <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> Michele Bordoni Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 Quando lo ‘scandalo’ diventa provocazione <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> Monica Jansen Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 Scritture postsecolari <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> Marco Zonch Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 Commemorare vittime di violenza <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> Inge Lanslots, Paul Sambre, Eliana Maestri Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 'Renzo e Lucia' (2004) in TV <div class="authors">Interview with Francesca Archibugi.</div> Flavia Laviosa Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 Editoriale: un anno sempre particolare Natalie Dupré, Inge Lanslots Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100 'Nasconder l’arte con l’arte’ <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> Els Jongeneel Copyright (c) 2021 Thu, 31 Dec 2020 00:00:00 +0100