All over is a collection of epic songs, of epinician odes for our day. The heroes praised are boxers, men the author identifies as the […]
Chiasmi International 12 presents an extraordinary, unpublished extract from the first course Merleau-Ponty taught at the Collège de France. It is one of the few places where he speaks of cinema and its literal sense of movement. Thus, a “Special Section” called “Cinema and the Philosophy of Movement” is devoted to this topic. It contains six essays, two of which were written by Chiasmi International editors, Mauro Carbone and Pierre Rodrigo. Moreover, this issue collects a wide scope of essays, focusing specially on Merleau-Ponty’s ontology and on his reflection about dance and painting.
The past decade has witnessed a proliferation of writings on queer theories and practices. Drawing together established and emerging scholars in the field, this volume offers a broad, trans-disciplinary and international approach to queer studies. In the light of recent critical perspectives, it proposes a number of theoretical developments concerning three key thematic fields: theories, bodies and texts.
In the contemporary world, the figure of the migrant, moving across spaces, cultures and languages, has acquired unprecedented centrality. Migrants have transformed the ways of representing, and narrating, the transnational world in which they live, responding in new fashions to one of the oldest impulses of men and women of every place and time: the impulse to tell stories. By engaging with notions of diaspora, postcoloniality, nomadism, translation, and exile, Di Maio moves across the Anglophone and Italophone spectra offering a compelling definition of migrant literature at the turn of the millennium.
The Murray Edwards Duse Collection is the best record of Eleonora Duse’s literary background. It puts before us three fundamental facts: first, her literary education began – or became active – around 1886; secondly, it assumed a nationalistic character in the early 1890s; thirdly, her intellectual evolution influenced her acting. So advanced was her artistic and literary emancipation that she was considered one of the foremost Italian aesthetes.