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2008, Jardins du Maroc, jardins du monde
This study started from the empirical puzzle related to the Romanian diaspora's vote for AUR in the 2020 parliamentary elections. Although the literature on AUR offers a variety of explanations for its success both in the country and in the diaspora, my study proposes a further explanation inspired by the concept of fantasy developed in Lacanian psychoanalysis and later translated into nationalism studies. The method of data collection used in this study was social media ethnography. My dataset is a collection of 25 primary sources from the party's online campaign for the 2024 European elections. Based on this dataset, this study argues that AUR produces a political fantasy through its discourse, which is structured around three components: a golden age nostalgia, which is a metaphor for different historical periods of Romania; a set of two villains, which embody the current Romanian political establishment and the Brussels neo-Marxists; and an identification mechanism, namely the concept of "AUR militia" (or oaste, in Romanian), which refers to all those who support the idea of a sovereign Romania. This study contributes to the literature from a theoretical perspective by presenting a hypothesis on the 20% that the AUR obtained in the diaspora in the 2020 parliamentary elections, as well as the result that it will obtain in the 2024 European elections. From an empirical perspective, this is the first academic analysis of the AUR's campaign for the 2024 European elections, although my research does not examine the entire campaign, but only its online component.
Imago musicae 31/32 (2021), pp. 7-47
Remembering Pythagoras, performing Orpheus: pre-modern Eurasian perspectives2021 •
The magical power of music, a topic already crystallized in Greek antiquity in the myth of Orpheus, was transmitted in the Arabo-Persian world through the tenth-century Rasa (Epistles) of the Ikhwan al-Safa (Brethren of Purity) and other writings. The basic tenets of this doctrine of musical ethos are that the various musical modes affect the human psyche, and thus that a musician’s skillful manipulation of carefully chosen modes and corresponding melodic constructs can affect a listener’s mood, character, and even state of consciousness. At the center of the present essay stands the archetype of such magical musicianship within the literary space of the Persianate world, as manifest in the literary and visual personas of two different protagonists who belong to two different, albeit related works: Plato, from the early thirteenth-century Iskandarnama of Nizamı Ganjavı, and Aristotle, from the early seventeenth-century Resale i-musiqi of Darvısh ‘Alı Changı. In manuscript miniatures accompanying Plato’s magical acts, each of the illustrating artists expands the story’s range of meanings and possible interpretations, through specific music-iconographical choices showcasing a diverse and at times incongruous collection of musical objects and symbols. At the same time, in Aristotle’s legend, text and visual representation engage in a different relation, one that places the reader, rather than the visual artist at the center. This essay proposes that both artists and readers took advantage both of deftly deployed terminological ambivalence and of evoked mental schemas embedded in the literary text, and thus privileged certain options by contextually re-framing (historically or otherwise) said terminology and its corresponding organological or symbolic meanings.
Ecco una rievocazione molto eloquente del fervore artistico e culturale registrato in Oppido Mamertina nel secondo dopoguerra, e in particolare negli ultimi decenni del Novecento, col protagonismo non casuale del mondo della scuola e della Chiesa. Entrambe queste agenzie di grande partecipazione sociale ed educativa furono infatti al centro di tante iniziative utili non solo ad elevare un patrimonio di cultura fine a se stesso, ma ad imprimere a tutte le azioni aggregative un forte impulso di emancipazione sociale con ricadute notevoli sul tessuto civile del paese e dell'intero comprensorio. Una grande fioritura, per alcuni versi proseguita nel primo decennio di questo nuovo secolo, che ancora una volta è mirabilmente narrata e documentata in questa pagina, in cui molti si ritroveranno, dal professore Rocco Liberti, spesso diretto protagonista di tante e importanti iniziative che richiamarono come non mai su questa falda di Aspromonte nomi di primissimo piano della cultura e dell'arte calabrese ed extra calabrese. Non è eccessivo affermare che tale risveglio prendeva in buona parte le mosse anche dal cosiddetto "Tempo pieno" realizzato con lungimiranza nelle scuole elementari già negli anni Settanta, poi seguito a ruota dal "Tempo prolungato", realizzato alcuni anni dopo nelle scuole medie: due esperienze generose, smarrite negli anni successivi, che hanno dato a varie generazioni oppidesi un tipo di formazione molto pregnante e ricco. Come non essere grati al professore Liberti per questa commossa rievocazione e per quanto egli, in prima persona, si è speso per l'elevazione del proprio paese? (Bruno Demasi
Sulla ruina di sì nobile edificio. Crolli strutturali in architettura, a cura di M. G. D’Amelio, M. Forni, N. Marconi, Lexicon Speciale 3/2023, Caracol, Palermo 2023
«È questa un’opera d’arte che non doveva essere toccata»: addenda su crollo e ricostruzione del Salone Sistino nella Biblioteca Apostolica Vaticana (1931-1933), in “Sulla ruina di sì nobile edificio”. Crolli strutturali in architettura, ed. by M. G. D’Amelio, M. Forni, N. Marconi, pp. 121-1312023 •
On 22 December 1931, the dramatic collapse of the Vatican Library’s middle section led to the devastating loss of six people, 15,000 volumes and part of the structures and decorations of the building constructed in 1587-1598 by Domenico Fontana for Pope Sixtus V Peretti. As early as 1928, the Vatican Library had undergone decisive functional adaptations works, first in the so-called Arm of Julius II, but later also in the Sixtine building. These measures were made necessary by the introduction of heavy cast-iron bookshelves, as well as by the opening of large arches on the external facades and in the spine wall of the Library. While the chronicle of the terrible collapse has been already reconstructed, the official documentation by the Inquiry Commission that investigated this terrible event remains secret to this day. Nevertheless, causes and dynamics of the collapse, as well as the principles and procedures followed in the subsequent fast reconstruction, can be reconstructed by cross-referencing the information provided by the newspapers of the time and by the precious Memoirs of Engineer Federico Mannucci, written in 1935, but only recently published. Mannucci's precise and competent reconstruction reveals his condemnation of the inappropriate manipulation of the 16th-century building and, above all, of the untimely perforation of the backbone wall, the main cause of the disaster.
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