This article works from the double hypothesis that: (1) a Yugoslav socio-cultural space still exists in spite of the dissolution of the former Socialist Federal Republic of Yugoslavia; and (2) the communities 'occupying' this space can be considered, in some measure, 'diasporic', if the 'Yugoslav diaspora' is defined by not only the geographic displacement of people but also by the loosening of connections between members of an ex-nation who still consider themselves a national community. The 'space' mapped in the article is the so-called 'virtual space' of the Web, including all websites that reconnect to the 'cultural languages' of the 'past-country'. The author observes how these 'different Yugoslavias' are 'staged' and linked together on the Web, and verifies how some far-flung communities rally around the 'virtual re-foundation' and 'virtual representations' of Yugoslavia. The corpus is constituted mainly of 'yugonostalgic' websites that are subjected to a content analysis. The 191 websites of the corpus and the hypertextual map of their edges are analysed using semantic features together with other tools of categorization.
RésuméL'article part d'une double hypothèse: (1) un espace socio-culturel Yougoslave existe encore en dépit de la dissolution de l'ancienne République Fédérale Socialiste de Yougoslavie; et (2) les communautés 'occupant' cet espace peuvent être considérées,
corso della ricerca sono stato incaricato di organizzare un viaggio di ricerca in Serbia, Bosnia Erzegovina e Croazia per approfondire il tema delle memorie divise in ex Jugoslavia. Le riflessioni che seguono si basano soprattutto su osservazioni e discussioni riconducibili a quel viaggio di ricerca. Informazioni sul viaggio sono disponibili all'indirizzo http://www.terrorscapes.org/former-yugoslavia-research-trip.html, cfr. anche il volume collettivo a cura di Van der Laarse, Mazzucchelli, Reijnen, 2014.
This article explores the narratives of the Covid-19 crisis in Italy, in the ways that they intersect with cultural memory processes. Moving from the hypothesis that the Covid-19 crisis, in Italy, has undergone two distinct narrative phases, we focus on the comparison between the forms taken, during the first lockdown, by an important (but also somehow divisive) memory ritual: the celebration of 25 April (the day that Italy was liberated from Nazi-Fascism) and the newly established commemorations of Covid-19 casualties. The aim is to observe the osmoses between two discursive domains (memory discourse vs emergency discourse). To do so, we propose the concept of “pre-emptive memory,” which can be defined as an act of—unwitting—anticipation, pre-figuration, and re-combination of the future cultural memory of an ongoing event in the present.
Adottando un approccio collocabile principalmente in una prospettiva di semiotica della cultura, l'articolo si propone di ricostruire e analizzare gli eventi che hanno accompagnato la mostra Bansky & Co: arte allo stato urbano, ospitata dal museo Genus Bononiae di Bologna, con particolare riferimento alla risposta dello street artist Blu, concretizzatasi in un'azione di cancellazione di tutte le sue opere a Bologna. Discorso del museo e discorso "della strada" sono dunque analizzati in chiave comparativa e contrastiva, nel tentativo di comprendere alcuni meccanismi di interazione tra diversi spazi discorsivi della città in relazione alle diverse valorizzazioni delle espressioni di creatività urbana. Moving from a perspective of semiotics of culture, the article investigates the events which accompanied Banksy and Co: Art in the Urban Form, the exhibition held in the City Museum of Bologna in May 2016, with a special focus on the reaction of the street artist Blu, who decided to erase all his street artworks in the city of Bologna. "Museum discourse" and "street discourse" are analyzed in a comparative and contrastive perspective, with the aim of understanding the interactions between different "discoursive spaces" of the city in relation to diverse valorizations of urban creativity's expressions.
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