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36. Tavola rotonda: Incontro con direttori di riviste 

Organizer: Anthony Mollica (mollica@soleilpublishing.com), Soleil Publishing

Anche quest’anno propongo ai colleghi direttori di riviste visto il successo di queste tavole rotonde l’anno scorso a Siena e negli anni precedenti. 

Invito quindi i direttori a presentare la loro rivista al convegno di Napoli. La presentazione on deve superare I 20 minuti. Si suggerisce che ogni direttori porti dei volantini con descrizione della rivista. Anche se una presentazione è stata fatta a Siena, il pubblico di Napoli sarà diverso. 

Inviare: nome e cognome, titolo della rivista a:  

mollica@soleilpublishing.com entro il  20 febbraio

 

 



35. Tavola rotonda: Incontro con gli autori 

Organizer: Anthony Mollica (mollica@soleilpublishing.com), Soleil Publishing

Anche quest’anno propongo ai colleghi che hanno pubblicato libri (cinema, letteratura, didattica) visto il successo di queste tavole rotonde l’anno scorso a Siena e negli anni precedenti. 

Invito quindi gli autori di manuali a presentare la loro pubblicazione al convegno di Napoli. La presentazione on deve superare i 20 minuti. Si suggerisce che ogni autore porti dei volantini con descrizione della pubblicazione. Anche se la presentazione è stata fatta a Siena, il pubblico di Napoli sarà diverso. 

Inviare: nome e cognome, titolo dell’opera a:  

mollica@soleilpublishing.com entro il 20 febbraio.
34. Scritture sperimentali/Experimental Writings 

Organizer: Federica Santini, (fsantini@kennesaw.edu ), Kennesaw State University 
This proposed panel invites papers that explore 20th- and 21st-century Italian works characterized by a non-normative approach to language or the act of writing itself. Cross disciplinary and/or non-traditional approaches to the theme of experimentation are welcome. This panel is concurrently being run at AAIS 2016 (Chair and organizer: Gianluca Rizzo, Colby College). The organizers plan to select papers presented at both conferences for volume publication. 

Possible themes include, but are not limited to: 


-Works of the historic Avant Garde. 

-Neo-Avant-Garde theory and practice. 

-Experimentation within dialectal literature. 

-Multilingual/cross-lingual writing. 

-Creating texts across disciplinary borders. 

 

Please submit 250 word proposals with a working bibliography and brief bio to 



Federica Santini 

Assoc. Prof. of Italian 

Kennesaw State University 

fsantini@kennesaw.edu



33. Title of Session: Language in Theatre / Theatre as Language

Organizer: Raffaele Furno, Arcadia University

Chair: Anna Sica, Università di Palermo

A play can be translated in its mere linguistic elements, or it can be adapted to fit the cultural references of the target audience. Theatre can be mainly based on text, or it can use physical and visual elements of communication. Theatre is a language in and of itself with codified rules, but not necessarily universal ones. This session analyzes the role of theatre, on stage and in the classroom, today and in historic perspective, to speak across cultural boundaries, to address international audiences, and to convey multi-cultural understanding both as an aesthetic act, an educational tool, and an instrument of socialization.

Speakers:

Raffaele Furno (organizer / speaker) – furnor@arcadia.edu

Anna Sica (chair / speaker) – anna.sica@unipa.it

Alessandra De Martino (speaker) - a.de-martino-cappuccio@warwick.ac.uk



32. Da Troisi a Sorrentino, negli anni del (post) postmoderno e della (neo) neotelevisione: il cinema napoletano fra generi e interpreti. 

Organizer: Antonio R. Daniele (antonio.daniele@unifg.it ), Università di Foggia 

 

 



  1. Dai primi anni Novanta ad oggi, si consideri una terna di titoli esemplari: gli ultimi due film di Massimo Troisi (Pensavo fosse amore… invece era un calesse, 1991; Il postino, 1994) e l’esordio alla regia di Mario Martone (Morte di un matematico napoletano, 1992). Negli anni in cui il cinema italiano cambia nel sistema di produzione e nei meccanismi che garantiscono il successo, alcuni elementi inscritti nel corredo genetico della nostra settima arte permangono o ritornano nel cinema partenopeo: l’ultimo Troisi consacra un cinema tradizionale unendo il mezzo popolare alla ricerca di generi differenti. Il tutto culmina nell’ultimo titolo, in un’attenzione per gli spazi dai toni estetici alti. Allo stesso modo il derelitto Renato Caccioppoli di Martone aveva anticipato questo tentativo di combinare un cinema della realtà a uno spiccato “lirismo”.  

Paolo Sorrentino – iuxta Toni Servillo – riprende situazioni diradate e personaggi ai margini, avvolti in toni lievemente onirici: L’uomo in più, 2001, Le conseguenze dell’amore, 2004, L’amico di famiglia, 2006 sono stati il terreno su cui fiorisce il Jep Gambardella della Grande bellezza rutilante e crepuscolare al tempo stesso. 




  1. L’eclettico spirito partenopeo si è conservato anche in nomi di lungo corso che hanno saputo rinnovarsi e, infine, conservare i tratti del blasone cittadino e della sua tradizionale messinscena: Lina Wertmüller, alternando al grande schermo anche coproduzioni televisive, è un punto di convergenza di generi e stili.  




  1. Su questo versante, non meno fortunato è il panorama degli interpreti: se Carlo Croccolo ed Enzo Cannavale restano legati a connotati di comicità desunti dal teatro di rivista, Silvio Orlando è una maschera melodrammatica con venature involontariamente comiche, brillantemente adatta anche ai registi più esigenti e Vincenzo Salemme, conservando fisionomie della commedia brillante, filtrata da motivi surreali, giunge ai più recenti esiti di comicità talvolta smodata. La nuova stagione della commedia partenopea trova in Gigi Savoia, Carlo Buccirosso e Maurizio Casagrande volti di rilievo, anche con la mediazione del piccolo schermo. 




  1. Ida Di Benedetto, Iaia Forte, Anna Ammirati sono, per generi e generazioni, esponenti di una parabola artistica al femminile che merita considerazione e un’indagine su caratteri artistici ancora sospetti. 

 

Le proposte di adesione al panel dovranno pervenire all’indirizzo email antonio.daniele@unifg.it entro e non oltre le ore 24.00 del 26 febbraio 2016. Si richiede un abstract dell’intervento che non superi le 2000 battute, unitamente a un breve profilo accademico del proponente.



31. Title: Ruins in contemporary literature, cinema and photography 

Organizers: Maria Pia Arpioni (mariapia.arpioni@unive.it), PhD Candidate Università “Ca’ Foscari Venezia and Enrico Riccardo Orlando (rikerik@unive.it), PhD Candidate, Università “Ca’ Foscari” Venezia 

 

The topic of ruins and abandoned places knows a renewed attention. The romantic topos assumes original meanings, mostly yet to examin. Literature, photography and cinema discover rubble, forgotten spaces, negleted buildings, and elaborate innovative interpretations, between imperative of novelty, time perception and communal fate of decay.


30. The Italian Diasporas: Movements, Motivations, Metamorphoses 

Organizers: Ryan Calabretta-Sajder (rcalabretta@gmail.com), University of Arkansas & Colleen Ryan (ryancm@indiana.edu) Indiana University 

 

I came to American because I heard the streets were paved with gold. 



When I got here, I found our three things: First, the streets weren’t paved 

with gold; second, they weren’t paved at all; third, I was expected to pave them. 

 

While Italy has offered refuge to numerous groups throughout the ages, it has also incited emigration for various reasons, including the fuga dei cervelli that motivates migration today. The stories and visual representation of integration, assimilation, segregation, or refusal comprise a rich mosaic of Italian diaspora studies.   



 

This panel aims to articulate political, historical, and cultural particularities of this dispersion of people from their homeland.  What movements, motivations, and metamorphoses might be said to characterize the individual and/or collective Italian experience.  We welcome interdisciplinary papers in English or in Italian across fields such as history, visual and media culture, literature, linguistics, sociology, anthropology, etc.  

 

Some guiding questions the session may address include the following: 



 

  • How have the arts influenced Italian Diaspora studies and vice versa? 

  • Where and how have Italian immigrant culture(s) evolved? 

  • What relationships exist between migrants from yesteryear and those

newly arrived (Italian and/or from other ethnicities)? 

 

Please send a 250-word abstract, with a brief bio and a short bibliography to both Ryan Calabretta-Sajder (rcalabretta@gmail.com) AND Colleen Ryan (ryancm@indiana.edu) by Friday February 26, 2016.  Please make sure to include a short bibliography or works cited section.  


29. Princely ideology, politics and power in Italian literature 

Organizers: Marta Celati (St. Edmund Hall, University of Oxford) & Barbara Olla (St. Peter’s College, University of Oxford) 

 

Political and philosophical thought has always contributed to enrich and enhance the literary debate surrounding the theory and practice of political power. This panel seeks to examine interactions among politics, philosophy and literature throughout different periods of Italian history, with a specific focus on the ideal image of ‘the prince’ as a literary and ideological figure. Our goal is to analyze the development of this political figure in the Italian literary tradition, from the medieval era to the modern age. In literary and philosophical contexts, the princely image has often been linked to the rise of new political systems and their intimate need for legitimacy. The literary making of this political figure is likewise connected with the will and necessity to create a theory of consensus — one that is ultimately aimed at maintaining political control. ‘The prince’, therefore, becomes a vehicle of persuasion and propaganda, taking on a crucial role in the establishment of a relationship between dominus and dominati



The panel is composed of four papers in order to cover different chronological periods and investigate the topic from the medieval era to the Novecento.

28. Eve’s Sinful Bite: Foodscapes in Italian Women’s Writing, Culture and Society 

Organizers: Francesca Calamita (fc4j@virginia.edu), University of Virginia; Maria Morelli (mm510@leicester.ac.uk), University of Leicester 

 

The multifaceted relationship between women and food in Western culture begins with the Christian Myth of the Fall narrated in Genesis and in particular with the episode of Eve and the apple. Eve’s sinful bite represents the first symbolic meeting between women and food and it is only the first example in a long list of metaphorical meanings associated with the act of eating and ideas of femininity in the collective imaginary. Food and eating-related-activities, such as cooking and serving meals for the family, have often been a symbol for something else in women’s life: lust, affection, emotional shelter and frustration, to mention only a few of the allegorical nuances associated with food consumption. 



This panel explores how Italian women writers have represented food in their short stories, novels and autobiographies in dialogue with the culture and society from late nineteenth century to the present. Looking how cooking and serving meals to others, while often denying themselves the pleasure of eating, are depicted in Italian women’s writing helps us understand the role food and food-related-activities have played, and still play, in women’s lives.  

We seek contribution that will offer a close reading of the symbolic meaning of food in narrative and the way it intersects with Italian women’s socio-cultural history, addressing issues of gender, identity and politics of the body. 

 

Please send your abstract in English or Italian (max. 250 words) and a short-bio in English or Italian (max. 100 words) to Francesca Calamita fc4j@virginia.edu and Maria Morelli mm510@leicester.ac.uk by Feb 15, 2016. 



27. “Beyond Realism: Producing Naples in Contemporary Culture.”

Organizers: Giovanna de Luca (delucag@cofc.edu), College of Charleston and Ruth Glynn (r.s.glynn@bristol.ac.uk), University of Bristol

 

Cultural representations of Naples had extraordinary success in recent years, resonating far beyond the confines of the city. Roberto Saviano’s Gomorra (2006), with its cinematic and televisual offshoots, and Elena Ferrante’s Neapolitan novels (1991-2015), have been particularly instrumental in shaping the city of Naples in the cultural imaginary. 



While Gomorra and the Neapolitan novels have already been the subject of a number of academic studies, conferences and volumes, the wider corpus of contemporary Neapolitan literature, film and music remains comparatively neglected. This panel seeks to address cultural representations of Naples that address the city and its cultural production beyond the limits of realist discourse. It focuses on innovative approaches to and perspectives on a city that has long been subject to intense cultural and critical interrogation. In particular, it asks how is Naples produced in contemporary cultural production? Which Naples is produced? And to what end? It encourages, in particular, consideration of texts, discourses and genres that shed new light on the existing cultural and critical corpus. 

  

Abstracts and papers may be in Italian or English. Interested individuals should send a 250-300 word abstract to delucag@cofc.edu and 



r.s.glynn@bristol.ac.uk, by February1, 2016. 

26. “Tutti i Sud del mondo” : Pasolini and the South 

 Organizer: Colleen Ryan (ryancm@indiana.edu), Indiana University

As Gianmarco Pisa (2008) has written: “In Pasolini, il tema del ‘Sud’ viene affrontato sotto una duplice veste: Sud come metafora di ‘tutti i Sud del mondo’ […] e Sud come spazio remoto, sorgente di ispirazione e metafora di una umanità aurorale, alla quale si ritorna ed alla quale, insieme, si tende.” From his poetry and prose, to his films and his essays, Pasolini theorized the South in terms of language and cultural ideals. The Totò of Uccellacci e uccellini, the Decameron’s townspeople, the interviewees in Comizi d’amore, the rocky landscapes of Matera in Gospel according to St. Matthew….here and elsewhere Pasolini’s “South” comprises a discourse on marginality, liminality, and authenticity. We welcome all papers visiting one or more aspects of Pasolini’s opus through the lenses of “the South” and “southern-ness” broadly conceived and worldwide. 

 

Please send 300-word abstracts and 75-word bios to Colleen Ryan (ryancm@indiana.edu) by February 20, 2016. 



 

1) Paolo Desogus (paolodesog@yahoo.it ), Université Paris-Sorbonne (Paris-IV)



Il mondo popolare e subalterno di Pasolini attraverso de Martino

25. Advanced Placement Italian: The 2015 Course and Exam and College Curriculum Articulation 

Organizer: Colleen Ryan (ryancm@indiana.edu), Indiana University

 

Now in its 10th year, AP Italian Language and Culture course and exam has played a crucial role in promoting, preserving, and, in many cases augmenting the study of Italian language and culture in North America and beyond. At the same time, many Italian programs around the US have had to work very hard to maintain interest, support and enrollments. This session invites papers and presentations that provide an overview of recent advances and challenges in AP Courses, that discuss materials and methods that have a proven track record for student success, or analyses of student perceptions and dispositions toward Italian Studies. In particular, we welcome contributions on AP Italian and college curriculum articulation. Do AP students typically continue studying Italian in college, entering at the third year (in the best of cases) as originally imagined? Is AP inspiring Italian study abroad and majors and minors at the college level? Is the preparation of AP students solid, even superior to that of students who have not taken the course or exam? 



Please send 300-word abstracts and 75-word bios to Colleen Ryan (ryancm@indiana.edu) by February 20, 2016. 

24. Napoli e il cinema contemporaneo

Organizer: Antonio R. Daniele (antonio.daniele@unifg.it), Università di Foggia

 

Mi propongo per il coordinamento di un panel su “Napoli e il cinema contemporaneo” dal titolo Da Troisi a Sorrentino, negli anni del (post) postmoderno e della (neo) neotelevisione: il cinema napoletano fra generi e interpreti. 



 

Per il periodo che va dai primi anni Novanta ad oggi, si può cominciare un esame considerando una terna di titoli esemplari: gli ultimi due film di Massimo Troisi (Pensavo fosse amore… invece era un calesse, 1991; Il postino, 1994) e l’esordio alla regia di Mario Martone (Morte di un matematico napoletano, 1992). Negli anni in cui il cinema italiano cambia nel sistema di produzione e nei meccanismi che garantiscono il successo (il sostegno dei due poli televisivi RAI e Mediaset), alcuni elementi inscritti nel corredo genetico della nostra settima arte permangono o ritornano nel cinema partenopeo. Troisi, proprio nel momento del congedo, ci lascia un’eredità dai tratti simili a un’erma bifronte: la commedia nella sua verve più tradizionale e il registro autenticamente drammatico. L’ultimo Troisi consacra, in due prove cinematografiche riuscite per aderenza stilistica e motivi ambientali, un cinema fortemente tradizionale poiché concilia il mezzo popolare con la ricerca di generi differenti. Questo lavoro culmina nell’ultimo titolo, in un’attenzione per gli spazi di città e campagna dai toni estetici alti. Così il derelitto Renato Caccioppoli di Martone aveva già anticipato questo tentativo di combinare un cinema della realtà con uno spiccato “lirismo”. A Paolo Sorrentino – iuxta Toni Servillo – si deve, a cavallo dei due secoli, la ripresa di situazioni diradate e di personaggi ai margini, avvolti in toni lievemente onirici; scorrendo a ritroso, L’amico di famiglia, 2006; Le conseguenze dell’amore, 2004; L’uomo in più, 2001, sono stati il terreno su cui fiorisce il Jep Gambardella della Grande bellezza, 2013, rutilante e crepuscolare al tempo stesso. 

         Il multiforme spirito partenopeo che emerge da questo percorso si è conservato anche in nomi di lungo corso che hanno saputo rinnovarsi e, infine, conservare i tratti del blasone cittadino e della sua tradizionale messinscena: Lina Wertmüller, alternando al grande schermo anche coproduzioni televisive, rappresenta ancora oggi un punto di convergenza di generi e stili del côté napoletano , da Io speriamo che me la cavo (1992) a Peperoni ripieni e pesci in faccia (2014) passando per Ferdinando e Carolina (1999). E, su questo versante, non meno fortunato è stato il panorama degli interpreti: se il cinema di Carlo Croccolo e di Enzo Cannavale è ascrivibile a una stagione legata a connotati di comicità desunti dal varietè e dal teatro di rivista, Silvio Orlando è una maschera melodrammatica con venature involontariamente comiche, brillantemente adatta anche ai registi più esigenti (Moretti, Salvatores, Luchetti, Avati) e Vincenzo Salemme, conservando fisionomie della commedia brillante, filtrata da motivi surreali, giunge ai più recenti esiti di comicità talvolta smaccata. La nuova stagione della commedia partenopea trova in Gigi Savoia, Carlo Buccirosso e Maurizio Casagrande volti e voci di rilievo, talora attraverso la mediazione del piccolo schermo  

         Ida Di Benedetto, Iaia Forte, Anna Ammirati sono, per generi e generazione, esponenti di una parabola artistica al femminile di indubbio valore che merita la dovuta considerazione e un’indagine su caratteri artistici ancora ingiustamente sospetti.



23. Study Abroad: The Future in/and Interdisciplinary Collaborations 

Organizer: Cynthia Bowers (cbowers@kennesaw.edu) , Kennesaw State University 

Thousands of American college students spend weeks or months studying in Italy—its language, history, culture, cuisine, global influence and economy.   Study abroad generally benefits both students and faculty with scholarly and personal growth, intercultural experience, language acquisition, and opportunities for career development.  Students and faculty have used their study abroad experiences in Italy to enhance not only their own careers, education, and lives, but have opened up new inter- and multi-disciplinary arenas for study and research.  Study abroad in Italy is no longer a checklist of important site visits or a review of Roman and Renaissance art; it is a unique ground upon which to explore topics and content vital to life in the twenty-first century. 

This proposed panel for AATI in Naples in June 2016 will invite papers that explore new ways to integrate other disciplines into the conventional teaching of arts, language, and humanities into study abroad programs in Italy.  We are especially interested in ways both Italian and non-Italian speakers/teachers can collaborate in study abroad programs and curricula.   The purpose is to incorporate science, technology, business, education, and health topics into traditional language, art, music, history and literature courses taught in Italy for American college students.  Conversely, how can the teaching of economics, business, technology and the sciences, and education be enhanced by partnering with humanities and social science SA curricula?  

We welcome papers from different research areas that may include but are not limited to the following topics.  We encourage proposals that express the Italian point of view. 



  • Teaching Italian in context through the disciplines. 

  • Interdisciplinarity and study abroad in Italy: the business of the humanities. 

  • Ancient Rome and/or the Italian Renaissance in the 21st century. 

  • Language, Agritourism and the Arts. 

  • Italy study abroad and undergraduate research. 

  • Team-teaching: collaborations between Italian and non-Italian speaking faculty. 

  • Italy study abroad, STEM, and the humanities. 

  • From Italy to Global Engagement. 

  • Qualitative and Quantitative Assessment of Italy Study Abroad. 

  • Italy Study Abroad and American Students of Color. 

  • Italy Study Abroad and International Politics: Beyond the American POV. 

  • Study Abroad and Student Affluence. 

  • Preparing Education Majors for a Global Environment. 

 

Please submit 250 word proposals with working bibliography and brief bio and description of your SA experience in Italy to 

Cindy Bowers 

Assoc. Prof. of English 

Kennesaw State University 

cbowers@kennesaw.edu


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