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Copyright of Bibliothecae.it is the property of University of Bologna and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Orientamenti Pedagogici is the property of Pontificio Ateneo Salesiano (Facoltà di Scienze dell'Educazione dell'Università Pontificia Salesian) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Promoting and presenting archives in a way that makes them a reassuring and easily accessible context is a primary concern for archivists, who are used to working in a field driven by communication. This paper offers a reflection on models and methods of transmitting and promoting documentary collections, while drawing inspiration from recent works that propose new perspectives on the question and its forms of presentation. Does a clear distinction between the established descriptive tradition and the so-called alternative approaches still make sense? Perhaps the two approaches are much more interconnected and stable than previously thought. Are research tools “healthy carriers” of narrative? It seems so. Alongside descriptive practices, the paper will compare some effective museum practices aimed at presenting archives and highlighting the specific cultural value that archives actively preserve. From a broader perspective, after a period of great success, narratives are now in crisis. To quote Byung-Chul Han, «At the core of this noisy storytelling lies a narrative void, manifesting itself as a lack of meaning and a loss of direction». Maybe archives can offer a different interpretative and descriptive key.

Starting from the bibliography of the volume Eminescu o dell'Assoluto and using Rosa Del Conte's papers conserved in her Archive (Milano), I will reconstruct the main lines of study followed by the philologist, evoking the main features that link the study published by Rosa Del Conte to the Eminescology school of Cluj, determining the genesis of her research and the methodology adopted by the scholar in recovering an originality that is first and foremost a legacy. [ABSTRACT FROM AUTHOR]

(Series Information) European Papers - A Journal on Law and Integration, 2021 6(1), 579-588 | Article | (Table of Contents) I. Introduction. - II. The hidden sources in written observations: Dassonville and the EEC's definition of MEEQR. - II.1. New sources revealed. - II.2. MEEQR as an ongoing discussion in EEC institutions. - III. Behind the CJEU for-mula, the story of wholesalers and the technicity of trade regulations. - III.1. The unseen critics: personal attacks and blame on the neighbour. - III.2. Technicity of MEEQR, the importance of evidence in the procedural dossier. - IV. Conclusion. | (Abstract) In 1974 the Court of Justice of the European Union (CJEU) stated that measures having an effect equivalent to quantitative restrictions were prohibited. The famous Dassonville formula is known and repeated by judges and students alike. The release by the CJEU of the dossier de procédure provides however a new take on the story that led to one of its most notable decisions. The discovery of new arguments, sources and evidence offers valuable insights into the parties' interests and goals. Behind the formula, technical and personal arguments are hid-den. The dossier puts the Dassonville case back in its context. This context reveals how the definition of measure having equivalent effect to quantitative restrictions was an ongoing subject in all the institutions of European Economic Community. The dossier thus extends understanding of the Dassonville case and sheds light on the circumstances that led to the famous formula that was elaborated therein.

The aim of this paper is to complete the analysis of the onomastic system in Giuliano Scabia's four novels based on the character and the adventures of Nane Oca, focusing on documents found in the author's archive. The onomastic practice of the author is deeply connected with his conception of language as a repository of stories: names are traces that refer to the childhood of the author and to the agricultural culture of the Veneto region, with its myths, its specific vocabulary, its characters. Particular attention is paid to those names which do not appear in the printed edition, but are well documented in the archive. [ABSTRACT FROM AUTHOR]

“Archive” comes from the Ancient Greek ἀρχεῖον, “house of the ruler”: inside, we find what corresponds to the normative framework; outside, everything that dissents and is not conform. This occurs for the heteropatriarchal archive of intimate partner violence, as it is explored by Carmen Maria Machado in In the Dream House (2019), and for the archive of folklore, ruled by each (re-)teller’s framework. What if we regain the oral dimension of the tale tradition in a diffractive perspective? What if the reader entangles with the text, co-creating a new meaning? In this paper, I propose to shed a light on the possibilities of diffracting the folkloric archive, to shift the archival-ruled narratives in the direction of self-representation and empoderamiento for the subjectivities expelled from the archival narratives. Two are the paths proposed: firstly, situated literary retellings, with a focus on Machado’s memoir; and secondly, wild pedagogy and slow scholarship methodologies and practices, enabling the experience of the reader to entangle with and diffract the tales’ narratives.

Te paper reconstructs the genesis of the ‘Centro di iniziativa giuridica Piero Calamandrei’ Foundation, from the initiative of the Radical Party to its progressive autonomy. After outlining the characteristic features of its statutory purposes, the Author highlights the main actions of the Foundation, among which the very recent publication in open access of the ten hard-to-find volumes of Calamandrei’s Opere giuridiche, edited by Mauro Cappelletti, stands out.

This paper highlights the active function of archives. The latter often understood as the sole place of conservation, are instead the starting point for the construction of a language capable of narrating and enhancing not only the content, but also the owner institution. Through some examples, the present paper will highlight how each storytelling activity passes through a well-organized archive capable of becoming language.

Copyright of Santo: Rivista Francescana di Storia Dottrina Arte is the property of Associazione Centro Studi Antoniani and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper seeks to outline the relationship between Geschlecht III and Derrida’s published texts devoted to the mark «Geschlecht» in order to detect the general strategy followed by Jacques Derrida into the construction of his archive during his lifetime. Indeed, we suppose that his archive has to be build in accordance with his deconstructive statements about the classical conception of the archive: a totalizing closure of a textual production able to trace it back to the unity of an ideal identity. In particular, the paper aims to focus on a passage at the end of Jacques Derrida’s Geschlecht III, where the question of the animal in Heidegger comes in the foreground and in a way that is slightly different from what we already know through Derrida’s published Works and could impose a re-reading of its «entire» work.

Padua, 30s. A young Antonio Covi contributed to making the city’s Film Club possible by playing a crucial role as a cinephile militant amongst public debates, filmmaking experiences, and film critics mainly published in local journals. In less than a decade, he obtained his Literature degree with a dissertation on film aesthetic in 1940, attended then film courses at the Centro Sperimentale di Cinematografia, and, finally, he joined the Jesuits Society in August 1945. The Ignatian confreres immediately acknowledge his aptitude for film and arts, enough for obtaining pivotal roles in Jesuit cultural policies over the years. This step from “militancy” toward “institution” allowed him to embrace national perspectives, establishing him as a reference point for Catholics in film knowledge widespread both in the Fifties and Sixties. During these two decades, father Covi published several articles and essays on film criticism and aesthetics, led the Antonianum Cineforum in Padua and film courses throughout Italy, and ran a local film production company. Film criticism as a form of cultural diplomacy and education represents the thread for all these activities. The paper aims to point out Antonio Covi’s contribution to Italy’s film culture from the 1930s to the 1960s. Firstly, by questioning the shift from “militancy” to “institution” and his role as a film critic during those years. Secondly, by underlying his discourses on film knowledge spread over national and local journals, books, public statements, and film courses as well, proposing, therefore, a diagnostic analysis of terms and themes he dealt with.

The paper proposes to approach the issue of literary realism through the prism of archive art, i.e. the artworks that are archives of objects, documents, statements, even other artworks by other artists etc. The preservation of the otherness of an entity, which is subsequently taken up and kept in an archive, is one of the key challenges involved in such projects. The second task of an archival artwork is to construct—in fact add—an encompassing totality that correlates with the authorship and gives significance to the archive-artwork as a whole. The paper scrutinizes possible links between the archival approaches to art production in the 20th and 21st centuries and the practices of realist writing beginning in the 19th century.

The paper will focus on: the origin of the liber iurium in 1215 and its evolution during three centuries; the reconstruction of its original structure; how the manuscript was compiled and who were the scribes; the internal organization and the criteria for the selection of documents. The peculiar history of the Rigestum, in use - even if occasionally - until XVI century, lets us understand the evolution in the meaning and in the consideration of the book. Indeed, as years went by, it played different roles: first it was a mean of communal documents' preservation, then a place to build civical memory and finally a symbol of that very memory, the use of which allowed the connection to an ancient tradition. [ABSTRACT FROM AUTHOR]

In this paper I will use my experience in compiling an online archive of the murals of Northern Ireland 1979-2021 to discuss the benefits and disadvantages of work in the digital humanities. I will argue that such a collection of visual materials from the war and post-war periods in Northern Ireland affords us the opportunity to assess major shifts in stance, policy and practice amongst unionists and loyalists, and nationalists and republicans. But I will also contend that although the archive itself can provide us with a rich set of materials, it cannot in and of itself give us their meaning. That task, I will conclude, depends on a set of traditional skills that long pre-date the digital order of things.

The paper proposes a didactic activity to start reading historical sources suitable for the first classes of primary school. The activity - Track hunting - has a playful and active form, provides a phase of search for the tracks and a subsequent phase of analysis of the tracks as sources of information on the past. The proposal would like to reverse a deductive custom of approach to sources that is prevalent in teaching materials.

Galleria Milano, run by Carla Pellegrini from 1965 to 2019, presented the most relevant facts of international contemporary art to the Italian public, with a marked research attitude, especially between the Sixties and Seventies: the paper aims to retrace this story through its vast Archive.

In the realm of the moving image we can find several examples of a tendency to revisit the past in order to rewrite or reconstruct historical events. Following the ideas of Ariella Azoulay (2019, 2013) about the potential history as a way to imagine other possible histories and the role of the archival materials for the reconstruction of the narratives about the past, this article analyzes the ways in which Yervant Gianikian (1942) and Angela Ricci Lucchi (1942-2018), throughout their works, call into question the hegemonic narratives of history. I will focus in the analysis of their film Barbaric Land (Pays Barbare, France, 2013), in which the directors worked with archival footage from the 1920's and 1930's, related to the Italian colonization of Ethiopia. The text addresses how, by using montage as a theoretical and technological tool, the couple examine critically those documents and narratives to contrast the colonial politics of Mussolini with the shocking reality of the African territory and its inhabitants. Finally, the paper analyzes the manipulation processes of those materials and the ways in which they explore the Fascist ideology that produced the images of the so called “barbaric land” and its “primitive” inhabitants.

In recent decades, and on the basis of what is called the “archival turn”, different theoretical and methodological reflections have been made about the archives, their origins, configurations and uses. On the one hand, other types of archives have begun to receive attention. Thus, outside imperial, state or official repositories, the analysis of family or personal records, as well as that of peasant and indigenous communities, have been brought into focus in studies which intensify the oppositions between the public and the private spheres, orality and writing, paper documents and other types of material media. Taking these contributions as the starting point, and within the framework of our own research studies about indigenous peoples, we set forth from the dilemma we face when reflecting upon the dialogues and tensions generated around the construction of the past, when those who engage in dialogue and dispute are actors with dissimilar experiences, interests and power (indigenous people, academicians, state agents). On the basis of the idea put forth by Fabian about a theory – and praxis of – coevalness, understood as a condition for the existence of a dialogic encounter between people and societies, and accepting this author’s invitation to “share our pasts”, the aim of this article is to provide some methodological notes on the place of the “archive” as a possible point of intersection and dialogues. Therefore, our main objective is to rethink/question the “archive”, considering it, as Stoler does, not only as a site of knowledge retrieval, but essentially as a place of knowledge production.

This paper aims to reconstruct the events that gave life to Tormarancia, one of the most poor working class suburb of Rome in the ’30s. The housing crisis becomes a matter of complex management and a real scourge for the capital after the demolitions due to the new fascist plan, the attempt to relaunch the image of Rome through vast operations of decoration aimed at bringing down abusive settlements and barracks. Thanks to the Capitoline Historical Archives it is possible to reconstruct the stories and the living conditions of the poorest that populated Rome, the profile of each new tenant of the working class suburbs. This represents a real “archive treasure”, rich in precious information for a socio-anthropological survey of the first inhabitants of the Roman working class suburbs.

Through the gaze of the Angolan artist Délio Jasse I will try to deepen the relationship that links memory, identity and image by proposing a critical reflection to rethink the colonial past consisting of fragments, memories and the repressed that build his artistic production. Jasse's investigation emerges out from documents, traces and debris and he creates new narratives; the artist is interested in bringing out individual, collective, personal and anonymous stories and memories; his art is characterized by focusing on hybrid identities, bodies, space and mobility. I will examine in what terms his photographic work weaves identity, private and collective memory, post-memory and how his artistic practices, by inventing new languages and manipulating the tracks, are a continuous questioning of the unarchivability. [ABSTRACT FROM AUTHOR]

Digital Thoreau is a web resource comprising three digital projects related to the work of Henry David Thoreau created at SUNY Geneseo. The first of these is a fluid text edition of Thoreau’s most famous work Walden. This allows multiple versions of the text to be represented simultaneously in a dynamic environment, which can be a valuable resource to Thoreau scholars, particularly for those interested in researching the genetic aspect of the text. In the second project a very innovative and engaging social reading platform has been created in order to facilitate community and student driven annotation of both Walden and his 1849 essay Resistance to Civil Government. The third project is a student created digital archive of the papers of Thoreau scholar Walter Harding, which is primarily a pedagogical exercise in digital humanities for the students of SUNY Geneseo. Digital Thoreau as a whole is a multi-faceted web resource that offers interesting new opportunities for scholarly research as well as for teaching and public engagement with Thoreau’s influential works.

Paper examines the specificity of new types of historical sources (Web sites, collections of digitized documents, emails, blogs, databases, etc.) that today represent a great challenge for archival and historical sciences, and pays particular attention to electronic resources in the strict sense, understood as documents existing only in electronic form. The importance and the methods of archiving this material are taken into account through the example of Internet Archive which is – with its WaybackMachine software platform ad about 150 billion web pages archived – the world’s largest electronic archive.