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Nowadays, there are not comprehensive studies on the idioms used by Pier Paolo Pasolini in his vast literary and non-fiction production. There is only one essay, although rich in data and starting points, on a proverb cited in an article published in the weekly «Il mondo» in 1975 (Rondinelli 2017). This paper, therefore, essentially has three objectives: 1) to trace the idioms used by the Emilian writer, also referring to other interesting phraseology for the purposes of the research; 2) to provide information on the identified idioms, retracing the most significant elements of their history; 3) to identify the clues that explain their use in Pasolini. [ABSTRACT FROM AUTHOR]

Fifty years after its first edition, "Forme estetiche e società di massa" by Alberto Abruzzese remains a book to be read as a precious testimony of the crucial transition from a sociology of social subjects, in their political and economic relationships, to a sociology of the imaginary, in its contemporary communicative and relational declinations. Furthermore, is equally important and fruitful a rereading aimed at identifying further suggestions and orientations regarding the dialectic between hyperrealism and virtuality, in the cultural horizon of the digital revolution and today's mediamorphoses of values. The objective of this contribution lies precisely in the proposal of a philosophically and semiotically oriented rereading of some important chapters of the book in question, dedicated to the code switching involved in the procedures of monumentalisation. These are traditional procedures of decontextualization and spatiotemporal delocalization, which found an innovative and emphatic development especially in the context of the great nineteenth-century Exhibitions, but which still appear capable of highlighting, from an aesthetic and ethical point of view, some crucial phenomena of postmodernity: charismatic powers and political correctness, the fetishism of identity claims and the fickleness of media consumption. [ABSTRACT FROM AUTHOR]

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego 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 new non-fiction picturebook for children is conceived not just as an informational book, but first and foremost as a beautiful object, characterized by a largely visual and proudly creative approach to knowledge. By blending information and artistic illustration/design, transmission of data and sophisticated aesthetic experimentation, this medium seems to bring successfully together the rational/explicit and the aesthetic/intuitive way of attending to the world, with promising consequences for the development of an integrated learning experience. Applying the findings of cognitive sciences to the analysis of non-fiction picturebooks can be enlightening to understand the full potential of such books in sharing knowledge with children. Their intrinsic multimodality and ability to stimulate different parts of the reader’s brain makes them valuable in any educational context revolving around the paradigm of complexity and having connection (as opposed to disjunction) of different levels of experience as its aim.

Copyright of Education Sciences & Society is the property of FrancoAngeli srl 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 L'Ospite Ingrato is the property of Quodlibet S.r.l. 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 L'Ospite Ingrato is the property of Quodlibet S.r.l. 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 Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek 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 Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek 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.)

Vasilij Subbotin's We Stormed the Reichstag is a typical specimen of the wave of non-fiction prose about World War ii which sprang up in the wake of the 20th Congress. The search for the unjustly forgotten war hero, one of the major themes of this kind of literature, is represented here by the story of Pëtr Pjatnickij, a soldier who fell on the steps of the Reichstag entrance with a red flag in his hand and was then forgotten. If, hypothetically, this story was false, it would echo the (probably false) story of the 28 'panfilovcy' who purportedly fell at Dubosekovo during the battle for Moscow. In that case, Subbotin's text would embody a characteristically literary device: giving a name to an anonymous character, the anonymous figure, for example, carrying the flag in Vladimir Bogatkin's well-known painting, as a way to give life and credibility to the image. The Dubosekovo story, as developed by journalist Aleksandr Krivickij, appears to employ the same mechanism for achieving credibility. In this case the operation was twofold: Krivickij gave his heroes first a number, and only later names. The second move was the most hazardous. A story that pretends to be true must be verifiable in real life; this is where Krivickij failed and where Subbotin may have succeeded. Stalinist culture fundamentally refused to separate fact from fiction. The non-fiction literature from the Thaw is exactly the opposite: an attempt at reinstating the separation. [ABSTRACT FROM AUTHOR]