La dignità della memoria

This paper examines the narrative structure of Mariana Otero’s film, which focuses on her mother, Clotilde Vautier, who died in 1968. Otero was only 4 years old and has no recollection of this tragedy or of her mother. Therefore, she relies on the testimonies of relatives and friends to reconstruct the jigsaw. As an investigative journey, the film stages a literal movement back to the places of Mariana’s childhood and a metaphoric return to the past. In this sense, its narrative structure bears interesting similarities with that of the detective story, and gives a prominent place to Clotilde’s paintings, whose examination partakes of a similar search for traces. Just as the structure of investigation simultaneously looks back into the past and moves forward into the resolution of the crime, the film draws a simultaneous movement back into the past and forward into the narrative and therapeutic process of mourning.

Caietele Echinox

The parallel reflection on the relationship between truth and writing in the fields of philosophy and literature has contributed to the development of discursive practices aimed at anchoring reconstructed events in reality. Through an example of testimonial writing and two examples of family memoirs, we show the importance of the name in reducing the degree of fiction and saving chapters of individual, family and collective history from oblivion.

The Italianist, 17:1, pp. 99-116, 1997

Janus, 2001

Cinéma & Cie. Film and Media Studies Journal, 2021

Guilt: A Force of Cultural Transformation, edited by Matthias Buschmeier, Katharina von Kellenbach, 205–222. New York: Oxford University Press, 2022

Peter Weiss controversial play 'The Investigation' [Die Ermittlung] (1965) can be understood as an attempt that aimed to bring “the question of German guilt”, as one could say in reference to Karl Jaspers, to the center of public discourse and to make it an important task for society. As such, collective guilt in Weiss’s play demanded a wide-ranging social and political rethinking and reexamining of guilt and complicity that in the 1960s caused heated and controversial debates. Yet, the differentiated, self-referential, dynamic, and politically provocative depiction of guilt, as Weiss’s play unfolded it, has lost none of its fascination to this day and is being taken up again by film and theater, especially in dealing with current war crimes and genocides. https://global.oup.com/academic/product/guilt-9780197557440?facet_narrowbytype_facet=Academic%20Research&view=Standard&facet_narrowbybinding_facet=Hardcover&lang=en&cc=us#

Theatre/Performance Historiography, 2015

Culture and Value: Philosophy and the Cultural SciencesPapers of the 18th International Wittgenstein Symposium, eds. Kjell S. Johannessen and Tore Nordenstam. pp. 789-795., 1995

The copy-edited typescripts that were used in the publication of the Philosophical Investigations are not included in the Wittgenstein papers. However, there are two typescripts of Part I. The paper clarifies the relationship between the two copies of typescript 227 and the published text of the Investigations, explains how the second typescript casts light on Wittgenstein's role in the production of the published book, and considers the prospects for a critical edition and new translation of the Investigations.

An ethnography of two sites of public memory (via Rasella and Fosse Ardeatine); the study focuses its attention on moments of public commemoration in these sites and how they affected the memory of the attack and Ardeatine's massacre and more in general the historical reasons of italians' difficulty to reconciliate with their fascist legacy