Although it might seem unusual to pair the work of a figurative painter like dos Prazeres with that of Oiticica, an artist who not only never produced representational art, but even declared the death of traditional painting and dedicated his career to transposing the medium into space and time, in fact the culture of malandragem brings the two oeuvres together. In this paper I analyze the work of an Afro-Brazilian artist from a previous generation, Heitor dos Prazeres, whose work was labeled “naïf” and “primitive” and, thus, ostracized from the history of modern art. I interpret malandragem as a legacy of the resistance enacted by enslaved Africans and their descendants against colonialism, slavery, and oppression. Nevertheless, his oeuvre has not been explored with sufficient attention through the lens of malandragem, the use of tricks to outwit people in positions of power and restore a temporary sense of justice. As they look at Italian exclusionary spaces, they also rewrite them into a present whose transitiveness allows to imagine a process of citizenship and belong constructed from below.The importance of Hélio Oiticica’s ascension to the Morro of Mangueira to his career has been extensively studied and mythicized, and the indebtedness of his work to Afro-Brazilian culture has recently started receiving attention. Their recuperative acts of writing, constitute powerful models of changes in/on place. Migrants writers seem to employ both positive and negative affects in defining the past, present, and future of the spaces they inhabit. We are trained to tear the text apart, dig into it, and uncover the anxieties that define our age. Eve Sedgwick wrote about our (now) traditional way of reading based on unveiling and on, mainly, negative affect. It argues that the narrative authored by migrants, refugees, second generation women, and one “native Italian” perform a reparative reading of Italian spaces in order to. At the core of the book is literature as written by migrants, members of a “second generation,” and a filmmaker who defines himself as native.
This book is about migrants’ lives in urban space, in particular Rome and Milan.
One example is about the relationship between the fascist architecture in the city of Rome and the 1930s fascist political project of shaping a ‘New Man’ another is my understanding of the post-traumatic suffering and changes of my refugee patients who have survived torture, which is a trauma inflicted by a collective and third, it is an hypothesis of the role which the Western Wall in Jerusalem had in reshaping Israeli identities on the backdrop of traumatic history and wider tensions of two peoples on that disputed territory.
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Three examples show how the psychic skin operates at the point of intersection between the individual and group states of mind reshaping the individual self and group identity. rearrangement of the psychic skin as a means of development. The deepest transformations of the individual self and a group’s political and social life seem to go through a. This relationship, it is argued, is mediated by the skin and sensations related to touch and the imagination of it. This article attempts to develop an argument about a relationship between the individual intra-psychic functioning and the social and political life in trauma. Even though they belonged to different times and recounted different stories, these immigrant women touch similar themes. Evans and Bottiglieri were war wives, married to American soldiers. The majority of the women-Giuseppina Liarda Macaluso, Leonilde Frieri Ruberto, Elvezia Marcucci, Elisabeth Evans, and Maria Bottiglieri-belonged to the wave of U.S. Anna Yona and Amalia Santacaterina were wives of political refugees, a Jew and a Socialist, who emigrated during Fascism.
Pieracci, belong to the earlier type of peasant immigrants. Only two of them, Rosa Cavalleri and Bruna. The sample of these women seems to follow that pattern. In the early years, there were fewer female than male immigrants, although the proportion increased steadily over the century, comprising a third of the total immigrants in the 1830s but more than half of the total after the 1930s. It is rare to find women's voices among immigrant autobiographies.
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