TRADUIRE HORS LIGNES
Traduction, art, media, transmedia. Traduzione, arte, media e transmedia
Convegno internazionale – 23/24 febbraio 2017
Campus de Nanterre Université – 200 Avenue de la République, 92000 Nanterre
Il convegno Traduire hors ligne. Traduction, art, média, transmedia è il secondo appuntamento di un progetto di ricerca sulle « Voci della traduction » promosso dal DIT (Dipartimento di Interpretazione e Traduzione) dell’Università di Bologna, Campus di Forlì, e dal CRIX (Centre des Recherches italiennes, EA 369), Université Paris Ouest Nanterre La Défénse.
La guerra in Siria e la nascita dell’ISIS raccontate attraverso l’epica della gente comune in un intreccio di geopolitica e storytelling.
This article tests a comparative and trans-disciplinary methodology I am developing for a research project titled ‘Un-Walling the Mediterranean Sea. New Southern performances: towards a no-border wall poetics and politics of togetherness’. The article investigates ways to develop and make visible MediterrAtlantic theories and performances inspired by grass-roots activism and artivism in order to disrupt Eurocentric geopolitical cartography. To this end, I will make reference to many (de)signs disseminated by trans-Mediterranean intellectuals, activists, artists, migrants and refugees along the Mediterranean routes and walls, as a way to shape both an Asian-African-European Mediterranean consciousness and a new TransMediterrAtlantic one. Finally, I will use as a case study Io sto con la Sposa, a docufiction on the experience of asylum seeking in Europe, by Antonio
Augugliaro, Gabriele del Grande and Khaled Soliman (2014)
This article begins by reflecting on how the geopolitical configuration outlined in Edward Said’s Culture and imperialism (1993) has been radically altered both by the decline of the US empire and, in conjunction with it, by what Jean and John Comaroff describe, in the subtitle of Theory from the south (2012), as Euro-America’s evolution toward Africa. From there, the article turns to Viva Riva! (2010) and District 9 (2009), two films that appropriate the conventions of Hollywood blockbusters to produce cinematic narratives set in contemporary
African urban landscapes which lend themselves to be viewed through the lens of recent theoretical debates on the becoming global of the south. These films’ gazes produce an image of African cities that is legible as a dystopic vision of the global future.
Starting from a geo-political, geo-critical and intermedial reflection on the proliferation of walls and its effects on resident and migrant populations, the essay articulates the proposal of a dialogue shaped by the African American pattern of call-and-response which, by jamming Eurocentric theories / analysis and post-colonial, diasporic, creolized practices/theories/aesthetics, could hopefully contribute to a change in the public sphere of cultures touched by the so-called Middle Passage. The dialogue, inspired also by ARTivist thinking and poetics, should be able to envisage a transcultural MediterrAtlantic methodology opening up transcultural no-border wall horizons counter-acting neocolonial, anti-migratory drives.
Brief case study: the genealogical un-walled geo-corpo-graphies narrated by the African Caribbean Canadian writer Dionne Brand.