Università degli studi di Modena e Reggio Emilia

Think about when you experience a place in a transient way (for example as a commuter or an out-of-town student). When you don’t actually inhabit a place, you’re often uninterested in its future. This happens especially when a place is just a stopover or has a bad reputation in the urban fabric. In short, when that place is not “home.” Still, it is important to care for places, particularly when they have issues. It is essential to know their story and explore their possible futures, see ordinary things with new eyes, and better understand the social, economic, and political issues within these neighborhoods. Moreover, it is important to do something, participate, and feel that the future of these places is also in your hands. We can explore them beyond simply passing through and start living a more participatory life in unfamiliar urban environments. We can build up a sort of “pedestrian enunciation,” an art of doing that addresses and gives new meanings to residual spaces when crossing them, sometimes even against the established logic of the city. Moreover, this approach can also be extended to people who actually reside in these locations, to stimulate a deeper and more conscious involvement in the future of places in their hometown.

Aim: to raise awareness about the indifference to the future of places, particularly if they are passageways or have a bad reputation. The effort involves a “pedestrian enunciation,” an art of giving new meanings to residual spaces while crossing them, sometimes against the established logic of the city.

L'articolo indaga i meccanismi neurocognitivi alla base della suspense sia in ambito letterario che filmico.

The paper analyzes the emergence of an emotional immersion pattern in the works of authors of the contemporary bestselling such as Nobel prize winner Orhan Pamuk, in particular the novel The Museum of Innocence, the Hunger Games saga by Suzanne Collins and the Carlos Ruiz Zafón’s Tetralogy, El cementerio de los libros olvidados.

Recenti test sul potenziale socio-cognitivo e il valore edonico di testi letterari che utilizzano elementi magici rivelano come la controfattualità costituisca una ‘palestra mentale’ per i lettori: essi apprendono a elaborare spiegazioni causali complesse e incrementano i fattori coinvolti nel costituirsi della coesione sociale, sia nel caso di lettori young adult sia nel caso di lettori adulti. Lo psicologo Eugene Subbotsky ha dimostrato che la magia ci rende più sensibili alle operazioni di Teoria della Mente e socialmente empatici, mentre un gruppo di narratologi ha di recente misu- rato i tempi di riassorbimento della dissonanza cognitiva prodotta dall’elemento magico: ciò rie- sce fra l’altro a spiegare il grande successo di Harry Potter e della saga di Twilight.