Paper -a:
Lavorando sia come psichiatra psicoterapeuta di radici junghiane sia come una ricercatrice indipendente in materie mitiche e medioevali ho goduto dell'opportunità di mescolare entrambi i miei interessi nel lavoro simbolico quotidiano ed, in particolare, sull'approfondire il pensiero archetipico di tipo medievale quando essere si manifesta attivo con o senza stimolo. In questo presentazione esplorerò in particolare il senso della liminalità e dei confini come sono stati percepiti in base alla presenza della sentenza 'hic sunt leones/dracones' quando venivano indicati territori sconosciuti sulle mappe dell'epoca e quando questo senso è applicabile nella nostra vita 'moderna.' Fornirò anche un breve lavoro clinico al riguardo, non solo di ambito psichiatrico (lavoro dei sogni e lavoro simbolico).
English Abstract:
Working both as a psychiatrist psychoterapeut of Jungian roots and as an indipendent scholar in medieval subjects I've met the opportunity to mix both of my interests into the daily symbolic work and in particular when medieval-like mentalities become active with/without stimulus. In this particolar paper I will explore the sense of liminality and borders as they was perceived according on the 'hic sunt leones/dracones' when denoting unknown territories on maps and both when this sense is applicable in our everyday life giving a modern twist. I will also provide a brief clinical work about it, not only specifically psychiatric (dream-work and symbolic work).
Paper -b:
This paper deals with the illustrated ship metaphor- 'navicella del mio ingegno' - at the beginning of Purgatory in Dante Alighieri's Commedia. The question of how the metaphor is visually interpreted by illuminators in the 14th and 15th centuries will be traced back to ancient literary topoi on ship navigation employed by Ovid or Vergil, as well as compared to contemporary commentary. Four types of illustration shall be distinguished: (i) Author portrait, (ii) Dialogue, (iii) Dante sailing and (iv) Ship as symbol. The semantic layers/levels of these depictions fully unfold when examining their placement at the border between Inferno and Purgatory.
Paper -c:
The Romans and the Sassanids, after prolonged conflicts, divided the Armenia into two parts in 387. Although both Roman and Armenian sources provide information about this division, it has never been clear how the new boundary is drawn and does it actually exist or not. Moreover, the strong influence of the feudal structure in Armenia deepens the question on the extent to which a feasible border is possible. This study aims to discuss whether the boundary established in 387 is authentic or psychological.
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