Monografica I – Grammatiche sociali della sofferenza (a cura di Pablo López Álvarez e Valentina Santoro)
Pablo López Álvarez e Valentina Santoro, Itinerari critici sulla sofferenza sociale
1. Teoretica: Trauma, violenza, conflitto.
Marco Costantini, Repression and Recollection of Animality in Adorno’s Dialectic
Clara Ramas San Miguel, Antigone: Suffering and Origin
Gabriella Baptist, Refuser la violence et la domination: Catherine Malabou et les traumatismes contemporains
2. Epistemologica: Pensare la sofferenza.
Martine de Gaudemar, L’appel de la douleur: Veena Das de l’anthropologie vers la philosophie
Alfredo Sanchez Santiago, Speaking for Others: Intellectuals, Social Suffering and the Capture of Speech After May ’68
Audrey Higelin-Cruz, Exprimer la souffrance de l’absence: enjeux réflexifs d’une enquête sur la vie intime et sexuelle des compagnes de détenus réalisée en période de pandémie
Edoardo Fabbri, Arquitectura como aporía. Por una superación mágica del impasse
Agathe Meridjen-Manoukian, Searching for archives of “social suffering”? Political life of public archives and administrative realities in interactions (France, psychiatric archives, 17th-21th centuries)
3. Sociale: Corporeità, lavoro, neoliberismo.
Simona Tersigni, Des yeux rouges aux souffrances sociales. Marques contemporaines et recomposition de l’intolérable dans les mobilités enfantines contraintes au XIXe siècle
Pablo López Álvarez, Preservación como autodestrucción. Actualidad de una perspectiva crítica a partir del cuerpo y el trabajo
Sergio Vega Jiménez, Understanding suffering: The psychic and the social in the experience of work
Valentina Santoro, Souffrance et reconnaissance dans la psychodynamique du travail: fondements et nouvelles perspectives
Ana Uhía Pérez, Una libertad para el daño: sufrimiento social y resentimiento en tiempos de neoliberalismo autoritario
Monografica II – La théorie de la reconnaissance à l’épreuve des féminismes : enjeux conceptuels et approches historiques (sous la direction de Emma Barettoni, Valentina Santoro et Jean-Baptiste Vuillerod)
Emma Barettoni, Valentina Santoro et Jean-Baptiste Vuillerod, « Se faire reconnaître » : les luttes féministes sont-elles des luttes de reconnaissance ?
1. Généalogies
Jean-Baptiste Vuillerod, La reconnaissance des sexes dans la philosophie de Hegel
Carlotta Cossutta, La posta in gioco del riconoscimento: genealogie femministe
2. Domination/Émancipation
Anne-Lise Rey, Olympe de Gouges : l’égalité en commun
Aurélie Knüfer, (Re)connaissance et rassemblement des femmes selon Anna Wheeler et Concordia
Paula Lorelle, La non-reconnaissance chez Beauvoir : la conscience et le corps pour autrui
3. Confrontations/Hybridations
Viola Carofalo, Filosofia dell’azione, astrazione ed esperienza in de Beauvoir e Fraser: femminismi materialisti a confronto
Katia Genel, Les théories de la reproduction sociale au prisme de la reconnaissance. Reconnaître ou critiquer le travail reproductif ?
Emmanuel Renault, Injustice épistémique et reconnaissance
Varia
Giuseppe Longo, Il male della banalità
Andrea Moresco, Ad uso pratico: la funzione dell’exemplar nell’Etica di Spinoza
Recensioni e segnalazioni
Marco Maimone, Recensione a Jérôme Ferrand – Philosophie de la matière et philosophèmes matérialistes, Classiques Garnier, 2025
Simone Mentessi, Recensione a Giovanni Paoletti – Passioni del tempo. Origine della religione e utilità della storia da Hobbes a Hume, Carocci 2023
Roberto Finelli, Discussione a partire da Iside Gjergji (Il volto acustico della voce. Radio, pubblico e serialità in Herta Herzog, Meltemi, 2023) e Hilde Weiss (L’“inchiesta operaia” di Karl Marx, a cura di I. Gjergji, Kurumuny, 2023)
– Didascalie delle immagini –
Grammatiche sociali della sofferenza, Monografica I
Introduzione
Dettaglio di Charlotte Salomon, Leben? oder Theater? Ein Singespiel (1940-42), Joods Museum
Marco Costantini
Chaïm Soutine, Le Bœuf écorché (1925), Museo di Grenoble (foto di: Jérôme Villafruela, Public domain, via Wikimedia Commons)
Clara Ramas San Miguel
Emil Teschendorff, Antigone und Ismene
(fonte: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library (1892), https://digitalcollections.nypl.org/items/20102660-c5be-012f-a1b7-58d385a7bc34)
Gabriella Baptist
Général Toussaint Louverture (1743-1803)
(fonte: Schomburg Center for Research in Black Culture, Photographs and Prints Division, The New York Public Library (1957), https://digitalcollections.nypl.org/items/5b5088a0-c60a-012f-af41-58d385a7bc34)
Martine de Gaudemar
Copertine di Life and Word (2007, Berkeley-Los Angeles-Londres: University of California Press) e Voix de l’ordinnaire (2021, Losanna: A contrario Campus)
Alfredo Sánchez Santiago
Foucault e Sartre manifestano davanti all’ingresso della fabbrica Renault per protestare contro l’omicidio di Pierre Overney, 1972 (foto di Alain Rollard, Agence VU’)
Audrey Higelin-Cruz
Audrey Higelin-Cruz, Vue aérienne du centre pénitentiaire pour femmes de Rennes, 2017
Edoardo Fabbri
Edoardo Fabbri, Architettura come aporia, fotomontaggio, 2025
Agathe Meridjen-Manoukian
Estratti dal fondo della Maison de Charenton presso gli Archives départementales du Val-de-Marne (anni 1810-1920): diverse procedure amministrative (tecniche di redazione seriale o meno, esempio di classificazione) su supporti con standard diversi (dimensioni, materiale, stampe, ecc.)
Simona Tersigni
Certificato di un medico di Choisy Le Roy (Choisy, 1898), archivio storico del comune di Alvito
Pablo López Álvarez
Alexandr Rodchenko, Dance, an objectless composition [Танец. Беспредметная композиция] (1915). Public domain. MAMM – Multimedia Art Museum Moscow
Sergio Vega Jiménez
Raqs Media Collective, A Day in the Life of Kiribati (part of With an Untimely Calendar)
Valentina Santoro
Archibald Standish Hartrick, À l’usine de munitions – travail dangereux (emballage du T.N.T), 1er quart du XXe siècle, Petit Palais, musée des Beaux-arts de la Ville de Paris, CC0 Paris Musées / Musée des Beaux-Arts de la Ville de Paris
Ana Uhía Pérez
Archivio pers“Consecutio rerum”, n° 2, 2025, Monografica II
La théorie de la reconnaissance à l’épreuve des féminismes : enjeux conceptuels et approches historiques
– Didascalie delle immagini –
Introduzione
Ruchika Wason Singh
A Map of Un-belonging,
Oil on Canvas,
137.16 cms x 152.4 cms, 2023
Jean-Baptiste Vuillerod
Ruchika Wason Singh
A Map of Un-belonging (detail)
Oil on Canvas
Carlotta Cossutta
Kiki Smith, “Sky”, via Wikipedia Commons
Anne-Lise Rey
Olympe de Gouges remettant sa Déclaration des droits de la femme et de la citoyenne à Marie-Antoinette, estampe éditée en 1790, C.-L. Desrais (illustrateur) et Frussotte (graveur), Bibliothèque nationale de France, département Estampes et Photographie/Gallica
Aurélie Knüfer
Anna Wheeler, di Maxim Gauci, stampato da Charles Joseph Hullmandel, da una litografia di J. Porter, pubblicato nel 1825(?), National Portrait Gallery, Londra
(fonte: https://www.npg.org.uk/collections/search/portrait/mw63688)
Paula Lorelle
Simone de Beauvoir drawing
(Autore: aeneastudio, CC BY 2.0, via Wikimedia Commons)
Viola Carofalo
Ruchika Wason Singh,
Relics in the Garden-II,
Oil on Canvas,
137.16 cms x 152.4 cms, 2023
Katia Genel
“Notice to All Governments” a flyer released by the New York Wages for Housework Committee in 1974. Collection of Silvia Federici copyright Creative Commons, reproduced by Arlen Austin, from the book Silvia Federici and Arlen Austin eds. The New York Wages for Housework Committee 1972-1977: History, Theory and Documents (Brooklyn: Autonomedia, 2019).
Emmanuel Renault
Ruchika Wason Singh
Relics in the Garden-III,
Oil on Canvas,
137.16 cms x 152.4 cms, 2023
*We wish to express our sincere gratitude to Ruchika Wason Singh for her kind permission to reproduce some of her artworks in this issue of the journal.
Ruchika Wason Singh is a visual artist, art educator, and independent researcher based in Delhi, India. She received her B.F.A. in Painting in 1997 and her M.F.A. in Painting in 1999 from the College of Art, New Delhi, and was awarded a Ph.D. by the University of Delhi in 2008, supported by the UGC Junior Research Fellowship (2001–2006). In 2016, she founded A.M.M.A.A. – The Archive for Mapping Mother Artists in Asia, a project dedicated to the documentation, visibility, and mobility of mother-artists of Asian origin through workshops, archival initiatives, and artist residency programmes. She has been actively engaged in artistic practice and exhibitions since 1999.
Website: https://www.ruchikawasonsingh.com/onale