Sustainable futuring. Learning and unlearning the past A critical discourse study of ‘fashion sustainability’-related discursive formations in Vogue Italia (1965-2021)

Recent scholarly works on the relationship between ‘fashion’ and ‘sustainability’ have identified a need for a systemic transition towards fashion media ‘for sustaianbility’. Nevertheless, the academic research on the topic is still limited and rather circumscribed to the analysis of marketing practices, while only recently some more systemic and critical analyses of the symbolic production of sustainability through fashion media have been undertaken. Responding to this need for an in-depth investigation of ‘sustainability’-related media production, my research focuses on the ‘fashion sustainability’-related discursive formations in the context of one of the most influential fashion magazines today – Vogue Italia. In order to investigate the ways in which the ‘sustainability’ discourse was formed and has evolved, the study considered the entire Vogue Italia archive from 1965 to 2021. The data collection was carried out in two phases, and the individualised relevant discursive units were then in-depth and critically analysed to allow for a grounded assessment of the media giant’s position. The Discourse-Historical Approach provided a methodological base for the analysis, which took into consideration the various levels of context: the immediate textual and intertextual, but also the broader socio-cultural context of the predominant, over-production oriented and capital-led fashion system. The findings led to a delineation of the evolution of the ‘fashion sustainability’ discourse, unveiling how despite Vogue Italia’s auto-determination as attentive to ‘sustainability’-related topics, the magazine is systemically employing discursive strategies which significantly mitigate the meaning of the ‘sustainable commitment’ and thus the meaning of ‘fashion sustainability’.

Myanmar higher education in transition: the interplay between state authority, student politics and international actors.

The Myanmar “period of transition” (2011-2021) has often been described as a puzzle. Various scholars have begun to engage with the Myanmar context in an effort to grasp the essence of the transition it underwent during President Thein Sein’s USPD and Aung San Suu Kyi’s NLD governments. My work focuses on a specific policy sector, higher education, with a view to contributing to this scholarly debate regarding what was actually happening inside this complex country “transition”, especially in terms of collective participation in the process of political and social change. Reviewing existing scholarly literature on the politics of higher education, my study employs a triangle of analysis in which higher education reform is framed as the interplay of action on the part of “state authority”, “student politics” and “international actors”. What does this interplay lens reveal if we consider Myanmar’s “period of transition”? I argue that it shows the ambiguity and contradiction of tangible pushes for progressive social change that coexisted with authoritarian currents and the reinforcement of the societal position of dominant elites. At the policy level, ultimately, a convergence of interests between international actors and state authority served as the force driving the new higher education reform towards a neo-liberal model of governance and autonomy. This work unpacks the higher education reform process thanks to qualitative data gathered through extensive participant observation, in-depth interviewing and critical discourse analysis, shedding light on the rich narratives of those involved in the politics of higher education in Myanmar.

Institutional Processes and Discursive Strategies: Rhetoric and Vocabulary Analysis of CSR and Sustainability

The candidate tackled an important issue in contemporary management: the role of CSR and Sustainability. The research proposal focused on a longitudinal and inductive research, directed to specify the evolution of CSR and contribute to the new institutional theory, in particular institutional work framework, and to the relation between institutions and discourse analysis. The documental analysis covers all the evolution of CSR, focusing also on a number of important networks and associations. Some of the methodologies employed in the thesis have been employed as a consequence of data analysis, in a truly inductive research process. The thesis is composed by two section. The first section mainly describes the research process and the analyses results. The candidates employed several research methods: a longitudinal content analysis of documents, a vocabulary research with statistical metrics as cluster analysis and factor analysis, a rhetorical analysis of justifications. The second section puts in relation the analysis results with theoretical frameworks and contributions. The candidate confronted with several frameworks: Actor-Network-Theory, Institutional work and Boundary Work, Institutional Logic. Chapters are focused on different issues: a historical reconstruction of CSR; a reflection about symbolic adoption of recurrent labels; two case studies of Italian networks, in order to confront institutional and boundary works; a theoretical model of institutional change based on contradiction and institutional complexity; the application of the model to CSR and Sustainability, proposing Sustainability as a possible institutional logic.

"All'opera ha fatto seguito il ballo": Danza e stampa nell'Italia fascista

Basata sul reperimento di un’ampia mole di testi giornalistici (come cronache, interviste, elzeviri e articoli di “Terza”) dedicati alle pratiche coreiche e pubblicati in Italia nel corso del ventennio fascista, la tesi ricostruisce i lineamenti di quello che, seppure ancora embrionale e certo non specialistico, si può comunque ritenere una sorta di “pensiero italiano” sulla danza del Primo Novecento. A partire dalla ricognizione sistematica di numerose testate quotidiane e periodiche e, pertanto, dalla costruzione di un nutrito corpus di fonti primarie, si è proceduto all’analisi dei testi reperiti attraverso un approccio metodologico che, fondamentalmente storiografico, accoglie tuttavia alcuni rudimenti interpretativi elaborati in ambito semiotico (con particolare riferimento alle teorizzazioni di Jurij Lotman e Umberto Eco), il tutto al fine di cogliere, pur nell’estrema varietà formale e contenutistica offerta dal materiale documentario, alcune dinamiche culturali di fondo attraverso le quali disegnare, da un lato, il panorama delle tipologie di danza effettivamente praticate sulle scene italiane del Ventennio,e, dall’altro, quello dell’insieme di pensieri, opinioni e gusti orbitanti attorno ad esse Ne è scaturita una trattazione fondamentalmente tripartita in cui, dopo la messa in campo delle questioni metodologiche, si passa dapprima attraverso l’indagine dei tre principali generi di danza che, nella stampa del periodo fascista, si ritenevano caratteristici della scena coreica internazionale – qui definiti nei termini di “ballo teatrale”, “ballo russo” e “danze libere” – e, successivamente, si presenta un approfondimento su tre singolari figure di intellettuali che, ognuno con un’attitudine estremamente personale, hanno dedicato alla danza un’attenzione speciale: Anton Giulio Bragaglia, Paolo Fabbri e Marco Ramperti. Un’ampia antologia critica completa il lavoro ripercorrendone gli snodi principali.