Percorsi di gender performance: fotografia tra arte e moda dagli anni Novanta ad oggi

My project explores and compares different forms of gender performance in contemporary art and visual culture according to a perspective centered on photography. Thanks to its attesting power this medium can work as a ready-made. In fact during the 20th century it played a key role in the cultural emancipation of the body which (using a Michel Foucault’s expression) has now become «the zero point of the world». Through performance the body proves to be a living material of expression and communication while photography ensures the recording of any ephemeral event that happens in time and space. My questioning approach considers the gender constructed imagery from the 1990s to the present in order to investigate how photography’s strong aura of realism promotes and allows fantasies of transformation. The contemporary fascination with gender (especially for art and fashion) represents a crucial issue in the global context of postmodernity and is manifested in a variety of visual media, from photography to video and film. Moreover the internet along with its digital transmission of images has deeply affected our world (from culture to everyday life) leading to a postmodern preference for performativity over the more traditional and linear forms of narrativity. As a consequence individual borders get redefined by the skin itself which (dissected through instant vision) turns into a ductile material of mutation and hybridation in the service of identity. My critical assumptions are taken from the most relevant changes occurred in philosophy during the last two decades as a result of the contributions by Jacques Lacan, Michel Foucault, Jacques Derrida, Gilles Deleuze who developed a cross-disciplinary and comparative approach to interpret the crisis of modernity. They have profoundly influenced feminist studies so that the category of gender has been reassessed in contrast with sex (as a biological connotation) and in relation to history, culture, society. The ideal starting point of my research is the year 1990. I chose it as the approximate historical moment when the intersection of race, class and gender were placed at the forefront of international artistic production concerned with identity, diversity and globalization. Such issues had been explored throughout the 1970s but it was only from the mid-1980s onward that they began to be articulated more consistently. Published in 1990, the book "Gender trouble: feminism and the subversion of identity" by Judith Butler marked an important breakthrough by linking gender to performance as well as investigating the intricate connections between theory and practice, embodiment and representation. It inspired subsequent research in a variety of disciplines, art history included. In the same year Teresa de Lauretis launched the definition of queer theory to challenge the academic perspective in gay and lesbian studies. In the meantime the rise of Third Wave Feminism in the US introduced a racially and sexually inclusive vision over the global situation in order to reflect on subjectivity, new technologies and popular culture in connection with gender representation. These conceptual tools have enabled prolific readings of contemporary cultural production whether fine arts or mass media. After discussing the appropriate framework of my project and taking into account the postmodern globalization of the visual, I have turned to photography to map gender representation both in art and in fashion. Therefore I have been creating an archive of images around specific topics. I decided to include fashion photography because in the 1990s this genre moved away from the paradigm of an idealized and classical beauty toward a new vernacular allied with lifestyles, art practices, pop and youth culture; as one might expect the dominant narrative modes in fashion photography are now mainly influenced by cinema and snapshot. These strategies originate story lines and interrupted narratives using models’ performance to convey a particular imagery where identity issues emerge as an essential part of fashion spectacle. Focusing on the intersections of gender identities with socially and culturally produced identities, my approach intends to underline how the fashion world has turned to current trends in art photography and in some case turned to the artists themselves. The growing fluidity of the categories that distinguish art from fashion photography represents a particularly fruitful moment of visual exchange. Varying over time the dialogue between these two fields has always been vital; nowadays it can be studied as a result of this close relationship between contemporary art world and consumer culture. Due to the saturation of postmodern imagery the feedback between art and fashion has become much more immediate and then increasingly significant for anyone who wants to investigate the construction of gender identity through performance. In addition to that a lot of magazines founded in the 1990s bridged the worlds of art and fashion because some of their designers and even editors were art-school graduates encouraging innovation. The inclusion of art within such magazines aimed at validating them as a form of art in themselves supporting a dynamic intersection for music, fashion, design and youth culture: an intersection that also contributed to create and spread different gender stereotypes. This general interest in fashion produced many exhibitions of and about fashion itself at major international venues such as the Victoria and Albert Museum in London, the Metropolitan Museum of Art and the Solomon R. Guggenheim Museum in New York. Since then this celebrated success of fashion has been regarded as a typical element of postmodern culture. Owing to that I have also based my analysis on some important exhibitions dealing with gender performance like "Féminin-Masculin" at the Centre Pompidou of Paris (1995), "Rrose is a Rrose is a Rrose. Gender performance in photography" at the Solomon R. Guggenheim Museum of New York (1997), "Global Feminisms" at the Brooklyn Museum (2007), "Female Trouble" at the Pinakothek der Moderne in München together with the workshops dedicated to "Performance: gender and identity" in June 2005 at the Tate Modern of London. Since 2003 in Italy we have had Gender Bender - an international festival held annually in Bologna - to explore the gender imagery stemming from contemporary culture. In few days this festival offers a series of events ranging from visual arts, performance, cinema, literature to conferences and music. Being aware that any method of research is neither race nor gender neutral I have traced these critical paths to question gender identity in a multicultural perspective taking account of the political implications too. In fact, if visibility may be equated with exposure, we can also read these images as points of intersection of visibility with social power. Since gender assignations rely so heavily on the visual, the postmodern dismantling of gender certainty through performance has wide-ranging effects that need to be analyzed. In some sense this practice can even contest the dominance of visual within postmodernism. My visual map in contemporary art and fashion photography includes artists like Nan Goldin, Cindy Sherman, Hellen van Meene, Rineke Dijkstra, Ed Templeton, Ryan McGinley, Anne Daems, Miwa Yanagi, Tracey Moffat, Catherine Opie, Tomoko Sawada, Vanessa Beecroft, Yasumasa Morimura, Collier Schorr among others.

Confronto fra periodizzazione Tradizionale e a Blocchi per l’allenamento della forza in atleti maschi e partecipanti di genere femminile.

La prima parte dello studio riguarda la descrizione dell’origine e delle caratteristiche che differenziano la periodizzazione tradizionale e quella a blocchi per l’allenamento della forza. L’obiettivo della seconda parte del lavoro è stato quello di confrontare gli adattamento ormonali e prestativi ad un programma di allenamento della forza periodizzato secondo il modello tradizionale o secondo quello a blocchi in un campione di atleti di forza. Venticinque atleti maschi sono stati assegnati con procedura randomizzata al gruppo con programmazione tradizionale (TP) o a quello a blocchi (BP). Prelievi di saliva sono stati effettuati prima e dopo 6 diverse sedute di allenamento durante il programma al fine di rilevare i livelli di testosterone (T) e cortisolo (C). Le valutazioni dei parametri antropometrici e prestativi sono state effettuate prima e dopo le 15 settimane di allenamento previste. In nessuno dei due gruppi vi sono state variazioni significative nei livelli ormonali. I risultati indicano che il gruppo BP ha ottenuto incrementi superiori a quello TP riguardo alla forza massima (p = 0,040) ed alla potenza (p = 0,035) espressa alla panca piana. Nella terza parte dello studio, la periodizzazione tradizionale e quella a blocchi sono state confrontate riguardo agli effetti sulla forza massima e sull’ipertrofia in donne allenate di livello amatoriale. Diciassette donne hanno partecipato all’esperimento allenandosi 3 volte a settimana per 10 settimane. I risultati dimostrano che entrambe le periodizzazioni hanno portato a miglioramenti significativi di forza e potenza; il gruppo TP ha tuttavia ottenuto incrementi superiori di forza massima (p = 0,039) e ipertrofia degli arti inferiori (p = 0,004). La periodizzazione tradizionale quindi si è dimostrata più efficace per aumentare la forza massima e la sezione muscolare della coscia in partecipanti di genere femminile. I risultati contrastanti nei due generi potrebbero essere legati a rapporti diversi fra processi anabolici e catabolici.

Visualising In/Equalities through Contemporary Documentary Cinema. A Diffractive Reading of Feminist Practices in Spanish and Italian Non-Fiction Films

This thesis brings together feminist documentary film theory and feminist new materialism(s) to describe how feminist material-discursive practices in a sample of Spanish and Italian documentary cinema made between 2013-2018 (can) visualise gender in/equalities. The accomplished objectives have been: 1. Building a bridge between feminist documentary film theory and Karen Barad’s diffractive methodology by approaching non-fiction cinema that deals with social inequalities as a diffraction apparatus. 2. Developing a feminist toolbox for a response-able gaze by gathering different insights from feminist film theory. 3. Identifying feminist material-discursive practices in a sample of documentary films produced in Spain and Italy over the last six years (2013-2018). 4. Analysing the effects that these feminist material-discursive practices in documentary cinema have, particularly in terms of visualising gender in/equalities on both sides of the camera and on both sides of the screen. 5. Revealing patterns between the ten case studies by reading through one another (i.e. diffractively) insights raised in each one of them. In ten documentary films/case studies, I identify patterns of continuities and differences concerning feminist material-discursive practices at four levels: content, form, production and reception. In terms of contents, I detect two patterns in which feminist material-discursive practices may operate: enacting the right to appear or enacting the right to look back and/or against the grain. As for the forms, I exemplify how feminism politicises Bill Nichols’s six modes of representation. My analysis of production practices is elaborated along the filmmakers’ self-positions/situatedness, tensions/obstructions, and effects/affects/emotions regarding four key concepts: documentary cinema, equality, gender and feminism(s). And in the case of reception practices, I identify patterns of affective identification and/or intellectual reflections.

Feminist environmental humanities: intertwining theory and speculative fiction

This dissertation explores the entanglement between the visionary capacity of feminist theory to shape sustainable futures and the active contribution of feminist speculative fiction to the conceptual debate about the climate crisis. Over the last few years, increasing critical attention has been paid to ecofeminist perspectives on climate change, that see as a core cause of the climate crisis the patriarchal domination of nature, considered to go hand in hand with the oppression of women. What remains to be thoroughly scrutinised is the linkage between ecofeminist theories and other ethical stances capable of countering colonising epistemologies of mastery and dominion over nature. This dissertation intervenes in the debate about the master narrative of the Anthropocene, and about the one-dimensional perspective that often characterises its literary representations, from a feminist perspective that also aims at decolonising the imagination; it looks at literary texts that consider patriarchal domination of nature in its intersections with other injustices that play out within the Anthropocene, with a particular focus on race, colonialism, and capitalism. After an overview of the linkages between gender and climate change and between feminism and environmental humanities, it introduces the genre of climate fiction examining its main tropes. In an attempt to find alternatives to the mainstream narrative of the Anthropocene (namely to its gender-neutrality, colour-blindness, and anthropocentrism), it focuses on contemporary works of speculative fiction by four Anglophone women authors that particularly address the inequitable impacts of climate change experienced not only by women, but also by sexualised, racialised, and naturalised Others. These texts were chosen because of their specific engagement with the relationship between climate change, global capitalism, and a flat trust in techno-fixes on the one hand, and structural inequalities generated by patriarchy, racism, and intersecting systems of oppression on the other.

Three Essays in Economics of Gender

During recent decades, economists' interest in gender-related issues has risen. Researchers aim to show how economic theory can be applied to gender related topics such as peer effect, labor market outcomes, and education. This dissertation aims to contribute to our understandings of the interaction, inequality and sources of differences across genders, and it consists of three empirical papers in the research area of gender economics. The aim of the first paper ("Separating gender composition effect from peer effects in education") is to demonstrate the importance of considering endogenous peer effects in order to identify gender composition effect. This fact is analytically illustrated by employing Manski's (1993) linear-in-means model. The paper derives an innovative solution to the simultaneous identification of endogenous and exogenous peer effects: gender composition effect of interest is estimated from auxiliary reduced-form estimates after identifying the endogenous peer effect by using Graham (2008) variance restriction method. The paper applies this methodology to two different data sets from American and Italian schools. The motivation of the second paper ("Gender differences in vulnerability to an economic crisis") is to analyze the different effect of recent economic crisis on the labor market outcome of men and women. Using triple differences method (before-after crisis, harder-milder hit sectors, men-women) the paper used British data at the occupation level and shows that men suffer more than women in terms of probability of losing their job. Several explanations for the findings are proposed. The third paper ("Gender gap in educational outcome") is concerned with a controversial academic debate on the existence, degree and origin of the gender gap in test scores. The existence of a gap both in mean scores and the variability around the mean is documented and analyzed. The origins of the gap are investigated by looking at wide range of possible explanations.

Structural patterns for document engineering: from an empirical bottom-up analysis to an ontological theory

This thesis aims at investigating a new approach to document analysis based on the idea of structural patterns in XML vocabularies. My work is founded on the belief that authors do naturally converge to a reasonable use of markup languages and that extreme, yet valid instances are rare and limited. Actual documents, therefore, may be used to derive classes of elements (patterns) persisting across documents and distilling the conceptualization of the documents and their components, and may give ground for automatic tools and services that rely on no background information (such as schemas) at all. The central part of my work consists in introducing from the ground up a formal theory of eight structural patterns (with three sub-patterns) that are able to express the logical organization of any XML document, and verifying their identifiability in a number of different vocabularies. This model is characterized by and validated against three main dimensions: terseness (i.e. the ability to represent the structure of a document with a small number of objects and composition rules), coverage (i.e. the ability to capture any possible situation in any document) and expressiveness (i.e. the ability to make explicit the semantics of structures, relations and dependencies). An algorithm for the automatic recognition of structural patterns is then presented, together with an evaluation of the results of a test performed on a set of more than 1100 documents from eight very different vocabularies. This language-independent analysis confirms the ability of patterns to capture and summarize the guidelines used by the authors in their everyday practice. Finally, I present some systems that work directly on the pattern-based representation of documents. The ability of these tools to cover very different situations and contexts confirms the effectiveness of the model.