Mattia changed an About section.
Mattia started following the work of Iseyemi Oluwaseun, University of Bradford,UK, Graduate School.
Mattia started following the work of Thomas Lawrence Long, University of Connecticut, Nursing.
Department Member, Modern Languages
About
Mattia Marino is a language teaching consultant, with links to the United Kingdom, Italy, America, and the Netherlands. He writes about freaky and funny blends of styles and subjects from latest socially engaged writings and shows featuring an overly strong awareness of the storytelling and show-making work itself at play, in French, Dutch, English, Italian, and German. He teaches Italian and European history in Bangor and earlier worked in Manchester.
mattiamarinomix@mail.com
Mattia Marino è un consulente multilingue per l’insegnamento, connesso a Gran Bretagna, Italia, America e Paesi Bassi. Scrive su misti grotteschi e ironici di stili e temi in scritti e spettacoli recenti caratterizzati da impegno sociale e una consapevolezza estrema dell’atto stesso di narrazione e interpretazione in gioco, in francese, neerlandese, inglese, italiano e tedesco. Insegna italiano e storia europea a Bangor, in Galles, e ha abitato anche a Manchester.
mattiamarinomix@mail.com
Mattia Marino ist ein Sprachenunterrichtsberater, in Großbritannien, Italien, Amerika und den Niederlanden tätig. Er schreibt über entsetzende und witzige Mischungen aus Stylen und Themen aus neuesten gesellschaftlich engagierten Schriften und Auftritten geprägt durch ein überstarkes Bewusstsein des Erzählens und Auftretens selbst im Spiel auf Französisch, Niederländisch, Italienisch, Englisch und Deutsch. Er unterrichtet Italienisch und Europäische Geschichte in Bangor, Großbritannien, und hat früher in Manchester gewohnt.
mattiamarinomix@mail.com
Mattia Marino is een taalonderwijsadviseur, gebonden aan Groot-Brittannië, Italië, Amerika en Nederland. Hij schrijft over ontzettende en grappige mengelingen van stijlen en thema’s uit recente maatschappelijk geëngageerde geschriften en optredens gekenmerkd door een oversterk bewustzijn van het vertellen en optreden zelf van verhalen dat daarin een belangrijke rol speelt, in Frans, Nederlands, Engels, Italiaans en Duits. Hij onderwijst Italiaans en Europese geschiedenis in Bangor en heeft vroeger in Manchester gewoond.
mattiamarinomix@mail.com
Mattia Marino est un consultant multilingue pour l’enseignement, lié à Grande-Bretagne, Italie, Amérique et Pays-Bas. Il écrit sur les mélanges grotesques et ironiques de styles et sujets dans les écrits et spectacles récents caractérisés par l’engagement social et une conscience extrême de l’acte même de narration et interprétation mis en jeu, en français, néerlandais, anglais, italien et allemand. Il enseigne italien et histoire européenne à Bangor, Pays de Galles, et a habité aussi à Manchester.
mattiamarinomix@mail.com
Mattia Marino teaches multicultural trends and presents works of experimental multiplex poetry and criticism on multiple monsters in current writing and acting, made available at the Dutch-Belgian-German borders and in Britain, Italy, Denmark, and America. Multiple monsters are types or tokens unsettling and reshuffling any remembrance of self and other through their admonitions that substances and states wane and wax back again in a swiftly swarming multiplicity of shifty shapes, e.g., hybrids, dirt, illness.
He was born in 1986 in Catanzaro, southern Italy, and was initially based in Maastricht, at the Dutch-Belgian-German borders, and subsequently in Britain (Manchester and Bangor, North Wales). At Bangor University, he teaches Italian and European history, cinema, and ideologies.
As an experimental multiplex poet and critic, he presented multiplex works on multiple marginal monsters in cultural memory also at the Norwegian Institute in Rome, at the centres for cultural memory at the universities of London and Copenhagen, while teaching Italian and comparative literature at Bangor University, in the Italian city of Catanzaro, in North America, and in Maastricht, at the borders between the Netherlands, Belgium, and Germany.
mattiamarinomultiplex@mail.com
http://www.einarpetterson.org/Dystopia/Video_Podcast/Entries/2011/6/3_
His essays discuss literature, cinema, and the media mainly in Italy and Germany for their relationships to both Eastern and Western Europe, and in comparisons with texts in English, Dutch, French, Spanish, and Portuguese, which represent postcolonial hybridity and social diversity in western identity. He developed a critique of metamnetic cultural motion and grotesqueness at the London Centre for the Study of Cultural Memory, and published among others in the journal Other Modernities and The Journal of Contemporary European Studies. At Bangor University, he teaches Italian, projects in comparative literature, and European ideologies, history and cinema, and writes on relativism and European identity in literature and cinema.
He conducted research on ancient Greek and southern Italian cultural memory and heritage in 2003 at the Giovanna De Nobili Institute of Catanzaro, Italy, and on scientific and technological images in modern European literature and philosophy in 2010 at Maastricht University, at the borders between the Netherlands, Belgium, and Germany. In the same year, he lectured in translation and co-organized an interdisciplinary conference on the concept of crisis at the University of Salford, Greater Manchester. He is co-editor of a collection of essays on the subject. He contributed to the European Cinema Research Forum, and is a member of the American and British Comparative Literature Associations. He obtained a visiting fellowship at the London Centre for the Study of Cultural Memory for the academic year 2010-11, with a project on metamnetic motion and grotesque female bodies in recent novels by and public interviews with Italian, German, and French speaking women writers.
In European identity, health, and sex, impurity raises concerns – also in the Norwegian Islamophobic attacks, the London riots, and 9/11-pseudo-anti-terrorist nostalgias. Contamination and monstrous hybrids leave traumas. However, the novels Saturday by Ian McEwan, Crabwalk by the German Günter Grass, Without Blood by the Italian Alessandro Baricco, A Form of Life by the Belgian Amélie Nothomb, and such films as those by the Dane Lars von Trier, or Lady Gaga’s and Lily Allen’s music videos, display multiple meanings of difference. These and other literary and audiovisual works widen cultural memory.
Fun in fight, food, and fate unfolds under the monstrous lens of oneiric horrors deployed in surreal narration. Grotesque irony frantically closes up and zooms in, as in a trance, on the corresponding bodily patterns of disturbing disburdening, digestion, and decease. Ejaculation, vomit, and rotting are enshrined as the haunting material symbols of disease and decay, which normative subjectivity claims in vain to control through subjugation and abjection. Sex, eating, and bereavement are mesmerizingly associated with the object, the subject, and the abject of normalisation, that is, the mother, the father, and the child, alias hierarchy, authority, and play, alias convention, reason, and interpretation, alias memory, identity, and otherness, respectively. Bestial rape, cannibalistic hunting, and ritual sacrifice are the implements of normative memory surreptitiously evoked by this bizarre tribal imagery. Sinister, lugubrious, and macabre undertones revolve around the ecstatic sublimation of the uncanny through murky irony and aesthetic suicide. Irony diverts attention from the solemn stability of reproduction and survival – suggested by the images of fight for sex and food – to the amusing metamorphosis associated with the aesthetically re-elaborated fate of death, implying change and cultural rebirth. Perversion, aversion, and diversion, that is, amusement or fun, follow one another, as though in a hypnotic sequence on the irresistibly repulsive stage of an absurdist theatre play. Absolutism, nihilism, and relativism find a grotesque orgy, gorgeous gorging, and danse macabre of compellingly concrete correlative objectives, in the hyperbolic and infernal carnival of tragicomic hybridity and hubris; in eternal laughter.
mattiamarinomultiplex@mail.com
Mattia Marino insegna correnti multiculturali e presenta lavori di poesia e critica sperimentali multiplex su mostri multipli in rappresentazioni e scritti attuali, esposti ai confini tra Paesi Bassi, Belgio e Germania e in Gran Bretagna, Italia, Danimarca e America.
Da poeta e critico sperimentale multiplex, ha presentato lavori multiplex su mostri marginali multipli nella memoria culturale anche all’Istituto di Norvegia a Roma, ai centri di memoria culturale delle università di Londra e Copenaghen, in corsi di italiano e letteratura comparata che ha insegnato a Bangor University, a Catanzaro, in Nord America e a Maastricht, ai confini tra Paesi Bassi, Belgio e Germania.
mattiamarinomultiplex@mail.com
http://www.einarpetterson.org/Dystopia/Video_Podcast/Entries/2011/6/3_
Ha scritto poesie e saggi tra il 2003 e il 2010 a Catanzaro, Maastricht, Parigi, Londra e altrove in Gran Bretagna e America. I suoi testi trattano di ironia grottesca, memoria culturale in moto e divertimento o sballo, in forme sinistre, lugubri e macabre del sublime, oltre i limiti di ambiente, adolescenza, sesso, salute e origine.
I suoi saggi discutono di letteratura, cinema e media principalmente in Italia e Germania per i loro rapporti sia con l’Europa dell’Est che con l’Occidente e in confronti con testi in inglese, neerlandese, francese, spagnolo e portoghese, che rappresentano l’ibridazione postcoloniale e la diversità sociale nelle identità occidentali. Ha sviluppato una critica del moto culturale metamnetico e del grottesco al Centro per la Memoria Culturale di Londra, pubblicato tra l’altro nelle riviste Other Modernities e The Journal of Contemporary European Studies e condotto ricerca a Catanzaro, Maastricht e in America. All'Università di Bangor insegna italiano, letteratura comparata e filosofia, storia e cinema europei, e scrive sul relativismo e l'identità europea nella letteratura e nel cinema.
Ha condotto ricerca sul patrimonio e la memoria culturale della Grecia antica e dell’Italia meridionale nel 2003 all’Istituto Giovanna De Nobili di Catanzaro e sulle immagini scientifiche e tecnologiche in letteratura e filosofia moderne nel 2010 all’Università di Maastricht, ai confini tra Paesi Bassi, Belgio e Germania. Nello stesso anno ha insegnato traduzione e co-organizzato una conferenza sul concetto di crisi all’Università di Salford, Greater Manchester. È co-curatore di una raccolta di saggi su questo tema. Ha contribuito al Forum di Ricerca per il Cinema Europeo ed è membro delle Associazioni di Letteratura Comparata di Gran Bretagna e America. Ha vinto una visiting fellowship al Centro di Memoria Culturale dell'Università di Londra per l'anno accademico 2010-11, con un progetto su moto metamnetico e corpi femminili grotteschi in romanzi recenti e interviste pubbliche di scrittrici di lingua italiana, tedesca e francese.
mattiamarinomultiplex@mail.com
Mattia Marino unterrichtet multikulturelle Richtungen und präsentiert experimentelle mehrfaltige Dichtung und Kritik über mehrfaltige Ungeheuer in aktuellen Aufführungen und Schriften, die er an den Grenzen zwischen den Niederlanden, Belgien und Deutschland und in Großbritannien, Italien, Dänemark und Amerika vorgelegt hat.
Als experimenteller mehrfaltiger Dichter und Kritiker hat er Mehrfaltigkeitswerke über mehrfaltige am-Rande-liegende Ungeheuer im kulturellen Gedächtnis auch am Norwegischen Institut zu Rom, an den Zentren für das kulturelle Gedächtnis der Universitäten London und Kopenhagen, beim Unterrichten Italienisch und vergleichende Literaturwissenschaft an der Bangor University, in der italienischen Stadt Catanzaro, in Nordamerika und in Maastricht präsentiert.
mattiamarinomultiplex@mail.com
http://www.einarpetterson.org/Dystopia/Video_Podcast/Entries/2011/6/3_
Er hat zwischen 2003 und 2010 Gedichte und Essays in Catanzaro (Italien), Maastricht, Paris, London und woanders in Großbritannien und Amerika geschrieben. Die Themen seiner Texte sind groteske Ironie, kulturelles Gedächtnis in Bewegung und Spaß bzw. Rausch in finsteren, trüben und makabren Gestalten des Sublimen jenseits von Umgebung, Alter, Geschlecht, Gesundheit und Herkunft.
Seine Essays handeln von Literatur, Filmen und Medien vorwiegend in Italien und Deutschland wegen derer Beziehungen zu sowohl Ost- als Westeuropa und im Vergleich zu Texten auf Englisch, Niederländisch, Französisch, Spanisch und Portugiesisch, die die postkoloniale Kulturverblendung darstellen. Er hat eine Kritik der metamnetischen Kulturbewegung am Londoner Zentrum für das kulturelle Gedächtnis entwickelt, unter anderen in den Zeitschriften Other Modernities und The Journal of Contemporary European Studies veröffentlicht und in Catanzaro, Maastricht und Amerika geforscht. An der Universität Bangor unterrichtet er Italienisch, vergleichende Literaturwissenschaft und Europäische Philosophie, Geschichte und Filmwissenschaft und schreibt über Relativismus und Europäische Identität in Romanen und Filmen.
Die Hauptthemen seiner früheren Forschung waren das altgriechische und süditalienische Kulturgedächtnis (2003 – Institut Giovanna De Nobili von Catanzaro, Italien) und wissenschaftliche und technologische Bilder der neuzeitlichen Literatur und Philosophie (2010 – Universität Maastricht). Auch im 2010 hat er Übersetzen unterrichtet und eine inderdisziplinäre Konferenz über den Begriff Krise an der Universität Salford, Greater Manchester, mitorganisiert. Er ist Mitverfasser eines Essaybandes über dieses Thema. Er ist ein Beiträger am Forschungsforum des Europäischen Filmes gewesen und ist Mitglied der Britischen und Amerikanischen Vereine für Vergleichende Literaturwissenschaft. Im akademischen Jahr 2010-11 hat er eine visiting fellowship am Kulturgedächtniszentrum der Universität London gewonnen. Das Thema dieses Projektes ist metamnetische Bewegung und groteske Frauenkörper in Romanen und Interviews von Italienisch-, Deutsch- und Französischsprachigen Schriftstellerinnen.
mattiamarinomultiplex@mail.com
Mattia Marino enseigne courants multiculturels et présente des travaux de poésie et critique expérimentales multiplexes sur les monstres multiples dans les représentations et écrits actuels, exposés aux frontières entre Pays-Bas, Belgique et Allemagne et en Grande Bretagne, Italie, Danemark et Amérique.
En tant que poète et critique expérimental multiplexe, il a présenté des travaux multiplexes sur les monstres marginaux multiples dans la mémoire culturelle aussi à l’Institut Norvégien de Rome, aux centres de mémoire culturelle des universités de Londres et Copenhague, dans les cours d’italien et littérature comparée qu’il a enseignés à Bangor University, dans la ville italienne de Catanzaro, en Amérique du Nord et à Maastricht, aux frontières entre Pays-Bas, Belgique et Allemagne.
Il a écrit des poèmes et des essais entre 2003 et 2010 à Catanzaro (Italie), Maastricht, Paris, Londres et ailleurs en Grande-Bretagne et Amérique. Les thèmes de ses textes sont l’ironie grotesque, la mémoire culturelle en mouvement et l’amusement ou l’enivrement, dans les formes sinistres, lugubres et macabres du sublime qui dépasse les limites de milieu, adolescence, sexe, santé et origine.
mattiamarinomultiplex@mail.com
http://www.einarpetterson.org/Dystopia/Video_Podcast/Entries/2011/6/3_
Mattia Marino onderwijst multiculturele richtingen en presenteert experimentele meervoudige poëzie en kritiek over meervoudige monsters in actuele optredens en geschriften, voorgelegd aan de grenzen tussen Nederland, België en Duitsland en in Groot-Brittannië, Italië, Denemarken en Amerika.
Als experimentele meervoudige dichter en criticus heeft hij meervoudigheidswerken over meervoudige in-de-marge-liggende monsters in het culturele geheugen gepresenteerd, ook aan het Noorse Instituut te Rome, aan de centra voor cultureel geheugen van de universiteiten Londen en Kopenhagen, bij het lesgeven in Italiaans en vergelijkende litteratuurwetenschap aan Bangor University, in de Italiaanse stad Catanzaro, in Noord-Amerika en in Maastricht.
Hij heeft tussen 2003 en 2010 gedichten en essays geschreven in Catanzaro (Italië), Maastricht, Parijs, Londen en elders in Groot-Brittannië en Amerika. Zijn teksten gaan over groteske ironie, cultureel geheugen in beweging en plezier of lol in sombere, huiveringwekkende en macabere gestalten van de sublimering van omgeving, leeftijd, seks, gezondheid en afkomst.
mattiamarinomultiplex@mail.com
http://www.einarpetterson.org/Dystopia/Video_Podcast/Entries/2011/6/3_
Global-local identity, otherness and memory, in subject, object and discourse as text, dystext and context
Synthesis – Significantly shaped by the end of the world and cold wars, the context of global-local hybridization involves the redefinition of identity, as can be examined in textual images. Critical cultural analysis discusses the cultural relations between textual representations of identity and normative contexts. From an interdisciplinary socio-historic-philosophical perspective, identity entails the intersections of normative discourses defining subjects and objects or abjects in language, class, sex, gender, sexuality, ethnicity, citizenship, health, and age. Already through language, identity is formed as textual subject at one end of a metaphorical line in the linear memory of contextual discourses, which demonize dystextual otherness as object and abject at the opposed end of the line. Characterized by the abolition of linear memory's essentialist distinction between the starting and end point of identity and otherness, circular narratives are central in the redefinition of identity. As language is renegotiated in literature and global-local hybridization is accompanied by the emergence of cinema and music videos through mass media, literature, cinema and music videos offer particularly interesting images of identity, otherness and memory in the context of global-local hybridization.
Since the end of the world wars, remarkable analytic projects have addressed the powers and limits of cultural contexts. Ensued in the institutional frame of the Frankfurt School, critical theory highlights the importance of culture in society and politics. The possibilities of interpreting cultural texts are enhanced in post-structuralism, which has an important centre in France and is fundamental in the research conducted at the Amsterdam School for Cultural Analysis. In Italy, weak thought questions the ideal of any absolute values independent from specific contexts. Originated in America, postmodern thought values the emancipation from social norms in cultural forms. Critical theory, post-structuralism, postmodern thought, weak thought, and cultural analysis enable the discussion of cultural contexts in relation to political ideologies, normative discourses, hegemonic hierarchies, foundational principles, and linear narratives, in the identification of the valuations represented by texts.
In the hegemony of western liberalism following the European crisis of absolutism, nationalism, and communism, the tensions between local communalisms and global individualism are central in the renegotiation of global-local identity and memory, as in the encounter between western and migrants’ cultures. From a Nietzschean-Foucauldian philosophical perspective, identity results from the cultural relations between the historical discourse and the subject. As conceptualized in sociology, identities involve the subject’s intersections of discursive differences, such as language, class, sex, gender, sexuality, ethnicity, citizenship, health, and age. Texts constitute the sites of cultural memory, where identities are represented in the relationships between the textual images and their cultural contexts. Intercultural, intertextual, intersectional, and interdisciplinary socio-historic-philosophical analysis enables discussion of global-local identity and memory.
Identity involves the linear memory of the norms and values opposed to the abnormal and invalid, that is, to otherness, which is the abject and object of the subject sanctioned in discourse. While identity implies purity, otherness is intrinsically impure and hybrid. The sense of self is cultivated and worshipped in forms of cult within culture as if in a cell, outside of which reigns the uncontrollable occult (that is, unknown) force, as emphasized in the Sanskrit origin of all these words presenting the c-l consonant combination. As with all kinds of hybridization pervading all cultural contexts, the global-local renegotiation of identity and memory challenges the dichotomy of cult forms and occult force by confounding the linear sense of self with the hybrid otherness of global and local tendencies.
The image of the ouroboros, that is, the tail-devouring being, with its circular shape, represents the undistinguishable occult force, as opposed to the linear distinction of forms of identity through memory. The circular transience of being is embodied by the Indian goddess of time, Kali, who is the female symbol of destruction, time, and otherness, and both the restless dance of the Greek hybrids known as satyrs and the voracity of the harpies hint at the wild oscillation between forms of creation and the occult force of crisis, that is, between the creative and the critical. As with all other monsters and images of otherness, of which the epitomes are the devil and death, hitting indiscriminately all members of the linear hierarchy of society, they suggest the uncanny ambiguity of otherness, in opposition to which linear narratives of identity and memory are formed and cultivated in the cults of culture.
Textual images/imagination and normative cultural contexts, that is the sites of identity and memory, are formed in the paradoxical dialectics of occult impurity and cultivated purity, as purity is defined only in opposition to impurity. Language is based on a metaphorical imagery of binary oppositions, which sanction philosophical judgments and conventional norms of worth or value defining non-metaphorical, that is real, socio-historical discourses of formal discipline, authority, legitimacy, power, violence, order, hegemony, and hierarchy. Literature reproduces linguistic dichotomies while simultaneously overcoming them by virtue of its heavy reliance on the dystextual hybrid imagery of hyperbole, hyperbaton, and hubris. By transgressing linguistic and social norms in a fantastic dimension somewhere hyper, super, or beyond contextual conventions, literature is based on the spectacular tension between linear purity and circular impurity. Emerged during and after the world wars, cinema and music videos manifest the literary spectacle of contextual cult and dystextual occult in textual forms which are particularly relevant to the context of global-local hybridization.
Ubiquitous across cultural contexts, carnivalesque or grotesque textual images, that is dystexts, proliferate in global-local contexts, also through the media-based diffusion of so-called popular culture. Called into question by the European crisis of ideology, the disasters of the world wars, and their global-local renegotiation, linear narratives of identity and memory are confounded with circular ones centring on otherness, in the convergence of cult forms and occult force. The analysis of global-local narratives of identity and memory disposes on the conceptual means to discuss the ways in which the cult forms of linearly remembered identity and the occult force of otherness are juxtaposed in the cultural relations between textual images and cultural contexts.
