Abstract
In the first part of this essay we will explain the decisions that led to certain map classifications rather than others, which would have been suitable as well, but were judged less characteristic of the corpus as a whole (paragraph 1). In the following paragraphs, we will show, with numerous examples, the main types of maps that have been theorised (and their related comments), which are as follows: for the collective semantic area (the epos of the place of origin), maps that speak of a wounded land, injured, in danger (paragraph 2); or, conversely, maps that show a “monumentalised” place, through its historical, scenic, or artistic qualities (paragraph 3). For the individual semantic area (the novel of the place of origin), there are maps celebrating this place as an Eden, a place of the soul totally or partially lost (paragraph 4.); or, conversely, there are maps that deny the place, because it is not in tune with the real identity of the individual, or because it was considered of little value (paragraph 5). Finally, the last section will be devoted to those cases in which subjects co-belong to more than one place of origin, due to familial displacement (paragraph 6). These cases show some variety because some migrant subjects represent different places without favouring any one in particular, so making themselves promoters of a flawless intercultural “translatability”; in other cases we witness an attempt to maintain a virtual community with the places they have left, especially through social networks; and finally, in the most extreme cases, the subjects identify themselves in toto with transfer paths rather than with the places themselves, giving a new, more procedural and multiperspective, meaning to the term “origin”.
From a methodological point of view, this essay is inspired both by the classical tools of semiotics, in particular the visual semiotics of Louis Marin; and to parallel disciplinary approaches, like that of Gaston Bachelard and his “poetics of space”; and that of Philippe Descola and his “ontology of images”. This openness to a “weak” interdisciplinarity, between highly related disciplines, aims to integrate into the semiotic analysis some aesthetic and anthropological valences of the corpus.
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Notes
- 1.
According to Thomas Kuhn, the ability to see varied situations as similar to one another, as applications of symbolic generalisations, can be seen in terms of a Gestalt shared within a specialised research group (Kuhn 1969).
- 2.
As defined by Rastier, a corpus is a structured grouping of complete texts, documented and collected in a theoretical-reflexive, but also practical manner, in view of an array of applications (2003).
- 3.
There are some known models that are used as heuristic keys. For example, French semiotic Jean-Marie Floch speaks in all his work about consumer axiologies or of a typology of values inscribed in the object to be advertised: practical-functional values are opposed to“existential” values when the product is associated with a wider improvement of the buyer’s life. These broad categories are in fact used to help classify advertising texts, but, if any analysis of material is limited to the application of these categories, there is a risk that they flatten and trivialise any corpus.
- 4.
Namely classifying traits regardless of their significance in a particular context.
- 5.
In the eighth chapter of his Arts et sciences du texte (Rastier 2003), dedicated to the definition of “genre”, François Rastier says that the semantics of genres must take into account the interaction of four components called thematic, dialectic, dialogic and tactics. On this occasion, it would not have been possible to follow such a complex system of description.
- 6.
Please note that what structural semiotics means by “category” is the semantic opposition of two terms in a relation of contrariety. The way to label lexical categories and terms is always partly arbitrary: for example, you could replace “monumental” with other words capable of expressing the evaluation of a place on the basis of super-subjective criteria: terms such as “museification”, “heroic myth”, “commercialisation” nevertheless seemed to me less broad than “monumentality” which, precisely because of its metaphorical character, manages to subsume different phenomena.
- 7.
Todorov (1978). References to traditional classifications of literary genres necessarily stop here, what I mentioned is simply indicative, given the enormous complexity of the subject and the number of authors who have dealt with it, from antiquity to the present day.
- 8.
A similar distinction can be found with the deaf subjects studied by Murgiano, infra.
- 9.
Semiotics defines syncretism as the intertwining of different languages, within a text. In our texts, considering the verbal comments as well, there is a syncretism between visual and verbal language (this last, oral and written). What is particularly emphasised in the field of Semiotics is that one must consider how unified the syncretic enunciation strategy is, in other words, that the meaning of the syncretic text is not a sum of the meanings conveyed separately by the various languages but something inextricably unified.
- 10.
The largest words say: “Farmyard hens and rabbits… Bunnies had a special fascination for me. My mother let me handle them gently. I was looking at them for hours.” (“Aia galline e conigli… I coniglietti avevano un fascino particolare per me. Mia madre me li faceva prendere con delicatezza. Stavo per ore a guardarli”). The bunnies are not represented visually.
- 11.
- 12.
That is, how much the elements were represented as abstract or concrete, detailed or generic.
- 13.
Others developed this aspect. See, in this volume, the contribution of Giulia Mazzeo (chapter “Maps of Places of Origin or Maps of Self: A Graphic and Conversational Analysis”).
- 14.
We refer in particular to the article “Manières de voir, manière de figurer” (Descola 2010). Some examples and explanations that we will use also stem from the seminar that Descola held at the Scuola Superiore di Studi Umanistici of the University of Bologna on 26–28 May 2016, and which will be part of a book in preparation, on the anthropology of images.
- 15.
For example Margherita Murgiano takes into account Semiotics and the linguistic of Sign Language; Enzo D’Armenio relates aesthetic theories and media theories; and Giulia Mazzeo’s contribution connects the different fields of cognitive, environmental and clinical Psychology.
- 16.
Isotopy in Semiotics means a repetition of semes (semantic traits) in the text. The isotopies may be figurative, when the recurring traits are concrete, or thematic when the recurrence relates to abstract traits, or themes.
- 17.
“Sermide rebelled against the Austrian occupiers (as did the cities of Milan, Brescia, Venice and many others). The reaction to the resistance was merciless: July 29, 1848 the Austrian troops crushed the resistance of the Sermidesi, sacked the old town and burned many houses. On 10 September 1899, King Umberto I decorated Sermide with a gold medal and awarded her the title of city.” (Our translation from the girl’s paper).
- 18.
The father’s map renders the roads in a more regular way, while the girl’s map is more focused on the major sites of the town, but, also in this depiction, in the upper part of the paper, the river has the same position and the same boundary function.
- 19.
We mentioned him in Sect. 1.
- 20.
This is the original text: “Ho voluto rappresentare i luoghi più importanti. Lo studio dentistico dove lavora mia mamma ho voluto metterlo (c’è un molare per far capire), nel teatro non fanno più le commedie ma fanno la tombola e le feste anche usando il posto per i saggi dell’asilo, anche il palcoscenico all’aperto non viene più utilizzato, adesso c’è il cinema a Sermide e il teatro è un po’ decaduto, però tutto il paese è lì quando ci sono i saggi dell’asilo. È importante la bonifica, ci sono delle abitazioni con le macchine per tirare su l’acqua e in quello più a sinistra si festeggiano i matrimoni. Vicino al bar c’è un isola pedonale che d’estate diventa parte estiva del bar.”
- 21.
This is the original text: “La maggior parte degli edifici è stata costruita tra il 1971 e il 1980, alcuni tra il 1919 e il 1945 e pochi altri prima del 1919. Ciò che ho voluto sottolineare con questi dati è che Moglia è un paese vecchio, principalmente rivolto al passato. Tutti gli abitanti la vivono con fare nostalgico, ricordando ciò che era attraverso le manifestazioni paesane e i loro percorsi e punti di riferimento. Una testimonianza mi avvisa che degli abitanti “originari” (coloro che vi sono nati e cresciuti) ne sono rimasti circa 200, una piccola parte considerando il numero complessivo. Per questo motivo si dice che tutto si è perso, tutto in passato era diverso. Le persone, le campagne, la fauna … nulla è più come prima. È rimasto un paese d’altri tempi e molte sue tradizioni vengono ancora rispettate. E anche se in questo paesino si verifica la cosiddetta “fuga di cervelli”, seppur in dimensioni ridotte, quei cervelli non possono fare a meno di tornarci.”
- 22.
The original text: “Ho rappresentato come luogo d’origine la casa dove sono nato, ho passato la mia infanzia, e ho vissuto fino ai 15 anni. È situata in campagna, ora nella prima periferia di Modena. È per me molto carica di significato, per le esperienze e le contraddizioni che ho vissuto in quella casa, a proposito di spazio mi impressiona ogni volta quanto nella mia memoria quel posto fosse enorme ed invece ora lo percepisco come minuscolo.”
- 23.
Renzo Piano has created a working group called G124, which is commissioned to observe and monitor the Italian suburbs, which is also referred to as “rammendi del tessuto urbano” (“mending the urban fabric”) and “fabbriche di desideri” (“factories of desires”). The first issue of the magazine Periferie can be downloaded from the link http://renzopianog124.com/post/103631277378/periferie-n1-diario-di-un-anno-di-rammendo.
- 24.
On this aspect of the “monumentalisation” of places cf. Sect. 3.
- 25.
This is the original text: “Ho rappresentato i posti del mio luogo d’origine che sono stati e sono ancora i più importanti. Avrei voluto dare più rilievo alla città stessa ma purtroppo dopo il terremoto del 13.01.1915 Avezzano non ha più avuto un centro storico. Ho raffigurato principalmente montagne e campagne poiché ho passato la maggior parte del mio tempo lì con mio nonno. So che il cimitero può sembrare una scelta poco consona ma è di particolare importanza poiché xxxxxxxx [incomprensibile] per me. Il verde è la cosa che più amo e che più mi manca della mia città.”
- 26.
This the original text: “Il centro [la sottolineatura è in rosso] della città, cuore della zona rossa, l’ho voluto rappresentare nelle sue caratteristiche principali. Ci sono i monumenti, i luoghi simbolo. Come potrà notare ho preferito non raffigurare le case del centro, ma solo le tante arterie della città, i vicoli … Le case giacciono ancora tra il passato e il futuro; mi spiego meglio: alcune, purtroppo ancora poche, sono state restaurate, altre, un’infinità sono ferme alla notte del terremoto e sono restano in attesa, come noi cittadini aquilani, di un futuro.”
- 27.
In visual semiotics, plastic organisation means the organisation of lines and contours (eidetic level); colours (chromatic level) and the distribution of the visual elements in the space of representation (topological level), regardless of the recognisability of the figures. For example, at the topological level, we can consider a pyramidal arrangement of elements both in a painting representing a crucifixion or in a representation of a mountainous landscape.
- 28.
Bachelard, p. 31 of the English edition (1969). The rest of the quotations from this book are also from the English translation.
- 29.
For example, the German Heimat not only describes the place of childhood, but also the special feeling of security and happiness that we connect to our origins, and the perception of having lost such membership. Sehnsucht in Italian is translated as nostalgia; in English there is homesickness and nostalgia for this feeling; for the object of these feelings there is Homeland, Birth Place, Country of origin, Home, etc.
- 30.
The original text says: “Ciò che guardavo ogni volta che mi perdevo nei pensieri, affacciata alla finestra di casa mia.”
- 31.
P. 12 of the English translation. In English the terms have been translated in a different way from those of the original French. If “résonance” becomes “resonance”, “retentissement” sometimes becomes “repercussion” and sometimes “reverberation”.
- 32.
Op. cit., p.15: “The house we were born in is more than an embodiment of home, it is also an embodiment of dreams. Each one of its nooks and corners was a resting-place for daydreaming. And often the resting-place particularized the daydream. Our habits of a particular daydream were acquired there.”
- 33.
- 34.
“Le moment et l’espace proprement utopiques, n’ouvriraient-ils-pas précisément un lieu sans lieu, un moment hors temps, la vérité d’une fiction ?” (Marin 1985, p. 43).
- 35.
Cf. Marin (2006). A paradoxical case recalled by Marin is that of the Annunciazione by Benedetto Bonfigli (1455–60) in which St Luke, intent on writing the part of the Gospel concerning the Annunciation, is portrayed literally sitting between the archangel Gabriel and the Madonna.
- 36.
“For our house is our corner in the world. As has often been said, it is our first universe, a real cosmos in every sense of the word”. (p. 4).
- 37.
The original text is: “Ho deciso di disegnare la corte dove ho vissuto per la mia infanzia. La casa era molto piccola, come la corte stessa. Ma lì ho molti ricordi felici, nonostante la tenera età. Ho passato molte giornate a combattere contro il ‘bosco mangia aquiloni’. Ma questa era la parte più divertente, il mio vicino aveva riprodotto perfettamente la macchina di Paperino che ho tentato miseramente di riprodurre. Una vera attrazione per tutti i bambini della corte. Oltre il bosco mio padre diceva che c’era la fossa dei leoni per i bambini cattivi. Non so cosa ci fosse in realtà.”
- 38.
The original text says: “Sono nata e cresciuta a Bagnolo dove abito tuttora, è un paese piccolino quindi sentiamo un po’ tutti di appartenere alla stessa famiglia. L’area che ho rappresentato raffigura tutti i
punti che appartengono alsento facciano parte del mio luogo d’origine. I luoghi colorati sono i luoghi che ritengo più importanti. Fin da piccola ho sempre vissuto molto il paese, casa mia era un po’ la mia base e da lì tutti i giorni uscivo e incontravo il paese. La Ca’ Rossa è sempre stato un luogo fondamentale, è il ristorante in cui con i miei andavo sempre da piccola, ho moltissimi ricordi lì, tuttibellbellissimi. Il ristorante è tuttora una parte fondamentale della mia vita perché oggi ci lavoro. Da quando sono nata lo staff è rimasto sempre più o meno lo stesso e una persona in particolare è parte ormai della mia famiglia. Un altro luogo importante è il bar (Maura) in cui vado da sempre. La Maura è collegata al ristorante grazie alla persona di cui parlavo prima. Kevin e la Giuly sono i miei migliori amici da sempre e sento casa loro come se fosse anche un po’ mia. La coop è fondamentale perché è un altro luogo di incontro del paese e il luogo in cui lavora la mia mamma. Ho disegnato casa mia più in dettaglio perché è il centro di tutto, e una casa grande in cui ho giocato da piccola, dove ho la maggior parte dei ricordi, con la mia famiglia e con gli amici.” - 39.
“Nel mio disegno ho rappresentato i luoghi a me più cari e dei quali non potrei fare a meno. – casa mia a Casalecchio di Reno – Casa dei miei nonni all’inizio del portico di San Luca: ho passato gran parte della mia infanzia a casa loro – grazie a ciò ho impresso nella mente il parco di Villa delle Rose, dove andavo sempre col. nonno mentre la nonna cucinava a casa. –San Luca: non potrei fare a meno di questa basilica: la vedo da casa mia, da casa dei nonni, dall’autostrada quando torno a Bologna. Non vedere San Luca sarebbe co me non vedere casa mia.”
- 40.
In this regard, the French anthropologist mentions the Indians of the Amazon, the north of North America, the northern Siberian peoples, and some peoples from South East Asia and Melanesia (Descola 2010).
- 41.
On the different methods of editing of elements within these drawings, see the contribution by Enzo D’Armenio, infra.
- 42.
For a distinction between intentio auctoris and intentio operis see Eco (1990).
- 43.
On the co-membership of multiple places see the last section of this chapter.
- 44.
“Il L.B.A è il luogo dove ho fatto la scuola media e la scuola superiore e mi sono sempre trovata a mio agio. Là ho imparato tanta cose e mi sono fatta tanti amici con cui ho passato momenti indimenticabili.”
- 45.
The trilogy of Naples by Elena Ferrante tells of the redemption of a young woman who manages to become a successful writer despite coming from a disadvantaged background.
- 46.
- 47.
Stoichita 1993, particularly Chap. 7 Pictures, mirrors and maps.
- 48.
Of course there are borderline cases, where the insertion of monumental elements is balanced by autobiographical ones, but when attempting a classification we above all need to take into account the purest examples of one type or another.
- 49.
According to Geninasca there are three ways to get a sense of an aesthetic text: the molar apprehension, the semantic apprehension and impressive apprehension (saisies molaire, sémantique, impressive, respectively). The first consists of the reconstruction of the encyclopedic reference of the text; the second in the meanings that result from its internal structure; the third in sensitive and emotional resonance, especially on a rhythmic basis, that the work provokes in its audience (Geninasca 1997). If I limit myself to analysing a work reconstructing only its cultural references, says Geninasca, I lose the unique characteristics of the text and the sensitive component of its fruition.
- 50.
In the aforementioned essay by Louis Marin on urban cartography, the French semiotician attempts an equivalence between maps and linguistic acts. For example, he sees a kind of assertiveness in writing and captions included in maps.
- 51.
There is a certain difference of disposability depending on the survey conditions: there is no doubt that when some of us have asked their students to make the maps, these people have felt compelled to comply with the task, when it was their own teacher to assign it. In the case that we will see shortly, and that is depicted in Fig. 47, the student from Rome saw me for the first time and evidently did not feel any “moral obligation” to comply.
- 52.
It is shown that we in the West read figures from left to right according to our reading habits. All that appears to the right then is a kind of conclusion to what we have seen previously on the left. In fact here the writing on the right is to comment on the graphical elaboration to the left.
- 53.
We will see how social media have an important role, especially the connection between geographically distant reality, even in the case of migrant subjects (Sect. 6).
Fig. 49 
“Places do not bind me”
- 54.
After all this it is not far from the theories of Lynch who tied health and personal happiness to the aesthetic quality of the lived place.
- 55.
On the theme of autobiographical tales and their uncertain semiotic status, cf. also the collection of essays in Giliberti (ed.) 2009.
- 56.
The world of everyday life, in Russian byt, as a system that maintains ties with the artistic sphere of the time, has been studied by Jurij Lotman in many of his works. Sometimes even in our maps, a lifestyle clearly emerges. In the drawing in Fig. 1.4.8: natural shady areas (tree) and artificial ones (tent), a well-kept garden where you can relax (hammock), sit (bench), and spend time with your pets, all with privacy guaranteed by the hedges and fence.
- 57.
A similar operation takes place when, through sign language, the deaf person identifies themselves in speech and gestures as if they were at the scene they are describing, as nicely illustrated by Murgiano in this volume (chapter “Into the Map: The Re-enactment of Experience in Sign Languages’ Representation of Places of Origin”). On the traces of movement in these drawings, cf. Nardelli, infra.
- 58.
This is the organization of any semantic category into opposite and contradictory relationships between its terms. For example: up/down are terms in an opposite relationship; not high/not low are terms in a contradictory relationship. This allows us to articulate any opposition in four positions (i.e. a square) instead of two.
- 59.
A significant example, gathered in Bologna, shows the temporal planes following one another without any chronological order: “I wanted to emphasize just a few places and significant elements for me at Brugnera, the place where I have grown. Starting from home where I wanted to represent my two dogs, continuing with the two parks where I spent my childhood, playing with friends and peers. I wanted to represent the sports field of Brugnera where every year the village festival was and is hold; in the nearby field I highlighted a small wooden bridge which from a young age I crossed with my cousins to reach the sports centre. I drew the house of my uncles, my grandmother and my best friend for obvious reasons. Finally, the pub, the ice cream parlour and bar: meeting places with friends. I conclude with the little park in front of the house where I have drawn the swing made by my father and the electricity transformer room.” (“Ho voluto mettere in risalto solo alcuni luoghi ed elementi significativi per me di Brugnera, paese deve sono cresciuta. Partendo da casa dove ho voluto rappresentare anche i miei due cani, proseguendo con i due parchi dove ho trascorso l’infanzia, a giocare con gli amici e i coetanei. Ho voluto rappresentare il campo sportivo di Brugnera dove ogni anno aveva e ha luogo la sagra paesana; nelle vicinanze del campo ho messo in evidenza un ponticello in legno che da piccola attraversavo con i miei cugini per raggiungere il centro sportivo. Infine Ho disegnato casa dei miei zii, di mia nonna e del mio miglior amico per ovvie ragioni. Infine il pub, la gelateria e il bar: luoghi di incontro con gli amici. Concludo con il parchetto di fronte casa dove ho riportato l’altalena creata da mio padre e la cabina elettrica.”).
- 60.
“Sala Bolognese e Idlib (Siria). Io sento d’avere due luoghi d’origine, due terre che mi riportano alla memoria i momenti migliori della mia infanzia, e non riesco ad escludere nessuno di questi due posti. Così ho deciso di rappresentare Sala Bolognese, il luogo in cui ho passato la mia infanzia, e Riha, provincia di Idlib (Siria) in cui ho trascorso le migliori estati da bambina. Entrambi questi luoghi mi hanno aiutata a crescere e a diventare ciò che sono ora.”
- 61.
It is a figurative rhyme, because it deals with the figures of trees, but it is also a colour rhyme, since they have the same colours, and an eidetic rhyme, since the trees have been drawn with the same form.
- 62.
Each of these verb-visual discourses has a consistency of tone, which, like all semantic variables of the diffuse type (that is, depending on the overall coordination of the traits) is very difficult to describe in a brief analysis.
- 63.
- 64.
Lotman talks about explosion when a sudden cultural clash occurs when different cultures come into contact with each other. (Lotman).
- 65.
I quote only a part of this commentary: “[…] La mia Scuola Elementare Dante Alighieri (e che altro?): ci ho passato solo un paio d’anni prima che ci trasferissimo ad Asti, ma la ricordo ancora con piacere. E ricordo anche la mia prima maestra, Anita Grisanti da Pola. Tanto cara. Su un lato della scuola, e sul lato opposto (Piazza Castello) c’era un viale di ippocastani e tigli: che profumo di tiglio a fine Maggio-Giugno, proprio quando c’era la festa con le giostre (di cavalla, bellissimi)! Il castello Visconteo ha una forma abbastanza elegante, tutto sommato: è piccolo, non bello come quello a Pavia (dove abitavano gli altri nonni). Insieme alla Chiesa Rossa (una cappella, tardo medioevo) e alla Cattedrale di San Bovo, era uno dei monumenti più antichi di Voghera. Peccato che lo usino come prigione! Penso di aver raccontato brevemente i punti più importanti del mio disegno. Potrei andare avanti, ma non credo che Lei e i suoi colleghi abbiano il tempo...Però, dovendo decidere cosa rappresentare, mi sono resa conto di quanto affetto provi ancora per quei posti…” (“[…] My Elementary School Dante Alighieri (who else?): I only spent a couple of years there before we moved to Asti, but I still remember it with pleasure. And I also remember my first teacher, Anita Grisanti from Pola. So nice. On one side of the school, and on the opposite side (Piazza Castello) there was an avenue of horse chestnuts and lime trees: that lime scent in late May to June, just when there was the party with the carousels (of mares, beautiful)! The Visconti castle has a rather elegant form, after all: it’s small, not as nice as the one in Pavia (where the other grandparents lived). Together with the Chiesa Rossa (a chapel, the late Middle Ages) and the Cathedral of St. Bovo, it was one of the oldest monuments of Voghera. Too bad that they use it as a prison! I think I have briefly told you the most important points of my design. I could go on, but I do not think that you and your colleagues have the time … However, having to decide what to represent, I realized how much affection I still have for those places …”).
- 66.
Cf. for example the thinking of the anthropologist Tim Ingold, according to which organisms, including humans, must not be understood as discrete, predefined entities, but as places of growth and development within a field of relationships. It is a field that “unfolds” in the life of organisms and that they “enfold” in their morphologies, in their capacity for movement and consciousness (Ingold 2000).
- 67.
Sometimes the translation of some words is not so easy. For example English has wanderlust, but in the Italian translation “voglia di viaggiare” you lose the nostalgic element of Fernweh that comes with this German noun, and also, albeit conversely, with Homesickness.
- 68.
Collective feelings (Passioni collettive) is the title of the proceedings of a conference that the Associazione Italiana di Studi Semiotici organised on popular feeling and which showed the great importance, in the various fields of culture, politics and society, of these shared sentiments. Cf. Del Marco, Pezzini, edd., (2012).
- 69.
Since the US side of the sample represents only 20% of the total, we do not feel able to draw any conclusions about the difference between Europe and the United States. None of the people interviewed in Oregon, however, expressed a deep attachment to the place of origin, apart from the foreign-born adults who emigrated many years ago.
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Pozzato, M.P. (2018). Genres of Maps of Places of Origin: A Semiotic Survey. In: Visual and Linguistic Representations of Places of Origin. Perspectives in Pragmatics, Philosophy & Psychology, vol 16. Springer, Cham. https://doi.org/10.1007/978-3-319-68858-9_10
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