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Past, present, future

The female human psyche in conjunction with criminal psychology has always been a sought-after goal in the past, in the present and will be the same in the future because the current case studies are new, interesting and not perfectly attributable to past models. The project offers food for psychological reflection by connecting different languages ​​and periods in the history of literature, myth and current crime, conditions in which the woman can be the victim of the criminal act or the main actress. There are no answers but many questions that raise the curtain on canvases where strong and independent women emerge who challenge the classic female representation. The artist has always placed women at the center of his research in a circular relationship between the internal world and the external world, stereotyped in some ways and innovative in others. Her much suffered role and the perennial shadow of injustice that follows her. From the women present in Shakespearean stories, who went down in history as victims of dramatic and suffering situations, to the current women who are victims of injustice and conspiracies. But to what extent were these women really victims or executioners of themselves? How would today's female mind have reacted catapulted into Shakespearean dramas, what would it have wanted to scream instead of succumbing? How can a historical and mythological figure be considered today brought into the contemporary? The dynamics that revolve around the feminine in criminology create a bridge between psychological sciences, criminological sciences and social sciences. Let's dive into this vision of authentic madness that hides cryptic suggestions, aided by today's knowledge of the criminal psyche. The debate is open.

The predominant theme in William Shakespeare's works is that of women. In the opera Hamlet we not only find the fake madness of Hamlet but also the real madness of Ophelia which anticipates the intervention of psychology in literature by centuries. As in the rest of Europe, English society at that time had a sense of protection towards women but at the same time a desire to control them. The playwright Shakespeare, despite knowing well the obstacles that the society of the time posed to women, placed a sort of punishment in the ending, almost always with the death of the protagonist who pays the debt of her attempt at emancipation. Ophelia (Ailehpo) and her mind, perhaps already labile, began to falter, leading to a dramatic ending. It will be his death that will lead to a quick and sudden disastrous end for all the characters. In this work the fragile mind enters a path with no escape routes and no return, it doubles in the fragility of caressing its death. The following work highlights the madness that has not always been what it has become today. On the threshold of the modern era, madness was not yet a disease as we understand it. The birth of madness as a field of medical knowledge coincides with the medicalized and hospitalized madness of modernity. The madness between love and death and mental disorder in the modern concept: what is hidden manifests itself and by manifesting itself hides. A woman, Ophelia, seen from time to time as the victim of male power, as the saint or as the seductress, is in this work the dominator of herself who decides whether to 'to be or not to be'.


to be or not to be

juliet 280x200 cm TM 24.jpeg


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