Forma-canzone, guerre e pratiche di restituzione mediale: immaginari bellici, antimilitarismo e (non) militanze nell'opera di Claudio Baglioni = Song-forms, wars and medial reworking practices: war imaginaries, anti-militarism and (not) militancy in Claudio Baglioni's opera

Abstract

The Italian song, as a media device for restitution and re-elaboration on a formal, cultural, and social level, dedicates some space to war. After the Second World War, is privileged a dimension not more choral, but aesthetic, carried on by both by committed songwriters and by those deemed disengaged, as Claudio Baglioni. He activates different modes of media restitution of the war experience, through a mediatizing machine that represents war not as a contextual experience, but universal (filtered by the wars of the twentieth century), and the fruit of guilt of a few, but that many suffer. In songs like Ninna nanna, nanna ninna (1974), Loro sono là (1978) and, above all, Requiem (2003), the Baglionian machine refines its semiotic tools to restore emotionally the war imaginary: that's demonstrates that the song-form, through its triple semiotic status, is configured in the Italian mediascape as a medial-aesthetic element to avoid the presence of wars at a time when they appear distant