This essay aims to contribute to current debates about how to research and teach within the disciplinary frame of modern languages in light of the knowledge that recent patterns of global migration have made the conventional fusion of national territory and language untenable. The challenge is to reimagine histories of cultural practice and production critically in spite of the national frame that continues to shape our thinking. Starting from theoretical prompts by Doris Sommer and Okwui Enwezor, I suggest that contemporary curatorial practice offers one model for reworking how we practice Italian Studies in light of the decolonizing imperatives of work in diasporic, postcolonial, and transnational studies. Emphasizing a spatial model of cultural connectedness, I work with a notion of the haptic to investigate (as a kind of case study) how an encounter with the variegated traces of Italian culture in Scotland may lead researchers and students toward a pragmatic understanding of connectivity that does not depend on the blood lines of what Sommer calls “inherited frameworks.” I argue that contemporary curatorial practices revising both the optics and ownership of (Italian) culture can radically alter the presuppositions of our research and pedagogy.

中文翻译：

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拼贴文化：策划意大利研究

鉴于最近的全球移民模式已使国家领土和语言的传统融合站不住脚，本文旨在为当前关于如何在现代语言学科框架内进行研究和教学的辩论做出贡献。尽管国家框架继续塑造我们的思想，但挑战在于批判性地重新想象文化实践和生产的历史。从 Doris Sommer 和 Okwui Enwezor 的理论提示开始，我认为当代策展实践提供了一种模式，可以根据散居、后殖民和跨国研究中非殖民化工作的必要性来重新审视我们如何实践意大利研究。强调文化连通性的空间模型，我使用触觉的概念来调查（作为一种案例研究）在苏格兰遇到意大利文化的杂色痕迹如何引导研究人员和学生对不依赖于血统的连通性进行务实的理解Sommer 所说的“继承框架”。我认为当代策展实践修改（意大利）文化的光学和所有权可以从根本上改变我们研究和教学法的预设。