Starting from his own experience as a writer, the author assumes that the personal writing practices can be very helpful to the learning process and the tout court human life.

The alphabet blocks and the writing desk can be reassembled and traced back to Benjamin’s memory fragments set in the fictional framework of Berlin Childhood around 1900. This book was composed in successive stages during the 1930s when Benjamin was sure that he would have never come back to his homeland. The author’s message unveils that very distinctive objects, which have the power of developing habits and empower attitudes, determine our own existence.

The author highlights that a renewed interest in the role of emotion expression has characterized the last 15 years research on the emotion regulation. This essay presents a detailed examination of some studies which, focusing on the clinical observation and experimental investigation, can provide the reader with a specific description of the role of expressing/not expressing emotions.

On that very special “place” of language which is the “proper name”, paradoxes converge and powers are built. It has always been one of the most fascinating verbal unities and it is often referred to in the fashion system, especially through the author’s name. This paper offers an original insight on how the name of the fashion designer not only represents the trademark, but, together with other elements, it also builds an actual semiotic system of fashion, by setting up an immediate concatenation between clothes and the language of objects.

Nowadays education is charged with the failure of teaching to write. In fact, pupils do not practise enough and are engaged in unfruitful activities. The author focuses on some aspects of the modern writing pedagogy and provides some keyexamples.

Technical writing, which is particularly functional to professional contexts, differs from creative-expressive writing in its peculiar structure and communicative aims. The author describes two possible typologies and refers to the contribution of the disciplinary pedagogy.

The author tells about a “love” affair, which begun during the reading of a text, between its author and the director who makes the text “alive” on the set. After feeling a spark going off, the director is fascinated and engaged in the text, holds and translates it into emotions for the actor, the audience and himself.

The literature of reportage was one of the most practised writings in 19th century since it was prompted by glossy magazines and TV broadcasting which tell about travels and foreign lands. The author proposes a “mental” travel across the writing of famous reportages by Carlo Levi, Corrado Alvaro and Alberto Moravia. He also gives us information about tireless travellers such as Matteo Ricci, Marco Polo, Cristoforo Colombo, Magellano, who used to hold a log.

As an expert on play writing and scripts, the author proposes a helpful essay for a “mise-en-scène”. The set is Mosca in the winter of 1929 when Stanislavsky is rehearsing The Gull with her pupil Tatiana. From the sequence of the script lines, an invitation to the reader emerges: go below the surface of words. Indeed, the writer can conceal his own soul in the mere appearance of lines.