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The environmental aspects in Pasolini's work go far beyond Pasolini's famous L'articolo delle lucciole (Firefly Article) (1975). These aspects take shape, above all, in his interest in the transformation of the space, that is of the Italian environment controlled by a new, permissive fascism, a power without a face that is the worst kind of totalitarianism. The poet and writer focuses on the period of the so-called economic boom, which hit Italy after World War II. This article examines the potential contributions of Pasolini's intellectual agenda to contemporary ecocritical thought, built on the analysis of Pasolini's selected works between literary writing and writing for the cinema. The objectives of this contribution include the possibility of a new reading of Pier Paolo Pasolini's poetry, literature, and cinema under an ecocritical light, which presupposes an evaluation of his work that takes into account the relationship which the author determines between the individual of his own time and the surrounding environment, redefining the balance between literature and landscape. [ABSTRACT FROM AUTHOR]

Throughout his life, Pasolini came into contact with the so-called “other music”, to quote Roberto Leydi's famous book. In the years when Italian musical life was not taking into consideration this kind of music, relegating it to the margins of any institution or manifestation, Pasolini immediately revealed a keen interest in the songs and performances of the populations of the African continent and Eastern Europe. While travelling in Africa or India with Alberto Moravia and Dacia Maraini, he was literally astounded by the beauty of the songs and instruments he heard along the streets of the cities he visited. All this has been reflected in his literary work - just recall the adagios contained in Odor of India - and in cinema, where we have films literally permeated by this music. Yet Pasolini himself sometimes tries on the role of ethnomusicologist and during the shooting of Flower of the Thousand and One Nights, records some performances that later become part of that beautiful film.

Accepting Rienzo Pellegrini’s call to delve deeper into Pasolini’s translations of twentieth-century Spanish poets, this research aims to investigate a largely overlooked aspect, perhaps the least known, of Pasolini’s wide production. Placed between the categories of «tempo del mito» and «tempo della storia», in which Guido Santato includes Pasolini’s dialectal production, the translations, including the Lorchian versions can be traced back to an aesthetic and cultural project which should have been a considerable part of a poetic anthology entitled La zoja. Despite its significant incompleteness, the manuscripts and typescripts of this anthology of contemporary poets, with particular reference to the Spanish poets of the 20th century, allow us to trace some sketches of Pasolini as a translator, or rather poet-translator.

This article considers how poetry features in Pasolini’s cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound’s poetry provides a soundtrack for the spectacle of torture in which the film’s libertines engage. Following this, I consider Pasolini’s 1965 text “The Cinema of Poetry” and use this text as a way of reading the role played by a copy of Rimbaud’s collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film.

This study aims to analyze the role of poetry as a guiding element in the cinematic construction of two films: Walter Salles' "Broken April" and Luiz Fernando de Carvalho's "To the Left of the Father", both from 2001. Our initial hypothesis draws from Pasolini's (1966) concept of the "Cinema of Poetry," which affirms that certain films share structural elements with poetry, including metalanguage and a focus on formal features. Consequently, this research seeks to compare the aforementioned films in order to highlight the poetic elements present within their structures. To achieve this, we will draw upon the insights of not only Pasolini (1966) but also other theorists, such as Paz (1982), Sarvernini (2004), and Andrade (2010), to enrich our discussion. [ABSTRACT FROM AUTHOR]

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent scholarship on Pier Paolo Pasolini has put into focus many of the Italian intellectual's lesser-known works. Among these is his screenplay for an unrealized film on the topic of the apostle Paul, San Paolo. Analyses of the film address Pasolini's portrayal of Paul as dichotomic, as a representation of both revolutionary and conformist. In examining the criticism that addresses the duality of Saint Paul's, this representation proves essential to understanding the role Pasolini intended the apostle to play. Paul, one of the architects of the Christian religion, is in fact the katechon that he names in 2 Thessalonians. Paul as the katechon is thus the force that holds back evil and annihilation. In doing so, however, he also prevents Man's final redemption. As such, his portrayal of Paul is blasphemy, and Pasolini sent this screenplay to Don Emilio Cordero, head of Sampaolo Films, a Catholic film company charged with making religious movies in line with Church doctrine. This depiction of Paul proves one reason the film remains unmade and not solely the astronomical costs evident from the screenplay, as has been generally accepted until now. [ABSTRACT FROM AUTHOR]

Il contributo pasoliniano interessa tutti i mezzi di comunicazione di massa del tempo, inclusa la radio. Da un’analisi della lingua pasoliniana su questo mezzo, si riscontra un parlato eclettico, ricco di congegni espressivi ricavati dall’ibridazione di vari linguaggi, che tende a personalizzare il post-ideologico e a proporre un punto di vista del tutto politico. La presa d’atto di una spinta verso la tecnicizzazione del linguaggio, a discapito della sua letterarietà, suona per Pasolini come un campanello d’allarme del passaggio da una società agricola a una società ormai sottoposta al capitalismo.

La proposta di intervento si concentra sul tema del sogno sia come narrazione, struttura e immaginario, sia come dispositivo performativo. Pasolini in Calderón e Strindberg in Un sogno si servono del sogno partendo da prospettive diverse e sono legati tra loro da un elemento strutturale: la simbologia carceraria del sogno. Il meccanismo del sogno–Prigione e la violenza dell’incarceramento introducono e riassumono tutta la complessa valenza etica e politica dei drammi; infine, non solo la vita come sogno, ma anche la metafora della prigione, con il suo declinarsi e specificarsi al corpo del sognatore, assumono un valore centrale, un riferimento costante per ciò che riguarda la semiosi “carceraria” individuabile tanto sul fronte drammaturgico quanto su quello assiologico e filosofico. È noto che fra i drammaturghi più considerati da Pasolini c’era August Strindberg e il suo nome circolava correntemente nella cerchia di Dacia Maraini, Enzo Siciliano e Alberto Moravia. Pasolini citerà incidentalmente Inferno anche nel brogliaccio del suo romanzo incompiuto Petrolio (scritto nella prima metà degli anni Settanta, ma pubblicato postumo nel 1992), la cui forma composita potrebbe aver tratto spunti, fra i tanti, anche dalla trilogia di Strindberg. Cercherò di individuare un possibile dialogo tra il Calderón di Pasolini e il dramma Un Sogno di August Strindberg. Lo studio si concentrerà su alcune analogie e rimandi nello svolgersi del sogno, nelle vicende di rappresentazione onirica e nella caratterizzazione dei personaggi. In questo senso intendo tracciare analogie tematico–strutturali tra i due autori, delineare dal punto di vista dell’immaginario la dimensione escatologica percepita e rappresentata all'interno dei loro testi; il sentire comune attraverso l'immagine di un Occidente al tramonto; la persistenza di un immaginario apocalittico che evoca distruzione anziché rigenerazione, catastrofe anziché salvezza.

Il contributo intende investigare le strutture narrative adottate da Pier Paolo Pasolini all’interno del suo ultimo romanzo: Petrolio (1992). Analizzando l’uso pasoliniano dell’allegoria e della visione nell’opera, se ne vuole evidenziare il carattere medievale e, in particolar modo, la forte influenza del modello dantesco. L’analisi di diverse “spie” contenute nel romanzo e nei fogli preparatori, come il doppio rimando all’allegoria storico-politica degli ultimi canti del Purgatorio, porterà infatti alla luce la paternità dantesca del sistema allegorico di Petrolio. Si mostrerà, tuttavia, come non si tratti più dell’allegoria figurale di ascendenza auerbachiana che aveva interessato Pasolini negli anni precedenti, bensì di un ritorno all’allegoria vera e propria, ovvero una narrazione favolosa che cela “una veritade” (Dante, Convivio II, I. 4). Infine, un’analisi ravvicinata delle principali allegorie del romanzo svelerà che tali episodi allegorici rimandano inequivocabilmente a personaggi e ambientazioni proprie della Commedia. In questo modo, si potrà concludere che non solo Pasolini si ispira a Dante per costruire il sistema allegorico di Petrolio, ma che lo stesso apparato figurativo delle singole allegorie pasoliniane è costruito sulla falsariga di episodi danteschi.

“Acrobata del tempo”, secondo una felice espressione di Günther Anders, è chi riesce ad allargare il proprio orizzonte temporale oltre il presente, fino a comprendere i tempi lunghi dell’umanità, non solo nel passato ma anche nel futuro, verso le vite che verranno dopo. Pasolini incarna questa figura in maniera esemplare. La sua visione della storia, non storicistica ma tragica, non moderna ma antica, ha il suo fulcro proprio nella percezione vertiginosamente allargata del nostro essere nel tempo. Se può esserci qualche analogia tra la visione di Pasolini e quella di Walter Benjamin, notata da alcuni critici, in questo saggio si mette in luce anche la loro profonda differenza.

La scelta del dialetto friulano da parte di Pasolini in Poesie a Casarsa (1942) si giustifica in primo luogo come presa di posizione contro l’usurata lingua della tradizione letteraria italiana in favore di una lingua marginale, «antichissima eppure del tutto vergine» (Pasolini, 1946, p. 14), trasfigurata in un personale idioletto poetico. Dal punto di vista strettamente dialettale, si tratta di una lingua libresca e artefatta, frutto di una «violenza linguistica» che «tendeva a fare del parlato casarsese insieme una koiné friulana e una specie di linguaggio assoluto, inesistente in natura» (Pasolini, 1954, p. 157). Solo dopo il lungo apprendistato dialettale a Casarsa negli anni della guerra l’autore giunge alla piena padronanza del genuino dialetto casarsese come dimostra il rifacimento linguistico delle poesie del 1942 confluito nella Meglio gioventù (1954). Muovendosi tra filologia d’autore e dialettologia, il presente contributo indaga la sensibilità linguistica di Pasolini analizzando i cambiamenti apportati al sistema fonetico, morfosintattico e lessicale delle prime poesie nella nuova versione della Meglio gioventù per sondare da vicino il passaggio dalla «lingua inventata» alla «lingua imparata» (Canciani, 1983, p. 97).

This article analyses an important category fromDeleuze's philosophy - the notion of intensity - and explores its significance for Deleuze and the ways it can be used to think about poetic cinema. I use the concept of the intensive-image to define a cinematic style that dissipates narrative action in favour of more contemplative and sensory experiences, hence films that are able to turn onscreen reality into purely affective phenomena. The notion of intensity, I argue, does not allow us to reply easily to the question about representation (i.e., "what is the film about?"), mainly because its images are indeterminate and flowing, combined in a multiple manner that excludes any simple reduction to signification. The general argument that follows, illustrated by a careful reading of key poetic texts, is that the focus on the intensive-image inspires readers to reconsider Deleuze's classification of the cinema into two separate periods as well as to understand the ways in which intensity finds expression in films that produce problems, displacements and provocations. In the words of Pasolini, this is the poetic film tradition which must be placed diachronically in relation to the language of the film narrative, a diachronism that, he says, would appear destined to be always more pronounced. In the last section of this article, I look at Luis Buñuel's Un Chien Andalou (1929) as an early case of the poetic image and draw on key theorists and filmmakers who have discussed the cinema's power of affection and intensity. [ABSTRACT FROM AUTHOR]

This article considers how poetry features in Pasolini's cinema. It argues that the manner in which Pasolini films poetry provides insight into his theory of an affinity between poetry and film, and into more general judgements concerning social reality. The article begins with an analysis of the final sequence of Salò (1975) where I argue that Ezra Pound's poetry provides a soundtrack for the spectacle of torture in which the film's libertines engage. Following this, I consider Pasolini's 1965 text "The Cinema of Poetry" and use this text as a way of reading the role played by a copy of Rimbaud's collected poems in Teorema (Theorem, 1968). I then move to consider the relationship between oral recitation and text in Il decameron (The Decameron, 1971) and Il fiore della mille e una notte (The Arabian Nights, 1974). In doing this, I argue that one can observe a shift across these films whereby poetry and orality move from being a foundational moment for reciprocal community to being a vehicle for an ambiguous and violent fate. The article then considers the conspicuous presence of reading and writing within Salò before ending with a consideration of one scene towards the end of the film in which Pasolini appears to invest a recitation of the Gospel with a disruptive force that is otherwise lacking in his final film. [ABSTRACT FROM AUTHOR]

In Devo partire. Domani, Ming Wong riscrive Teorema, ambientandolo nella Napoli contemporanea e interpretando tutti i ruoli principali, offrendo al pubblico una rielaborazione ironica e queer del film. A partire da questa sollecitazione, il contributo traccia un dialogo tra Teorema (romanzo e film) e la teoria queer così come viene elaborata soprattutto tra gli anni ’80 e ’90. Il racconto di identità e pratiche sessuali anormative in Teorema, infatti, porta ad una detonazione delle identità, narrata con modalità apocalittiche che preconizzano quelle teorie antisociali (Leo Bersani, Lee Edelman) che mettono il masochismo e la pulsione di morte al centro delle pratiche (anti)politiche queer. Ming Wong mette in scena questa dissoluzione dei personaggi di Teorema, ma anche di sé stesso (e di Pasolini) come figure autoriali allo stesso tempo ipervisibili e frammentate, tese verso un’apocalisse del sé individuale e collettivo.

Pier Paolo Pasolini è stato tra i primi in Italia a fare dell’intervista e in particolare della videointervista un ambito della propria produzione artistica, da entrambi i lati della macchina da presa. Se conversazioni pubbliche, da considerarsi un corollario degli Scritti corsari e delle poesie civili, hanno contribuito a consolidare il pensiero e l’habitus pasoliniani, con i Comizi d’amore l’autore ha reso la videointervista un’opera d’arte e un dispositivo di indagine ancora oggi applicabile. Da queste considerazioni prende le mosse un’analisi della videointervista tra arte e documentazione storica nell’Italia contemporanea attraverso alcuni casi di studio.

El Manifiesto por un nuevo teatro de Pier Paolo Pasolini (1968) es un texto que aúna la provocación con la riqueza de claves de reflexión y propuestas: la relectura del teatro como rito, el concepto de “canon suspendido”, tomado de Brecht y Barthes, la redefinición de actor y espectador, el uso de temas comunes al discurso político y la conferencia. En este artículo, se releen los aspectos más innovadores del Manifiesto, desde la perspectiva actual, identificando los puntos fuertes de una teoría que tiene algunos resultados imprevisibles en el teatro contemporáneo.

Barbara Castaldo teaches Italian and Comparative Literature courses at Loyola University Chicago and collaborates with several American universities including the Institute for American Universities in Aix-en-Provence. Graduated in History of Modern and Contemporary Literature from the University of Rome La Sapienza, she earned a Master's degree from Columbia University in New York and a PhD in Italian Studies from New York University. She specialized on Pier Paolo Pasolini with a doctoral thesis in Law and Literature (Pasolini Award, 2009), and is the author of numerous essays on Italian authors including P.P. Pasolini, Ennio Flaiano, Marco Lodoli, Sandro Veronesi. His latest essay on Pier Paolo Pasolini, entitled Trial of "Boys of Life": free indirect speech enters the courtroom, is out this year in the international magazine Studi Pasoliniani (2022, no. 16).

Il lavoro di Milo Rau sviluppa uno stretto dialogo con Pier Paolo Pasolini. Guardando agli Appunti per un’Orestiade Africana e al Vangelo Secondo Matteo di Pasolini, Rau ha presentato al Festival di Venezia 2020 una nuova versione del Nuovo Vangelo (The New Gospel). Questa volta, Gesu? e? interpretato dall’attivista politico camerunense Yvan Sagnet, che difende i diritti dei lavoratori clandestini sfruttati da un sistema agricolo mafioso. Il saggio mette in luce l’eredita? di Pasolini non solo ne Il nuovo Vangelo, ma anche nel Manifesto e nel teatro di Milo Rau.

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Moderna Sprak is the property of Institutionen for Moderna Sprak and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on a few recent publications, all of them devoted to a new semiotic intepretation of Pasolini's theoretical works on cinema. It provides a short summary of the ancient debate between Pasolini and semioticians, then offering an overview of those recent publications. Later, it discusses the indications we can draw from them about the state of art of semiotics, in order to put the basis for future researches even despite the epistemological different positions. The article is a preliminary work that places itsef within a wider attempt to apply Pasolini's theoretical contributions, re-read from today's semiotic point of view, to digital cinema.

Recensione di Gloria Scarfone, Il pensiero monologico. Personaggio e vita psichica in Volponi, Morante e Pasolini (Mimesis, 2022)

Il contributo considererà le versioni parziali dall’Eneide realizzate da Zanzotto (Aen. III 1-72; VI 637-702) e Pasolini (Aen. I 1-301). La ricerca indagherà come le differenti scelte traduttive compiute dai due poeti comportino ricadute sullo stile e la lingua del poema virgiliano. Dall’analisi della traduzione di Zanzotto emergerà una profonda aderenza del traduttore alle strutture epiche del modello, ricercata all’interno di una generale tendenza ad anticare il testo di partenza. Differentemente, dalla valutazione della resa pasoliniana si evincerà un’Eneide restituita dal traduttore in forme prosastiche e in toni civili.

Recent scholarship on Pier Paolo Pasolini has put into focus many of the Italian intellectual’s lesser-known works. Among these is his screenplay for an unrealized film on the topic of the apostle Paul, San Paolo. Analyses of the film address Pasolini’s portrayal of Paul as dichotomic, as a representation of both revolutionary and conformist. In examining the criticism that addresses the duality of Saint Paul’s, this representation proves essential to understanding the role Pasolini intended the apostle to play. Paul, one of the architects of the Christian religion, is in fact the katechon that he names in 2 Thessalonians. Paul as the katechon is thus the force that holds back evil and annihilation. In doing so, however, he also prevents Man’s final redemption. As such, his portrayal of Paul is blasphemy, and Pasolini sent this screenplay to Don Emilio Cordero, head of Sampaolo Films, a Catholic film company charged with making religious movies in line with Church doctrine. This depiction of Paul proves one reason the film remains unmade and not solely the astronomical costs evident from the screenplay, as has been generally accepted until now.

This essay is a response to "Disney, Salò and Pasolini's Inconsumable Art," an article written by Owen Schalk in the socialist magazine Monthly Review in 2021. In contesting Schalk's argument, the essay identifies the limits of the complaints about the way Netflix operates as the dominant digital streaming platform, using algorithms to determine what films are brought to users' attention, based on pre-existing customer selections. Writing against the argument that commercial imperatives built into algorithms overdetermine what users see, the response identifies the way consumer choice serves as an ideology that, in a dialectical sense opens up contradictory readings of the many avenues available for filmic consumption within contemporary ideation. Pasolini's film Salò is used by Schalk to inform Pasolini's theory of inconsumable and indigestible art, an orientation that generates an acknowledgment of capitalism within the general scheme of fascism. The theory still applies to inform cinema watchers of capitalism in the current cultural conjuncture. The case is made that rather than being suppressed by algorithms that predetermine what films can be watched on Netflix, the diversity of many sources of knowledge in the digital environment heightens ideological positions to enliven political struggles, manifesting as dialectical contradictions within a historical materialist approach. Postmodernism is presented as a framework that enhances digital fracturing of cultures generating richer contradictions. [ABSTRACT FROM AUTHOR]

Copyright of Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article attempts to examine Pier Paolo Pasolini’s film Salo, or 120 Days of Sodom, not only as an adaptation of Marquis de Sade’s work, but as a possible response to the problems of modern society, which reanimates fascism, no longer as political ideology, but as a “natural” form of contemporary human sensibility. Relying on his original “semiology of reality,” the expression of which is cinema, Pasolini’s film embodies the non-political logic of fascism as the logic of perversion, hidden behind the facade of political ideology. The article shows that Salo consistently contradicts the key principles of cinematic expressiveness of Pasolini’s theory itself, which focuses on moments in which “reality” reveals itself (acting as life itself). As a result, the film connects the unconnected - the shock of scenes of torture and sexual violence with a cultural allegory that anesthetizes effect of visual violence. For Pasolini, both violence and culture are mechanisms for analyzing the ephemeral substance of power, which inevitably generates some form of fascism and perversion, while de Sade is the discoverer of the basic sensual (plastic) syntagmas of power, embodied in the figure of the libertine. The sadistic libertinage, which combines the idea of freedom and the practice of torture, finds itself at the very heart of contemporary politics, its operative unconscious.

This short essay is focused on Dante’s influence on Pier Paolo Pasolini’s work. Obviously, it does not claim to complete this theme. It tries to explain some research hypothesis which constitute the theoretical foundation for A Divine Comedy: Dante/Pasolini, a theatrical performance directed in 2019 by Antonio Latella in Munich. The show was selected by Berliner Theatertreffen as one of the best ten production for the year 2020.

O presente trabalho tem como objetivo analisar as relações intersemióticas mantidas entre o livro Abril Despedaçado, de Ismail Kadaré, e o filme homônimo de Walter Salles. Propomo-nos a analisar os processos de construção da adaptação levando em consideração a presença de elementos poéticos nas duas obras, tanto a literária como a fílmica. Desse modo, realizamos uma pesquisa bibliográfica de cunho comparatista, na qual concluímos que a presença da poesia em ambas as obras se faz pela realização de procedimentos estéticos específicos de cada meio semiótico, como o uso do ritmo literário e da câmera subjetiva. Como aporte teórico, utilizamos as considerações de Paz, o qual defende que a poesia não está presa a fórmulas ou a um determinado gênero, mas pode estar presente nos mais variados contextos e produções. Também utilizamos Pasolini e sua teoria do Cinema de Poesia, que está em consonância com a teoria de Paz.

This article traces Pasolini’s engagement with Aeschylus Oresteia and the concept of the “irrational,” through which he sought to excavate patterns of ideological resistance in the classical past. I argue that Pasolini’s translations and adaptations of Aeschylus ultimately failed to achieve his desired ambition to forward an Aeschylus fit for the proletariat, and whose words might spark new kinds of Marxist thought. However, there is value in reading into Pasolini’s practices and his reflections on his work. Acknowledging and parsing his affects of disappointment and resignation, the broader conceptual outlines of his ambitions become clearer as gestures of kind of “failed” classical reception – an attempt to turn the classics to new political ends. An analysis of this kind of failure teaches us broader theoretical lessons about what it might mean to perform a generative and politically fruitful appropriation of the classics, necessarily confronting the entrenched ideologies of the past and their tenacious ability to reproduce themselves even in the most unexpected literary and political contexts. The article engages with selections from Pasolini’s literary, personal, and political writings from the 1960s until his death – connecting his translations and adaptations of Aeschylus to other contemporaneous essayistic, novelistic, and cinematic projects.

Recensione del volume di Paolo Lago, Lo spazio e il deserto nel cinema di Pasolini. Edipo re, Teorema, Porcile, Medea.

The metaphysical notion of God as the foundation of being, and as the supreme principle of order and harmony (which was an aspect that brought together Greek philosophy and Christianity, and set a cultural standard in the Western civilization) underwent a crisis in the 19th century, together with the disruption of the traditional social order and the onto-theological “image of the world” under the blows of science and philosophical criticism. God is dead, an­nounced the philosopher, and religion seemed to inexorably dissolve on the road to secularisation. God, however, was not extinguished: he has returned powerfully in the anti-metaphysical figure of a historical God, who manifests himself to man in contingency, as a principle of disorder and disarray, trauma and estrangement. Various authors (namely J. Ashbery, F. Dostoyevsky, P. Pasolini, T. Mendonça) are called upon to illustrate this image of God as "the great disorganiser", but also the possible fiasco of this clash with the transcendent, which implodes in “silence”, in the non-reception by the contemporary mass-man. The failure of the sacred, and its eventual banalization through repression and spectacularisa­tion, are represented in a comic register by artists such as F. Kafka, S. Beckett, F. Fellini, J.-L. Godard. [ABSTRACT FROM AUTHOR]

The article deals with three patterns for interpretation of language in its relation to the cultural hegemony, i.e. Gramscian, Voloshinian, and Pasolinian. As was shown, the analysis of the language problem is the necessary precondition for justifying the unity of theoretical and practical elements within Marxist philosophy. A common feature for the aforementioned patterns was an attempt to answer a fundamental question: how it is possible to make explicit the relationship between ideology and relations of production by means of the materialist dialectics. A refusal to fetishize language as a particular essence, a revealing that any sign systems are mediated by ideologies, and elaboration of a nonSaussurian structure of language are the core results of the proposed analysis. The starting point for the reflections of the mentioned thinkers was a tenet that communication in the state is determined by how much the institutions of power are able to bring the interests of society under control without disturbing the balance between the political body and the existing social forces. Thus, an ideology plays in two guises: as a symbolic order of legitimation on the society’s part and as a framing the growth of cultural forms. A distinction between the written and the spoken language becomes a politically significant tool to undermine the hegemony, for a balance between the political and the social, between the coercion and the approval, is widely open to fluctuations. Hence is the problem Marxist theorists have tried to solve: how can it be found out, with an examination of statements in non-political contexts, what someone talks of is a part of her political interest. The Marxist thinkers solved it in various ways. For instance, Gramsci focused himself on the reasons of making of the Italian literary canon; Voloshinov considered the proposition that in linguistics a formalism, as well as psychologism, following from a claim that semantics and means of expression are politically independent; and Pasolini sketched the difference between the spoken language, the spoken-written language, and the purely oral language, with unequal subjects of them.

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La Divina Commedia si propone, durante la crisi ideologica degli anni ’50, tramite gli studi di Gianfranco Contini e di Antonio Gramsci, come modello autoriale, esistenziale e politico e come modello plurilinguistico, ai quali si unisce, a partire dal 1957, il concetto di Mimesi di Auerbach, già profeticamente sensibile all’avvento del neocapitalismo degli anni ’60, coincidente in modo non casuale con il trionfo della neoavanguardia e del Gruppo 63. Testimone artistico dell’agonica lotta contro tale avvento è La Divina Mimesis, incompiuto rifacimento del poema dantesco, in cui Pier Paolo Pasolini raffigura la crisi della sua poetica mimetica nell’incontro fra il suo io degli anni ’50 e quello degli anni ’60. La caratterizzazione delle tre fiere costituisce un quadro sociolinguistico in cui l’autore-attore non rinuncia alla dialettica allegorica, individuando, in ognuna di esse (lonza-illusione, leone-superbia, lupa-conformismo), i mali che riconosce in sé e nella realtà.

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Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos de Filología Italiana is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following work is a case study. Its purpose is to reconstruct a particular situation involving the recognition and understanding of fascism. This situation is determined by both history and the social dynamics of the present day. The time and place is Italy of the 1960s and 70s, the observer – Pier Paolo Pasolini. But not because he offers us an original, complex and versatile theory of fascism. On the contrary, Pasolini can be superficial and rash, while his polemic passion often devours the argument and the analysis. However, Pasolini’s method of intellectual and political involvement allows us to use it as a keystone of a makeshift synthesis of a certain version of leftist anti-fascism.

A partire dagli anni del neorealismo, Roma è stata una location particolarmente amata dai registi italiani che hanno utilizzato con finalità simboliche diversi luoghi della città—dalle borgate ai monumenti del centro—al fine di raccontare un preciso momento storico e una precisa situazione sociale. In questo articolo prenderò in considerazione due film ambientati a Roma, La dolce vita di Federico Fellini (1960) e La grande bellezza di Paolo Sorrentino (2013), per analizzare le valenze che la città assume attraverso la lente interpretativa fornita da Michel De Certeau. Studiando il movimento dei personaggi si può notare che nelle loro camminate fanno scomparire alcuni luoghi e ne amplificano altri, distorcendo e frammentando la mappa urbana della città eterna. Ne emerge dunque che nei due film in analisi Roma mostra le caratteristiche della concept-city come definita da De Certeau. Roma infatti possiede tutte le potenzialità di una concept-city grazie alla sua complessità sociale e materiale dovuta all’accumulazione delle tracce di più di duemila anni di storia.

In this work I will address the filmic Trilogy of Life as one of the most emblematic and effective expressions of Pasolini’s intellectual intervention in the Italian cultural panorama of the late 60s and early 70s. Through a stylistic and structural analysis, I will focus firstly on Pasolini’s personal understanding of the relationship between a creative subjectivity and the world of the objects that need to be engulfed and shaped in order to be properly represented by the subjective artistic impulse. In the first part of this study, I will identify such a dynamic process of representation with Pasolini’s typical poetics of contamination. In the second part I will utilize the considerations of the first part as a point of access to both Pasolini’s theory of cinema and the practical realization of it in the Trilogy of Life. In the analysis of this cinematic trilogy I will use as a constant point of reference two articles written by Pasolini as defensive commentary and political justification of the Trilogy of Life: Libertà e Sesso Secondo Pasolini and Abiura dalla «Trilogia della vita». Moreover, through a close reading of the three movies of the trilogy – Il Decameron, I Racconti di Canterbury and Il Fiore delle Mille e Una Notte – I will specifically address the dreamlike tone that permeates Pasolini’s three-fold cinematic work and its especially saturated presence in the last movie. In conclusion, I will show how this saturation overturns and undercuts the tone suggested by the title – Trilogy of Life – to produce a trilogy that is more about death than life.