Academic literature on the topic 'Pasolini'
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Journal articles on the topic "Pasolini"
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Matthey, Laurent, and Nicola Cantoreggi. "“The Form of a City”: Pasolini and the Poetic Ecology of the Sign." Space and Culture 20, no. 4 (June 19, 2017): 399–414. http://dx.doi.org/10.1177/1206331217707472.
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This article examines the potential contributions of Pasolinian anthropology to urban studies. Pasolinian anthropology aims to articulate a historical moment (i.e., the acceleration of the second industrial revolution in Italy between the mid-1960s and mid-1970s) with environmental and urban transformations. The authors sketch a portrait of Pasolini as a primitive theoretician who supported that which would become known as landscape urbanism. The authors mainly consult Pasolini’s journalistic writings published in two anthologies ( Lettere luterane, Scritti corsari) and an incomplete pedagogical manual ( Gennariello). The authors also refer to four of his documentary films ( Comizi d’amore, Appunti per un film sull’India, Appunti per un Orestiade Africana, and Pasolini e la forma della città) and tangentially to two of his novels ( Racconti romani and Petrolio) as well as to his correspondence and poems (particularly Gramsci’s Ashes).
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Caradonna, Chiara. "Mandel’štam. Rom. Pasolini." Volume 62 · 2021 62, no. 1 (October 1, 2021): 291–320. http://dx.doi.org/10.3790/ljb.62.1.291.
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Mandel’štam. Rome. Pasolini In 1972 a small volume presented for the first time a varied choice of poems by the Russian poet Osip Mandel’štam to the Italian public, translated by Serena Vitale. One of the book’s first and most enthusiastic readers was the poet, film director and intellectual Pier Paolo Pasolini, who immediately reviewed it for the Italian newspaper Il Tempo. This review shows the great significance that Mandel’štam’s poetry acquired for Pasolini in the very last years of his life. So much so, that the first verse of Mandel’štam’s late poem, With the world of the powerful …, became the motto of Pasolini’s last, unfinished novel Petrolio. While offering a reading of this poem by Mandel’štam, the present article investigates the reasons for Pasolini’s passionate interest in the Russian poet, and sheds light on the political dimension of both Mandel’štam’s and Pasolini’s œuvre.
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Michaelis, K. "A critical analysis of Pier Paolo Pasolini’s African Oresteia." Literator 17, no. 2 (April 30, 1996): 79–90. http://dx.doi.org/10.4102/lit.v17i2.604.
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Pasolini's Appunti per un’Orestiade africana (1970) is a metaphorical film, inspired by the Greek legend of Orestes, in which Pasolini views postcolonial African history through the lens of mythology. His portrait of the birth of “modern” Africa is an attempt to narrate the passage from past to present and to salvage "prehistory" through his dream of the unification of the rational, democratic state and the irrational, primal slate of being. It is, however, a dream punctuated by contradictions and paradoxes, a dream which Pasolini will later abandon. Yet it is significant in the overall development of Pasolini's genre.
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Romanelli, Claudia. "From dialogue writer to screenwriter: Pier Paolo Pasolini at work for Federico Fellini." Journal of Screenwriting 10, no. 3 (September 1, 2019): 323–37. http://dx.doi.org/10.1386/josc_00007_1.
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Pier Paolo Pasolini was a poet, novelist, essayist and filmmaker who also worked as a screenwriter for some of the most important Italian directors including Mario Soldati, Mauro Bolognini and Bernardo Bertolucci, to name a few. While Pasolini’s poems, novels and films are widely studied, his work as a screenwriter has not attracted much critical attention. This is partly because Pasolini tended to collaborate with directors whose artistic tastes were very different from his own, making it difficult to understand what he could possibly bring to the films on which he worked. The fact that he took his first steps in the screenwriting teams for which Italian cinema was famous has also contributed to downplay his screenwriting activity. One such example is his contribution to Federico Fellini’s screenplays. Fellini first approached Pasolini because he wished to revise the dialogue in Le notti di Cabiria, which he thought lacked the authentic feel of the language spoken in the Roman slums where the film took place. Although critics have always assumed that Fellini discarded Pasolini’s revisions to his scripts, archival sources tell a different story, revealing Pasolini’s key contribution to Fellini’s work and his eagerness to leave a lasting impression on it.
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Rappaport, Mark. "The Autobiography of PIER PAOLO PASOLINI." Film Quarterly 56, no. 1 (2002): 2–8. http://dx.doi.org/10.1525/fq.2002.56.1.2.
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The Autobiography of Pier Paolo Pasolini re-examines Porcile, one of Pasolini's least well-received films, in light of his own comments about and obvious affection for the work and in relation to his better-known films Teorema and Salòò. The seeming opacity of the film is clarified by reading it as a parable not only about transgressions in closed societies but also, more specifically, about homosexuality, a subject that Pasolini, although he made no bones about his sexual orientation in real life, never fully explored in his films.
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Pasolini, Pier Paolo, Rosa Mucignat, and Cristina Viti. "The Turks in Friuli." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 329–43. http://dx.doi.org/10.1632/pmla.2020.135.2.329.
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Pier Paolo Pasolini Continues to Be Known Outside of Italy Primarily as A filmmaker and Controversial Public Intellectual whose uncompromising explorations of sexuality, religious meaning, and social exclusion gave expression to a “uniquely provocative and prophetic modernity” (Hirschman 9). Recent scholarship in English is only beginning to reveal the extraordinary variety and quality of Pasolini's writing in Italian, and it has barely touched on his early works in Friulian. Friulian is a Romance variety spoken in Friuli, a region in the far northeast of Italy, where Pasolini spent many a summer as a child in his mother's hometown of Casarsa. In the Friulian of Casarsa, Pasolini thought he had found a “pure poetic language” (“Al lettore” 8), unsullied by previous literary usage yet integral to the archaic lifeworld of the marginalized peasants for whom he felt “a sweet and violent love, both turbid and pure” (Passione 137).
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Murphy, Jill. "Dark fragments." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 39–56. http://dx.doi.org/10.33178/alpha.7.03.
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The short film La ricotta (Pier Paolo Pasolini, 1963) tells the story of Stracci, an extra working on a film of the life of Christ, which is presented in part via tableaux vivants of Mannerist paintings. Pasolini’s film is replete with formal, stylistic and narrative binaries. In this article, I examine a particularly emphatic binary in the film in the form of the abstract, ethereal corporeality of the Mannerist paintings versus the raw and bawdy corporeality of Stracci. I show that through the reenactment of the paintings and their literal embodiment, Pasolini creates a rapprochement and, ultimately, a reversal between the divine forms created by the Mannerists and Stracci’s unremitting immanence, which, I argue, is allied to the carnivalesque and the cinematic body of Charlie Chaplin’s Little Tramp. I examine how Pasolini gradually deposes the Mannerists, and thus the art-historical excesses and erotic compulsion he feels towards the crucifixion, substituting in their place the corporeal form of Stracci in all its baseness and profanity.
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Stochino, Emanuele. "Pier Paolo Pasolini and the Sacred." New Theatre Quarterly 39, no. 2 (May 2023): 103–23. http://dx.doi.org/10.1017/s0266464x23000052.
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Pier Paolo Pasolini (1923–1975) fashioned poetry, prose, cinema, and theatrical works, and how he conceived of the sacred is more thoroughly understood in relation to his working biography. Two films, The Gospel According to St Matthew and La Ricotta, together with his tragedies, overwritten on the Greek plays The Eumenides and Medea are here in focus, indicating why Pasolini drew on Mircea Eliade’s method of integrating historical, phenomenological, and hermeneutical approaches. Declaring himself a Marxist, Pasolini did not accept Eliade’s theory in full, while the two concepts that most link him to Eliade are the latter’s ‘eternal return’ and ‘hierophanies’. Pasolini had grown up immersed in the natural world of Friuli, Northern Italy, and he considered hierophanies as an immanent manifestation of the sacred in nature. In doing this, he discovered both the immensity of the archaic peasant world and the cosmogonic matrix of his religion. Pasolini’s ontological vision of being led him to define the eternal return as the cyclical time of nature, the movement of life in respect of the inscrutable laws of the cosmos and the transcendent supernatural. Cyclical time meant death and resurrection and thus the possibility of regeneration, like a seed that dies to become a plant.
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Zwick, Reinhold. "Pier Paolo Pasolini und das Christentum. Einige Facetten einer Komplexen Beziehung." Roczniki Nauk Społecznych 51, no. 4 (December 28, 2023): 7–30. http://dx.doi.org/10.18290/rns2023.0043.
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Mit seinen vielgestaltigen künstlerischen Arbeiten und bemerkenswert aktuell gebliebenen kulturkritischen Schriften erfreut sich Pier Paolo Pasolini (1922-1975) auch fast fünfzig Jahre nach seinem Tod ungebrochen hoher internationaler Aufmerksamkeit. Der vorliegende Beitrag profiliert die zentrale, gleichwohl zumeist unterschätzte Rolle des christlichen Glaubens für Pasolinis Leben und Werk, ungeachtet seiner Selbstbezeichnung als Atheist. Teils überblickshaft, teils in entfalteten Stichproben kommen dazu ausgewählte biographische Zeugnisse, literarische Arbeiten und Filme Pasolinis in den Blick, insbesondere seine beiden ihm sehr wichtigen, unrealisiert gebliebenen Filmprojekte „Der heilige Paulus“ und sein letztes Filmskript „Porno-Theo-Kolossal,“ der intendierte Schlussstein und die Summe seiner Regiearbeiten. Dabei wird die markante christologische Ader sichtbar, die nicht nur Pasolinis Oeuvre, sondern auch sein Leben tiefgreifend durchformt.
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Velásquez, Juan C. "Herculean Unproductivity in Pasolini's La ricotta and Teorema." Cultural Politics 18, no. 2 (July 1, 2022): 208–26. http://dx.doi.org/10.1215/17432197-9716267.
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Abstract This article examines the relationship between work, capitalist productivity, and the filmmaking practice of Pier Paolo Pasolini. This article examines how Pasolini's La ricotta and Teorema represent an interruption of labor and a contestation of the disciplining mechanisms that compel workers to work. Recuperating Jean-François Lyotard's concept of acinema, this inquiry suggests that Pasolini creates scenes that oppose the capitalist work ethic through formal techniques associated with immobility and contingency. It deploys Hannah Arendt's concept of action and Jacques Rancière's dissensus to describe workers’ political actions in these films as gestures where they shed their identity as workers to enjoy life as humans. The purpose of this intervention is to reframe academic debates of anticapitalism around workers’ desire not to work. Pasolini's films give viewers images that highlight workers’ unproductive potentials, thereby giving them examples of immobile, nonwork dissensual actions, or Herculean unproductivity.
Dissertations / Theses on the topic "Pasolini"
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Beylot, Pierre. "L'esthétique de Pasolini." Paris 1, 1991. http://www.theses.fr/1991PA010515.
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Le principal objectif de ce travail est de réévaluer l'importance de la réflexion de Pasolini : comme Metz ou Eco, Pasolini s'interroge sur la nature du langage cinématographique; mais sa démarche "hérétique", souvent mal comprise, le conduit à envisager de manière originale les problèmes de l'analogie, du rôle de l'organisation des objets dans l'image, ou de la spécificité du cinéma. Il défend également sous le nom de "cinéma de poésie" une esthétique commune, à ses yeux, atouts les cinéastes de la "modernité" des années soixante et s'interroge à cette occasion sur le réalisme de l'i mage, sur sa dimension onirique, sur le rôle de la métaphore au cinéma ou la place de la narrativité et du montage; enfin, faisant de la notion de "discours indirect libre" l'une des clés de son esthétique, il envisage le problème de l'énonciation au cinéma dans toute sa complexité. L'analyse des textes théoriques de Pasolini permet aussi de considérer son cinéma de façon nouvelle: la contradiction présente dans ses films, entre réalisme et parabole, désir d'authenticité et volonté de multiplier les médiations culturelles, peut-être, par exemple, mise en rapport avec le mélange d'implication et d'effacement qui caractérise le "discours indirect libre"The main point of this work is to revalue the importance of gasoline’s theoretical reflection. As either Metz or eco, gasoline focuses himself on the nature of the cinematographic language. But his heretical behavior, often misunderstood, leads him to an original approach to the matter of analogy, the place taken by the organization of objects in the picture, the peculiarity of cinema. He also argues for aesthetics he names "cinema of poetry", which he believes all film producers of the "modernity" shared in the sixties. He closely examines the realism provided by the picture, the part played by the metaphor in cinema, the place taken by narration and montage. At least, he handles the notion of "free indirect talk" as a key of his aesthetics to face the matter of enunciation in cinema with all its complexity. The analysis of his theoretical essays allows us to have quite new views on his cinema. The contradiction between realism and parable which may be found in his films stands for his lust for authenticity and will to multiply cultural mediations. It may also be related to a mixture of involvement and self-effacement which characterizes the "free indirect talk"
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Trento, Giovanna. "Pasolini et l'Afrique -L'Afrique de Pasolini : panméridionalisme et représentations de l'Afrique postcoloniale." Paris, EHESS, 2008. http://www.theses.fr/2008EHES0354.
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Pier Pasolini (1922-1975), intellectuel italien complexe et de grande envergure, a élaboré une vision de l'Afrique qui n'avait jamais été analysée en profondeur. La recherche a étudié la représentation de l'Afrique chez Pasolini : par l'analyse de son vaste corpus biblio/filmographique et de ses expériences de vie et de voyage, en restituant son travail dans son contexte historique et social, en confrontant les différents discours avec lesquels cette représentation entre en résonance et par l'élaboration des notions de Grand Midi et Panméridionalisme. Le regard africain de Pasolini, d'une part, nous raconte entre les lignes l'Italie qui essaye de se réinventer après le fascisme, et la valorisation du dialecte et du folklore à partir de la fin des années Quarante qui fait suite à la redécouverte de Gramsci ; d'autre part, ces questions nous projettent vers des thèmes qui caractérisent le débat académique de la fin du XXème siècle : la relecture de Gramsci au niveau international à l'époque postcommuniste, la notion transnational de paysannerie, la construction et la conservation d'un imaginaire "afro-classique", la question de la Mémoire coloniale et la façon dont s'énonce une perspective postcolonialeItalian writer and filmmaker Pier Paolo Pasolini (1922-1975) provided a complex representation of Africa that had not been studied yet. The author of this thesis finally did it by : researching into his huge production, outlining his life and traveling, placing his work into its historical context, comparing his work with other similar/different discourses, and by introducing the notions of Pan-South and Pan-southern Approach. On one hand, Pasolini's presentation of Africa portrays -between the lines- how Italy dismissed fascim and the war, by rediscovering Gramsci and by discussing the notion of folklore; on the other hand, it lets us focus critically on issues that will be relevant internationally in social sciences and humanities at the end of XX century, such as: a renewed attention to Gramsci's work, the transnational notion of peasantry, the development of Afrocentrism, the rise of colonial memories, and the postcolonial perspective
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FIORILLO, Alessandro. "Pasolini in controluce. Cinema, poesia, prosa." Doctoral thesis, Scuola Normale Superiore, 2021. http://hdl.handle.net/11384/109484.
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Bondavalli, Simona. "The buffoon and the magician : poetry, spectacle and critical discourse in the works of Pier Paolo Pasolini /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6629.
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Hooper, L. E. "Questions of exile in Dante and Pasolini." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604215.
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Exile is central to the work of Dante (1265-1321) and Pasolini (1922-1975); both writers suffered banishment and each presented himself as an outsider. It is often hypothesised that there is a relationship between this exiled status and the innovative approach of these writers to their work. My thesis investigates this proposition. In the Vita nova – written c. 1293-1295, some years before Dante’s banishment in 1302 – I argue that both Dante’s poetic self and his texts are already configured as pilgrims through exile in a Christian tradition stretching back through Gregory and Augustine to Paul. The duality of the exile/pilgrim motif, which expressed both the perpetual estrangement of this world and the eternal hope of spiritual progress in the next, underwrites the libello’s hybrid textuality, allowing it to remain suspended between many of the oppositional binaries of medieval writing – prose and verse, sacred and secular, vernacular and Latin. In my study of Pasolini’s verse tragedies of the late 1960s, I show how Pasolini builds on the estranging nature of the dramatic form to construct a theatre that communicates the author’s sense of boom-era Italians as a people in exile via both formal and thematic means. My reading of the plays shows exile’s necessity in understanding their negotiation between subjectivity and history – the capital issues in Pasolini’s varied career. Finally, I examine the issue of Eden in the Earthly Paradise cantos of Dante’s Comedy (1307-1321), and Pasolini’s novels La divina mimesis (1975), Atti impuri and Amado mio (both c. 1950). These narrative works attach an Edenic quality to the lyric writings with which both men began their careers, and aspire to a place within the boundaries of this Edenic lyric tradition. I conclude that the crossing of boundaries implicit in Dante and Pasolini’s self-presentation as Italian writers in exile allows them to justify breaking new ground artistically whilst still making a powerful statement of civic and cultural belonging.
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Vighi, Fabio. "Pier Paolo Pasolini : formazione intellettuale (1940-1961)." Thesis, University of Reading, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.312549.
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Alves, Cláudia Tavares 1988. "O ensaísmo corsário de Pier Paolo Pasolini." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270079.
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Orientador: Maria Betânia AmorosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Dentre as diversas atividades literárias e cinematográficas às quais Pier Paolo Pasolini se dedicou ao longo de sua carreira, seu trabalho jornalístico ganhou grande destaque entre o público em geral e a crítica especializada por ter um caráter de intervenção política. A intenção do presente trabalho é buscar caminhos para compreender o percurso intelectual percorrido pelo escritor italiano nos meios de comunicação de massa, iniciando a pesquisa por artigos publicados na década de 1960 em periódicos de menor circulação e culminando em uma análise mais longa e reflexiva sobre o momento que ficou conhecido como o do corsarismo. Tal denominação foi extraída do livro Scritti corsari, de 1975, o qual reúne uma série de textos escritos para grandes jornais italianos, como o Corriere della Sera, a fim de denunciar a dominação de um modo de vida burguês em detrimento de outras manifestações sociais e culturais na Itália após o fim da Segunda Guerra Mundial e seus consequentes avanços econômicos. Nosso objetivo é então pensar o que foi esse momento corsário na obra de Pasolini e de que maneira suas escolhas estilísticas constituíram uma forma muito particular de escrever ensaios jornalísticos
Abstract: Among all different literary and cinematographic activities developed by Pier Paolo Pasolini, his work in newspapers gained great importance with the general public and the critics because of the political intervention it represented. The purpose of this thesis is to search for means to comprehend the intellectual journey made by the Italian writer when he has written for big mass medias. The first step was related to writing reviews about his articles published during the 1960s in smaller journals and then a deeper and reflexive analysis of corsarismo was made. Corsarismo is a designation extracted from the book Scritti corsari (1975), which gathers many texts published in big newspapers, such as Corriere della Sera. These articles were written to denounce the domination of a certain bourgeois way of life to the detriment of other social and cultural manifestations in Italy after Second World War and its consequent economical improvements. Our main goal is to think of what has been this corsair moment in Pasolini¿s work and in which way his stylistic choices became part of a very particular way of writing essays
Mestrado
Teoria e Critica Literaria
Mestra em Teoria e História Literária
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Brayner, Marlos Guerra. "Pier Paolo Pasolini : uma poética da realidade." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/6833.
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Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008.Submitted by Thaíza da Silva Santos (thaiza28@hotmail.com) on 2011-02-10T19:20:25Z No. of bitstreams: 1 2008_MarlosGBrayner.pdf: 2542456 bytes, checksum: 2abeaee21ff9a7a069aeb6f2e9e43329 (MD5)
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Esta dissertação apresenta uma pesquisa sobre aspectos de teoria lingüística e cinematográfica na obra do intelectual italiano Pier Paolo Pasolini, especificamente a partir de seus textos teóricos de caráter ensaístico coligidos no livro Empirismo Hereje. A dissertação apresenta ainda, a análise de alguns poemas e filmes do autor. A pesquisa procura inicialmente investigar como Pasolini entende um sistema de representação semiótica e discute a noção de realidade na sua obra. Em um momento seguinte, procura-se analisar os fundamentos e implicações dos conceitos de realidade, representação e estilo na formação do cinema de poesia. A análise está baseada especialmente na articulação dos conceitos de teoria da linguagem desenvolvida nos ensaios estudados. _________________________________________________________________________________ ABSTRACT
This dissertation presents a research on linguistic and cinematic theories in the work of the Italian intellectual Pier Paolo Pasolini, specially in the theoretical texts compiled in the volume Heretical Empiricism. The dissertation still embraces analysis of some Pasolini´s poems and films. Initially, the research investigates how Pasolini conceives a semiotic representation system and dialogues with the notion of reality in his work. In the next moment, the research focus on the background information and implications associated with the concepts of reality, representation and style, in order to accomplish poetry cinema. The analysis is embodied with language theory concepts developed into the Heretical Empiricism texts.
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Comini, Marcelo. "O Decamerão sob o olhar de Pasolini." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/101658.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2013-07-15T22:53:55Z (GMT). No. of bitstreams: 0
Este trabalho tem seu foco na análise da adaptação da literatura para o cinema. Especificamente, essa relação entre literatura e cinema é abordada através do estudo da adaptação cinematográfica do livro Decamerão, de Giovanni Boccaccio, realizada por Pier Paolo Pasolini, em seu filme homônimo. Baseado nas teorias da literatura e nas teorias do cinema configura-se Boccaccio na literatura e Pasolini no cinema e, dessa forma, situa o Decamerão como manifestação artística. Baseado nas teorias da adaptação, discute as observações relativas à essa adaptação em especial, de maneira a analisar o processo de conversão das palavras de Boccaccio para as imagens do filme de Pasolini. As conclusões dessa transformação do texto em audiovisual servem para corroborar a idéia de que a adaptação consiste em uma espécie de tradução do literário para o cinematográfico.
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CICOLELLA, ROSA. "DAL MILES GLORIOSUS AL VANTONE DI PASOLINI." Doctoral thesis, Università di Foggia, 2014. http://hdl.handle.net/11369/331866.
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ABSTRACT
Il lavoro di ricerca è stato focalizzato su nuovi spunti d’indagine e di approfondimento della ricezione di opere classiche nella letteratura moderna, in particolare partendo dalla figura del MILES GLORIOSUS, passando per l’Illusion Comique di Corneille e giungendo al Vantone di Pasolini.
Plauto fu un uno dei maestri del teatro per il brio straordinario che non teme neppure la trivialità, e per il grande senso dell'osservazione delle tipologie umane che arricchì frequentando mercati, gli schiavi, i soldati, le prostitute che gli ispirarono gran parte delle commedie. Egli fu maestro del riso, se ne servì in maniera sferzante, usando i mezzi propri del teatro.
Fu abile nell'annodare intrecci e nel dipingere i personaggi messi in scena in modo preciso.
Le sue commedie avevano un prologo lunghissimo, sproporzionato, era una vero discorso rivolto al popolo sull'argomento della commedia stessa, i dialoghi erano espressi da parole saporite di pura fonte latina, la musica e il canto erano felicemente integrate.
Da Plauto parte con più forza rispetto ad altri autori l’avventura comica del soldato nella letteratura di tutti i tempi: i suoi contorni si marcano con maggior evidenza si prepara la strada per un soggetto comico multifunzionale, destinato a ibridarsi con la tradizione dell’epica classica e a disperdersi nei rivi complicati dei suoi diversi allotropi.
Da qui la “contaminatio” e l’influenza che Plauto ebbe su Terenzio. Il personaggio del miles diventa topico all’interno della palliata e si stabilizza sui binari della comicità plautina. Il grande insegnamento del teatro di Plauto perdura, infatti, per più di mezzo secolo dalla sua morte.
Sebbene l'opera di Corneille differisca nei contenuti e nella trama da quella di Plauto, si possono trovare molti elementi che, singolarmente o organicamente, l'avvicinano ad essa.
Corneille scrive nel 1635 quella che sarà la sua ultima commedia, L'Illusion Comique, che, a detta dello stesso autore, si compone dei generi più svariati racchiudendo quindi una mescolanza degli stili più diversi. Corneille utilizza molte delle maschere tipiche del teatro plautino, a cominciare dalla figura del miles stesso, che, da protagonista – o quasi – della commedia di Plauto, diviene una semplice comparsa nell'opera di Corneille, ma ne mantiene i tratti distintivi. Di contro, il Vantone non è certo un esercizio intellettuale ma assume un preciso ruolo, tenta di far rinascere il genere drammatico, dopo la crisi del dramma borghese. Lungo le pagine dello studio che andrò a presentare ci renderemo conto di quanto Pasolini abbia creduto nel suo lavoro di traduzione, condotto con un atteggiamento di grande rispetto per il drammaturgo.
Pasolini si confronta con l’autore classico e ne recupera tutti gli elementi della sua commedia, dalla fabula, incentrata intorno alla beffa, all’assetto linguistico, nonostante il traduttore ambienti le storie del suo Miles nella Roma delle borgate: alla nobiltà del latino plautino corrisponde l’utilizzo del martelliano, il verso del grande teatro del settecento cui rifarsi per la rinascita del
dramma borghese, mediante il quale filtrare il romanesco adoperato da Pasolini. Pasolini può essere considerato, a pieno titolo, allievo di Plauto, sa di disporre di un universo linguistico nascente
La ricerca, dunque, ha messo in risalto la figura del Miles nell’arco dei secoli e la sua rappresentazione teatrale.
Books on the topic "Pasolini"
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Università degli studi di Salerno, ed. Pasolini dopo Pasolini. Soveria Mannelli (Catanzaro): Rubbettino, 2011.
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Marie-Hélène, Caspar, ed. Pasolini. [Nanterre: Université de Paris X: Nanterre, 1994.
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Pasolini, Pier Paolo. Pasolini rilegge Pasolini: Intervista con Giuseppe Cardillo. Milano: Archinto, 2005.
Find full textBook chapters on the topic "Pasolini"
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Besana, Bruno. "Alain Badiou’s Pasolini." In The Scandal of Self-Contradiction, 209–36. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_12.
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In the following analysis, I wish to show how Alain Badiou’s work is crucial to understanding the exact sense of change as ‘inactuality’ or paradoxical actuality, and I wish to do so by scrutinizing his references to Pasolini. Badiou in fact investigates the concept of change through Pasolini’s depiction of the figure of Paul, arguing that it exposes a specific tension between universality and singularity, and between eternity and novelty, which constitutes the very dialectic of change.
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Trento, Giovanna. "Pier Paolo Pasolini and Pan-Meridional Italianness." In The Scandal of Self-Contradiction, 59–83. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_04.
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Despite his ‘Third World’ and Marxist sympathies, Pier Paolo Pasolini showed, throughout his life, strong poetic and political attention for national narratives and the building of Italianness. However, Pasolini’s ‘desperate love’ for Italy and Italianness – which I consider one of the basic elements of his poetic universe – can be fully grasped only if we read it in the light of his fluid, transnational, and pan-meridional approach.
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Grieco, Agnese. "The Body of the Actor." In The Scandal of Self-Contradiction, 85–103. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_05.
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What is the role or the function of the actor in Pasolini’s cinema? I shall try to put this very general and generic question in another way: how can we define, overall, the particular physiognomy of a Pasolini actor? There are undoubtedly some particular characteristics, but what are they exactly?
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Wild, Gerhard. "Pasolini, Pier Paolo." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13494-1.
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Gordon, Robert S. C. "Pasolini as Jew." In The Scandal of Self-Contradiction, 37–58. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_03.
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Pasolini’s first turn beyond Europe can be dated to three lengthy journeys to Asia and Africa undertaken between December 1960 and February 1963. The places he visited quickly bring to mind a long series of subsequent projects – poems, screenplays, films realized or unfinished – from throughout the remaining fifteen years of Pasolini’s life, during which he pitched himself in a wholly new light as a poet of the Third World.
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Mazzini, Silvia. "Pasolini and India." In The Scandal of Self-Contradiction, 135–50. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_08.
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Pasolini’s first visit to a Third World country dates to 1960–61. His impressions and experiences during this journey are told in the collection of articles L’odore dell’India, which, in my opinion, also reveals his (perhaps characteristic) tension between being up-to-date and being out of time. This essay can thus be understood as a small journey through the author’s travels in and relations with India.
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Kleiner, Barbara. "Pier Paolo Pasolini." In Kindler Kompakt Italienische Literatur 20. Jahrhundert, 119–23. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05534-7_19.
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Cadel, Francesca. "Outside Italy." In The Scandal of Self-Contradiction, 151–65. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_09.
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In the 1960s and 1970s, Pier Paolo Pasolini described a rapidly changing world, expressing a new poetics that can be considered transnational. I will use different examples – beginning with Pasolini’s Indian travelogues – to show how his initial devotion to Italian millenary traditions and peasant cultures finally led to an open vision and understanding of human behaviors and mores beyond any national boundary.
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Gragnolati, Manuele, and Christoph F. E. Holzhey. "Aktive Passivität?" In Cultural Inquiry, 49–65. Wien: Turia + Kant, 2017. http://dx.doi.org/10.37050/ci-12_04.
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Als Pier Paolo Pasolinis Porcile (Der Schweinestall) 1969 auf den Filmfestspielen von Venedig gezeigt wurde, wurde er für seinen skandalösen und frevlerischen Inhalt heftig angegriffen. Während Pasolini selbst den politischen Inhalt seines Films als »apokalyptische Anarchie« beschreibt, der man sich nur mit Distanz und Humor nähern könne, kann Porcile auch als Vorschlag gelesen werden, das Aufgeben von (politischer) Aktivität und der Hoffnung auf eine bessere Zukunft als eine paradoxe Form sowohl der radikalen politischen Kritik als auch der Freude aufzufassen.
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Hamza, Agon. "Introduction: Althusser and Pasolini." In Althusser and Pasolini, 1–9. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-56652-2_1.
Full textConference papers on the topic "Pasolini"
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Coutinho, Davison da Silva, and Nilton Gamba Junior. "PASOLINI E A METODOLOGIA DE UM OLHAR SOBRE A PRODUÇÃO CULTURAL NA ROCINHA." In 11º Congresso Brasileiro de Pesquisa e Desenvolvimento em Design. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/designpro-ped-00629.
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Stochino, Emanuele. "FORTY YEARS ON: STREET ART WORKS TO MARK THE PASSING OF PIER PAOLO PASOLINI." In 7th SWS International Scientific Conferences on SOCIAL SCIENCES - ISCSS Proceedings 2020. STEF92 Technology, 2020. http://dx.doi.org/10.5593/sws.iscss.v2020.7.2/s14.16.
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Cervelli, Pierluigi. "Les transitions du croire : de la parabole vers un nouveau modèle sémiotique." In Actes du congrès de l’Association Française de Sémiotique. Limoges: Université de Limoges, 2024. http://dx.doi.org/10.25965/as.8463.
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Cette contribution a pour objectif d’explorer les stratégies discursives et narratives opérant dans les paraboles, considérées comme des dispositifs de transition « d'un croire à l’autre ». L'intérêt de la parabole dans la problématique des transitions sociales réside dans la particularité du modèle de communication qui est lui sous-jacent, dont l’objet n’est pas le passage d’une quantité d’information mais la transformation du faire des sujets de la communication. La parabole opère, ainsi, en tant que schéma interprétatif d'expériences et en tant que schéma productif de nouvelles actions. Afin d’explorer cette dimension où la pragmatique et la sémantique se croisent, mon analyse sera conduite en analysant, avec la méthodologie de la sémiotique structurale et générative, un corpus constitué d’un film de Pier Paolo Pasolini (Uccellacci e Uccellini) et les pratiques de protestation de Danilo Dolci, l'intellectuel italien qui demandait l'application de la nouvelle constitution démocratique après la deuxième guerre mondiale.
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De Gennaro, Tiziana, and Davide De Leo. "Il restauro del castello di Massafra (TA)." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11445.
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The restoration of Massafra’ Castle (TA)Massafra Castle’s restoration project aims to preserve and enhance the monument, redeeming it from the current state of partial abandonment, with the scope to return it to the community. First, an in-depth study of an historical research was carried out together with the analysis of the monument’ superficial and structural degradation to identify the adequate remedies. It was clear that “restoring only the stones” would have not been efficient and therefore finding a new purpose was necessary and essential. Finding a new scope for those kinds of architectures is a matter of great interest, because more than any other type of monuments, those are completely out of their historical context that gave them political, military and economic reason to be built. Therefore, following a sociological investigation, it emerged that the best solution would be create a connection between Massafra and cinematography: there are many cultural organizations in this area and most of them need more dedicated space. Massafra has already been chosen several times as a movie set by famous authors: Il Vangelo secondo Matteo by Pier Paolo Pasolini, Il Paese delle spose infelici by Pippo Mezzapesa and Amiche da morire by Giorgia Farina. This is how the MOVIE (Massafra Omni Vision between Innovation and Cultural Heritage) idea was born, a 360° cinema setting which is unique at a national level and that it would become part of larger cinematographic circuit already flourishing in the Apulia region. The project’s feasibility was then evaluated from a logistic-economic point of view. Furthermore, given the Castle’s location, the project proposes the reopening of ancient paths that connect the monument to the historical town centre and to the Ravine. The project also supports the restoration of rock settlements with its cave houses (currently completely collapsed) that surround the castle’s foundation to divulge hospitality.