Academic literature on the topic 'Pasolini, Pier Paolo, 1922-1975'
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Journal articles on the topic "Pasolini, Pier Paolo, 1922-1975"
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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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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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MARTÍN, REBECA. "Coincidencias entre "San Manuel Bueno, mártir" (Unamuno) y "La aldea de Romàns" (Pasolini)." ACTIO NOVA: Revista de Teoría de la Literatura y Literatura Comparada, no. 6 (December 29, 2022): 321–35. http://dx.doi.org/10.15366/actionova2022.6.014.
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En este artículo vamos a abordar las similitudes entre dos obras de distintos autores del siglo XX: por un lado, San Manuel Bueno, mártir, del bilbaíno Miguel de Unamuno (1864-1936) y, por otro, La aldea de Romàns, del italiano Pier Paolo Pasolini (1922-1975). En ambas novelas, el protagonista es un sacerdote con ciertas dudas: en el caso de Unamuno (1931), acerca de la fe y la inmortalidad; en el caso de Pasolini (1949), estas dudas están más relacionadas con la sexualidad, aunque observamos de fondo temas políticos y sociales. Ambos títulos beben, a su vez, de Il santo, de Antonio Fogazzaro (1905), novela mucho más extensa que las anteriores. Aunque sabemos que Pasolini conocía a autores españoles como Juan Ramón Jiménez o Antonio Machado, no tenemos constancia de que hubiera leído a Unamuno.
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Elliott, Tomas. "Derek Jarman’s Tempest, William Shakespeare’s Salò." Humanities 12, no. 4 (August 3, 2023): 76. http://dx.doi.org/10.3390/h12040076.
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This article re-evaluates Derek Jarman’s adaptation of William Shakespeare’s The Tempest (1979) based on archival research into the cinematic and historical intertexts that influenced the film. Specifically, it focuses on the impact of Pier Paolo Pasolini on Jarman’s aesthetics, particularly the Italian filmmaker’s last work: Salò, or the 120 Days of Sodom (1975). The article explores how Jarman used Pasolini’s work as a filter through which to frame his adaptation of Shakespeare’s play. In so doing, he produced a decidedly Pasolinian twist on The Tempest, which he explicitly referred to in his notes as “Shakespeare’s Salò.” Bridging the gap between the Renaissance and Jarman’s contemporary moment, Jarman’s film offers a meditation on ideas of captivity and captivation in The Tempest, which extends from the play and film’s literal representations of imprisonment to their exploration of the affective power of performance and spectacle.
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Allen, Thomas. "Angels, Guests and Sadists: On-Screen Poetry in the Cinema of Pier Paolo Pasolini." Film-Philosophy 27, no. 3 (October 2023): 377–400. http://dx.doi.org/10.3366/film.2023.0238.
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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.
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Dalmau, Iván Gabriel. "Hacia una crítica de las Ciencias Humanas. Reflexiones foucaulteanas a partir de Saló o Los 120 días de Sodoma de Pier Paolo Pasolini." Ética y Cine Journal 6, no. 2 (July 1, 2016): 37. http://dx.doi.org/10.31056/2250.5415.v6.n2.16588.
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En el presente artículo se pretende realizar una lectura de fragmentos del film Saló o Los 120 Días de Sodoma (1975) de Pier Paolo Pasolini, desde una perspectivia foucaulteana. Básicamente, a partir del modo en que Michel Foucault perfiló el carácter crítico de su trabajo filosófico, buscaremos problematizar a la politicidad inherente a la producción de saberes respecto de “lo humano”, para lo cual nos enfocaremos en el film pasolineano.
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Marcasciano, Porpora. "Coming Out." Massachusetts Review 64, no. 4 (December 2023): 198–201. http://dx.doi.org/10.1353/mar.2023.a914918.
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Abstract: This is a memoir excerpt from Marcasciano, an activist for the rights of the trans community in Italy has been behind the civil rights and liberties achieved in the country during the 1970s. In this section, Marcasciano reflects on her experience as a member of the first generation of LGBTQIA activists in Italy, specifically her first time coming out in November of 1975 after the murder of Pier Paolo Pasolini.
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Porcarelli, Angela. "Dreams and desire. The cinema of Pier Paolo Pasolini and Federico Fellini: A conversation with Roberto Chiesi." Journal of Italian Cinema & Media Studies 10, no. 1 (January 1, 2022): 97–107. http://dx.doi.org/10.1386/jicms_00104_7.
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In this interview, Roberto Chiesi talks about the personal and professional relationship between Pier Paolo Pasolini and Federico Fellini. He describes their experience with neorealism and how each of them moved past it to develop an original and unique cinematographic style. He focuses on specific elements of their cinema, such as the importance of the oneiric dimension and their conception of the sacred. Chiesi explains the central role civic involvement had in the work of Pasolini; his last movie Salò o le 120 giornate di Sodoma (Salò, or the 120 Days of Sodom) (Pasolini 1975) is centred on the dramatic process of degradation caused by the new consumeristic ideology. Fellini, instead, was primarily concerned with the corruptive vulgarity of the new commercial television. Highlighting the importance of Pasolini and Fellini’s legacy, Chiesi concludes the interview by saying that the two artists had the foresight to imagine the dreadful long-term consequences the events of their time would produce, consequences we are experiencing in today’s society.
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Marques da Silva Godinho, Danilo, and Cíntia de Sousa Carvalho. "Linguagem e conhecimento por imagens:." ALCEU 20, no. 40 (July 10, 2020): 144–62. http://dx.doi.org/10.46391/alceu.v20.ed40.2020.51.
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O artigo aborda a presença das imagens técnicas na produção do conhecimento, problematizando o uso do recurso da videogravação em pesquisa acadêmica. Vale-se, para tanto, da articulação das reflexões acerca da linguagem desenvolvidas por Walter Benjamin (1892-1940) e Mikhail Bakhtin (1895-1975) à análise da produção teórica e cinematográfica de Pier Paolo Pasolini. Constata-se que o universo cinematográfico oferece subsídios para a utilização da imagem técnica na pesquisa em ciências humanas, ensejando a criação de narrativas imagéticas.
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Romanska, Magda. "The theatre of cruelty and the limits of representation: Sade/Salò." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 259–84. http://dx.doi.org/10.1386/jafp_00031_1.
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When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade’s novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini’s goal was to remain faithful to Sade’s novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini’s idea of relocating Sade’s novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade’s world functions).
Dissertations / Theses on the topic "Pasolini, Pier Paolo, 1922-1975"
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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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Nigdélian, Valérie. "Petrolio, le poème du retour de Pier Paolo Pasolini." Aix-Marseille 1, 2007. http://www.theses.fr/2007AIX10059.
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Roman inachevé et posthume, "Petrolio" constitue l'aboutissement et la radicalisation des constantes structurelles, thématiques et poétiques à l'oeuvre chez Pier Paolo Pasolini. Le pivot de ce "poème du retour" ? Un mouvement contradictoire irrésolu entre le rêve de l'Un et la nécessité conjointe de la séparation. Qu'il s'agisse du terrain politique où certaine "tentation" fasciste est mise au service d'une authentique utopie révolutionnaire, du terrain littéraire où le recours à des formes poussées participe d'un geste créatif proprement avant-gardiste (le retour aux conventions romanesques valant comme prétexte à la représentation de leur implosion), qu'il s'agisse enfin du terrain antologique où la pulsion régressive est affrontée à son envers - soit au principe paternel -, le "roman" n'en finit pas d'interroger la dialectique du maître et de l'esclave, osée comme "l'impossibilité" même : malgré la mise en scène récurrente de son objectivation par la métaphore sexuelle, le sujet - le bourgeois, l'écrivain - est condamné à la domination.
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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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Lefort, Christian. "Pier Paolo Pasolini : une philosophie de la création." Paris 8, 1999. http://www.theses.fr/1999PA081663.
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L'idee forte de ce travail est de vouloir faire ressortir le "comment faire" pasolinien a donner la parole a des personnes qui en sont exclus. Dans l'action de communiquer quelque chose se joue, et c'est de cette chose la que nous allons evoquer. Cette chose qui est en fait la creation, la creation langagiere. La notion de realite est donc necessaire pour comprendre cet entre-deux du langage. Le monde economique n'a pas de tradition ou les detruits des qu'elles ne lui servent plus. Le cinema de pasolini nous montre un monde economique qui veut se liberer des anciennes valeurs, tant au niveau primaire, c'est a dire des parlants, que de celui des techniques artistiques. D'ou l'interet porte par pasolini aux dialectes qui sont une forme vivace d'expressivite et de creation linguistique et surtout de reconnaissance de la subjectivite. Seulement la perte de l'expressivite dans la vie quotidienne ne peut qu'impliquer sa disparition aux niveaux des techniques. L'artiste cherchera a tourner en derision le monde economique et surtout le monde des arts, qui a sa propre tradition dont il ne peut se liberer. Ii a ses codes. Pasolini sera celui qui va donc s'attacher a renverser ces codes quilui ont ete donnes pendant son apprentissage et il le fait au nom des valeurs artistiques et donc de la tradition. Pasolini nous apprendra que pour le cinema la realite devient de plus en plus inexpressive, et dans la mesure ou le cinema exprime la realite a travers la realite, il tend lui-meme a etre de moins en moins expressif donc comme un miroir passif des enormites de la vie. La realite chezpasolini est liee a la mutation du monde, elle est la monstration d'un passage, ou mieux d'une periode de ce passage : un entre-deux en quelque sorte. Entre un monde fini et un monde a construire. Mais cet entre-deux est fait de difference et meme souvent d'instabilites. Pasolini nous montre un monde sans expressivite car lie a la tradition, lie au gardien de la loi, a la figure du pere.
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Pera, Giuseppe. "Pier Paolo Pasolini : l'intellectuel : critique littéraire et écrits politiques (1940-1960)." Paris 3, 1997. http://www.theses.fr/1997PA030165.
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Histoire de la litterature et de la societe italiennes du 19eme et du 20eme siecles a travers la biographie, l'oeuvre critique et les essais politiques de pier paolo pasoliniHistory of the italian literature and society in the 19th and 20th centuries through the biography, the critical work and the political essays of pier paolo pasolini
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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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De, Pizzol Vanessa. "La tension polémique dans les essais de Pier Paolo Pasolini." Nancy 2, 2002. http://www.theses.fr/2002NAN21021.
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Pier Paolo Paslolini est un artiste emblématique de la deuxième moitié du Vingtième siècle italien. Son œuvre, qui couvre différents domaines d'expression artistique et littéraire (peinture, poésie, roman, cinéma, théâtre) frappe par sa démesure. Mais plus encore, par la manière dont la réflexion sur l'œuvre et sur la société devient indissociable de l'acte de création. Les essais, de ce point de vue, sont un lieu d'observation idéal de la fusion qui s'opère entre le moment de la création et le moment de la réflexion, entre la littérarité et le discours. Il est une autre fusion qui apparaît nettement dans les essais et qui définit plus généralement le parcours pasolinien : c'est celle qui associe vie et œuvre. Ce principe de fusion n'est cependant pas un facteur de cohésion, du moins en apparence. L'auteur, qui place sa création sous le signe de l'oxymoron, a su en réalité utiliser un conflit qui l'a d'abord opposé à lui-même (acceptation de son homosexualité) avant de l'opposer à sa production et à la société contemporaine. Les essais s'attachent à montrer comment cette tension polémique est, au-delà d'un principe purement esthétique, un principe ontologique, une manière de concilier création et action, de lire le monde par le biais de l'attaque frontale. La production essayiste de Pasolini, envisagée sous cet angle, se fait le graphe de l'évolution de la société contemporaine vers un horizon résolument économique. La vision de l'auteur s'affirme comme profondément pessimiste et les invectives réitérées qu'il adresse à la société se font de plus en plus violentes au fil des étapes franchies par l'histoire de l'Italie (la contestation étudiante, la stratégie de la tension, etc. ) jusqu'à l'assassinat de Pasolini en 1975. La polémique se conçoit alors l'expression de la relation tragique qui lie l'auteur à la réalitéPier Paolo Pasolini was an emblematic Italian artist of the second half of the 20th century. What is particularly striking in his work, which covers several artistic and literary fields (including painting, poetry, novel, cinema and theatre), is its total lack of moderation as well as, even more importantly, its way of presenting the reflection on art and society as intimately connected with the act of creation itself. His essays are a particularly relevant case in point to observe the fusion between the time of creation and the time of reflection, between literature and speech. The other type of fusion which clearly appears throughout the essays - and which more generally defines Pasolini's career - is that between life and work. This principle of fusion is not, however, a factor of cohesion, at least in appearance. The author, who placed his creation under the sign of the oxymoron, actually made the most of the conflict which he initially waged against himself (because of his homosexuality) and then against his work and contemporary society. His essays aim to show how this polemical tension is, beyond its aesthetic dimension, an ontological principle, a way of reconciling creation and action, of reading the world through direct attacks. Seen from this angle, Pasolini's work as essayist becomes the mirror-image of the evolution of contemporary society towards openly economic perspectives. The author's vision was deeply pessimistic and the insults he directed at society became increasingly violent with every new stage of Italian history (such as the student protest movement or the strategy of tension, etc) until his murder in 1975. This polemical tension became an expression of the tragic relationship linking Pasolini to reality
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Coury, Michèle. "Primitivisme et discours des limites dans l'oeuvre de Pier Paolo Pasolini." Paris 3, 1985. http://www.theses.fr/1985PA03A057.
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Pisanelli, Flaviano. "Une écriture dissidente : les dernières productions de Pier Paolo Pasolini." Paris 3, 2007. http://www.theses.fr/2007PA030045.
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Notre thèse intitulée Une écriture dissidente : les dernières productions de Pier Paolo Pasolini vise à analyser et à approfondir la nature et le caractère dissidents de l’œuvre de Pasolini dans les années soixante-dix. À travers une enquête sémantique et lexicographique – et à l’aide de l’outil de la « concordance » – ce travail aborde dans une première partie l’étude du langage poétique que Pasolini utilise dans le recueil Trasumanar e organizzar (1971), en soulignant les nouveautés en matière de forme et de structure que le poète met en place grâce à la notion d’umorismo et à l’élaboration d’une poétique anti-lyrique. Vient ensuite une partie consacrée à l’analyse du roman posthume Petrolio (1992) et du film Salò o le 120 giornate di Sodoma (1975). Dans le but d’élucider, d’une part, l’enjeu et la portée littéraire dissidente de Petrolio et, d’autre part, de comprendre la cruauté du langage filmique de Salò ainsi que la violence physique et psychologique que le cinéaste met en scène, notre analyse souligne les rapports étroits entre les discours littéraire et filmique dans l’œuvre de Pasolini. Dans la dernière partie de la thèse, nous prenons en compte tout un ensemble de textes que Pasolini consacre aux causes de la crise de la littérature néoréaliste italienne ainsi qu’à ses réflexions sur les notions d’écriture, de langage (écrit et filmique) et de forme, qui amènent le poète-cinéaste à se confronter avec certains ouvrages de R. Barthes (Le degré zéro de l’écriture et L’empire des signes). Enfin, l’étude de Scritti corsari explique le positionnement culturel et idéologique de Pasolini face aux événements historiques des années soixante-dix et à la violence politique, socialeThis thesis, entitled A Dissident Writing: Pier Paolo Pasolini’s Last Works, aims to make an in-depth analysis of the dissident nature and character of Pasolini’s works of the 1970’s. Through a semantic and lexicographic investigation – and by employing the method of « concordance » – this work undertakes, in the first part, the study of the poetic language that Pasolini uses in the collection Trasumanar e organizzar (1971), by emphasizing the innovative form and structure which the poet creates through the notion of umorismo and the elaboration of anti-lyrical poetics. This part is followed by an analysis of the posthumous novel Petrolio (1992) and of the film Salò o le 120 giornate di Sodoma (1975). In an attempt to elucidate, on the one hand, the literary, dissident impact and significance of Petrolio, and on the other hand to understand the cruelty of the film language in Salò, as well as the physical and psychological violence that the filmmaker brings to the screen, this analysis emphasizes the close relationship between the literary and film discourse in Pasolini’s work. The last part of the thesis takes into account a group of texts that Pasolini dedicates to the causes of the crisis of Italian neorealist literature, as well as to his reflections on the notions of writing, language (written and film) and form, which lead the poet-filmmaker to confront certain of Roland Barthes’ works (Writing Degree Zero and The Empire of Signs). Finally, a study of Scritti corsari explains the cultural and ideological position of Pasolini, in relation to the historical events of the 1970’s and to the political, social and cultural violence of the “new power” of the consumer society
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Naze, Alain. "Temps et récit chez Walter Benjamin et Pier Paolo Pasolini." Paris 8, 2010. http://www.theses.fr/2010PA083279.
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Etablissant un rapprochement entre Benjamin et Pasolini, cette thèse débouche sur le constat de véritables affinités électives entre eux, au point que leur attention commune à la question du langage ouvre chez tous deux sur une philosophie de l’histoire, vraiment thématisée chez le philosophe seulement. Le langage, sous sa forme non instrumentale, constitue chez les deux auteurs le terreau sur lequel un questionnement historico-politique, certes différencié, va germer, à la faveur d’un même angle d’attaque retenu - à l’encontre de la linguistique moderne - : celui de l’origine du langage. N’envisageant aucun retour à l’origine, la philosophie non nostalgique de l’histoire dont la structure s’est dégagée dans le moment précédent trouve une confirmation de son orientation dans le traitement de la question du récit, car si la forme orale, traditionnelle, de la transmission disparaît, il ne s’agit pas de la raviver pour autant, des formes inédites de récit devant s’imposer, à l’image du cinéma. On n’aboutit pourtant pas plus à une apologie de la modernité, l’attitude non réactionnaire de nos deux auteurs, notamment quant aux développements de la technique, s’expliquant par leur refus d’une transmission du passé entendue comme sa prise en charge sous une forme patrimoniale. Si le passé, en effet, reste riche de virtualités pour notre présent, ce n’est que sous la forme de sa faiblesse, et non à titre monumental, qu’une histoire des vaincus pourra s’écrire. La fiction littéraire pourrait bien constituer un vivier de formes en vue d’une transmission écrite de la tradition, en marge de l’histoire positiviste, pour laquelle seule existe l’histoire des vainqueurs, identifiée à la marche du progrès. Au souvenir (Andenken) comme forme d’évocation du passé, il s’agirait de substituer la remémoration (Eingedenken) comme reviviscence du passé, point capital manifestant, entre Benjamin et Pasolini, une connivence d’autant plus profonde qu’elle est indirecte, puisant à la commune source proustienneIn establishing a close link between Benjamin and Pasolini, this dissertation focuses on the observation of veritable selective affinities between the two, to such an extent that their common attention to language allows for a philosophy of history, only truly thematized by the philosopher. For both authors, language, in its non-instrumental form, constitutes the fertile ground in which their own unique form of historico-political questioning will germinate, thanks to a common line of attack: that of the origin of language, in opposition to modern linguistics. Foreseeing no need for a return to origins, the non-nostalgic philosophy of history, whose structure stems from the preceding moment, finds confirmation of its orientation in the treatment of the question of text. If the traditional, oral form of transmission disappears, it must not necessarily be revived, for the original forms shall assert themselves in other ways, as in cinema. However, we must not confuse this with an apology for modernity. The non-reactionary attitude of our two authors, notably in as far as technical developments are concerned, demonstrates a refusal to transmit the past in a patrimonial form. If the past does, in fact, remain rich in virtualities for the present, it is only through its weakness, and not its monumental nature, that a story of the vanquished can be written. Literary fiction could very well be a breeding-ground of forms with the goal of written transmission of tradition, on the margin of positivist history, for which only the stories of winners exist, identified through the march of progress. For memory (Andenken), as a way of evoking the past, we must substitute recollection (Eingedenken) as a way of reliving the past. This is the principal point of connivance between Benjamin and Pasolini, even more profound than it is indirect, drawing from their common source: Proust
Books on the topic "Pasolini, Pier Paolo, 1922-1975"
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Pasolini, Pier Paolo. P.P.P., Pier Paolo Pasolini: Pier Paolo Pasolini and death. Ostfildern: Hatje Cantz, 2005.
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Pier Paolo Pasolini: Cinema as heresy. Princeton, N.J: Princeton University Press, 1990.
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1922-1975, Pasolini Pier Paolo, ed. The passion of Pier Paolo Pasolini. Bloomington: Indiana University Press, 1995.
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Rohdie, Sam. The passion of Pier Paolo Pasolini. London: British Film Institute, 1995.
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Gordon, Robert Samuel Clive. Pasolini: Forms of subjectivity. Oxford: Clarendon Press, 1996.
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A poetics of resistance: Narrative and the writings of Pier Paolo Pasolini. Madison [N.J.]: Fairleigh Dickinson University Press, 1995.
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The resurrection of the body: Pier Paolo Pasolini from Saint Paul to Sade. Chicago: University of Chicago Press, 2009.
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Pasolini, Pier Paolo. In danger: A Pasolini anthology. San Francisco, Calif: City Lights Books, 2010.
Find full textBook chapters on the topic "Pasolini, Pier Paolo, 1922-1975"
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Jobst, Peter. "Pier Paolo Pasolini (1922–1975)." In Frauenliebe Männerliebe, 335–40. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_74.
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Szöllösy, Raphaël. "Pasolini, Pier Paolo (1922-1975)." In Dictionnaire d'iconologie filmique, 474–81. Presses universitaires de Lyon, 2022. http://dx.doi.org/10.4000/books.pul.47718.
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McGlazer, Ramsey. "Salò and the School of Abuse." In Old Schools, 114–36. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286591.003.0005.
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This chapter revisits Pier Paolo Pasolini’s last film, Salò o le 120 giornate di Sodoma (1975), an adaptation of the Marquis de Sade set in the fascist Salò Republic. Challenging a critical tendency to see the film as forward-looking or indeed “prophetic,” the chapter attends to Pasolini’s complex and abiding engagements with the past. These include, the chapter argues, engagements with the obsolete forms of what Giovanni Gentile disparaged as mere “instruction.” Salò redeploys these forms as it constructs and compels viewers to inhabit an old school. For Pasolini—whose film was, he said, “conceived as a rite”—the painful, ritual re-enactment of the past becomes a means of countering the collective forgetting of fascism and an alternative to fascism’s remaining “real.” Schooling spectators in what Ernesto De Martino calls the salience of the “bad past that returns,” Pasolini refuses the postwar imperative to disavow the fascist past, to render it a mere “parenthesis.” He draws not only on Sade’s “school for libertinage,” but also on the long-discounted techniques of “instruction” in order to insist that any move beyond fascism must proceed from reckoning with it, not denial. The capacity for this reckoning is what Salò seeks to impart.
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Fan, Victor. "Breaking the Wave." In Extraterritoriality, 70–110. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440424.003.0003.
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This chapter asks the question: Can women filmmakers, cinematic spectators, and televisual viewers speak from their doubly––sociopolitically and gendered––extraterritorialised position? It -historicises the theoretical discourse and film practice of the first phase (1968–78) of the Hong Kong New Wave from the perspectives of women filmmakers and critics. It also discusses three different ways by which women speak through the cinema and television as authors, all aiming to establish what Pier Paolo Pasolini (1922–75) would call a free indirect discourse. For independent filmmaker Tang Shu-hsuen, through unlearning Euro-American aesthetics and relearning medieval Chinese one from the perspective of modern women, a cinema specific to the extraterritorial position of a Hong Kong female spectator can be fostered. For screenwriter Joyce Chan and her collaborator director Patrick Tam, a free indirect discourse can only be achieved when the addresser-message-addressee mode of communication in commercial television is actively challenged. Finally, for director Ann Hui and screenwriter Shu Kei and Wong Chi, the classical Hollywood paradigm can be reconfigured to enable desubjectivised and abjectivised gay male characters to negotiate their traumas and desires in terms that are understandable by heterosexual and heteronormative viewers.
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Pollacchi, Elena. "Spaces of History and Memory: The Works on the Anti-Rightist Campaign." In Wang Bing's Filmmaking of the China Dream. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721837_ch04.
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This chapter approaches history as a central concern in Wang Bing’s filmmaking. It deals with spaces of history and memory, in particular in relation to the Anti-Rightist Campaign of 1957–59. It highlights Wang’s interest in unveiling the gaps and the contradictions imbued in state narratives at different epochs. A close reading of Wang’s only full-length feature film so far The Ditch (2010) and a comparative reading of it with Pier Paolo Pasolini’s Salò (1975) are given in the first section of the chapter. The second section focuses on Wang’s mature work Dead Souls (2018) as a visual archive of witnesses on the campaign and as a way to testify to historical injustice, also recalling Claude Lanzmann’s Shoah (1985).
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Taylor, Alison. "Everyday Moments." In Troubled Everyday. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474415224.003.0002.
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Chapter two seeks to reframe the way in which we approach the affective potential of extreme cinema by investigating an implicit dynamic at work in its reception: the distinction between an immediate visceral response, and a more pervasive enduring kind of affect. Arguing that the triangulation of disturbing affect, the violent, and the everyday is not purely a recent phenomenon, chapter two traces two lines of continuity between past and recent extreme cinema. The first thread is a “discourse of immediacy”: the tendency of critics and scholars to privilege immediate visceral responses such as shock, outrage and disgust when articulating the kinds of affect extreme films produce. Secondly, the chapter reveals that the aesthetic tension between the extreme and the everyday is observable in films prior to the new extremism, albeit in more discreet ways. This latter argument is demonstrated through detailed studies of Pier Paolo Pasolini’s Salò or the 120 Days of Sodom (1975) and Elem Klimov’s Come and See (1985). Significant not only for their notoriety as extreme, but because despite their seeming incongruence with the everyday, their subtle gestures towards it at key moments is crucial to their affective quality, these films signal that the distinction between the extreme and the everyday is not necessarily clear cut.