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Analyser des objets postdramatiques
Get PDFIt is known that posdtdramatic objects are difficult to study because of the importance they give to lived material experience. One doesn\u27t know what elements are to be chosen and if they will be significant, nor which method should be used to avoid blasting them away with an analysis which would most certainly dissect and decompose them in a lifeless body. They actually raise unprecedented esthetic as well as analytic problems, which make them even more fascinating to the researcher
The childhood photographs of Benjamin and Kafka: from sacrifice to gesture in the World Theatre
Get PDFIl re si diverte e muore: un itinerario dal grottesco all’assurdo
Get PDFThis essay first discusses Victor Hugo’s defence of grotesque, his defence of Shakespeare, his achievements in Le roi s’amuse, and also the limitations due to his prophetic style. Piave and Verdi go further in Il Rigoletto, especially in the dramatic polyphony of opposite voices and points of view. Finally, we follow the creation of new kings, from Jarry’s Ubu to Ionesco’s Le roi se meurt: the absurd dimension which the romanticists had felt but had refused to surrender to is in the absurd and in most post-dramatic theatre a double impossibility of giving sense to the world and language to tragedy
Au nom du singulier le défi de Benjamin Fondane à Husserl
Get PDFWhen he met the Russian philosopher Lev Shestov in Paris in 1927, the Romanian-born French poet Benjamin Fondane (1898-1944) had already written an essay on him a few years earlier. Their deep affinities ensured that they became friends, and in his conversations with Shestov Fondane discovered his own identity as a thinker. Both opposed what they saw as the imperialistic domination of Reason over European “philosophy” and theology, despite the resistance of some major figures. Both acknowleged Husserl as a great philosopher, probably the most important of his time, but they accused him, too, of placing Reason above life and above faith in God as the free Creator of the world. Even if we cannot endorse all these criticisms, they are worthy of attention as pointing to a different way of appreciating Husserl and his philosophy. Husserl is indeed much more complex than his first disciples could imagine. As a matter of fact, it is only nowadays, thanks to the University of Leuven\u27s ongoing publication of Husserl’s manuscript papers in the Husserliana series, that the full richness of his thought is coming into view. Fondane\u27s approach to Husserl is that of poet, who is also a thinker. Whereas philosophers intend to move in the realm the universal, the creative writer is able to analyse and paint the singular life, the destiny, of the characters he chooses tell stories about, and so is closer to the individual, the singular person. Fondane can thus be seen as calling Husserl to elude the domination of universal Reason by espousing more closely the texture of individual life
Larry Kramer ou les limites de la provocation au temps de la lutte antisida
Get PDFThe controversial picture of gay sexual promiscuity developed in Faggots, and the radical political positions portrayed in The Normal Heart during the AIDS epidemic have helped to build the reputation of Larry Kramer. However, in the same time, they seem to have made his discourse ineffective. Through the study of those two pieces, we are going to question the use of provocation in Larry Kramer’s work and its effects
Immagini di parole
Get PDFRecensione del Convegno internazionale: “Al di là dei limiti della rappresentazione. Letteratura e cultura visuale”. Palermo, 24-26 settembre 2012
Il brutto e il grottesco tra Macbeth e Luisa Miller
Get PDFIn Rosenkranz’s definition, the grotesque is a particular kind of ugly. In the 20th Century it gain thus its own dignity and we can say that the grotesque is the form of survival for the ugly in our age (also the kitch inherits some aspects). It has moments of disfigurement and vulgarity; it is restless, variegated, it undermines classical cathegories: it appeals to the comic and the tragic, but it also desectaes them. Annie Ubersfeld’s between a “grotesque du rire” and a “grotesque de l’angoisse” is very useful to get the grotesque in Verdi, where the anguish grotesque prevails. I have searched to trace the presence of the ugly and the grotesque primarily in Macbeth, I Masnadieri, Luisa Miller. Rosenkranz states that the ugly, and the grotesque that is part of it, find their emancipation in art, by running from the comic; on the contrary, Verdi makes the comic an element that is functional to the grotesque and the horrible, and to the “scenic truth” that is communicated through them
La mimesi della regressione alla prova dell’ordine simbolico: una pratica artistica regressiva
Get PDFThe mimesis of regression is an artistic strategy that challenges the symbolic order. This challenge has some controversial points, since on the one hand the symbolic order proves to be extremely resistant as it manages to integrate the mimesis of regression in its structure, on the other hand the mimesis of regression itself seems to facilitate its integration by repeating the representation of the object without politicizing it. In the first section of this paper I analyse some of the most representative works based on the mimesis of regression; in the second section, I examine the controversial points in the relationship between the mimesis of regression and the symbolic order, aiming to demonstrate that the mimesis of regression loses its challenge, since it emerges to confirm the symbolic order
Relire les Pensées détachées de Denis Diderot
Get PDFRecensione: Convegno internazionale Relire les “Pensées détachées sur la peinture, la sculpture, l’architecture et la poésie pour servir de suite aux Salons” de Denis Diderot
