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La “gravità” dei Settanta: reticolarità e dissidenza in Gravity’s Rainbow di Thomas Pynchon
Get PDFUno dei cambiamenti radicali avvenuti negli anni Settanta in ambito statunitense riguarda il concetto di soggettività e la sua relazione con i sistemi politici, mediatici ed economici impegnati a produrla e controllarla. La deriva della controcultura in frange estremiste e la svolta conservatrice imposta dalla presidenza Nixon impongono un clima paranoico e cospiratorio, in cui il soggetto critico si scopre ganglio di larghe strutture ramificate che aspira a distruggere poteri oppresivi sovraindividuali, siano essi statali, militari o informativi, ri-negoziando di volta in volta la propria identità come libera o antagonistica. Tuttavia spesso la “dissidenza” rispetto a queste strutture finisce per essere un gesto fatuo, letale, o addirittura irrealizzabile. Le possibilità e i limiti di questa autodeterminazione politico-culturale del soggetto sono variamente espressi dalla letteratura americana del decennio, in particolare da Gravity’s Rainbow (1973) di Thomas Pynchon, in cui il mondo travolto dalla Seconda Guerra Mondiale appare come una metafora della rete di trame eterogenee, concatenate e impercettibili amplificate dalla Guerra Fredda e sostenute dal potere tecnologico-informativo destinato ad esplodere negli anni Settanta. Pynchon sintetizza la complessità e l’ambivalenza del sistema culturale postmoderno, nel quale l’individuo, sadicamente manipolato, fatica a concepire spazi di libertà e ad organizzare forme collettive di resistenza.Memory of political violence in Italy is divided. From the standpoint of trauma studies, political violence embodies a collective trauma that, not yet elaborated, haunts collective memory as a spectrum, according to the meaning the Freud and Derrida (Spectres of Marx, 1993) attributed to this term. This paper focuses on the spectral presence of political violence in four Italian novels published in the new millennium: Tuo figlio (2004) by Gian Mario Villalta, Il segreto ( 2003) by Geraldina Colotti, La guerra di Nora (2003) by Antonella Tavassi La Greca, and Il sogno cattivo (2006) by Francesca D’Aloja
Rage against the Machine: Vincenzo Agnetti’s Critique of Industrial Alienation
Get PDFThis essay analyzes the work of the Milanese artist Vincenzo Agnetti (1926-1981), in particular his pieces La macchina drogata (1968) and NEG (1970). Like other Italian artists and intellectuals of the 1960s and 1970s, Agnetti was concerned about the alienation caused by industrial development and consumer society, manifested in carefully designed objects of everyday use. To counteract the automatism of perception and thought that he considered the sign of alienated experience, Agnetti’s artworks employed several strategies that obliged the public to attend to its thinking processes. Thus, Agnetti put in practice forms of aesthetic estrangement similar to those evoked in the same period by Gillo Dorfles and Umberto Eco to counteract the widespread loss of awareness
Don DeLillo, The Angel Esmeralda. Nine Stories
Get PDFReview of DeLillo, Don. The Angel Esmeralda. Nine Stories. New York: Scribner, 2011. Print
Intervista a Fernanda Fedi e Gino Gini
No full textParte Prima. Laboratorio Milano: Collettivi, Arte e SocietàParte Seconda. Soggettività e collettivo: ideali, obiettivi e ragioni teoriche del lavoro artistico partecipatoParte Terza. Arte militante e incontro con le istituzioni. L\u27esperienza milanese degli anni ’70.Parte Quarta. Dalle pratiche all’estetica: il Premio Piazzetta e la questione della documentazioneParte Quinta. 1974: Il movimento delle donne artisteParte Sesta. Per un bilancio dell’esperienza dei collettivi artistici: cambiamenti sociali e "ritorno al personale"Parte Settima. Rapporti gerarchici e disgregazione dell\u27idea di collettivo.Parte Ottava. Arte come pratica ideologica. Parte Nona. Per un biilancio dell’esperienza dei Collettivi Artistici: risultati permanenti e il problema della continuità
Form as Social Commitment: The art of Giovanni Anselmo during the Anni di Piombo
Get PDFIn April 1968, concurrent with the early stages of the student movement in Europe, the young Arte Povera artist Giovanni Anselmo installed his first solo exhibition at a Turin gallery. The sculptures shown there were not static objects, but rather demonstrations of invisible concepts like relativity. What emerged in Anselmo‘s first solo show and developed over the ensuing decade was a tactical resistance to the crystallization of his works into a single image or static object. This paper argues that this approach was also central to a critical understanding of the roles of the artist and the viewer during a time of great political foment in Italy and throughout Europe. I explore the relationship of Anselmo‘s sculptural interests to the currency of phenomenology in Northern Italy, the theorization of Arte Povera, in which he figures as a central protagonist, as well as to the socio-political challenges of the 1970s in Italy. Between 1967 and 1978, Anselmo endeavored to reveal tense fullness in empty spaces and to discover latent energy in seemingly inert materials by activating the viewer‘s ability to recognize them as small indications of a dynamic macrocosm. In the context of 1968 and the ensuing Anni di piombo, such macrocosmic glimpses might occasion a broadened worldview, in which the closed perceptual dialectic of self versus world could expand to include other, previously invisible, possibilities. From this expanded point of view prompted by Anselmo‘s presentation of energies, one can begin to understand, and even undermine, man-made ‗invisible‘ systems like government and class. By doing this through the form of the work rather than its explicit content, Anselmo models the notion of an artist using form as social commitment. This mode of working has resonance for many artists today, who may struggle with reconciling their material practices with political allegiances in an increasingly co-opted art market
Return to the Grindhouse: Tarantino and the modernization of 1970s Exploitation Films
No full textExploitation films from the 1970s and early 80s such as Foxy Brown (Jack Hill, 1974) and Switchblade Sisters (Jack Hill, 1975) were the first films to allow women to actively control the narrative and course of events in a film. Men become secondary characters who had no or little control over the course of events in these films. Because the films were made during the rapidly changing social climate of the 1970s, the films also became a barometer in their treatment of female characters of social mores. Director Quentin Tarantino’s films Death Proof (2007), Kill Bill I and II (2003 and 2004), Jackie Brown (1997), and Inglourious Basterds (2009) attempt to modernize the active women from exploitation films of the 1970s, reworking the female characters’ mobilization against typical gender roles, and attributing her with the abilities to compete, and even challenge men in a patriarchic society.However, Tarantino’s films mostly fail to progress beyond the trappings of the classic exploitation films of the 1970s, still relying heavily on the excessive display of female bodies, and subjugating women to the male camera and spectator gaze. In Tarantino’s attempt to remove female characters from the gender restraints of most Hollywood films, he creates the female action star, and inadvertently reverses the work of classic exploitation films by limiting the traits strong women are able to possess. By contrast, the female leads of 1970s exploitation films, although still heavily sexualized, are able to be physically powerful while retaining their feminine identifications as a wives, mothers, lovers, and beauty queens. Tarantino’s portrayal of strong women is more limited, however when strong sexuality and typical feminine traits are not connected to the powerful female characters. Instead female sexuality and feminine appearances are shown as weaknesses that contribute to the female characters’ deaths or lack of individuality. Tarantino allows one other female character, a strong warrior who takes on an action star role and becomes powerful through her rejection of feminine traits
1Q84: metarealtà e postmoderno
Get PDFReview of Murakami, Haruki. 1Q84. Torino: Einaudi, 2011. Print.1Q84, ultimo romanzo di Murakami Haruki, sembra esprimere il disagio dell’uomo contemporaneo, che è vittima dello smarrimento dovuto agli orrori delle società e alla perdita di ogni certezza. Trasceso il mondo reale e dunque abbandonato il 1984, l’anno in cui vivono i protagonisti, “1Q84” (dove la Q di question mark consente l’insinuarsi surrettizio di un dubbio sempre nuovo) è dunque una “metarealtà;” un distopico viaggio di sola andata, una deriva irreversibile dagli accenti postmoderni. La recensione che presentiamo vorrebbe offrire una chiave di lettura in questa direzione
Heinz Wismann, Penser entre les langues
Get PDFReview of Wismann, Heinz. Penser entre les langues. Paris: Albin Michel, 2012. Print
Voci di creature incatenate. Amelia Rosselli ascolta Ingeborg Bachmann
Get PDFNumerose dichiarazioni di Amelia Rosselli istituiscono un rapporto saldo tra l’ultimo suo poemetto, Impromptu, edito nel 1981, e le poesie di Ingeborg Bachmann. Alla luce dei documenti conservati nel Fondo Amelia Rosselli del Centro di Tradizione Manoscritta di Pavia, analizziamo le convergenze testuali tra le due produzioni poetiche e le premesse teoriche affini. Concludiamo che l’ispirazione alla Bachmann è piuttosto labile e che di contro l’insistenza nel proclamare un’ascendenza genetica da una parte convalida una corrispondenza maggiormente retrospettiva, dall’altra rientra nella strategia di autocostruzione di una figura autoriale da parte della Rosselli.Many Amelia Rosselli’s statements establish a strong relationship between her last short poem Impromptu, published in 1981, and Ingeborg Bachmann’s poems. After analysing the documents archived in the Fondo Amelia Rosselli at the Centro di Tradizione Manoscritta di Pavia, we compare here the textual convergences of the two poetic productions and their similar theoretical premises. We will conclude that Rosselli’s inspiration from Bachmann is rather labile and that her insistence in claiming such a genetic ascendance, if on one hand verifies a mainly retrospective correspondence, on the other one belongs to Rosselli’s strategy of constructing an authorial figure
Per un umanesimo contemporaneo. Michail Bachtin e gli sviluppi della teoria del personaggio in Michel Houellebecq, John M. Coetzee, Javier Marías e Philip Roth
Get PDFQuesto contributo intende mettere in luce l‟importanza del pensiero di Bachtin e della sua teoria del personaggio nella definizione di un «umanesimo contemporaneo» e nei suoi sviluppi narrati-vi. Si riferisce perciò, senza pretesa di esaustività, ad alcuni romanzi di Michel Houellebecq, John M. Coetzee, Philip Roth, Javier Marías. A partire dai concetti bachtiniani di dialogismo e di extralocalità, si analizzano le forme dell‟intertestualità, i modi dell‟ironia e del paradosso, e la simbologia della morte come collocazione del personaggio sull‟estrema soglia.This contribution aims to shed a light on the importance of Bakhtin’s thought and theory of the character for the definition of a «contemporary humanism» and for its further developments. In particular, we will refer – without in any way claiming to be exhaustive –to novels by Michel Houellebecq, John M. Coetzee, Philip Roth, Javier Marías. Starting from some bakhtinian concepts like the dialogism and the extra-locality, we will analyze the forms of inter-textuality, the modes of irony and paradox, and the symbology of death as collocation of the character at the ultimate threshold.