Books by Mattia Petricola
Cosa succederebbe se i versi della Commedia funzionassero come le formule di un incantesimo? E se... more Cosa succederebbe se i versi della Commedia funzionassero come le formule di un incantesimo? E se Dante dovesse combattere contro Lucifero per salvare l’anima di Beatrice? E se si ritrovasse invece nel mezzo di un’apocalisse zombie? E se Dante e Virgilio fossero innamorati l’uno dell’altro? E se i personaggi di Harry Potter si ritrovassero a viaggiare tra i gironi dell’Inferno dantesco?
Questi e molti altri scenari vengono analizzati in questo libro, in un percorso che va dal videogioco Dante’s Inferno al romanzo Valley of the Dead di Kim Paffenroth, dalla quadrilogia fantasy Eternal War di Livio Gambarini alle fan fiction dantesche di maggior successo sulla piattaforma online Archive of Our Own.
Ibridando esegesi dantesca e cultura pop, studi sull’adattamento e letterature dell’immaginario, I mondi dell’oltremondo si addentra in aree degli studi danteschi ancora poco esplorate, dimostrando come il fantasy e la fan fiction abbiano dato vita ad alcune delle più sorprendenti trasformazioni della Commedia che siano mai state prodotte.
Articles by Mattia Petricola
Oblio, 2024
Se esiste ormai un’ampia letteratura critica dedicata alla produzione fantastica e fantascientifi... more Se esiste ormai un’ampia letteratura critica dedicata alla produzione fantastica e fantascientifica di Primo Levi, scarsa attenzione è stata finora dedicata alla presenza del modo fantastico nelle sue opere testimoniali e, più in generale, realiste. Questo articolo indaga tale presenza a partire dalla figura che, più di tutte, appare decisiva nel catalizzare effetti di ‘fantasticizzazione’ nella prosa di Levi: il fantasma. Cercherò, da un lato, di dimostrare che in almeno un’occasione (nell’episodio di Flora nella Tregua) Levi ricorre alla figura del fantasma per narrare l’incontro con un vero e proprio revenant, ossia una persona riemersa dal passato che ‘infesta’ il presente dell’autore-protagonista. Dall’altro lato mostrerò come, nelle restanti occasioni in cui i fantasmi catalizzano più o meno espliciti processi ‘fantasticizzanti’, Levi prediliga un approccio metaforico a tali figure. Ciò permette di attivare con grande efficacia polarità semiotiche come pieno-vuoto, consistente- inconsistente e corporeo-incorporeo, a partire dalle quali sarà possibile fornire una nuova interpretazione dei «civili fantasmi cartesiani» evocati in apertura dell’edizione Einaudi di Se questo è un uomo.
Bibliotheca Dantesca, 2022
Between 1976 and 1989, the production of British visual artist Tom Phillips (b. 1937) found its m... more Between 1976 and 1989, the production of British visual artist Tom Phillips (b. 1937) found its main source of inspiration in Dante and particularly in his Inferno. This article aims to provide a new approach to the question that drives, directly or indirectly, most of the scholarship on Phillips’s reception of Dante: how can we best describe the relation between the text of the Com-edy and the images by Phillips that accompany it? Rather than relying on no-tions such as “adaptation” and “illustration”—which might prove inadequate to account for the text-image relations in Phillips’s works—I would propose to interpret Phillips’s reception of Dante as an attempt to create “a world to see the Comedy by.” More specifically, the analyses that follow will have four objectives. First, I will provide an overview of the transmediation strategies deployed by Phillips across his Dante-related projects. Second, I will attempt to explain the system of relations that shapes Phillips’s Dante-inspired visual world and to show, more in general, how this world ‘works’ by drawing on Georges Poulet’s phenomenology of reading and Stanley Fish’s reader-re-sponse theory. Third, I will argue that Dante’s Inferno should not be seen as an illustrated book but rather as a livre d’artiste in which Phillips transmediates his aesthetic experience of the Inferno into a visual world whose unique iconography needs, in turn, to be explained to the reader-viewer in the form of a commentary. Fourth, I will show how Phillips’s Dantesque visual world and, more in general, Phillips’s very identity as an artist depend on his identification with Dante himself—or, rather, on his ‘absorption’ of certain traits of Dante’s otherworldly journey into the conceptualization of his own life journey.
Whatever. A Transdisciplinary Journal of Queer Theories and Studies , 2021
This file combines the 7 articles forming the dossier "What do we talk about when we talk about q... more This file combines the 7 articles forming the dossier "What do we talk about when we talk about queer death?"
Whatever. A Transdisciplinary Journal of Queer Theories and Studies , 2021
The present article serves as an introduction to the dossier What do we talk about when we talk a... more The present article serves as an introduction to the dossier What do we talk about when we talk about queer death?, edited by M. Petricola. This introduction briefly interrogates the premises, scope, and objectives of Queer Death Studies (QDS) in such a way as to complement the views expressed by the contributors to this collection. I will begin to discuss the premises on which QDS are based in a preamble focused on Italo Calvino's book Mr. Palomar. Section one will provide a more systematic and analytical perspective on these same premises. I will move on to reconstruct some crucial moments in the genealogy of QDS in Section two and conclude by sketching a research program for QDS in Section three.
Between, 2020
Lars Elleström needs no introduction to intermediality and comparative literature scholars. Massi... more Lars Elleström needs no introduction to intermediality and comparative literature scholars. Massimo Fusillo and Mattia Petricola had a conversation with him just a few weeks before the publication of his new, major theoretical work. The conversation discusses the evolution of Elleström's theory over the last decade, his formation and influences, Peirce's semiotics, the history of intermediality, and the notion of media literacy.
Between X.20, 2020
This paper focuses on one of the most unique experiments in the history of television: A TV Dante... more This paper focuses on one of the most unique experiments in the history of television: A TV Dante, a fourteen-episode mini-series which aired between 1990 and 1991, partly directed by Tom Phillips and Peter Greenaway, and partly by Raúl Ruiz. We will analyze A TV Dante as an early attempt to explore the aesthetic potential of television seriality through the adoption of an avant-garde approach towards a fundamental work of the Western canon. We will begin by analyzing Phillips' illustrated Inferno as a work aimed at constructing a multi-layered and totalizing representation of the Inferno's own reception, of the history of mediality and of Phillips' own identity as an artist. We will then show how the poetics of Phillips' and Greenaway's A TV Dante are shaped by what we may call the aesthetics of the moving collage. We will finally focus on Rúiz's A TV Dante, which dismantles all coherent narrative structures, transforming Dante's Inferno into a series of powerful images, symbols and visions.
Between VIII.16, 2018
This study represents an attempt to make sense of a rather curious coincidence. In Philip K. Dick... more This study represents an attempt to make sense of a rather curious coincidence. In Philip K. Dick's novel A scanner darkly (1973-1977), a character named Tony Amsterdam experiences a mystical vision after an acid trip. God appears to him in the form of «showers of colored sparks, like when something goes wrong with your TV set». In the same year 1973, a young Bill Viola creates Information, a work of video art featuring showers of colored sparks that are eerily similar to the ones seen by Tony Amsterdam.
On the one hand, this article investigates the cultural substratum that the two works have in common vis-à-vis their construction and use of abstract video; it is upon such a substratum that this bizarre coincidence depends. On the other hand, it aims to explore how the speculative use of screens and telecommunication technologies can mediate the religious, the sacred, and, most of all, the mystical.
The first two sections examine Tony Amsterdam’s experience in the context of A scanner darkly, discussing its relation to mysticism, to other episodes in the novel and to Dick’s biography. In section three, I interpret Information as a self-reflexive work of meta-video, proposing to read its aesthetic effect as the result of an electronic ouroboros: a circular video system in which input and output are coincident. Section four bridges the two works by reading them in the light of Jeffrey Sconce’s notion of ‘electronic elsewhere’ (2000) and John Durham Peter’s reflections on the idea of communication (1999). Finally, section five proposes a parallel between the semiotics of visual perception in A scanner darkly and the semiotics of Viola’s abstract video art.
Whatever. A Transdisciplinary Journal of Queer Theories and Studies I.1, 2018
This article presents a case study in queer hermeneutics dealing with the construction of a corpu... more This article presents a case study in queer hermeneutics dealing with the construction of a corpus in a comparative study. More specifically, I propose to queer the category ‘living dead’ by restructuring its internal taxonomy. This will be achieved through the intersection of two approaches to categorization, both developed in the field of cognitive sciences as elaborations of Wittgenstein’s notion of ‘family resemblance’: Eleanor Rosch’s prototype theory and George Lakoff’s discussion of classification strategies in the Dyirbal language. I will then analyze the epistemological implications that derive from restructuring the taxonomy of the living dead in the light of the notion of ‘nonce taxonomy’, described by Eve Sedgwick in Epistemology of the Closet. My aim will be to show, firstly, that Rosch and Lakoff could provide nonce taxonomy with the theoretical support it needs; and secondly, how the field of comparative literature could be queered through the systematic use of prototype-based and nonce-taxonomic categorization.
Between, VII.14, 2017
The career of British director Peter Greenaway, now more than four decades long, has often been a... more The career of British director Peter Greenaway, now more than four decades long, has often been animated by a profound interest in what one may call the aesthetics of death. This is particularly true for his 80s and 90s films, which explore a wide array of strategies for the staging and ritualization of death. In “The Cook, the Thief, his Wife & Her Lover” (1989), for the first time, this interest takes Greenaway into the territories of the tragic.
I propose to rethink the fundamental relationship that Greenaway’s film entertains with the narrative and aesthetic forms of the tragic. More precisely, I suggest to interpret The Cook in the light of the reflections on the Trauerspiel (mourning-play) that Walter Benjamin elaborates in “The Origin of German Tragic Drama” [Ursprung des deutschen Trauerspiels].
After giving a short account of the first macro-section of Benjamin’s essay, I will argue that the opposition between the Thief and the Lover mirrors the Trauerspiel’s opposition between Tyrant and Martyr, that Benjamin regards as one of the conceptual cores of this theatrical form. This, in turn, reflects the presence in the film of a more abstract conflict between two systems for the construction of knowledge and experience. By drawing on Benjamin’s study, I will trace this conflict back to the opposition between nature and books in baroque culture.
The battle between the Thief/Tyrant and the Lover/Martyr takes the form of a succession of rites and counter-rites for the (un)making of social bonds, and the film constructs these rites by clearly referring to the Christian imagination and its subversion. I will contend that the motif of the subversion of the Holy Communion can provide us with a unifying key for the interpretation of the film. From a semiotic perspective, this manipulation consists in the substitution of what our culture constructs as food with its dysphoric counterparts: decay, excrement, and human flesh.
Chapters by Mattia Petricola
Poteri della lettura. Pratiche, immagini, supporti, vol. 1, 2024
Questo contributo ha lo scopo di indicare alcune direttrici lungo le quali proseguire lo studio d... more Questo contributo ha lo scopo di indicare alcune direttrici lungo le quali proseguire lo studio del dantismo “dal basso”, concentrando l’attenzione su alcuni prodotti del fandom dantesco. Più precisamente, analizzerò una fan fiction pubblicata sulla piattaforma Archive of Our Own e alcuni testi non accademici, pubblicati online, che propongono di considerare la Commedia una fan fiction. Cercherò, in particolare, di esplorare la dimensione affettiva della ricezione dantesca nella cultura dei fandom.
A Cultural History of Death in the Modern Age, ed. D. Davies, 2024
The Palgrave Handbook of Intermediality, 2023
In its broadest sense, the notion of “baroque” is used today to define the period in the history ... more In its broadest sense, the notion of “baroque” is used today to define the period in the history of European culture going from the end of the Renaissance to the dawn of the Enlightenment. This chapter attempts to trace some paths through the baroque mediascape in order to give the reader an idea of how it can be investigated from the perspective of intermedial studies. More specifically, this chapter’s aim is
twofold. On the one hand, it interrogates artistic phenomena, media products, performances, and intermedial relations that are speci"c to the baroque mediascape; on the other hand, it shows how these products contributed to a significant extent to shaping the mediascape in which we ourselves are immersed.
Section “Framing Baroque Culture” investigates how baroque culture
emerged in Europe and what its defining elements are. Section “Understanding Baroque Aesthetics across Media” explores the main tenets of baroque aesthetics (excess, wonder, ornamentation, self-reflexivity, artifice, and theatricality) and the emotional responses that baroque media products strived to elicit. Section “Painting and Architecture: Two Roman Ceilings” focuses on the relation between painting and architecture in two painted ceilings – Pietro da Cortona’s Allegory of Divine Providence and Barberini Power and Giovan Battista Gaulli’s Triumph of the Name of Jesus. Section “The Courtly Feast and the Birth of Modern Entertainment” analyzes courtly feasts and festivals as the quintessential form of entertainment of the baroque age. Section “Theatre and the Rise of the Opera” is centered on intermediality in baroque theater, with a specific focus on opera, tragicomedy, and metadrama. The conclusion asks the question: how does one investigate the survival, reemergence, citations, and echoes of the Baroque from the half of the eighteenth century onwards?
The Gesamtkunstwerk as a Synergy of the Arts, 2021
"The Tulse Luper Suitcases" represents a key moment for the redefinition of Greenaway’s approach ... more "The Tulse Luper Suitcases" represents a key moment for the redefinition of Greenaway’s approach to the interactions between media. Developed between 2003 and 2006 and animated by an almost megalomaniac spirit of ambition, this gargantuan multimedia project includes a film trilogy, books, gallery exhibitions, catalogues, internet sites, live-cinema performances and an online game.
Despite being Greenaway’s biggest and most ambitious collection of works to date, the complex nature of the Tulse Luper project as a Total Work of Art has yet to be fully explored; this essay aims to contribute to the study of the semiotic and aesthetic construction of media totality in TLS by focusing on the film trilogy. I propose, firstly, to explore the editing strategies through which TLS deploys self-reflexivity and hypermediacy; secondly, to describe the aesthetic experience resulting from such deployment in the light of the theory of the Gesamtkunstwerk.
i propose to interpret TLS as a meta-Gesamtkunstwerk: a Total Work of Art whose primary concern is to reflect on its own totality.
Lieux de vie en science-fiction, ed. Danièle André, 2021
Dans cette analyse, nous chercherons à examiner la construction et le traitement narratif des lie... more Dans cette analyse, nous chercherons à examiner la construction et le traitement narratif des lieux de vie dans le Ubik de P.K. Dick. Nous montrerons tout d’abord comment ils mettent en scène à la fois l’accomplissement parfait et la subversion du système économique et idéologique capitaliste ; puis, en nous appuyant sur la ré-élaboration narrative des technologies de la télécommunication, nous examinerons les rapports entre les lieux de vie et la construction du statut ontologique de la semi-vie, qui provoque une crise du concept de “réalité” et, par conséquent, une crise de l’Être.
Ritorni spettrali. Storie e teorie della spettralità senza fantasmi, 2018
Questo studio intende contribuire all’analisi dei legami culturali che i media elettrici intratte... more Questo studio intende contribuire all’analisi dei legami culturali che i media elettrici intrattengono con la nozione di spettralità dalla prospettiva specifica di quel medium che trasforma le immagini in segnali elettronici: il video. Due pratiche estetiche apparentemente prive di legami tra loro, in particolare, hanno investigato la costruzione del video come medium spettrale con esiti molto originali: la videoarte e il cinema horror.
Prendendo le mosse dalla videoinstallazione «TV Buddha» di Nam June Paik, la prima sezione traccia un quadro teorico per lo studio degli spettri mediali riflettendo sulla nozione di «altrove elettronico» (electronic elsewhere), elaborata da Jeffrey Sconce nel suo studio sugli haunted media. La sezione centrale esamina la raffigurazione dell’altrove elettronico in opere di Paik e Bill Viola, considerato uno dei più grandi videoartisti viventi. L’ultima sezione, infine, studia gli effetti spettrali derivanti dalla fluidificazione dello schermo televisivo, inteso come barriera tra il nostro mondo e l’altrove elettronico, in «The Reflecting Pool» di Bill Viola e in due film – il primo e l’ultimo – della serie di «The Ring».
Other by Mattia Petricola
Interdisciplinary Italy Blog, 2023
A post I wrote for the Interdisciplinary Italy blog.
Because fandoms are usually associated with... more A post I wrote for the Interdisciplinary Italy blog.
Because fandoms are usually associated with contemporary pop culture phenomena, it may come as a surprise to learn about the existence of a vast network of fans and fan activities revolving around none other than Dante and his Divine Comedy. So what has the red-hatted Florentine got to do with online fandom?
by Meltem Dağcı, Nasrin Pervin, Alessandra Pino, Erika Kvistad, Louise Pitcher, Meriem R. Lamara, Mukulika Batabyal, Ruth Barratt-Peacock, Phillip Johnson, Mattia Petricola, Rosalind Crocker, and Alejandra Lobo Gothic Association of New Zealand and Australia, 2022
Gothic can find its place in almost every literary genre and usually shows itself as the dominant... more Gothic can find its place in almost every literary genre and usually shows itself as the dominant genre in the work it enters. It is like a perfume bottle in which everything evil is filled. You open it up and it spreads out in a thick mist, it attracts, draws it to its centre.
It is also possible to write richly lived and livable stories, from psychological thrillers to serial killers, but the "Vokal Culture" of our society from the pre-television-radio era, the "scary narratives" sometimes embellished with exciting "bandit tales", the eyes that know how to search and write, from alkara to ghosts. It provides a very fertile material for pens that want it. If you are familiar with "gothic literature", you know that the basis of the subject is mostly stories based on vokal culture elements.
Vokal expressions, which are also met with the concepts of vokal culture, vokal tradition or traditional culture, are various forms of expression that are transmitted from generation to generation or within the same generation, with or without a literary quality, and which are determined as references on which behavior, attitudes, norms and beliefs are based on by the whole people and contain references in this context. contains.
In this study, the structural formation and regional differences of the horror-gothic folk tales in the context of vokal culture in Turkish Literature will be discussed.
Keywords: Gothic, Gothic and Horror, Horror Elements, Turkish Folk Story, Vokal Culture.
Conferences/Panels by Mattia Petricola
Luca Marangolo: Postmodernità e post-medialità: categorie storiografiche a confronto sullo statut... more Luca Marangolo: Postmodernità e post-medialità: categorie storiografiche a confronto sullo statuto della figura autoriale Pausa caffè Marco Tognini: L'autore è morto, viva l'autore! Strategie autoriali nell'epoca dei social Maria Giovanna Stati: «Ringrazio il mio pubblico che mi segue da anni». L'autorialità dell'influencer che scrive Daniel Raffini: Nello specchio dell'intelligenza artificiale. Riflessioni su intelligenza artificiale, autorialità ed etica Filippo Luca Sambugaro: Diritto dell'autore, diritto dell'audience: il caso J. K. Rowling LINEA 4-TALENTI DOPPI E PLURIMI La creatività del doppio talento: parola, disegno e pittura tra Otto e Novecenton-Aula 1B Chair: Stefania Rimini, Maria Rizzarelli e Beatrice Seligardi Francesca Cichetti: Dante Gabriel Rossetti: su un'autorialità doppia e transmediale Mauro Nervi: Talenti doppi e incrociati. Kubin e Kafka sul crinale fra parola e immagine Viviana Triscari: Gli scritti autobiografici dei peintres-écrivains. Alfred Kubin, Odilon Redon e Alberto Martini Pausa caffè Lavinia Torti: Gli scritti d'arte del doppio talento, tra duplice sguardo e auto-etero-critica Roberta Coglitore: Dino Buzzati e la legittimazione del doppio talento Eloisa Morra: Poema a fumetti, I viaggi di Brek e il graphic novel d'artista Carlo Felice: «Pegar a coisa» arrivare alle cose. Clarice Lispector e la vertigine cromatica delle parole LINEA 5-L'AUTORIALITÀ SOMMERSA Teatro, lavoro editoriale, ghostwriting-Aula 1F Chair: Doriana Legge e Niccolò Scaffai Sandro Volpe: A volte ritornano: dalla parte del ghostwriter Nicolò Dal Moro: Un caso esemplare di ghostwriting: Philip Roth e la fantasmizzazione della scrittura Aldo Baratta: Tre personaggi in cerca d'autore: spettralità autoriali in The Ghost Writer, Lo stadio di Wimbledon e Mao II Elena Santagata: Italo Calvino e Alcide Cervi: I miei sette figli Giulia Bassi: "Natalia legge e boccia": autorialità sommersa e questioni di genere nel lavoro di Natalia Ginzburg all'Einaudi Pausa caffè Eleonora Luciani: Fanny Sadowski in Cuore e Arte. L'autrice nascosta dietro la musa Davide Ciprandi: "La Tosca per sé non esiste; la Tosca è Sarah Bernhardt". Un esempio di collaborazione creativa tra interprete e autore Vera Cantoni: Arlecchino servitore di due autori-One Play, Two Authors SESSIONI PARALLELE 24 NOVEMBRE 15.00-18.30
The global cultural transformations imposed by the COVID-19 pandemic are drastically reshaping th... more The global cultural transformations imposed by the COVID-19 pandemic are drastically reshaping the construction of death, dying and disposal in the North Atlantic world. A systematic, interdisciplinary exploration of the modern thanatological imagination is thus urgently in order in every field of the humanities. This panel aims to provide an opportunity for such an investigation from the perspective of Italian studies. What are the features that characterize the Italian thanatological imagination? How can we trace its diachronic evolution? And what role did (and do) literature, arts and the media play in shaping it? In other words: how can we map the Italian cultures of death, grief, and memory?
This panel seeks to explore the Italian thanatological imagination from multiple interdisciplinary perspectives, highlighting how fictions and media actively contributed to the elaboration of a number of its essential traits while exploring (non-)fictional characters and histories that still remain in the shadows.
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Books by Mattia Petricola
Questi e molti altri scenari vengono analizzati in questo libro, in un percorso che va dal videogioco Dante’s Inferno al romanzo Valley of the Dead di Kim Paffenroth, dalla quadrilogia fantasy Eternal War di Livio Gambarini alle fan fiction dantesche di maggior successo sulla piattaforma online Archive of Our Own.
Ibridando esegesi dantesca e cultura pop, studi sull’adattamento e letterature dell’immaginario, I mondi dell’oltremondo si addentra in aree degli studi danteschi ancora poco esplorate, dimostrando come il fantasy e la fan fiction abbiano dato vita ad alcune delle più sorprendenti trasformazioni della Commedia che siano mai state prodotte.
Articles by Mattia Petricola
On the one hand, this article investigates the cultural substratum that the two works have in common vis-à-vis their construction and use of abstract video; it is upon such a substratum that this bizarre coincidence depends. On the other hand, it aims to explore how the speculative use of screens and telecommunication technologies can mediate the religious, the sacred, and, most of all, the mystical.
The first two sections examine Tony Amsterdam’s experience in the context of A scanner darkly, discussing its relation to mysticism, to other episodes in the novel and to Dick’s biography. In section three, I interpret Information as a self-reflexive work of meta-video, proposing to read its aesthetic effect as the result of an electronic ouroboros: a circular video system in which input and output are coincident. Section four bridges the two works by reading them in the light of Jeffrey Sconce’s notion of ‘electronic elsewhere’ (2000) and John Durham Peter’s reflections on the idea of communication (1999). Finally, section five proposes a parallel between the semiotics of visual perception in A scanner darkly and the semiotics of Viola’s abstract video art.
I propose to rethink the fundamental relationship that Greenaway’s film entertains with the narrative and aesthetic forms of the tragic. More precisely, I suggest to interpret The Cook in the light of the reflections on the Trauerspiel (mourning-play) that Walter Benjamin elaborates in “The Origin of German Tragic Drama” [Ursprung des deutschen Trauerspiels].
After giving a short account of the first macro-section of Benjamin’s essay, I will argue that the opposition between the Thief and the Lover mirrors the Trauerspiel’s opposition between Tyrant and Martyr, that Benjamin regards as one of the conceptual cores of this theatrical form. This, in turn, reflects the presence in the film of a more abstract conflict between two systems for the construction of knowledge and experience. By drawing on Benjamin’s study, I will trace this conflict back to the opposition between nature and books in baroque culture.
The battle between the Thief/Tyrant and the Lover/Martyr takes the form of a succession of rites and counter-rites for the (un)making of social bonds, and the film constructs these rites by clearly referring to the Christian imagination and its subversion. I will contend that the motif of the subversion of the Holy Communion can provide us with a unifying key for the interpretation of the film. From a semiotic perspective, this manipulation consists in the substitution of what our culture constructs as food with its dysphoric counterparts: decay, excrement, and human flesh.
Chapters by Mattia Petricola
twofold. On the one hand, it interrogates artistic phenomena, media products, performances, and intermedial relations that are speci"c to the baroque mediascape; on the other hand, it shows how these products contributed to a significant extent to shaping the mediascape in which we ourselves are immersed.
Section “Framing Baroque Culture” investigates how baroque culture
emerged in Europe and what its defining elements are. Section “Understanding Baroque Aesthetics across Media” explores the main tenets of baroque aesthetics (excess, wonder, ornamentation, self-reflexivity, artifice, and theatricality) and the emotional responses that baroque media products strived to elicit. Section “Painting and Architecture: Two Roman Ceilings” focuses on the relation between painting and architecture in two painted ceilings – Pietro da Cortona’s Allegory of Divine Providence and Barberini Power and Giovan Battista Gaulli’s Triumph of the Name of Jesus. Section “The Courtly Feast and the Birth of Modern Entertainment” analyzes courtly feasts and festivals as the quintessential form of entertainment of the baroque age. Section “Theatre and the Rise of the Opera” is centered on intermediality in baroque theater, with a specific focus on opera, tragicomedy, and metadrama. The conclusion asks the question: how does one investigate the survival, reemergence, citations, and echoes of the Baroque from the half of the eighteenth century onwards?
Despite being Greenaway’s biggest and most ambitious collection of works to date, the complex nature of the Tulse Luper project as a Total Work of Art has yet to be fully explored; this essay aims to contribute to the study of the semiotic and aesthetic construction of media totality in TLS by focusing on the film trilogy. I propose, firstly, to explore the editing strategies through which TLS deploys self-reflexivity and hypermediacy; secondly, to describe the aesthetic experience resulting from such deployment in the light of the theory of the Gesamtkunstwerk.
i propose to interpret TLS as a meta-Gesamtkunstwerk: a Total Work of Art whose primary concern is to reflect on its own totality.
Prendendo le mosse dalla videoinstallazione «TV Buddha» di Nam June Paik, la prima sezione traccia un quadro teorico per lo studio degli spettri mediali riflettendo sulla nozione di «altrove elettronico» (electronic elsewhere), elaborata da Jeffrey Sconce nel suo studio sugli haunted media. La sezione centrale esamina la raffigurazione dell’altrove elettronico in opere di Paik e Bill Viola, considerato uno dei più grandi videoartisti viventi. L’ultima sezione, infine, studia gli effetti spettrali derivanti dalla fluidificazione dello schermo televisivo, inteso come barriera tra il nostro mondo e l’altrove elettronico, in «The Reflecting Pool» di Bill Viola e in due film – il primo e l’ultimo – della serie di «The Ring».
Other by Mattia Petricola
Because fandoms are usually associated with contemporary pop culture phenomena, it may come as a surprise to learn about the existence of a vast network of fans and fan activities revolving around none other than Dante and his Divine Comedy. So what has the red-hatted Florentine got to do with online fandom?
It is also possible to write richly lived and livable stories, from psychological thrillers to serial killers, but the "Vokal Culture" of our society from the pre-television-radio era, the "scary narratives" sometimes embellished with exciting "bandit tales", the eyes that know how to search and write, from alkara to ghosts. It provides a very fertile material for pens that want it. If you are familiar with "gothic literature", you know that the basis of the subject is mostly stories based on vokal culture elements.
Vokal expressions, which are also met with the concepts of vokal culture, vokal tradition or traditional culture, are various forms of expression that are transmitted from generation to generation or within the same generation, with or without a literary quality, and which are determined as references on which behavior, attitudes, norms and beliefs are based on by the whole people and contain references in this context. contains.
In this study, the structural formation and regional differences of the horror-gothic folk tales in the context of vokal culture in Turkish Literature will be discussed.
Keywords: Gothic, Gothic and Horror, Horror Elements, Turkish Folk Story, Vokal Culture.
Conferences/Panels by Mattia Petricola
This panel seeks to explore the Italian thanatological imagination from multiple interdisciplinary perspectives, highlighting how fictions and media actively contributed to the elaboration of a number of its essential traits while exploring (non-)fictional characters and histories that still remain in the shadows.
Questi e molti altri scenari vengono analizzati in questo libro, in un percorso che va dal videogioco Dante’s Inferno al romanzo Valley of the Dead di Kim Paffenroth, dalla quadrilogia fantasy Eternal War di Livio Gambarini alle fan fiction dantesche di maggior successo sulla piattaforma online Archive of Our Own.
Ibridando esegesi dantesca e cultura pop, studi sull’adattamento e letterature dell’immaginario, I mondi dell’oltremondo si addentra in aree degli studi danteschi ancora poco esplorate, dimostrando come il fantasy e la fan fiction abbiano dato vita ad alcune delle più sorprendenti trasformazioni della Commedia che siano mai state prodotte.
On the one hand, this article investigates the cultural substratum that the two works have in common vis-à-vis their construction and use of abstract video; it is upon such a substratum that this bizarre coincidence depends. On the other hand, it aims to explore how the speculative use of screens and telecommunication technologies can mediate the religious, the sacred, and, most of all, the mystical.
The first two sections examine Tony Amsterdam’s experience in the context of A scanner darkly, discussing its relation to mysticism, to other episodes in the novel and to Dick’s biography. In section three, I interpret Information as a self-reflexive work of meta-video, proposing to read its aesthetic effect as the result of an electronic ouroboros: a circular video system in which input and output are coincident. Section four bridges the two works by reading them in the light of Jeffrey Sconce’s notion of ‘electronic elsewhere’ (2000) and John Durham Peter’s reflections on the idea of communication (1999). Finally, section five proposes a parallel between the semiotics of visual perception in A scanner darkly and the semiotics of Viola’s abstract video art.
I propose to rethink the fundamental relationship that Greenaway’s film entertains with the narrative and aesthetic forms of the tragic. More precisely, I suggest to interpret The Cook in the light of the reflections on the Trauerspiel (mourning-play) that Walter Benjamin elaborates in “The Origin of German Tragic Drama” [Ursprung des deutschen Trauerspiels].
After giving a short account of the first macro-section of Benjamin’s essay, I will argue that the opposition between the Thief and the Lover mirrors the Trauerspiel’s opposition between Tyrant and Martyr, that Benjamin regards as one of the conceptual cores of this theatrical form. This, in turn, reflects the presence in the film of a more abstract conflict between two systems for the construction of knowledge and experience. By drawing on Benjamin’s study, I will trace this conflict back to the opposition between nature and books in baroque culture.
The battle between the Thief/Tyrant and the Lover/Martyr takes the form of a succession of rites and counter-rites for the (un)making of social bonds, and the film constructs these rites by clearly referring to the Christian imagination and its subversion. I will contend that the motif of the subversion of the Holy Communion can provide us with a unifying key for the interpretation of the film. From a semiotic perspective, this manipulation consists in the substitution of what our culture constructs as food with its dysphoric counterparts: decay, excrement, and human flesh.
twofold. On the one hand, it interrogates artistic phenomena, media products, performances, and intermedial relations that are speci"c to the baroque mediascape; on the other hand, it shows how these products contributed to a significant extent to shaping the mediascape in which we ourselves are immersed.
Section “Framing Baroque Culture” investigates how baroque culture
emerged in Europe and what its defining elements are. Section “Understanding Baroque Aesthetics across Media” explores the main tenets of baroque aesthetics (excess, wonder, ornamentation, self-reflexivity, artifice, and theatricality) and the emotional responses that baroque media products strived to elicit. Section “Painting and Architecture: Two Roman Ceilings” focuses on the relation between painting and architecture in two painted ceilings – Pietro da Cortona’s Allegory of Divine Providence and Barberini Power and Giovan Battista Gaulli’s Triumph of the Name of Jesus. Section “The Courtly Feast and the Birth of Modern Entertainment” analyzes courtly feasts and festivals as the quintessential form of entertainment of the baroque age. Section “Theatre and the Rise of the Opera” is centered on intermediality in baroque theater, with a specific focus on opera, tragicomedy, and metadrama. The conclusion asks the question: how does one investigate the survival, reemergence, citations, and echoes of the Baroque from the half of the eighteenth century onwards?
Despite being Greenaway’s biggest and most ambitious collection of works to date, the complex nature of the Tulse Luper project as a Total Work of Art has yet to be fully explored; this essay aims to contribute to the study of the semiotic and aesthetic construction of media totality in TLS by focusing on the film trilogy. I propose, firstly, to explore the editing strategies through which TLS deploys self-reflexivity and hypermediacy; secondly, to describe the aesthetic experience resulting from such deployment in the light of the theory of the Gesamtkunstwerk.
i propose to interpret TLS as a meta-Gesamtkunstwerk: a Total Work of Art whose primary concern is to reflect on its own totality.
Prendendo le mosse dalla videoinstallazione «TV Buddha» di Nam June Paik, la prima sezione traccia un quadro teorico per lo studio degli spettri mediali riflettendo sulla nozione di «altrove elettronico» (electronic elsewhere), elaborata da Jeffrey Sconce nel suo studio sugli haunted media. La sezione centrale esamina la raffigurazione dell’altrove elettronico in opere di Paik e Bill Viola, considerato uno dei più grandi videoartisti viventi. L’ultima sezione, infine, studia gli effetti spettrali derivanti dalla fluidificazione dello schermo televisivo, inteso come barriera tra il nostro mondo e l’altrove elettronico, in «The Reflecting Pool» di Bill Viola e in due film – il primo e l’ultimo – della serie di «The Ring».
Because fandoms are usually associated with contemporary pop culture phenomena, it may come as a surprise to learn about the existence of a vast network of fans and fan activities revolving around none other than Dante and his Divine Comedy. So what has the red-hatted Florentine got to do with online fandom?
It is also possible to write richly lived and livable stories, from psychological thrillers to serial killers, but the "Vokal Culture" of our society from the pre-television-radio era, the "scary narratives" sometimes embellished with exciting "bandit tales", the eyes that know how to search and write, from alkara to ghosts. It provides a very fertile material for pens that want it. If you are familiar with "gothic literature", you know that the basis of the subject is mostly stories based on vokal culture elements.
Vokal expressions, which are also met with the concepts of vokal culture, vokal tradition or traditional culture, are various forms of expression that are transmitted from generation to generation or within the same generation, with or without a literary quality, and which are determined as references on which behavior, attitudes, norms and beliefs are based on by the whole people and contain references in this context. contains.
In this study, the structural formation and regional differences of the horror-gothic folk tales in the context of vokal culture in Turkish Literature will be discussed.
Keywords: Gothic, Gothic and Horror, Horror Elements, Turkish Folk Story, Vokal Culture.
This panel seeks to explore the Italian thanatological imagination from multiple interdisciplinary perspectives, highlighting how fictions and media actively contributed to the elaboration of a number of its essential traits while exploring (non-)fictional characters and histories that still remain in the shadows.