Imp Pasolini Nel recinto del sacro (8)

Articolo comparso sul n. 339 - 1 novembre 2015 - de "Il giornale di Rodafà. Rivista online di liturgia del quotidiano"

Si presenta il catalogo completo del vasellame vitreo rinvenuto durante le indagini archeologiche condotte tra il 1999 e il 2004 nell'Insula del Centenario a Pompei.

L'Edipo Re di Pier Paolo Pasolini, in "I Quaderni del Vittorini. La vitalità dei classici", n.2, pp. 71-78, 2008

Viene individuata la struttura quadripartita del film, e le modalità con le quali Pasolini ricostruisce la figura di Edipo rispetto a Sofocle, unendo insieme e intersecando Edipo re ed Edipo a Colono.

2007

Works of Claudio Parmiggiani have been commissioned in the last ten years for several places that are important for Christianity, such as the cathedral of Reggio Emilia and the hermitage of Camaldoli, and the artist is now involved with other important projects in this field. In all of these works, he responds to the situation and the reason of the project, but he also resorts to the themes that represent his poetics and his ties with specific topics in art history. Among these is the theme of the mark, according to which shadow is a medium showing the relationships between what we see and the Other, the archetypal, the Divine. Nicoletti investigates the connections between a few works of Parmiggiani and relics, like the " footprints of Christ" in the church of S. Maria in Palma, in Rome. Both have their core in the theme of memory and witness something that is not there, but that we know by faith. Looking at the critical positions that the work of Parmiggiani has arisen, and particularly the essays of Georges Didi-Huberman, the author investigates the reasons from which the "shadow sculptures" of Parmiggiani preserve the memories of personal and symbolic contents.

Studi sartriani, 2018

Desire cannot be taught, only witnessed. In Pasolini's pedagogical attitude there is an attempt to transmit the ability to desire to young people. But is it possible to convey the desire? To what extent is the ability to desire inherited? To witness this ability, the result of a mixture of times and affections, to transmit that legacy, became Pasolini's last task, through “indialectic” works, open to the contradiction of life: the screenplay of the film he never accomplished on Saint Paul, and then Teorema, The New Youth, Salò, and Petrolio. Beyond the shared reasons of the students’ protest, he read in the Movement some senseless and unrealistic agitations. On the one hand, he caught in it a legitimate reaction against the mortification of desire required by consumerist capitalism: that’s why he became a students' companion. On the other hand he realized that they had not recognized the other objective of the Palace: the substantial rejection of that excess which is joy (jouissance), unmanageable by capitalism because beyond its logic. In Sixty-eight boys and girls’ "mysterious will not to be sons", Pasolini read the rejection to take charge, albeit critically, of any inheritance. Their "guilt" as children consisted in the uncritical acceptance of the vectoriality of bourgeois time, without conceiving the chance of an alternative story, or the possibility of going back and start all over again.

Lo splendore del sole e la bellezza 7 INDICE GENERALE