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  1. Pasolini e il sacro
    Author: Conti Calabrese, Giuseppe
    Published: 1994
    Publisher:  Jaca Book, Milano

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    Source: Union catalogues
    Language: Italian
    Media type: Book
    Format: Print
    ISBN: 881640356X
    RVK Categories: IV 39361
    Edition: 1. ed.
    Series: Di fronte e attraverso ; 356 : Saggi di letteratura
    Subjects: Array; Array
    Scope: IX, 157 S.
  2. Paul and Pasolini, Retrospectively
    Author: Castelli, Elizabeth A.
    Published: [2019]

    The legacy of Pasolini's work persists beyond the recent English translation of his screenplay for Saint Paul. This concluding essay then provides a brief reflective extension into three additional genres: painting, poetry, and public art. These... more

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    Index theologicus der Universitätsbibliothek Tübingen
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    The legacy of Pasolini's work persists beyond the recent English translation of his screenplay for Saint Paul. This concluding essay then provides a brief reflective extension into three additional genres: painting, poetry, and public art. These artistic adaptations reflect the open-ended impacts of Pasolini's work, its provocations and excesses in particular evoke a notion of saintliness.

     
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    Volltext (lizenzpflichtig)
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    Source: Union catalogues
    Language: English
    Media type: Article (journal)
    Format: Online
    Other identifier:
    Parent title: Enthalten in: Biblical interpretation; Leiden : Brill, 1993; 27(2019), 4/5, Seite 568-575; Online-Ressource

    Subjects: Pasolini; painting; poetry; public art; saintliness
  3. Pasolini
    forms of subjectivity
    Author: Gordon, Robert S. C.
    Published: 1996
    Publisher:  Clarendon Press, Oxford [u.a.]

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    Staatsbibliothek zu Berlin - Preußischer Kulturbesitz, Haus Potsdamer Straße
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    1 A 287554
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    Technische Universität Chemnitz, Universitätsbibliothek
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    IV 39361 gor
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    Universitätsbibliothek Freiburg
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    GE 97/10836
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    Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky
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    97/9082
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    Technische Informationsbibliothek (TIB) / Leibniz-Informationszentrum Technik und Naturwissenschaften und Universitätsbibliothek
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    Content information
    Source: Staatsbibliothek zu Berlin
    Language: English
    Media type: Book
    Format: Print
    ISBN: 0198159056
    RVK Categories: IV 39361
    Subjects: Pasolini; Italian literature; Motion pictures
    Other subjects: Array
    Scope: X, 324 S., Ill.
    Notes:

    Bibliography
  4. 'La vera diversità' : multistability, circularity, and abjection in Pasolini's "Pilade"
    Author: Holzhey, Christoph F. E.
    Published: 2019

  5. Bandung man / l'uomo di Bandung
    Author: Pasolini, Pier Paolo
    Published: 2019

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    Source: BASE Selection for Comparative Literature
    Language: Undetermined
    Media type: Undefined
    Format: Online
    DDC Categories: 800
    Subjects: Pasolini; Pier Paolo: L'uomo di Bandung; Asian-African Conference; Bandung Conference; Poem; Poetry
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    kostenfrei
  6. Pasolini, Maria Callas und die tellurischen Mächte
    Author: Voss, Dietmar
    Published: 2012

    Als der Filmproduzent Franco Rossellini 1969 den Kontakt zwischen Pasolini und Maria Callas herstellte, brachte er nicht nur zwei der außergewöhnlichsten Künstler des 20. Jahrhunderts - beide stolz und zerbrechlich, archaisch und modern - für die... more

     

    Als der Filmproduzent Franco Rossellini 1969 den Kontakt zwischen Pasolini und Maria Callas herstellte, brachte er nicht nur zwei der außergewöhnlichsten Künstler des 20. Jahrhunderts - beide stolz und zerbrechlich, archaisch und modern - für die Arbeit am Set von Pasolinis Euripides-Verfilmung Medea zusammen. Zugleich ergab sich dadurch eine intersubjektive Konstellation, die - im Schmelztiegel einer intensiven, aber tragischen Freundschaft und Zuneigung - den mythischen Unterstrom hervorquellen ließ, der die besondere Existenz und das künstlerische Werk Pasolinis gleichermaßen grundiert und zusammenschmiedet. Es ist das Magma der tellurischen Mächte, das die Verschmelzung von Leben und Poesie zu einer "corporeita pasoliniana", zur pasolinispezifischen "Körperlichkeit der poetischen Aktion" (Giovanni Giudici) erhellen kann, ohne sie einem subjektiven Willkürakt zuzuschreiben.

     
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    Source: BASE Selection for Comparative Literature
    Language: German
    Media type: Article (journal)
    Format: Online
    DDC Categories: 791; 800; 830
    Subjects: Pasolini; Uberto; Callas; Maria
    Rights:

    publikationen.ub.uni-frankfurt.de/home/index/help ; info:eu-repo/semantics/openAccess
  7. "Ein toter Körper mit mechanischen Reflexen" : gewalttätige Sexualität und semiotischer Exzess in Pier Paolo Pasolinis 'Salò o le 120 giornate di Sodoma'
    Author: Oster, Angela
    Published: 2017

    Mit der Entgrenzung der Geschichtlichkeit bewegt sich Pasolini auf dem Sektor, der sein Filmschaffen - wenn auch in unterschiedlichen Variationen - wie ein roter Faden begleitet: dem Mythos. Allerdings handelt es sich nun um einen pervertierten... more

     

    Mit der Entgrenzung der Geschichtlichkeit bewegt sich Pasolini auf dem Sektor, der sein Filmschaffen - wenn auch in unterschiedlichen Variationen - wie ein roter Faden begleitet: dem Mythos. Allerdings handelt es sich nun um einen pervertierten Mythos, im Gegensatz zum archaischen Mythos, welchen Pasolini in 'Edipo Re' und 'Medea' noch in euphorischen Bildern gepriesen hatte. Die faschistische Pervertierung des Mythos in der Moderne dagegen, so führt zumindest 'Salò' vor Augen, transgrediere die Gewalt nicht mehr als Teil einer gemeinschaftlich begründeten Festivität und Verausgabung lebensfördernder Riten. Die heilige Gewalt des Mythos degeneriert in dem von Pasolini als ubiquitär verstandenen Faschismus zur ziellosen, heillosen Anarchie.

     
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    Source: BASE Selection for Comparative Literature
    Language: German
    Media type: Article (journal)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo
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    publikationen.ub.uni-frankfurt.de/home/index/help ; info:eu-repo/semantics/openAccess
  8. Aktive Passivität? : Spinoza in Pasolinis "Schweinestall"
    Author: Gragnolati, Manuele; Holzhey, Christoph F. E.
    Published: 2021

    Der Aufsatz von Manuele Gragnolati und Christoph F. E. Holzhey "Aktive Passivität?" über Pier Pasolinis Theaterstück und seinen gleichnamigen Film "Schweinestall" (Italien 1969) setzt an der Auseinandersetzung von Julian, dem Protagonisten mit dem... more

     

    Der Aufsatz von Manuele Gragnolati und Christoph F. E. Holzhey "Aktive Passivität?" über Pier Pasolinis Theaterstück und seinen gleichnamigen Film "Schweinestall" (Italien 1969) setzt an der Auseinandersetzung von Julian, dem Protagonisten mit dem ihm im Traum erscheinenden Spinoza an. In dem Gespräch mit Julian, das im Film nicht vorkommt, diesem jedoch zugrunde liegt, tritt Spinoza zunächst als eben jener rationalistische Philosoph auf, der für den bürgerlichen Rationalismus verantwortlich ist. In ihrer Lektüre zeigen Gragnolati und Holzhey, dass Pasolinis Auslegung von Spinozas Philosophie schließlich darin mündet, dass sie Julian ermutigt, sich seinen Affekten hinzugeben, die ihn zu den Schweinen ziehen, um sich von ihnen verschlingen zu lassen. Damit entwickelt Pasolini in seiner subtilen Abschwörung von Spinoza, wie Gragnolati und Holzhey argumentieren, avant la lettre eine queere Kunst des Scheiterns, in der Julian eine mögliche Form des Protestes und der Möglichkeit darstellt, sich der Teilhabe an der Macht zu entziehen.

     
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    Source: BASE Selection for Comparative Literature
    Language: German
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800; 850
    Subjects: Pasolini; Pier Paolo; Porcile (Film); Affekt; Passivität; Scheitern; Verweigerung; Spinoza; Benedictus de; Ethica ordine geometrico demonstrata
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  9. Pasolini and India : de- and re-construction of a myth
    Author: Mazzini, Silvia
    Published: 2019

    Pasolini's first visit to a Third World country dates to 1960-61. His impressions and experiences during this journey are told in the collection of articles "L'odore dell'India", which, in Silvia Mazzini's opinion, also reveals his (perhaps... more

     

    Pasolini's first visit to a Third World country dates to 1960-61. His impressions and experiences during this journey are told in the collection of articles "L'odore dell'India", which, in Silvia Mazzini's opinion, also reveals his (perhaps characteristic) tension between being up-to-date and being out of time. This essay can thus be understood as a small journey through the author's travels in and relations with India. It argues that while in the 1960s the myth of India became a veritable spiritual fashion, for Pasolini this fashion trivialized the sharp contradictions of a country at once poor and splendid, full of traditions and subversive, rich with mysticism and pragmatic vitality. The collection of journalistic articles "L'odore dell' India" (1961) and the documentary "Appunti per un film sull'India" (1968), which originate from Pasolini's first journeys to the so-called 'Third World', intertwine sharp sociological analyses with instinctual observations and remarks. Mazzini shows that between the effluvia of incense and the adventures of a tiger, one can catch a glimpse of the Pasolinian vision of a humanity which is at once disruptive, archaic, and subversive, and which represents an alternative to the standardization of the consumerist society and its tendency to suppress and absorb any cultural difference.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800
    Subjects: Pasolini; Pier Paolo; Indien; Kulturelle Identität; Humanität; Kapitalismus
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  10. The guest : transfiguring indifference in "Teorema"
    Author: Peppel, Claudia
    Published: 2019

    In its elusive form between drama, novel and film, "Teorema" marks a 'new turning point in Pasolini's oeuvre'. Both the narrative and the style are remarkable, juxtaposing elements of different genres, nourishing the unresolved tensions within the... more

     

    In its elusive form between drama, novel and film, "Teorema" marks a 'new turning point in Pasolini's oeuvre'. Both the narrative and the style are remarkable, juxtaposing elements of different genres, nourishing the unresolved tensions within the film: the family members are shown in various scenes that follow one another in seemingly random order. Instead of a cohesive narrative unfolding in time, there reigns a sense of timelessness that gives rise to an oppressive feeling of drifting. Claudia Peppel's essay 'The Guest: Transfiguring Indifference in "Teorema"' explores the figure of the guest, which has always been closely connected with myth and whose appearance often triggers the dramatic conflict. Peppel focuses on "Teorema", in which a sensual stranger causes a bourgeois family to acknowledge its delusions. When he departs, the members of the family are left in a state of unfulfilled yearning, searching for new meaning. While critical literature on Pasolini regularly points to the importance of the figure of the guest but rarely analyzes it, Peppel discusses theories of the guest and hospitality to illuminate the role of the stranger in Pasolini's film. The guest's exceptional state, which is removed from everyday life and removes others from their everyday lives, is meticulously staged and resembles the evenly-suspended attention of the psychoanalyst. He triggers projections, desires, and, ultimately, existential crises.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo; Teorema (Film); Gast; Gastfreundschaft; Fremder; Konflikt
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  11. Pier Paolo Pasolini and pan-meridional Italianness
    Author: Trento, Giovanna
    Published: 2019

    Giovanna Trento's article 'Pier Paolo Pasolini and Panmeridional Italianness' engages Pasolini's aesthetic, poetic, and political approach in terms of the complementary dichotomy of national and 'local' issues, on the one hand, and transnational and... more

     

    Giovanna Trento's article 'Pier Paolo Pasolini and Panmeridional Italianness' engages Pasolini's aesthetic, poetic, and political approach in terms of the complementary dichotomy of national and 'local' issues, on the one hand, and transnational and panmeridional topoi, on the other. Trento argues that despite his 'Third World' and Marxist sympathies, Pasolini showed strong poetic and political attention to national narratives and the building of Italianness. But Pasolini's 'desperate love' for Italy and Italianness, Trento argues, can be fully grasped only if we read it in the light of his fluid, transnational and panmeridional approach marked by different - and at times antithetical - factors, such as the pan-Africanist perspective and the colonial memory. Pasolini was indeed able to build a deterritorialized and idealized never-ending South: the Pan-South (Panmeridione) - that is, a fluid, non-geographical topos where 'traditional' values are used in non-traditional and subversive ways with the goal of resisting industrialization, mass media, and late-capitalist alienation.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800
    Subjects: Pasolini; Pier Paolo; Italien. Süd; Kolonialismus; Afrika; Eritrea
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  12. Bandung man / l'uomo di Bandung
    Author: Pasolini, Pier Paolo
    Published: 2019

    Bandung is the Indonesian city where on 18-24 April 1955 a meeting of twenty-nine Asian-African states took place with the view of opposing colonialism or neo-colonialism, dissociating from the Cold War, and promoting Afro-Asian economic and cultural... more

     

    Bandung is the Indonesian city where on 18-24 April 1955 a meeting of twenty-nine Asian-African states took place with the view of opposing colonialism or neo-colonialism, dissociating from the Cold War, and promoting Afro-Asian economic and cultural cooperation, as well as Neutralism and the Non-Aligned Movement. The two boys quoted in the poem - the Indian Revi and the Kenyan Davidson - appear as characters, respectively, in the travel notebook "L'odore dell'India" (1961) and in the screenplay "Il padre selvaggio" (on which Pasolini began to work in 1962). 'L'uomo di Bandung' was published first in the journal "Julia Gens" in 1964. This is the first time the poem appears in English and the translation is by Robert S.C. Gordon.

     
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    Source: BASE Selection for Comparative Literature
    Language: Undetermined
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800
    Subjects: Pasolini; Pier Paolo; Lyrik
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  13. Destruction, negation, subtraction
    Author: Badiou, Alain
    Published: 2019

    Pasolini was simultaneously a revolutionary Marxist and a man forever influenced by his religious childhood. So his question was: do the revolutionary becoming of history and political negativity represent a destruction of the tragic beauty of the... more

     

    Pasolini was simultaneously a revolutionary Marxist and a man forever influenced by his religious childhood. So his question was: do the revolutionary becoming of history and political negativity represent a destruction of the tragic beauty of the Greek myths and of the peaceful promise of Christianity? Or do we have to speak of a subtraction where an affirmative reconciliation of beauty and peace becomes possible in a new egalitarian world?

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800
    Subjects: Pasolini; Pier Paolo; Lyrik; Negation; Politik; Ontologie
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  14. mythisnow - pasoliniandeuropetoday
    Author: Strauss, Joulia
    Published: 2019

    mythisnow and pasoliniandeuropetoday are not collages. They are multistabilities of 'nows' which share the common aspect of eternity. mythisnow is focused on manifestations of ancestral terror and shows its equivalences in the Ancient Greek myths, in... more

     

    mythisnow and pasoliniandeuropetoday are not collages. They are multistabilities of 'nows' which share the common aspect of eternity. mythisnow is focused on manifestations of ancestral terror and shows its equivalences in the Ancient Greek myths, in Pasolini's work, and in Greek riots.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800
    Subjects: Pasolini; Pier Paolo; Collage; Diptychon; Griechenland (Altertum); Mythologie; Gewalt; Protest
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  15. Differently queer : temporality, aesthetics, and sexuality in Pier Paolo Pasolini's "Petrolio" and Elsa Morante's "Aracoeli"
    Author: Gragnolati, Manuele
    Published: 2017

    The de-constitution of the 'I' is at the centre of Manuele Gragnolati's essay 'Differently Queer: Temporality, Aesthetics, and Sexuality in Pier Paolo Pasolini's "Petrolio" and Elsa Morante's "Aracoeli"'. The essay explores the relationship between... more

     

    The de-constitution of the 'I' is at the centre of Manuele Gragnolati's essay 'Differently Queer: Temporality, Aesthetics, and Sexuality in Pier Paolo Pasolini's "Petrolio" and Elsa Morante's "Aracoeli"'. The essay explores the relationship between temporality, aesthetics, and sexuality in the final novels of two twentieth-century Italian authors: Pasolini's "Petrolio" (1972–75) and Morante's "Aracoeli" (1982). Both novels mobilize a form of temporality that resists a sense of linear and teleological development and that instead appears contorted, inverted, and suspended. The article argues that both novels thereby allow for the articulation of queer desires and pleasures that cannot be inscribed in normative logics of completion, progression, or productivity. It shows how the aesthetics of Pasolini's and Morante's texts replicate the movement of queer subjectivity and dismantle the traditional structure of the novel but do so differently. The fractured and dilated movement of "Petrolio's" textuality corresponds to a post-Oedipal and fully formed subject who is haunted by his complicity with bourgeois power and wants to shatter and annihilate himself by replicating the paradoxical pleasure of non-domesticated sexuality. "Aracoeli", by contrast, has a 'formless form' ('forma senza forma') that corresponds to the position of never completing the process of subject formation by adapting to the symbolic order. The poetic operation of Morante's novel consists in staging an interior journey, backwards along the traces of memory and the body and at the same time forward towards embracing the partiality and fluidity of an inter-subjectivity that is always in the process of becoming.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800; 850
    Subjects: Pasolini; Pier Paolo; Petrolio; Morante; Elsa; Aracoeli; Ästhetik; Sexualverhalten; Zeitlichkeit; Intersubjektivität; Werden; Gedächtnis
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  16. 'Anzichè allargare, dilaterai!' : allegory and mimesis from Dante's "Comedy" to Pier Paolo Pasolini's "La Divina Mimesis"
    Author: Luglio, Davide
    Published: 2019

    Early in his life Pasolini showed interest in Dante: in a letter sent to Luciano Serra in 1945, he declared that 'la questione di Dante è importantissima'. He later reaffirmed his interest in Dante in two attempts to rewrite the "Commedia": "La... more

     

    Early in his life Pasolini showed interest in Dante: in a letter sent to Luciano Serra in 1945, he declared that 'la questione di Dante è importantissima'. He later reaffirmed his interest in Dante in two attempts to rewrite the "Commedia": "La Mortaccia" and "La Divina Mimesis". [.] In 1963 he mentioned "La Divina Mimesis" for the first time. [.] Critics have mostly focused on the work's unfinished condition as a sign of the poetic crisis which Pasolini experienced at the end of his life. Scholarly interpretations of "La Divina Mimesis" can be divided into three main groups: the first strain can be primarily attributed to a 1979 essay by Giorgio Bàrberi Squarotti, four years after the publication of La Divina Mimesis. Bàrberi Squarotti attributes Pasolini's difficulty in completing his rewriting of the "Divine Comedy" to the author's ideology. The work's intermittent irony and its unfinished state are good indicators of the impossibility of recreating Dante's achievement, in particular the Dantean ideology. [.] The second strain of interpretation stresses the work's linguistic dimensions. The period when Pasolini conceives of the project of "La Divina Mimesis" corresponds, according to his repeated declarations, to a time of dramatic change in the Italian linguistic context. [.] Finally, the third type of interpretation locates "La Divina Mimesis" in the theoretical context of Pasolini's final conception of poetry. Here critics stress in particular the difference between the poet's intentions and the final result.[.] These three interpretative strains share the conviction that, in comparison with its model, Pasolini's project ends in failure. It is a failure in at least three senses: on the level of its ideology (not as strong as Dante's), on the level of reality (because of the linguistic standardization of Italian society), and on the level of aesthetics (even though the author pretends that his failure possesses an aesthetic value). This paper would like to question this conclusion: by redefining the object ...

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800; 850
    Subjects: Dante Alighieri; Divina Commedia; Rezeption; Pasolini; Pier Paolo; La divina mimesis; Allegorie; Authentizität
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  17. Alain Badiou's Pasolini : the problem of subtractive universalism
    Author: Besana, Bruno
    Published: 2019

    Bruno Besana's article 'Badiou's Pasolini: The Problem of Subtractive Universalism' also deals with Pasolini's script about Saint Paul, but from the perspective of Alain Badiou's theoretical essay "Saint Paul and the Foundation of Universalism" and... more

     

    Bruno Besana's article 'Badiou's Pasolini: The Problem of Subtractive Universalism' also deals with Pasolini's script about Saint Paul, but from the perspective of Alain Badiou's theoretical essay "Saint Paul and the Foundation of Universalism" and of Badiou's different thoughts on Pasolini, on the logic of emergence of novelty, and on its thwarted relation with universalism. Two main points appear in Besana's comparative reading. First, the idea that radical novelty or change can only be built in a 'subtractive manner', i.e. via the appearance of something that, by its sole presence, erodes the consistency upon which the present is structured. This is developed through Pasolini's ideas of 'inactuality' and 'forza del passato' and by Badiou's concept of 'event'. Second, a fundamental paradox inherent to the logic of change: change is only possible if it is organized in a set of coherent consequences, but the organized mode (for instance, the party) of such consequences inevitably reduces change to a constant compromise with the present.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800; 850
    Subjects: Pasolini; Pier Paolo; Paulus; Apostel; Heiliger; Badiou; Alain; Universalismus; Logik; Ereignis; Wandel
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    creativecommons.org/licenses/by-sa/3.0/de/deed.de ; info:eu-repo/semantics/openAccess
  18. One divided by another : split and conversion in Pasolini's "San Paolo"
    Author: Di Blasi, Luca
    Published: 2019

    By focusing on Pasolini's uncompleted film project "San Paolo", Luca Di Blasi's article 'One Divided by Another: Split and Conversion in Pasolini's "San Paolo"' analyzes the notion of split (the split in the structure of time and, above all, the... more

     

    By focusing on Pasolini's uncompleted film project "San Paolo", Luca Di Blasi's article 'One Divided by Another: Split and Conversion in Pasolini's "San Paolo"' analyzes the notion of split (the split in the structure of time and, above all, the split of the figure of Paul) and concentrates especially on the very moment of Paul's Damascene conversion. Di Blasi refers to the "Kippbild" as a model that can be used to understand better certain ambivalences in Pasolini's Paul. Locating Pasolini's reading of the founder of the Church in a triangulation with two major contemporary philosophers, Alain Badiou and Giorgio Agamben, Di Blasi shows that two opposing possibilities of interpreting Paul - as militant subject of a universal event and its necessary consequences (Badiou) and as representative of softness, weakness, poverty, "homo sacer" (Agamben) - fit perfectly with the two aspects of Pasolini's Paul. Pasolini's profoundly split Paul thus represents a dichotomy which disunites two major figures of contemporary leftist thought.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800; 850
    Subjects: Pasolini; Pier Paolo; Paulus; Apostel; Heiliger; Badiou; Alain; Agamben; Giorgio; Drehbuch; Drehbuchautor; Konversion <Religion>; Spaltung
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  19. Outside Italy : Pasolini's transnational visions of the sacred and tradition
    Author: Cadel, Francesca
    Published: 2019

    Francesca Cadel's paper 'Outside Italy: Pasolini's Transnational Visions of the Sacred and Tradition' points out that in the 1940s and 1950s Pasolini's themes were all related to the specificity of Italian society, history, and traditions, while,... more

     

    Francesca Cadel's paper 'Outside Italy: Pasolini's Transnational Visions of the Sacred and Tradition' points out that in the 1940s and 1950s Pasolini's themes were all related to the specificity of Italian society, history, and traditions, while, beginning with the 1960s, Pasolini started travelling around the world, widening his perspectives on a rapidly changing world. Hence he developed new critical patterns, combining an increasing interest in sprawling transnational post-colonial economies with his strenuous defence of tradition and the sacred within human societies. Cadel uses different examples - including Pasolini's Indian travelogues - to show how his initial devotion to Italian millenary traditions and peasant cultures finally led to an open vision and understanding of human behaviours and mores, beyond any national boundary.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 800; 850
    Subjects: Pasolini; Pier Paolo; Tradition; Postkolonialismus; Das Heilige
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  20. Cinematographic aesthetics as subversion of moral reason in Pasolini's "Medea"
    Author: Deuber-Mankowsky, Astrid
    Published: 2019

    Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her... more

     

    Astrid Deuber-Mankowsky's paper 'Cinematographic Aesthetics as Subversion of Moral Reason in Pasolini's Medea' explores the 1969 film "Medea". Pasolini's Medea, masterfully played by Maria Callas, betrays her homeland and her origin, stabs both her children, sets her house on fire, and dispossesses Jason of his sons' corpses. But Deuber-Mankowsky argues that it is ultimately not these acts that render the film particularly disturbing and disconcerting, but, rather, the fact that the spectator is left behind in suspension precisely because Medea cannot be easily condemned for her acts. Pasolini's film and its cinematographic aesthetics thereby not only subvert the projection of Medea into the prehistorical world of madness and perversion, but also undermine belief in the validity of the kind of moral rationality developed and constituted in an exemplary way by Immanuel Kant in his "Critique of Practical Reason". In particular, Pasolini seems to relate conceptually to Nietzsche's artistic-philosophical transfiguration of Dionysus and to accuse belief in a world of reasons of failing to grasp the groundlessness, irrationality, or even a-rationality of reason itself.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo; Medea (Film; Film; Filmtechnik; Callas; Maria; Kant; Immanuel; Kritik der praktischen Vernunft; Mythos; Griechenland (Altertum); Dionysos; Das Dionysische; Nietzsche; Friedrich
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  21. Pasolini as Jew : between Israel and Europe
    Author: Gordon, Robert S. C.
    Published: 2019

    Robert S. C. Gordon's article 'Pasolini as Jew, Between Israel and Europe' examines a remarkable trope in Pasolini's encounter with the cultures and geographies of Europe and its beyond: his imaginary identification with the figure of the Jew. Gordon... more

     

    Robert S. C. Gordon's article 'Pasolini as Jew, Between Israel and Europe' examines a remarkable trope in Pasolini's encounter with the cultures and geographies of Europe and its beyond: his imaginary identification with the figure of the Jew. Gordon examines in turn the site of Israel and its Jewish citizens; the 'Lager' and the Jews as victims of genocide; and finally the figure of Saint Paul and his earlier Jewish identity as Saul, both sacred and a figure of the Law, as a model for the twentieth-century Church and its ambiguous response to Nazism. In all three of these threads, Pasolini's Jew is a 'queer' and destabilizing trope for exploring the border of the European and the non-European, the self and the other.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo; Il vangelo secondo Matteo; Poesia in forma di rosa; Juden; Europa; Israel; Paulus; Apostel; Heiliger; Nationalsozialismus; Konzentrationslager
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  22. Analogy and difference : multistable figures in Pier Paolo Pasolini's "Appunti per un'Orestiade Africana"
    Author: Gragnolati, Manuele
    Published: 2019

    Manuele Gragnolati's paper 'Analogy and Difference: Multistable Figures in Pasolini's "Appunti per un'Orestiade africana"' discusses Pasolini's preference for the figure of contradiction and his opposition to Hegelian dialectics by exploring his... more

     

    Manuele Gragnolati's paper 'Analogy and Difference: Multistable Figures in Pasolini's "Appunti per un'Orestiade africana"' discusses Pasolini's preference for the figure of contradiction and his opposition to Hegelian dialectics by exploring his attempt to look at Africa's process of modernization and democratization in the 1960s as analogous to the synthetic transformation of the Furies into Eumenides at the end of Aeschylus's trilogy. Gragnolati shows that Pasolini is aware of the dangers of analogy, which risks imposing the author's or filmmaker's symbolic order onto that of the 'other' represented in the text or film, and he argues that Pasolini seeks to deal with this danger by constantly shifting back and forth between differing positions. "Appunti per un'Orestiade africana" can thereby be thought as a multistable figure that is left suspended and not only resists synthesis, but also problematizes its own feasibility and challenges its own legitimacy.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo; Aeschylus; Orestia; Afrika; Dialektik; Widerspruch
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  23. The body of the actor : notes on the relationship between the body and acting in Pasolini's cinema
    Author: Grieco, Agnese
    Published: 2019

    Agnese Grieco's paper 'The Body of the Actor: Notes on the Relationship Between the Body and Acting in Pasolini's Cinema' deals with the specific physiognomy of the actor within Pasolini's 'cinema of poetry'. It argues that Pasolini's films allow the... more

     

    Agnese Grieco's paper 'The Body of the Actor: Notes on the Relationship Between the Body and Acting in Pasolini's Cinema' deals with the specific physiognomy of the actor within Pasolini's 'cinema of poetry'. It argues that Pasolini's films allow the spectator to experience directly a complex and polyvalent reality beyond the traditional idea of 'representation'. As a fragment of that reality, actors quote and present themselves beyond and through their interpretations of a role. Instead of conceiving of the actor as a 'professional of fiction', Pasolini employs a variety of actors who are able fully to convey their own anthropological history. It is particularly the body of the actor, Grieco concludes, that becomes a door opening towards a deeper reality. For instance, the figure of Ninetto Davoli can push us back towards Greek antiquity, and the codified art of the comedian Totò or the iconic fixity of Maria Callas can interact with the African faces of the possible interpreters of an African Oresteia.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo; Film; Totò; Callas; Maria; Schauspielkunst; Körper
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  24. Reconciliation and stark incompatibility : Pasolini's 'Africa' and Greek tragedy
    Author: Groß, Bernhard
    Published: 2019

    Pasolini's literature, film, theatre, and essays engaged with Classical tragedy from the mid-1960s onwards. As Bernhard Groß shows in his paper 'Reconciliation and Stark Incompatibility: Pasolini's "Africa" and Greek Tragedy', this engagement forms a... more

     

    Pasolini's literature, film, theatre, and essays engaged with Classical tragedy from the mid-1960s onwards. As Bernhard Groß shows in his paper 'Reconciliation and Stark Incompatibility: Pasolini's "Africa" and Greek Tragedy', this engagement forms a modality in Pasolini's politics of aesthetics that seeks to grasp the fundamental transformation from a rural-proletarian to a petit-bourgeois Italy. Since the mid-'60s, Pasolini was concerned with the bourgeoisie and its utopian potentials, which he sought to make productive by reading Classical tragedy as a possibility to make contradictions visible. Pasolini realized his reading of the Classical tragedy by having 'Africa' and 'Europe' - as he understood them - confront one another without mediation. By means of film analyses and film theory, Groß argues that this confrontation, especially in the films on the ancient world, generates an aesthetic place where the incompatible can unfold in the spectators' experience.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 791; 800
    Subjects: Pasolini; Pier Paolo; Medea (Film; Film; Griechenland (Altertum); Tragödie; Ästhetik; Bürgertum; Italien
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  25. 'La vera diversità' : multistability, circularity, and abjection in Pasolini's "Pilade"
    Author: Holzhey, Christoph F. E.
    Published: 2019

    Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by... more

     

    Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus's trilogy. "Pilade" (1966/70) imagines what happens after Orestes, having being absolved by the Aeropagos in Athens, goes back to Argos. With its clear allusions to political developments in the last century - fascism, the Resistance, and Communist revolutions - the play reads as a mythical allegory for the situation of engaged intellectuals in thetwentieth century. As Christoph F. E. Holzhey's contribution '"La vera Diversità": Multistability, Circularity, and Abjection in Pasolini's "Pilade"' shows, Pasolini's imagined continuation of the Oresteia challenges an ideology of rational foundation and progress by moving through a series of aspect changes prompted by sudden events that allow for some integration while also creating new divisions. After all possible alliances among the principal characters - Orestes, Electra, and Pylades - have been played through, Pylades curses reason for its deceptive, consoling, and violent function and embraces his abjected position of true diversity beyond intelligibility. However, Holzhey argues, rather than functioning as the play's telos, this ending is an open one and participates in the paradoxical performance of a self-contradictory subjectivity and a circular temporality without entirely giving up hope for a truly different alternative.

     
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    Source: BASE Selection for Comparative Literature
    Language: English
    Media type: Article (edited volume)
    Format: Online
    DDC Categories: 792; 800
    Subjects: Pasolini; Pier Paolo; Aeschylus; Orestia; Paradoxon; Widerspruch; Inversionsfigur; Wahrnehmungswechsel
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