Bible Verses For Church Anniversary

sicilia verde irlanda: il festival, il cortile dei marchesi, sannelli

ended yesterday with a lecture by Andrea Cortellessa and cross-reading Sara Ventroni Aldo Nove and the festival "Everything else is poetry" which took place 2 to 9 December in the splendid baroque palace Municipal Caltagirone, the place with more churches, ceramics, and stairs in the world. The Las Vegas of the Nativity, with people who for one euro and fifty invite you to join in workshops where they expose representations of any kind, giant and miniature; cribs cotton, live, mechanics, iron, tradzionali, with puppets, clay, ceramic. S. Maria del Monte overlooking the famous staircase going up, does not allow you to find rhythm and pitch. Turi Flying Ballarò and permanent exhibit in the Museum of Contemporary Art and alleyways (as they call them in Genoa) may happen to encounter ups and downs in points instead of leveling structured, plain, interior, architecture that in substance there's a sudden epiphanies communication, clarification of sense that they experience only glimpsing the soul of places. A soul that does not belong to the here and now of the place, but establishing a profound analogy, a meeting. It happened to me in the courtyard of the Marquis of Santa Barbara, admiring the asymmetrical circular openings of the building height in relation to the diagonal of the building and the courtyard. It was like a Piranesi fell into the well ... an aquarium of shadow, and me inside. I am grateful to the festival organized dall'intaprendente Josephine Pace , sotto la tutela ideale di Maria Attanasio, per avermi dato la possibilità di saggiare l'epifania del cortile dei marchesi di santa barbara e nel contempo conoscere l'opera meritoria di alcuni piccoli editori, che con il loro lavoro offrono la vera alternitava al mercato generalista. La Gepas di Orazio Parisi, di Avola, ad esempio, o le milanesi edizioni Il Faggio di Franco Ambrosio, o la Rosa rossa/il raggio verde di Vitaldo Conte e infine la Altavoz di Caltagirone (che propone tra gli altri titoli il poeta algerino Habib Tengour , ben tradotto da Manuela Cardinel). Ho avuto modo di parlare un poco del rapporto tra editoria and poetry, saying that such a relationship is quietly on its last legs, but that's not what's important. My personal idea of \u200b\u200ban era that often define affected by the "Fausto Zafferoni syndrome", I think it is confirmed in those who worked tirelessly for years for a result. By the way, to scoraggiore new poets, or, if determined enough, to fertilize, often indicates the name and experience Massimo Sannella I consider the whole more active and conscious poet of his generation, always disconcerting intensity. Council read what he writes and also all his site, he considered that the lack of academic papers, then read again that "Further improvements are also losing your name "and look inside. Comparing the likely slide, the cultivation of microbes that have (we) in Serbia in the freezer and ask why your (our) virus biology should infect a thin waterproof world, while a world at the age iron wheel for fifteen years changing skin eruptions in shakes, trembling emotion vibrating.

Paraffin Greenhouse Heater

lo scrittore e la traiettoria unica

The size of the writing has a relationship with the magnitude of the story gives us. So, Camon, peremptory, to explain that the timing of minimalism are far away. He explains: "In the work and life of Joseph Pontiggia (1934-2003) there were ten to fifteen stories: War, war, shortages, boom, communism, consumerism, the end of communism, American empire, the crisis of American domestic terrorism, international terrorism, signs of Islam. But today is talked of stories, plots, plot of, fiction, the importance of narrative in itself, of telling stories. Instead, Camon said, "The situation today is such that one can not listen, to look at the history: as in Fellini's Orchestra Rehearsal, the great wrecking ball knocked on the bearing wall of our building background, we can not look at the hole the threat. At stake is not only a sense of what we write, but also the sense of who we are. "
But the story is that of the five days of Milan, the last thirty years of the last century, on which there is more grip? '"The situation today is such that one can not listen to-watch story." We are in an identity crisis. So we, vattimianamente, a "writing weak." So we wonder, because there are important works and writers, for a discussion, and memory? About Ferdinando Camon is very clear: "It is not just a matter of aesthetic success of their work, but also the stability of history in which they live and write, this becomes clearer if we got out that there are more authors, Moravia (1907-1990) [but also Piovene (1907-1974) and Bilenchi (1909-1909) Pavese (1908-1950)] Pratolini (1913-1991), Tobin (1910-1991), Bassani (1916-2000), Volponi (1924-1994), Parise (1929-1986): lived and described a consistent experience, their works form a block. Among the last great writers have this consistency and size of this unit, there are Primo Levi, Rigoni Stern, Fenoglio. Their to-be-always has a price: they were not seen when the point was made on a moment of the literature, five years or a decade. I do not remember a single literary convention which has been called Levi or Rigoni or Tobino or For. The history of Italian literature more widely in our schools, for all la seconda metà del secolo scorso, quella di Natalino Sapegno, per ben 43 edizioni non dedicava una riga a Primo Levi. Non lo vedeva proprio. Non sapeva che esistesse. Sapegno rimediò alla lacuna inserendo Levi con la formula: «È forse il più grande scrittore italiano del secolo». Ma se era il più grande, come faceva a ignorarlo per mezzo secolo?Lo scrittore e l’opera destinata a durate si pone di traverso rispetto alla storia, si confronta con la storia in una dialettica più ampia, scopre valori e li confronta. Lo scrittore di romanzi secondo Camon vive una “crisi di identità” e deve invece avere ben chiaro almeno un elemento: «Sappiamo soltanto una cosa: che dobbiamo capire chi sono [gli scrittori] and let him know who we are. " The game of hide postmodernism is over but we find ourselves in the domain of curriculum, location and post-colonial condition that I have tried talking to venture or Bahatt Saviano: "The news can come from all parts of the horizon, Islam, U.S., China, Third World, Fourth, Eastern Europe, Patagonia, Africa ... More than a biography is upset, the more authoritative. The Nobel this year living in London, but has worked in Zimbabwe and was born in Persia, now Iran: If you cut him off Persia, he takes the Nobel Prize. " Doris Lessing actually have this problem. Remember what you said about glare of the five cubits? Only now, having needed to reward the authors of otherness, we promote those who had lived with the otherness of the times "not suspicious". Once again the prize as an institution explains the devices and the existence of the canon, his profound sense, his being a thermometer, right or wrong, the cultural climate of a period, a snapshot of the climate. I wonder how they stayed in the picture Mariolina and his team? And the thermometer, where we hide it?

Philips Surround Sound System Troubleshooting

Il belgio, Borghezio e la pietra filosofale.

do not know why in the locker room of the pool, with the lawyer ended up talking about the affair and Borghezio train disinfected by the EU. The day after meeting the great man of the alloy on the flight to Brussels and write it to the lawyer. "We do not have the disinfectant." He said, "do the stink." After two days of half-day conference in Antwerp and Leuven, at the airport to check in still Borghezio. This time I ran out of money on your phone, then with two colleagues, the conference also their return on the same flight, I go to Pizza Hut, in joy. A beer, a cigarette outside and then suddenly stagger, back at the airport, earning a chair, stabbing pains in his left side, turning pale, sweat, your hands tingle, dark view, the eye ball. The co-workers call a doctor and bring me an umbrella and Meda Luchthavendokters the luggage to the Brussels Airport, where I was diagnosed with an acute attack of calculations. Nothing epic, but they wanted to keep me and I had no intention of being hospitalized, the less there. Dr. House does not recommend "the Reviendra. But you can sign away and showing the ticket for advice on where to go, "three floor, left, gate sixty-eight. Forty-five euros, please. " Pago go go wrong and hub for flights outside Europe without passing a queue of suspected African and Chinese in the queue with a million explanations and awkward "sorry". I go back to a huge "EU" surrounded by stars on a blue background and take the right lane. Here it is faster but I still have to pass through metal detectors and x-rays for hand luggage, plus an endless series of escalators. When I think of being a sign to the extreme threat "Gate 60-70 10-15 min time expected." And a slew of treadmill unfolds in a huge space, an expanse of desert that runs automatically, as in a drawing by Buzzati . Me and my ID card expired one day we pull out the big numbers, sweating, around 68. Boarding behind a desk false electric blue boy smiles as an accomplice who had a catch for the breakneck speed the return flight which takes up the affair with her lover and says my name, I almost expected for dinner " Mr. A.a. I guess…” “Of course”, ansimo, “di corsa”. A bordo ritrovo Giulia e Francesca, le colleghe che pietosamente mi avevano dato una mano e mi accomodo raccontando della faccenda. La mia situazione, palese tra le ultime file del volo che seguono la storia dell’avventura ospedaliera del ritardatario, desta anche l’attenzione del mio vicino, cordiale, ben piantato, segnato da un taglio fresco che dalla fronte si sposta per tratti irregolari lungo la dorsale del naso, a croste irregolari. È cordiale, del sud, molto scuro. Parliamo di gusto. Con il mio accento piemontese faccio qualche battuta sulla Lega, lui ride. Poi mi racconta che si è fatto male riparando il muso di un muletto. La sua ditta ha Headquartered in Turin and rent equipment throughout Europe. When you fail to touch him leave and go to put in place. He heard that I would not hospitalized and he says that he refused the points. "So much goes right." Then I also shows the scars of a shard of metal in one hand but had to remove because they had almost reached the tendon. One of the many signs of work you do. The injection of Toradol, 40 mg of piroxicam and friendly and my anonymous interlocutor ensure a good flight. Both in business, both quite satisfied despite the injury, we sleep. Ennobled by comparison with self-indulgence to think how strong is the guilt of the poor intellectuals who have chosen not to raise its voice, to remain equal to all. He tells me not to worry about the calculations: the brother-truck driver after a couple of attacks have taken them to him and now he is fine. Problems of working, or aspiring writer professional driver is the same. So while I think about m'assopisco blue camel facing the railway station square in Antwerp Zoo in defense of a century, to "Antwerpen" the poetry of Eliot Ford generously considered among the best ever on the First World War (' For there is no new thing under the sun, / Only this uncomely man with a smoking gun '), the conference of Genoa and the one just past, thanks to which I was on that flight, imitated by Siegfried Sassoon Levi ea quella generazione che parallela Cercando una cultura comune e Trovo if a boundary combattere su due volte nel giro OPPOSITION nemmeno di quarant'anni. Mentre mi assopisco torna e il suo anche Montaigne viaggio in Italia in cerca di e il capitolo term Dell'Esperienza che terzo e ultimo CHIUDE it volume dei Saggi :

"But is there anything sweet at the cost of this sudden change, and when an extreme pain, I come by my vuidange stone, to recover, as a thunder, the beautiful light of health: so free and so full: as it happens in sudden and noz aspres colic? Is there anything in the pain suffered, that one can counterpoise to the pleasure of so speedy Amendement? Combien de la santé Ensemble me plus the beautiful apres maladie, et voisine it is contiguous, puis que je les en recognoistre the presence une de l'autre, en leur appareil plus hault: if putting où elles à l'envy, comme pour if heads faire et contrecarre "(ed. it. Adelphi, p. 1464) The philosophy of experience

a sedentary traveler who tried to compare and contrast in spite of so many whining. Inside, a smile of gratitude for that mysterious little world suspended nine thousand feet, Borghezio included: "Pour mon enfance dés m'estre, Dress dans ma vie à Mirer autruy cells ..." (p. 1439).

Getting Chicken Grease Off Of Cotton

neo settantasette

Dopo il Settanta di Belpoliti torno sull’argomento riportando (da « Sagarana » n. 28) un pezzo di Lucia Annunziata dal suo nuovo libro 1977 - L'ultima foto di famiglia , Einaudi, Torino, 2007 . Perché abbia interessato di più il trentennale del 1977 che il ’67 non è facile dirlo; forse perché il movimento del 1977 è un fenomeno nazionale rispetto all’internazionale 1968, come ricorda Marco Grispigni in 1977 (manifestolibri, 2° edizione 2007), e poi perché si pone in modo radicalmente differente rispetto al ’68: l’imperativo è “soddisfare i bisogni” and let the boundary between necessary and contingent fade in the ironic, in contradiction, in the teasing. The communications company that dominates the next decade was born there, its values \u200b\u200bare not so distant post- the intransigent suffix characteristic of the Seventy turns in a few years nell'algido New: time apparently far, is actually contiguous. The obsession with the "I was around the corner, just left the parade ...

Meeting papers the name of Gustave Le Bon, one of Mussolini's favorite philosophers. His The Crowd still has the "shot narrative" a best sellers to Rifkin, however, surprised that he could have as much right in the twenties and so wrong about fifty years later. In the seventies, the idea of \u200b\u200bthe crowd has changed dramatically: he discovered the principle of "community" and set to "identify" people have looked in their faces instead of going to a stage. And it was what it was, firmly laid the foundations of the postmodern, began the domination of the media, the visibility of the statement present. Even in the fifties for an artist to die unknown, misunderstood by his age, was a reasonable prospect, or at least possible: an unrecognized value in this could wait for the future. Today, this expectation of the future is completely cleared. Having triumphed pop, also we'll have to be discovered and consumed in fifteen minutes of fame. From

Lucia Annunziata, 1977 - The latest family photos , Einaudi, Torino, 2007

(...) The movement of '77 was born with a keen awareness of the media. Or rather, originates in the media and the media inside. The most powerful
revolution of that year - and one that in many ways it would make a longer - it is the discovery and invention of Mediated. The deconstruction of the language of communication is also communication.
intellectual production di quell'anno è monumentale, non solo per quantità ma per la continua sollecitazione che innesca. Delle radio e dell'uso dei quotidiani abbiamo detto. Va aggiunta la sperimentazione: la piú interessante e proficua è quella che nasce dalla rivista "Attraverso" fondata da un collettivo di cui facevano parte Franco Berardi (Bifo), Stefano Saviotti, Maurizio Torrealta e che si rifà ad Antonin Artaud e alla sua teoria del linguaggio corporale, alla separazione dell'arte nella vita del processo rivoluzionario, dell'intelligenza tecnico-scientifica. La rivista è un modello per molte altre che ne riprodurranno il linguaggio, e di cui la barra separativa è ancora oggi il simbolo. C'è poi "Zut", rivista dada-situazionista Roman, edited by Angelo Pasquini, he used parody and paradox as deconstruction: the group of "Zut" creates the cDNA (center spread news arbitrary), responsible for disseminating news invented out of whole cloth sometimes capable of producing real events.
In the same vein there are also "Oask?" Urban Indians, the Neapolitan "Wam" and Roman "Abat / Jour. I had youth clubs instead of the Proletariat "Viola", born in 1976, the magazine takes teen angst underground. In March 1977, alongside the "WoW" Darius Flowers, presented as a "package of proletarian youth circles in decomposition," and claimed "WoW totoista" in criticism of Maoism still prevailing in many other experiences, included "A/tra-
to." The list is endless: each group tended to do in your communication, to delimit strictly its own area.
The same attitude is reflected in the privatization of cultural consumption: a search for absolute separation from the paths of the majority culture, even the rebel born in '68. The movement espouse some "texts" classics of the counterculture, such as the American protest and radical pacifist, from Bob Dylan to the Fugs, Jefferson Airplane, Country Joe, Frank Zappa, Joni Mitchell and the supergroup Crosby, Stills, Nash and Young; loves singer-songwriters in the route of approach to politics, such as Frank Sinatra (from the earliest written texts for the Nomads) or Fabrizio De André e ancora Francesco De Gregori o per altri versi Edoardo Bennato. Ma canta soprattutto la canzone militante, di lotta, intrecciata strettamente alla canzone popolare - anche di sapore internazionalista, basti ricordare gli Inti Illimani.
Il repertorio basico è costituito dagli autori classici già colonna sonora degli anni sessanta: Ivan Della Mea, Paolo Pietrangeli, Giovanna Marini, Gualtiero Bertelli. "E chi può affermare che un sampietrino non fa arte?", scriveva Ivan Della Mea. "Può servire De Gregori? Non ho dubbi: che cominci però anche lui a prendere le pietre, a guardare come sono fatte e a lanciarle. Irrobustisce il bicipite e l'accordo di chitarra si strappa piú duro". A metà degli anni settanta and then in the midst of these 77 authors will be joined by others, such as Claudio Lolli (I've also seen Gypsy happy) or Ricky duo Giancarlo Gianfranco Manfredi. No more than Manfredi and Giancarlo will give voice to the spirit of '77 with songs like Zombie-poster or around the world From the Apennines to the bands (a sort of mystique of the underground), Last Mohican ("... sampietrino in hand " went the song), do not pay (a hymn to the Auto Reduction in cinemas and concerts), Vanguard (perfect satire of the militant Pdup and Ao). In the songs of
Manfredi is the perfect synthesis of '77: love, violence, dream, hallucination and a fierce self-deprecating satire, as in the song companion, comrade no, mate shit. Or Who said there: "He's at the bottom of your eyes, the tip of the lips, is the polished machine gun in the view of the state, in joy and anger, to destroy the cage, in the death of the school in the refusal of work, in deserted factory in the house with no door ... "
the movies you watch again and Strawberries blood Stuart Hagman, built in 1969, right on the cult film '68 at Berkeley. But in Rome is the time of flowering of the film club, the Filmstudio, the Polytechnic and Workshop. Auteur cinema and Carbonaro, in fact. In August 1977 the volcanic Renato Nicolini gives life to the film festival of the Roman, in the Basilica of Maxentius, which successfully un'operazione di ricucitura culturale tra generi: tra il cinema alto dei classici di Hollywood e del cinema italiano e quello degli horror di serie B, delle commedie scollacciate, dei polizieschi, dei peplum, degli spaghetti western.
Fra i libri spopola, accanto agli amatissimi Roland Barthes e Jürgen Habermas, ogni sorta di testo e libello dell'editore Savelli: da Porci con le ali al celebre In caso di golpe. Manuale teorico-pratico per il cittadino di resistenza totale e di guerra di popolo, di guerriglia e di controguerriglia, con prefazione del compagno Vincenzo Calò. Sottotitolo: Quello che i golpisti sanno già e che ogni democratico dovrebbe sapere.
Il movimento insomma è impegnato soprattutto a raccontare se stesso, per himself. This passion for "photogenic" by itself is not narcissism, but a revolutionary act, indeed a revolution in itself. What else are in fact all these inventions and linguistic experiments, the performances of violence, if not the anticipation of "other" through the destruction of this by means of language that makes it real? In those years, wrote Aldo Bonomi, "Many companies have come to conclude that deal with communication already contains a project. Imagery meant to communicate, to campaign in the processes of transformation underway."
is a huge difference with the '68, which was also very pleased, but had never looked at, preferring to be seen. Voleva essere "capito" e "ammirato", non per com'era, tuttavia, ma per quello che faceva. Il '68 aveva la missione di cambiare il mondo ed era dunque impegnato a infiltrarsi nei media per cambiarli (in questo senso non è un caso che quell'anno abbia prodotto una massa enorme di giornalisti). Il '77, che non crede nelle istituzioni e dunque nel cambiamento, è invece impegnato soprattutto a raccontarsi, come atto di affermazione di indipendenza dalle convenzioni di cui le istituzioni rappresentano l'organizzazione finale.
Un movimento che si specchia e si autorappresenta: che nessuno dunque può davvero raccontare, tanto meno capire.
In questa identità c'è il seme della follia: quello che gli altri, cioè la stampa, dicono del movimento diventa la comparazione fra quello che si vede di sé nel proprio specchio e quello che vedono gli esterni. Il '77 compra ossessivamente i giornali per leggere delle proprie manifestazioni, guarda la Tv per vedersi sfilare, ma ogni volta è una delusione, una deformazione: dalla mediazione del giornalista, persino di quelli molto vicini, rimane sempre deluso. Lo specchio dei media, per il movimento, è sempre deformante. I giornalisti infatti danno giudizi, scelgono, scrivono, riorganizzano la realtà. Il movimento vuole invece una rappresentazione continua e diretta: non a caso l'unica forma di narrazione giornalistica in cui si riconosce e che accetta è la rubrica delle lettere di "Lotta continua", cioè a sort of continuous stream of self-consciousness, no one put your hands. And, in hindsight, a desire that anticipated the Internet and blogs - a bit 'like the other popular instrument at the time, the radio.
Moreover, could it be otherwise? Newspapers are institutions, and as an institution could include the movement? The journalists then club (like "The Unit"), incite (such as "Courier"), complain (like the "New Newspaper") and, above all, spy.

Occasional Liver Pain, Is This Okay

Il “signor rosmarino”. (Moresco saggista III)

to the letters that make up the letters None if they could be added, perhaps the most radical writing, addressed to Pope Benedict XVI.

"Dear Benedict XVI, the directly excuse with which I am addressing you, without the usual names that are used in these cases. It is not to disrespect but a need for truth and trust with the person before that with its institutional figure. You certainly do not know me. So I introduce myself. I am neither an atheist nor a devotee devout atheist. I'm just a writer who in his book imagined a pope who, when elected, after two thousand years, dissolve the Church. "

This is the" extreme action "that asks Benedict Moresco. Let the church know about her death in order to truly rise again. This is the test. This is the extreme, this faith request by Moresco. Too easy to ridicule this idea with that of the gurus telling you that you do die you wake up on a planet heated by Proxima Centauri. Too easy to pretend not to understand the symbolic "immanent" to the proposal. I think the arguments of Oddifreddi easily disproved and the most subtle arguments of Ferraris on the "real presence" of faith as aporia and other consumption. Behind or under this second speech, apparently formal, there is the real problem of a corpse was stolen or taken, the flesh, the invisible. Well if we do not believe most, literally, it must be said. Eternal life is not the resurrection, and if you really want to resurrect, to witness that the resurrection is given must have the courage not to apply a suicide, but to accept death. A desperate act of faith: "If you want to save the Church, you will lose in the time ahead." (See the concept of acceptance as stated in Part II )

"I realize how naive and abnormal that I'm asking. And I know that I can answer is: No one can dissolve the Church, because it is was established by the Son of God but we need to free all the disorienting power of the resurrected Christianity. I must free itself from its still unknown new power vacuum, which is proportional to what is happening to us. What you release the creative power of mankind and resurrected female who is also trapped inside. That the Church does not remain stuck in a sterile war of position between the other imperial powers secular. [...] Salvation can come only from politics, economics and technology. The challenge is extreme. We must leave a huge latent force that-perhaps-is trapped somewhere. You have to think the unthinkable because the unexpected is exactly what is happening to us. The most extreme and great idea of \u200b\u200bChristianity is the resurrection. We need this kind of extremism in this passage on this planet overpopulated and exhausted. Serve an extreme action, unthinkable, radiant, carried out by those who have the power to copy it. "

heidegerriana The idea" to move towards the unthinkable that must think, "repeated ad nauseam by many bishops of the reaction (to think and write continuously ever thought and already mentioned), here takes on a light "immanent" unknown to many of these famous words that were seized. The staggering scope of the words of Moresco over and further that this plan could be defined yet somehow it resulted in critical and historical 'idea of \u200b\u200bthe dream as creation. Creating an anthropomorphic form and the human being with the anthropological sense of the prophecy as "embodied" "In shape" even before "in narration." In fact, even the shape of the letter Shoot, shoot the other person, the issuer will disappear. It remains the vision.

"Behold, I want to get with my dreams to the dreams of the Pope, to enter the kingdom where dreams of the Pope will join the rest of the body and spiritual power of all the dreams dreamed. Perhaps, from time to time, whispers something in my sleep, even if nobody hears it. Or maybe someone, who knows ... maybe when it's all dark and silent in her room, a tall man approaching her bed, sits there in the chair opposite. He looks at sleep in silence, absorbed. Listen to the words that escape from lips while dreaming. Who will this man? How do I call? But yeah, give it a name, a name sweet, kind, call Mr. Rosemary, because it leaves behind a light fragrance of rosemary. That's what I feel in the morning when she wakes up, and maybe exchange it for a few liturgical smell emanating from his clothes during the night. Mr. Rosemary looks at her in silence, in the shadows, listen to his words whispered under his breath in his sleep. Then, at dawn, as it had arrived, and nobody sees it, goes away. "

say with the voice the vision, a figure of the dream that nothing, absolutely nothing to do with the surreal, is a project intended to spill over the boundaries of what can be seen as "open letter to" or "critical discourse from ..." is an idea and a practice of creation destined to endure beyond the proposability or the real possibility that he proposes. In contemplating this endless "bloom" of the emblematic figures you feel the same sense of profound displacement and embarrassing that you can try a few letters in front of Giordano Bruno and Tommaso Campanella, the letters that start with a political end and break through in critical but far from it in a unique invention, allegorical, illustrated, uncommon, of new capacity (and then betrayed perverse invention of mystery and initiation and Masonic tradition of the Risorgimento, sectarian). Moresco constantly repeats the need to deal with this radical change, this shift of species coming and already arrived together, not by chance and Bruno Campanella crossed an unsettling epistemological mutation, and their works were abnormal witnesses, before Galileo, such a major upheaval. The seemingly humble layman common sense rests on the scientist's experimental senseless fury and madness of men disguised visionaries, incapable of prudence, who prophesied of mad mutations also occurred but then fairly unpredictable that mingled with astrology and magic natural science, and nonsense truth-sensitive. Auroral mink, decomposed, born out of meat used to the gallows, under impossible conditions. In conclusion, the prospect of liberation as thought and speech seems Moresco undone from the Incarnation. On the one Mr. Rosemary any, arbitrary, powerful and helpless, who takes everything on his shoulders, like an African king who rides a bicycle from room to keep the world in its orbit unthinkable. Unreasonable as the will of a cobbler from Calabria who, from the depths of a prison, claims to understand and reform his world, to talk to popes and emperors. A guy like Campanella's vision by studying the anatomy of the bulbs, which was able to understand that the fever was not a disease but a physiological reaction to evil, which Eugenics was able to explain the ecological and the links between plants, animals and environment, who prophesied of vessels capable of sailing without wind or oars, telepathy, acoustic equipment capable of picking up sounds from outer space. A madman who was a great poet, whose bitter end reverberates in the twentieth century with the results of very different: the mystique of Rebora lyrical fragment 68 (see the sonnet of the populace Campanella), the militancy of Leonetti ("The voice is that of Campanella and / vociani with the modern military, / softened sounds of Bologna, "The voice of the Raven ) Moresco or the invention of which I presented an example.

Dog Has Blue Patches On Tongue

Provincia morta. Un poeta di Albisola

Per quanto mi è dato sapere transita impercettibile nel silenzio quasi assoluto il quarantennale dalla morte di un poeta dimenticato. Angelo Barile, nato ad Albisola Marina nel 1888 e ivi morto nel 1967. Vicino in gioventù alla prima Democrazia Cristiana di Murri, dedicò attenzione ai problemi religiosi (negli anni universitari, importante l’amicizia con il barnabita G. Semeria, portavoce del modernismo). Dopo la laurea in giurisprudenza a Genova frequenta corsi di lettere all’Università di Torino. Partecipò alla prima guerra mondiale come ufficiale di fanteria e tornato dal fronte non si allontanò più da Albisola, attendendo per molti anni alla sua azienda di terraglie. Durante il fascismo era vissuto secluded, but against the regime: he was arrested by the Germans in '43 and only one case survives the shooting. Poet of the youth decided to publish very late in various magazines including 'Solaria', 'Circles', 'Mistral', 'The Title'. Barile only returned to the political after the war, carrying out an intensive public activity as municipal and provincial administrations. Two years before his death in 1965 Vanni Scheiwiller decided to publish a book containing his Poems (1930-1963) (1965) which collects the now unobtainable previous collections Primasera (1933) and Mostly clear (1957) and the addition of the sezione A sole breve che raccoglie le liriche degli ultimi anni.
Quest’autore mi piace non solo perché conosco e frequento i luoghi in cui e di cui scrisse, ma per il suo aver saputo essere infinitamente meno vistoso del suo concittadino Tullio Mazzotti (1899-1971) e per non avere avuto, in fondo, nemmeno la vanità di creare un livre . Barile negli anni Trenta come gran parte dei poeti della sua generazione ha letto Blake e ha avvertito

«la necessità di fondere assieme i contrari: intensità e chiarezza, spontaneità e rigore... non è la poesia un equilibrio di resistenze? Il giuoco della libertà più aperta nei termini della legge più rigorosa. Ma come hard, desperately hard to the wedding. Impossible without grace. I felt that poetry is something quite unusual and rare, a gift of intimate transparency. How many times in life we \u200b\u200bare directly meeting? Few - even if - even those who are the best. Hence the usefulness of the vigils and abstinence. I made my own the words, do not forget most of Boine: "You have to let your water, dirt fewer cards, waiting. Let, let simmer, throw it away! that the important things are few and sparse the good things ... that you are not masters of useless things and they are the essential self, they rape us. "

This idea is essential that the work is done by itself, or almost at the expense of the author, "violent" comes straight from the preface to Mostly clear and seems very important. Consistent with these intentions, Barile manufactures its tools to syntactic and verbal scruples almost didactic Pasolini pointed in a "persistent tension" exerted on the tongue to achieve "the miracle of the merger ... sensitivity between subjective and objective presence of the divine. " However Barile labeled as an example of a "desperate and aesthetic Catholicism" marginalizing a suburban area, including pasture-hermetic twilight, which would have condemned virtuosity and indifference to the contents of the history, bracketing its exclusive tension to the "purity". In fact perhaps not understood that Pasolini Barile entrusted 'the huge background of history' to 'the idea of \u200b\u200bever "(as written by Carlo Bo): an idea, or rather, a feeling that he occurred in the newspaper within a crumbling' only privileged setting: the "small country" Ligurian Albisola Marina from which it broke away for the whole of existence, and also why he was able to appear voluntary isolation sheltered from the cultural climate of '9 oo. In fact the barrel was just a witness and protagonist (think just a circle ', the magazine he founded, funded, along with Adriano Great by William Bianchi, see also F. Contorbia, Lucia Rodocanachi. The cards life , Società Editrice Fiorentina, 2006), but it was congenial to the extent reasonable and refinement of feeling which led him to become a point of reference and teaching for many poets. "Judge secret," Bo has always defined at the time of his death and, in fact, everything you did in Rome or Florence between the wars had immediate echoes in the "small workshop" of his home. Needless perhaps to recall the friendship with the peer Sbarbaro, born on the banks of high school and a life term, and the fact that the Montale elect a chief justice of the "scrap" which would later form the nucleus of the primitive Ossi di sepia , perhaps the least known link with Adriano Sansa (Pula 1940) he wrote the preface to Eve (Sabatelli Editore), mayor of Genoa from 1993 to 1997 director of the magazine "Resin" - and author of Suffering and indignation (Scheiwiller) and The Gift of anxiety (New Melangolo).

Primasera

accompany me to the first arm
passing!
Foresto I simulate brother to me.

I lean up all hope of lighter
meetings, I find myself on the shoulders while bending

imagine his head. Now hear this

that grows every day I wish to
hear voices
to shake hands with those who find it, anyone who finds the road, I feel my
fades and soon
sky grows dark. I would
urgency affectionate. From
tired lights Greppi pe'l
dense forest precipitous drop in grades

pierced by calls to the ground floor. The grassy bank
escapes me, the sharp m'afferro
charity of the branches.

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tema in classe

At the end of a long indictment, the prosecutor of Genoa Anna Canepa and Andrea Canciani have requested an overall sentence of 225 years in prison for the 25 protesters charged with destruction and looting in the process the events that occurred during the 2001 G8 a Genova. La pena più pesante, 16 anni, è stata chiesta per la 41enne lecchese Marina Cugnaschi, imputata anche per altri due reati e considerata dagli inquirenti membro dei "black block"; richieste di condanne ultradecennali anche per Alberto Funaro e Francesco Puglisi (15 anni a testa), Vincenzo Vecchi (14 anni e 2.500 euro dei multa), Luca Finotti e Carlo Cuccomarino (12 anni). Per gli altri sono state proposte pene comprese tra 10 e 6 anni. «Chiedo a voi tutti - ha detto Canciani in aula - una volta accertata la responsabilità delle persone, di avere il coraggio di chiamare le cose che abbiamo visto con il loro nome, devastazione e saccheggio, come avremo il coraggio di chiamare massacro quello che è avvenuto alla scuola Diaz». Things, in fact we must have the courage to call them by their names. Accepted the invitation and we draw some conclusions. Devastation and massacre. Of the former are responsible for the civilians, the second law enforcement. He's fine. It's time to think accordingly. Years in prison for those machines has cracked and windows, even jail for those heads to people. They are the most important people or things? The answer is obvious but I think the violence will not be Bolzaneto Stan to root. For the 45 defendants to the facts of the barracks hovers prescription. Also promises to pardon and prescription for the 29 police officers recognized as one of the leaders of the infamous raid at the Diaz. On the one hand the "guilty" in the flesh, scapegoats, the "violence against things," the other "servants of the state", the guarantors of order, protected by the system which guarantee that we can be grateful for a great injury and a maldigerito guilt. "The servants I treat them well." "The servants must respect them, do the dirty work that us ladies do not want to do." "They keep the things that can or could be mine." "We can punish them, yes, blame never." Appalling hypocrisy of language. Serve. Jesus would be with the servants. Pasolini as well. Then everybody took it. He said it was ironic poetry. Perhaps he really was. Definitely ironic l’idea di pensare che da una parte “giustizia è fatta” perché ci sono i colpevoli in carne ed ossa, e dall’altra “giustizia è fatta” per un risarcimento. Senza colpevoli. Infatti lo Stato è stato condannato a risarcire Marina Spaccini, 50 anni, pediatra triestina, volontaria per quattro anni in Africa, per il pestaggio che subì da parte della Polizia. Come decine di migliaia di militanti cattolici della Rete Lilliput, era seduta, con le mani in alto e fu massacrata di botte senza ragione. Per il giudice Angela Latella la selvaggia repressione genovese è coperta da una vergognosa cortina di menzogne e depistaggi da parte della Polizia di Stato, e, ben più grave, la sentenza genovese certifica that the violence was not an isolated initiative, but it happened in a specific context. Another ugly page in a flawed democracy that still tends to smooth the hair talking about "good justice" (Lucia Annunziata). Perhaps in a technical sense it is. But the situation is different. These individual responsibilities, and the story can not make judgments. But justice in Italy is the antechamber of history: the one naturally leaned toward each other in an embrace disturbing, in a grotesque farce, one expanding to excess time, the other shrinking. A Russian roulette between "sunk" and "thank you". And grace. Five euro di rimborso alla pediatra e nessun colpevole a fronte a 225 anni di carcere. A luglio a Rostock ci furono quasi mille feriti e 130 arresti. Entro i primi giorni dall’arresto ci furono i processi: un 31enne fu condannato a dieci mesi di reclusione senza la condizionale per aver lanciato sassi, bottiglie e altri oggetti a ripetizione contro a polizia nei disordini. Pur nella sua brutalità, questa giustizia ha un senso. Magari è ingiusta subito, ma evita di proiettare la sua distorsione. E invece, così, abbiamo il tardivo rimborso e l’altrettanto tardiva pena esemplare, forse ancor più temibile perché parafrasando Leopardi “il male atteso è sempre maggiore del male presente”. Il messaggio è chiaro. Anzi sono two. First, the lean justice can only come as a personal grace, in recognition of a process of purification due to denial of the beggar and not a recognition of the institution "at fault". "You deserve the respect, to talk back." "Play by the rules and we will be inclusive," "you so you were sought but it went well." There instead of the real culprits, in flesh and blood. Those who attack the "stuff". The only thing more true of the body.
The "exemplary punishment" for the arrogance, the thirst for violence, fascism appeared, the arbitrary use of force, the willingness di colpire innocenti; insomma, il risolutivo faccia a faccia con i reparti creati ad hoc come i Canterini Boys o i Ccir , i famigerati contingenti di carabinieri per gli interventi risolutivi, sono ancora là da venire. Già così il processo potrebbe costare allo Stato tra i 7 e gli 8 milioni di euro.

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Letteratura Postcoloniale e della migrazione. Il caso Bahatt.

Ron Kubati è nato a Tirana nel 1971, da anni vive in Italia e ha pubblicato diversi libri. Carla Benedetti recensendo il suo ultimo romanzo scrive «sulla "letteratura migrante", che ormai è una realtà cospicua del nostro paese, sull'arricchimento che porta, sul suo valore non solo documentario but also as literature, it has already been said. And also the risk that the category has become a publishing genre, may enclose the various items inside a stereotype. But this is now the challenge to all those who write. We live in a society in which normalizing each singularity is not well tolerated, criminalized or deemed expendable in the short and market communication. "
All very true, almost. In English-speaking countries are twenty-five years that race and gender equate a lot of it by selling works of non-English writing in English and non-heterosexuals who write their non-heterosexuality. But the real furnace, the industry is that of criticism that goes hand in hand this time with both writers, both with the publishing market. For some 'I find myself reflecting on issues and a wonderful response to some of my ideas I find in Cancellation of Parcivall Everett, a novel that I recommend. The central theme that this novel phenomenon with ironic grace, I tried to express reviewing the color of loneliness, Sujata Bhatt, English-speaking Indian poet (translated Paola Splendore, Rome, Donzelli, 2005). The piece, chiestomi from the 'Index' is not suited to the needs of the magazine and perhaps rightly so it was not published. I propose again now here belief that such speech should be encouraged, not appeased.

Romantic poet in Gujarati language Narmada (1833-1886) was able to quickly take possession of certain fundamental features of the West (founded, among other things, "Dandiyo", a paper on the model of 'Spectator') and wrote a famous song by Mahatma Gandhi remembered in his memoirs, saying, "Look how strong the British dominate the small Indian As eat meat, are five cubits high." Today, fortunately, and now some thirty years, overfed Anglophone culture from its five cubits began to look forward to the culture of the former colonies and in particular the English-language writers, like Sujata Bhatt, a poet almost fifty born in Ahmedabad from a Brahmin family and grew up in New Orleans, the city of Pune, India and Connecticut where the father is called to lead a research program at Yale University.
Formed in the heart of the American theory on a canon exemplary "Western" (Hardy, Yates, Eliot, Stevens, Bishop, Williams, etc..) Sujata Bhatt has translated Gujarati poetry for the Penguin Anthology of Contemporary Indian Women Poets and English ('language of choice of writing poetry "and" only true fatherland ") published his first collection of poems ( Brunizem , Manchester, The Carcanet Press, 1988, awarded the prestigious Commonwealth Poetry Prize ") which was followed Monkey Shadows (1991) The Stinking Rose (1995) Augatora (2000) and The Color of Solitude (all published by Carcanet and all antologizzate widely in the choice made supported by the Italian curator same author). Determinants for its formation are in contact with a prominent poet as Eleanor Wilner (1937) (included in the prestigious Norton Anthology of Poetry ) and attending a Writers' Workshop organized by 'dell'Yowa university where he will also meet her future husband, a journalist and writer of Bremen. "The language as a condition of exile "and" return of the living embodiment of Eros in perspective and women's "experiences usually characterized by private representation (Who speaks of the strong current / flowing in the legs, the breasts / a pregnant woman / the fourth month? ") is undoubtedly one of the dominant figures of the poem, however, that Bhatt has its value as a poem published in the idiom as spoken in the world and set up cultural assumptions far from the fringe, at least in the Anglophone world.
is demonstrated by the fact that the problem of multiculturalism begin to be heard in Italy, and more in a "kind" or better “in uno spazio di mercato”, relativamente angusto come quello della poesia. Ma la poesia multiculturale cantata in The Multicultural poem «La poesia multiculturale è una creatura, un essere il cui spirito respira come un’orchidea al sole ancora umida di pioggia» assomiglia tanto a quella “ruota lucidata da due scrosci di pioggia” da cui "così tanto dipendeva", ed è avvicinabile in primis allo stile di quel poeta radicalmente monoculturale, in perenne lotta con il chiassoso (e paradossalmente reazionario) cosmopolitismo poundiano, che fu William Carlos Williams. L’equivoco dei “margini” porta ad una sovrapposizione dell’immaginario estetico and does not hear from social risks. Already it is difficult to decide whether and how to export a political model, in vitro grow worse idea of \u200b\u200bliterary value "anatomical" and "gender", since the blunder "of five cubits, like the faquir Arab tradition, is always there ready to emerge at every turn the corner.

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Moresco saggista (2) il conflitto di un uomo pacifico.

I said that criticism of Moresco was born as a challenge but I have also spoken of a great kindness that characterizes all of his writings, a poetic and miraculous grace that makes even the brutality of the rapist of pregnant women, the sold to child porn Women's no holes, than wrapped in aluminum foil, and so on in songs. I used the term in the sense that gives the director Davide Maderna when he writes:

I am reminded of that joke Nazarin (1958) by Luis Buñuel: the story of a young priest out of the town, who lives and hosting prostitutes every time it receives the offer alms to others, by behaving as pure, does not own anything, rejects any social role, even the social role of the priest. At one point someone asks, "But she defies society, challenge the abuse, the insults of the people of his parishioners?". And he answers: "No, I do not challenge their nulla. Io accetto le cose come sono”. È un personaggio stralunato e non lo dice con boria. Il valore del termine ‘accettazione’ di cui vorrei parlare è un po’ questo: di qualcosa che si contrappone a quel germe di odio, di competizione insito nella parola ‘sfida’.

Moresco accetta di parlare. Non si butta nella mischia per avere il primo posto sotto i riflettori e poi non dire più niente. Un amico mi faceva notare che nell’ultimo aggiornamento della canonica Storia della Letteratura Italiana di Cecchi Sapegno viene dato a Moresco il “giusto spazio” e mi dice “e allora che vuole ancora”. Moresco stesso lo ripete in un intervento al salone del libro e in several occasions. "No, not enough for me."
The great merit, super affordable, so to speak, citing Céline Mea Culpa , Antonio Moresco, which could lead to a twenty-three player about to graduate in Italian literature was to open our eyes to a cultural conflict in progress, deaf and without angles: razor blades sunk in cotton. To understand The country of shit and etiquette the reference to Pasolini against Calvin is a must. Of the two essays I read a contiguous and then there were the letters anyone ever published by Basic Books, where he worked as an editorial consultant Berardinelli. They were the picture of a bleak landscape and the description of a historical shift in person. The euphoria of the beginnings , the explosion of Chaos songs, their new creative absorb the first blow of those essays, which, however, over the years continued to talk quietly meetings not real actors but the effects of resonance leading to a more or less rotation of critical discourse and a reassessment of certain values: Calvino, Eco, primarily, but also a certain Magris and Del Giudice and again many authors ... Symptomatic reading the various reviews Pent to the first and second part of the chaos songs. In the first the author said, essentially, that he sings and if he plays, the second praised the reliability and consistency of the project or something like that. In any case, I saw the charge of Moresco us something of my generation, I could see so much narrative Einaudi (Galiazzo and Bajan eg.) And we saw also a critique of some of my stories come out about the "Maltese." He hit the mark, and he was right. Of course, before he had realized others had noticed that Fortini eg Calvin, "the optimist in the shadow of power," tended to reduce conflicts and antagonisms are merely historical and social system of conflicts, but I had Moresco made it clear in a concrete way what was the extent of the idea of \u200b\u200bliterature. I had him touch with two works of power and unmatched in the Italian publishing market that had appeared as an answer to the 'impasse reported. Many other peers then they recognized the power of the writing, his news and in the years of PhD, the people I spoke of his work were concerned, attentive, or controversy, still lives. Rare in the corridors of the departments. When I know his work to a friend who taught Italian literature at the University of Barcelona, \u200b\u200balmost immediately decided to translate it into English. Since then, Antonio remembers me as the "unmoved mover" and it often makes me smile. These are personal reasons that prompted me to begin this essay and to write this preamble. From the next episode, the texts in detail.

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Antonio Moresco saggista (parte I)

Moresco I read from time to anyone Letters. It is the living Italian writer I most admire. We talked in four or five occasions and my sympathy is further enhanced by knowing the person. Against this background it is difficult to strike up a conversation but I'd do it. The episodes of this irregular critical soap opera I'll try.

*****

"It 's jumped this, you missed that, we have broken with this, we have broken with that ... the readings are theoretical these years, the simplifications of these years, by a personal intellectual who went to close by itself in this dead end [...] A kind of intellectual class in loss of stature and status that reads all of reality through their small theoretical frameworks and sociological separate, believed to be in one place and it is saved in another infinitely more dramatic and great. All being well warm in her little niche, albeit laughable without even the furies of abstract modernist avant-garde art, taken off guard by the times to come. There is around a reading of annihilating life and "literature" by the figures that have already won to date. Are years, decades, that same look from different points but comes back with the same small objective. Now it is no longer this can not be more than ... No, you can still, you can always. It is you who can not. Do not be afraid of greatness because greatness is always possible. All these theories to small machines celibate, frightened by specialized figures who are afraid to know and feel terrible in the same size and the same risk they see in the past, a past petrified and defused they read through their cultural lenses consolatory . You really have to be very unsure of their size and their dream to have such a fear of greatness! "

To get an idea of \u200b\u200bhow writing works Antonio Moresco can quote this passage as countless others from Mink (1998) to Sbrego (2004). Moresco's writing again, storyteller unfolds in cells uniform, repeatable sequences varied, by parthenogenesis. Moresco is the monolingualism of the new century, digestion time shifted in an immutable style that has its own unique footprint that fits directly in Italian, "literary" and not (who ever from now on will some time with the word "flourished" preceded by a comma?) Moresco lives a voltage a constant challenge. All too easy to attack. His being disarmed fiercely confronts an immediate empathy or an open rejection, a boundless sympathy, or zeal to barricade. And the barricades, inevitably arose. Carla Benedetti, Tiziano Scarpa, Giuseppe Genna, Massimiliano Parente are there to witness it; around Moresco connate in the last twelve years, a spontaneous standing, fundamental, a rope. Can not I take from the package deployed on the "Western Front" or the nation as a whole Indiana: and then what does the good and mostly neglected while Dragon, or the less talented Bajan with this speech? Moresco can love and feel a perfect fool Parente? And how can we see this dynamic in the grounds of desertion from his critical work, the need to distance themselves from something that is compact and makes a group? Is to say "his retinue of acolytes have it and still complain, that the Mafia, and he comes to revere all take a step back ... but from where comes this fucking troublemaker" Moresco walking his way, with fury and grace (grace that shows such as responding to split up Evangelisti Cortellessa surgery) and takes us back to the years under your skin like a splinter sect and then the dispersion of the eighties. Moresco is the author who has passed literary values \u200b\u200band codes of the last century into the new century by outlining a clear path intellectual essay written in character, though talk of essays by Antonio Moresco might not like. The essay is sectoral, professional "defused" unacceptable. Moresco will not accept the rules of the game from their foundation in the most remote. Neither reading is reading in the traditional sense, but vision. We must break down the watertight bulkheads of the profession and the genres. Many say it, apart from him a few are able to do it. For non-fiction but I mean those places where Moresco about books or art, I mean those pages in which he speaks of something written or painted it there and then maybe it smashes into another, as in Sbrego , or as original title, nell’ Adorazione .
Per arrivare a rifondare la condizione epistemologica il saggio (scusate i paroloni) bisogna però non solo rifondare l’atto di lettura, azione aleatoria e non comprovabile, ma aggirare il canone, espanderlo evolvendo, cercando di evolvere la società e la civiltà italiana. Questo è il Moresco saggista che affronta il peso del mondo; quello che riconsegna al campo letterario italiano il mandato imperativo della grandezza, quello che piglia i soldi di Silvio per consegnare lo Zibaldone al bacino linguistico dominante al momento, quello che ci fa scoprire che Dante in Giappone era una donna, quello che combatte per i Rom e intanto ci porta a ripercorre strade impensabili, da Bilenchi to Walser, Louis-Auguste Blanqui in Prince Genji. Moresco hates the term "literature", I think they also hate the term "intellectual" and perhaps "story" and who knows how many more pathetic attempts to limit language something that must not be enclosed in boxes and predigested precostiutuite. Yet if a critic were to write in its language and its tools would make a good service, neither the author nor the reader nor to the literary criticism in which shelf in the end will end the book. For this reason having to write something about Moresco I will not start work with "rub style" but I will try to investigate "the historical position of the intellectual and essayist Moresco in the Field of Italian literature. " Almost all of the words may be used but the crate as castrating purpose. I always found it a bit hard to justify and 'snobbish desire to Montale "not to be stuck in history," especially after you've worked so hard in front and behind, to be the poet-journalist with the Corriere, which is why even though it is fundamental "The exit from the state of minority" referred to Antonio, the service that I would make (even those who did not want the news or could not understand) would explain the new with the old language. Intellectual laziness? Homogenized? Icy companion from future curriculum adoptions and nothing else? Maybe. If anything I learned, I will explain myself to some risk. Why are there still bad digestion, small mediocrity and laziness. Starting with a comparison: for example, between the form of essays Love Away Sebastiano Vassalli and The Sbrego ... (more)

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Belpoliti e il Settanta che manca

At the end of May 2002 at the Feast of the authors presented the Cuneo Seventy essay, Mark Belpoliti, recently described by Emanuele Zinato as "postmodern" and "dematerializing" (p.18), so then again on the agenda in March 2006 all’Università di Salford (Manchester, UK) nel convegno internazionale “ Italian Fiction in the Sixties and Seventies ”, sponsorizzato dalla British Academy. A Manchester ebbi modo di confrontarmi con Ernesto Livorni e di ascoltare una splendida lezione di Enrico Palandri. In ogni modo, stuzzicato da Zinato riprendo il testo e alcune delle considerazioni scritte allora. Il libro è composto da sette saggi e lettore può trovare in essi il proprio percorso di lettura, oppure mano a mano familiarizzando con i protagonisti, leggere questi saggi come ideali "storie della letteratura" parallele, intese come vicende di quello spazio indefinibile e ideale che definiamo piano della letteratura; piano su cui scorre ed evapora un discorso critico da Belpoliti portato avanti con stile chiaro e di piacevole lettura, bilanciato tra Calvino e di Celati (la scelta di rendere discorsivo anche l'apparato di note bibliografiche, ricorda le Finzioni Occidentali , cui è dedicato parzialmente l’ultimo capitolo). Il titolo però è ingannevole perché molto si parla degli anni Sessanta e poco del decennio successivo. Si tratta di una serie di colloqui a volte reali, desunti da carteggi editi e inediti, a volte invece ipotetiche tra Calvino e Manganelli per il fantastico, tra Sciascia e Primo Levi per l'ordine delle somiglianze assimilato all'interesse per la radice antropologica del narrare comune anche a Pasolini e Calvino; abbiamo poi il dialogo a distanza between Pasolini, Calvino, and Parise in the face of problems like '68, poverty, abortion, divorce, homosexuality (a barrier to open dialogue with Sciascia, declaring that "to be still on the side of Gide and not Claudel 'after the death of the first, regret quest'incomprensione). Parise Pasolini lives with a particularly troubled relationship mainly due to (Belpoliti suggests) the diversity of temperament. Calvin in Paris that "the best thing to do is ignore it," Pasolini is then evoked the contrast-enhanced by Pavese Fortini (in Verification of credentials would be remembered even though its dialogue-contrast distance up with Spitzer Cases of the secondary The witness, with Spitzer's answer to the latter). In the sixties, the expectation of the classic is not removed but merely dormant or transited from literature to myth, myth, anthropology, dall'archetipo to tachigrafy , to "document" Foucault. So while Manganelli and Calvin who are questioning the value of the classic (and still is obliged to compare with Eliot) on the other hand there are the papers of the insane, the history of clinical dietetics and the erotic, the comic Folengo Rabelais etc ... And then of Aretusi Camporesi, which parallels the Pinocchio Manganelli ... There is a view of the vast sea of literary theory, passing, amphibians, between publishers and the university, with its load of engaging charm: Calvin between Bactine, Frye, Leiris, Queneau, Perec, hidden between Frye and Deleuze (not the Différence et répétition but of Logique du sens ), the gap between myth and dream the interest of both the Romance . Here is the seventies, nestled between historicism and Marxism and the myth (of Pavese, Leone and Natalia Ginzburg and transiting the Einaudi and then in the Adelphi and Bollati Basic Books), they discover that understanding emotional year, the carnival Bolognese, l ' the corporeal expression, imagination. For Belpoliti the teachers are Calvin and Manganelli (and in a tight angle but not least Comisso and Parise), but also about Camporesi, the gorilla Quadrum Giuliano Scabia of Truck Charles Quartucci with texts by Alberto Gozzi. This is the Bologna pentothal, patience, Traumfabrick arrival of the comic. And here ends the essay by admitting Belpoliti last page notes that "the literary history of these years has yet to be written and should probably include a chapter with Tondelli, Palandri, Piersanti, we speak as a narrator Andrea Pazienza 'not an apology or a denigration "but a" history a way of telling "that draws from Celati, Scabia, Camporesi, Roberto Leydi, Gianni Scalia, and then the relationship between political utopias and feelings, and more." Too bad we're on page 302 and the book is finished. The analysis of a recreation understood as a "return to the shareholder agreements" is still yet to come (even if the liberation of the Convention by the specter of the rhetoric is certainly something to the aesthetics of reception and the fusion of horizons in hand in theoretical hath been thoroughly discussed here in the seventies). What is missing however is the joint between the two planes (theory and history). As in the seventies to the imagination "order," leggera geometrica e di Calvino (the Retta, it cristallo) subentri early music da 'vita matta "lo ancora molto meglio i raccontano testimoni come Palandri Scozzari e lo di Prima pagare poi Ricordare, che saggisti.

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Una fonte per la botte...

Se Jonathan Swift avesse letto di cui opera tedesca nella spoke so Prefazione a GA-Liebault Junker, German Theatre: or Compendium of best drama, both ancient and modern, which have appeared in German Language, Preceded by an Essay on the origin, progress and current status of theatrical poetry Germany, 2 Voll., Paris, 1772 (see also Sketch of the Origins and Progress of Dramatic Poetry in Germany, "The Edinburgh Magazine, IV, August 1786, pp. 92-94), by the said" anthology ", perhaps we could have a source for his famous fable of Botte ( Tale of a Tub, 1704), beautifully translated by Gianni Celati, who, many years ago (probably 1998 or 1999) in 'Hangar of New Palace , I said that to find a suitable and comparable to the Italian Swift could not refer to Italian style of the eighteenth century, that of Beccaria and Verri to be clear, but had to resort Moral to Operettas Count Leopardi. This is because the literary history of a language follow not the historical chronology, but the authors, who took him into her mouth. Gianni Celati then gave me some of his texts that maybe one day publish on these pages clandestine for now I just bring some of his words from a speech on Swift to understand something of his admirable style and as a reminder of how much passion, commitment and lightness we need to make a good essay, stating, inter alia, its Fictions West as an absolute model essay, including notes. It is the only book critical of which in 2001 took a full synopsis written on a thick dense quadernino delle elementari. Dopo aver ricordato la recente riedizione della geniale Modesta Proposta, testo il cui lunghissimo tiolo imparai a memoria in quarta liceo, affascinato e divertito, gli lascio la parola:

Oggi parlerò di Jonathan Swift, e il mio racconto comincia quando facevo l'università e mi è venuta la passione per Swift, ma una passione così forte che volevo tradurlo tutto. Avevo poco più di vent'anni, e mi sono messo a tradurre per conto mio quella che forse è la sua opera più stupefacente, intitolata Tale of a Tub , che fino ad allora non era mai stata tradotta in italiano. In realtà dopo sono andato avanti per oltre vent’anni a rifare quella traduzione, che finalmente arrived in port and was published under the title of the barrel Fable. Fresh out of college I had a scholarship that allowed me to spend two years in London, studying in the library of the British Museum, and there I wanted to study and translate were Gulliver's Travels, the work to which is linked to the worldwide fame of Swift. But this translation has stalled, and was able to see the light only two years ago, mainly because of long ruminations about the author who could not reach a conclusion. In short, such was my passion for Swift, as strong as it has always been my feeling of not being able to grasp it well. More precisely I will say that, even when read and reread for years, his speeches remain elusive and fleeting compared to the views and opinions that we do with ...

Tiffany Towers Vikipedia

Es war einmal… Noventa - Fortini

There are cruel games. Sometimes unnecessary, sometimes not. There are calls in class to count these, there are anthologies. Leafing through the now antiquated anthology Garzanti Gell-Lagorio next to the striking exception of Gozzano (for years noted on the first page that contains the list of names, including Saba and Govoni) I think I see now also the lack of Giacomo Noventa. Then I realized it was me who had drawn a line in pencil on his behalf. Now the gate. A justification for the time: I may not believe un poeta italiano. Ma quando leggo Fortini che lo traduce, capisco che il mio "canone" s'è perso un altro pezzo importante. Noventa all'appello che feci molti anni fa era assente, oggi lo riapprezzo grazie ad una serie di letture convergenti tra cui oggi segnalo il rencente saggio di Valentino Cecchetti che, dopo Adriano Olivetti, Giacomo Noventa e il socialismo magico (Bibliotheca), torna nuovamente ad occuparsi di Noventa con Una polemica sul frontespizio. Noventa e Giuseppe De Luca antimoderni, pubblicato quest'anno per l'editore Nuova Cultura. Per lo stessso editore ha pubblicato Tre studi sulla recezione di Péguy in Italia negli anni Trenta e una recente introduzione agli studi culturali . (Nuova Cultura) che piacerebbe leggere Wed. Cecchetti è anche autore Tues Cento Romanzi (Fazi) e Roberto Calasso (Cadmo). Ora il testo

.

Once upon a time ... di Giacomo Noventa

There once was a poet,
Its name honors not:
by humans and by poets
names do not show the value.

After the victory he was called to
King of the German countryside.
the war he was appointed
praise in some band.

"King," now said the poet,
protect "God your victory. Every German
be your poet,
I remembered my friend in the war.

He was born in the village.
matter where I was born.
And he died for you,
Let me weep for him! "

The king can not cry,
(do not know the Kaiser emergency)
" Today's crying in Germany, The
meet tomorrow to death! "

died So once a poet,
honors Whom no:
of kings and poets
Displays the value of this fairy tale.

Once Upon a Time un poeta (di F. Fortini trad)

C'era once a poet,
That did not honor his name;
but neither men nor the names of poets
tell the truth.

When he won the war
the king of the Germans called it
and in several volumes that his war
commanded him to sing.

"Sire, God save thee the victory,
(so said the poet)
every German singing your glory in war ... I
a friend died.

The country was born
saw me even born. Let me therefore
mourn, now that
die for you. "

The king does not want to cry
(that need, who reigns not know):
"Anyone in Germany today cries
die tomorrow. "

So when a poet is dead.
That did not honor his name, but says
of kings and poets
this tale the truth.

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Recensire un editoriale tv. prosa lirica

Political prisoners outside parliament. It seems reasonable, not anarchy. It will also be a bit 'a sudden say fuck that brings us a little' in terms of "Elio e le Storie Tese" or Masini, according to taste ... However, though unhappy with, involuntary grotesque flattery of power, guiltily confuse terrorism with what happens now, reshuffle the cards on the table with fake historical sense, and do all this from the public service as a service opinion, is really creepy ... Look here . The short-sighted human superficiality, the superficial, to be fascinated by the repetition of an unhappy "trigger" ... deadly sins of intelligence. And then, the appeal to the sense of responsibility of care, "let us not make victims of fanaticism ... And then, rather then picking up the degree of pathos , last trickle of gabrieldannunziano, evidence of aesthetic truth. How to tell you the dead eh? No hits that, I wanted politicians condemned outside parliament. It seems like anarchy but to the law.

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Periferia Pavese International suicide

Quest 'summer in Spain I bought a number of "Camp de L'arpa" in November 1979 dedicated to Cesare Pavese. Articles by G. Mario Golodoff, JE Ayala-Dip, Robert Saladrigas , Macel Choen etc ... flipping the pages, I thought of what he wrote in his Wislawa Szymborska optional reading: "Europe is a small continent, divided into small states, for more. We can say that with every step you encounter a boundary. This is now the specificity of our Europe, this is its unique beauty ... "And besides
then ... Chinese and Hindi together make 1,100 million speakers. The most common Western languages, English and English, along even 700. L’ Arabo lo parlano 220 milioni, il Bengali, 190 milioni; il Portoghese, circa 180 milioni, Francese, 180 milioni, Russo, 170 milioni, Giapponese, 127, Tedesco, 100, Coreano, 78, Vietnamita, e Italiano 70 milioni, Polacco, quasi 50 milioni.
Sento spesso dire in giro che l’Italia è un paese minore. “Minore, minore… minore per forza” dico io. Le stime pubblicate da «Veranstaltungsskript von Christian Lehmann» e da «Ethnologue» nel 2005 parlano chiaro. Demograficamente parlando la struttura dell’immaginario dovrebbe conformarsi nel futuro secondo tutt’altri canoni rispetto a quelli cui siamo abituati. Le masse spaventano la reazione,: bisogna consolidare il canone; but then perceiving that the usual form of replication is the farce, all too happy to pass Latin, from cheese to skyscrapers. The soft version, the "wonder" and "possession" and then, step by step towards a desirable "negotiation," to refer to three key words of Stephen Greenblatt.
Imagine compare with empirical methods, the literature of the last three countries in the list above, Vietnam, Poland, Italy. A kind of humanist dialogue as a "relic." Three intellectuals who discuss the values \u200b\u200bfor the new millennium and of their history and their countries in recent decades, putting at stake in a personal way, presenting e parlando dal crollo delle ideologie, delle utopie, della rivoluzione francese, dello stato costituzionale, del dialogo interreligioso, dei valori estetici, del Novecento, della morale sessuale, di quello che preferiscono insomma, così, a braccio, magari in forma breve, quasi aforistica… Ne verrebbe fuori un libro se non altro curioso per i tre rispettivi bacini.
E splendido bersaglio per i critici dei rispettivi paesi attratti da un boccone di così facile lettura: è nel contratto dover spiegare ad “altri” che non sanno o in ogni caso e per forza di cose sanno meno. Una bella tentazione per ogni scrittore di quel genere di fiction che è la saggistica. […] Andando più in giù nella lista di «Ethnologue», the lower levels, all languages \u200b\u200bof Africa, the continent also linguistically mangled. I think particularly the Hausa, which has a very interesting literature. But when I find time to read the masterpieces of distant and unknown: who will publish (or has released) and Garzo Muhammadu Abubakar Imam, Abubakar Tafawa Balewa and Zaynab Alkali. Or the poetry of Okot p'Bitek and Sa'adu Zungur? And above all, more importantly, I'll listen? Reflect on what the end Italy will feel "better" than Vietnam and Poland. The bookmaker would all be in favor of world champions, the richest state, but how many times we contract? With regard to the province
Universal, Poland, Spain and my "Camp de L'arpa" carry-over from last Ellipse Imperfecta a poem by Jaroslav Mikolajewski, a poet born in Warsaw in 1960, translated from Polish by Lorenzo Pompeo and Piotrowska Eliza. The title is "Cesare Pavese" and of course the writer is born in early September ninety-nine years ago in Santo Stefano Belbo. No gossip, said the last time. And for another year go well.

Cesare Pavese "

Hill, vines and thick dust of the road
that increasingly tough dissolves in the mist of the morning.
A man with the glasses down on the edge
dead and lives under a recollection
the landscape hidden behind the damp clouds. Raise your head
only when the buds that dry tickle the nape
are warm and the sun has swept away the fog from the road and hills.
Everything has remained the same, only the light is different
remember a boy of the same land
watching animals and people on the fields.

breathing the scent of smoldering leaves
man walking towards the city behind the hill. Those around which passes
not get distracted by work, do not look
from the road. Even if women do
the sky and discover the hips in the sun, like clusters of grapes
absorb the afternoon.

when in the suburbs
feel underfoot the hard asphalt,
man thinks of himself as a sea, which does not generate anything,
where the future is already dead and buried.

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I premi: polemiche bilanci. Le scarpe gialle Fruttero of Claudel and

time poisons and prizes, and chronicles of indignation, to disturbance. Viareggio and Campiello. In the first case, the poet and journalist Mario Baudino quintet proposes to reverse the choice by the jury suggesting Fruttero, Zaccuri, Bugnara (agree, but I suggest a disproportion between the former two seconds). In the second case one has only to read the correspondence online Viareggio prize for understanding the climate in which to play everything. Berardinelli resigns Ficara e Rasy sono tra i dieci firmatari della lettera di protesta indirizzata al sindaco. Franco Loi con le sue Voci di osteria (Mondadori) se l'era gia battuta dichiarando di non voler parteciare alla gara, i tre aspiranti vincitori per l'opera prima Simona Baldanzi (1977) Paolo Colagrande (1960) (già vincitore del "Campiello opera prima") e Paolo Fallai (1959) sono in inbarazzo per essere venuti fino alla serata per niente. Finita la stagione, un bilancio, pensando anche allo Strega . La vittoria di Amanniti mi pare abbia rivelato e consacrato un salto nel campo dei valori economici ed estetici (la breccia, però era di Veronesi), poi salta agli occhi il successo di una scrittrice di forza e maniera, Milena Agus (seconda anche al Campiello) una macina-tam-tam-"libro da niente"- che fa la gioia di Nottetempo e assicura qualche futuro. I giorni innocenti della guerra di Mario Fortunato è interessante per ragioni che ora non dico ma che hanno a che fare con la "postcolonialità" di Saviano, incautamente introdotta e che attiene anche la Vestaglia Blu di Simona Baldanzi. Ma di ciò diremo. Preferisco tacere invece di Le stagioni dell'acqua di Laura Bosio e de Il profumo Snow Franco Matteucci in competition and the winner of the Strega Mariolina Campiello Venice ( thousand years I'm here "Einaudi) which should have been torn by Romuald Bugaro of the labyrinth of passions lost (Rizzoli) and by Alessandro Zaccuri with Mr. son (Mondadori). Coming to poetry, I think I prefer Michele Mari and his "Ladyhawk" to "marble" of Silvia Bre and also in the essays I dissociate myself from votes and inclined strongly in favor of the visual text of Agamben small publishing Marinotti rather than the usual catch-all-Einaudi. Turning finally to
suffered so much Viareggio, Philip Tuena won the day on perhaps more famous (and I always sympathetic) Ermanno Cavazzoni. The novel Tuena but I know I have not read his poems. Sull'intelligentissimo site and meritorious " Nonleggere " you can listen while you read. I invite you to note the name of the publisher that publishes Four Nocturnes (The series "The hesitation" by Joseph Aletti ) and note the usual disproportion between two languages, one that is on the market, and one not. Then I am surprised to see that so much of the writing that sells so much is done by people who, immediately, at first sight, have practiced for isitnto that writing that sell well at all. Examples abound, from the years of Pirandello than of Baudino, and Paola Fois Mastrocola, to name the first three names that come to mind. What did it say in the Cross of writing poetry after twenty years? If he was right to say it loud and clear.

I think back then the other night in Vespa intrvisto quibble of yellow shoes with the moral winner of the Campiello. Ironically on the footwear. He's fine, it Sutor ultra crepidam , but I can think of a little-known anecdote about Dino Buzzati. Surprised as he looked at a color photograph of Paul Claudel , the French diplomat and poet and playwright, against which the fat Claudel Celine aveva (a ragione) schiumato la sua bile, si era sciaguratamente fatto ritrarre con un ginocchio a terra, sul viale di un giardino, nell’atto di cogliere un fiore da un cespuglio. Buzzati, uomo di attenta eleganza, commentò: “Però ha le scarpe gialle”. L’occhio dell'interlocutore corre alle sue, di scarpe; anche l'arguto Rinaldo De Benedetti le aveva gialle. Buzzati cercò di dissipare l’imbarazzo, osservando che Claudel, un poeta, avrebbe dovuto stare più attento. L'imbarazzo delle scarpe, ciclicamente ritorna, come a ricordare che in tutti i giochi c'è sempre qualcuno cui "vogliono fare le scarpe"...

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Even in the South: the young man Saviano and others.

Dalla Sicilia alla città di Basile, Della Porta e Matilde Serao. Sotto l’egida bonaria di Raffaele la Capria e di Enzo Golino (ma esiterà poi, l’egida?), come vanno le cose? Se penso all’abisso che separa l’intransigenza offensiva del “provinciale cuneese” Giorgio Bocca ( Napoli siamo Noi , Mondadori, 2006) mi rendo conto che “l’armonia” è davvero “perduta”, per parafrasare un libro di La Capria uscito nello stesso anno. Eppure, tra le grandi città, Napoli è oggi quella in cui il panorama letterario pare più fiorente. O quello che oggi ha maggior portata di “capitale simbolico”. Troppo facile say that the onset of Saviano (who like numbers far exceeds the number of onset of Brizzi) "pulls up" the whole geographical area, and shifting attention, balances, the following topics: Gomorrah comes to a editorial content and very well prepared ground: that of "deserters" in the homonymous anthology published in 2000 in the series for the Freestyle by Giovanna De Angelis. That includes Anthony Pascale (1966) Joshua Calaciura (1960), Antonio Franchini (1958) Braucci Maurizio (1966), Diego de Silva (1964), David Morandi (1965). Never mind the perhaps too-sponsored Erri de Luca, or Marosi Castaldi and remember instead the polycentric irregular and cultured as Gabriele Frasca (1957) or more "miltanti" as quoted Braucci and lightning and volcanic Lello Voce (1957), leader of a movement of undisputed "democratic poetry" is not just what the " Poetry Slam." Among the narrators of the territory reported at least Peppe Lanzetta (1954) and Giuseppe Montesano (1959). Among the young Piero Sorrentino (1978) and "the big one" that is, the young author of Gomorra , which recently also signed pieces and regular reports for the 'Espresso'. In its issue of August 23
talks about his obsession with the "southern question" and cites Salvemini, Giustino Fortunato and Ernesto Rossi. Southern thinkers who had understood everything. Among politicians Berinotti cites as the only politician who went to Casal di Principe and points with respect to the legalistic Msi Almirante. As if to say: save the radicalism of the base, the thrust that moves to perform the act, accepting the joys (success) and pain (the Commons, and fear) that this entails. For my part I admire Saviano and I think he is the first post-colonial Italian writer. It is not a joke: those who read the article in the interview with Gianluca di Feo can hear it, even in his own way to revive the issue, very important.
Glory, for the ancients, to Hesiod, she was a goddess. But even in Virgil, under the name of fame, beginning to take fearful aspects. A hideous monster that has so many watchful eyes, ears, and how many languages \u200b\u200bhas on the body feathers. Saviano suppose could address the issue and meditate every day. His "different positioning" is not to be found in references to Pamuk, Rushdie, but in fact almost unique in literature written in Italy in recent years, not just an intellectual "protected", in danger for what he said, but also a writer's writing shed. And also why I call it post-colonial Saviano. mutatis mutandis this release was affected also Gavino Ledda, who went to school when it was read to the middle or early high school, the same Saviano's going on, already "adopted" in many schools. Saviano says he is not writing that frees the writer. No. It is the player that frees the writer. The players liberalize destroy the complaint, the conspiracy of silence. I wonder if he also happened after the film and a possible attempt incommunicative and the intransigence of a punctured Aurum Tellus ? I do not think in any event, we'll see. History relaxes and Pirandello had spoken more than once of "pleasure of the story." "Nothing is more calm in history, gentlemen," exclaimed one of his characters. "Everything in life You change continuously under the eyes. Nothing there for sure. While the story is everything determined, everything is established. "And each effect follows obedient to his cause with perfect logic, and each event takes place accurate and consistent in every detail, with the Duke of Nevers, the day that, so this year. etc.. Relaxes less, the story, if anyone's anxiety fartici pass.