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  1. Re-writing Dante after Freud and the Shoah : Giorgio Pressburger's "Nel regno oscuro"
    Published: 23.10.2019

    "Nel regno oscuro" is the first part of a planned trilogy inspired by the "Divine Comedy", integrating the Middle European style of Giorgio Pressburger's previous works with the attempt to engage with the first part of Dante's poem. The role of... more

     

    "Nel regno oscuro" is the first part of a planned trilogy inspired by the "Divine Comedy", integrating the Middle European style of Giorgio Pressburger's previous works with the attempt to engage with the first part of Dante's poem. The role of Virgil, Dante's guide in the "Inferno", is taken by Sigmund Freud, and the journey of the melancholic protagonist begins as psychoanalytic therapy to enable him to come to terms with the loss of his father and his twin brother, but soon turns into a journey through the realm of the dead which, like the "Divine Comedy", takes the shape of a series of encounters with the shades of historical figures. Thus Dante's descent to hell metamorphoses into a phantasmagoric voyage to the most intimate and obscure dimensions of the human psyche as well as a journey through the tragic events of history in the twentieth century - and the Shoah in particular. The combination of the personal, the collective, and even the universal is one of the most interesting aspects Pressburger takes from Dante's poem. In the following analysis Manuele Gragnolati explores how both Dante's "Divine Comedy" and Pressburger's "Nel regno oscuro" place personal and collective suffering at the centre of their own narratives and stage writing as a political, ethical, and possibly 'salvific' way to deal with this dual suffering, even as they differ in their concepts of identity and selfhood on the one hand and in their models of history on the other.

     

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    Source: CompaRe
    Language: English
    Media type: Part of a book; Part of a book
    Format: Online
    ISBN: 978-3-85132-617-8
    DDC Categories: 800
    Collection: ICI Berlin
    Subjects: Dante Alighieri; Divina Commedia; Rezeption; Pressburger, Giorgio; Psychoanalyse <Motiv>; Unbewusstes <Motiv>; Judenvernichtung <Motiv>; Geschichte <Motiv>
    Rights:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

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    info:eu-repo/semantics/openAccess

  2. Introduction : medieval openness
    Published: 15.06.2022

    The essays in this volume seek to understand manifold kinds of medieval openness that become visible when one refrains from modern assumptions, and are also interested in how articulations of openness in the Middle Ages often stand in creative... more

     

    The essays in this volume seek to understand manifold kinds of medieval openness that become visible when one refrains from modern assumptions, and are also interested in how articulations of openness in the Middle Ages often stand in creative tension with forms of closure and can even be empowered by them. The chapters highlight the complex relationship between author, work, and text, but also explore several, often paradoxical, ways in which medieval culture mobilizes forms, practices, and experiences of openness without having a single abstract concept for it.

     

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    Source: CompaRe
    Language: English
    Media type: Part of a book; Part of a book
    Format: Online
    ISBN: 978-3-96558-029-9; 978-3-96558-030-5
    DDC Categories: 800; 940
    Collection: ICI Berlin
    Subjects: Mittelalter; Offenheit
    Rights:

    creativecommons.org/licenses/by-sa/4.0/

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    info:eu-repo/semantics/openAccess

  3. Analogy and difference : multistable figures in Pier Paolo Pasolini's "Appunti per un'Orestiade Africana"
    Published: 16.12.2019

    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: CompaRe
    Language: English
    Media type: Part of a book; Part of a book
    Format: Online
    ISBN: 978-3-85132-681-9
    DDC Categories: 791; 800
    Collection: ICI Berlin
    Subjects: Pasolini, Pier Paolo; Aeschylus; Orestia; Afrika; Geschichte 1960-; Dialektik; Widerspruch
    Rights:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

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    info:eu-repo/semantics/openAccess

  4. Beginnings : constituting wholes, haunting, plasticity

    Wholes are said to be more than the sum of their parts. This 'more' contains both a promise and a threat. When different elements - which might be individuals, cultures, disciplines, or methods - form a whole, they not only join forces but also... more

     

    Wholes are said to be more than the sum of their parts. This 'more' contains both a promise and a threat. When different elements - which might be individuals, cultures, disciplines, or methods - form a whole, they not only join forces but also generate a surplus from which the parts can benefit. Being part of a whole is a way to acquire meaning and to extend beyond one's limited existence; and having a part in the whole is to have an enlarged agency. But wholes are also more powerful than the sum of their parts. Wholes constitute their parts: they determine what is a part and what is apart, what can become a part, and which parts have no part. Even if parts therefore may not be said to pre-exist a whole, there may still be something in them that exceeds being a part - if only the possibility of being part of a different whole.

     

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    Source: CompaRe
    Language: English
    Media type: Part of a book; Part of a book
    Format: Online
    ISBN: 978-3-85132-854-7
    DDC Categories: 800
    Collection: ICI Berlin
    Subjects: Malabou, Catherine; Ganzheit; Plastizität; Totalität
    Rights:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

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    info:eu-repo/semantics/openAccess

  5. Differently queer : temporality, aesthetics, and sexuality in Pier Paolo Pasolini's "Petrolio" and Elsa Morante's "Aracoeli"

    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.

     

    Export to reference management software
    Content information: free
    Source: CompaRe
    Language: English
    Media type: Part of a book; Part of a book
    Format: Online
    ISBN: 978-3-85132-854-7
    DDC Categories: 800; 850
    Collection: ICI Berlin
    Subjects: Pasolini, Pier Paolo; Petrolio; Morante, Elsa; Aracoeli; Ästhetik; Sexualverhalten; Zeitlichkeit; Intersubjektivität; Werden; Gedächtnis
    Rights:

    creativecommons.org/licenses/by-sa/3.0/de/deed.de

    ;

    info:eu-repo/semantics/openAccess