Author: Barth David Schwartz
Publisher: University of Chicago Press
Release Date: 2017-05-10
Genre: Biography & Autobiography
Since its appearance in 1992, Barth David Schwartz's biography of Pier Paolo Pasolini (1922-1975) has been the standard reference and starting point for anyone embarking on a study of Pasolini in English, situating the multimedia artist within twentieth-century Italian and world culture. Pasolini was unique among his contemporaries--Federico Fellini, for example, didn't write novels, Giorgio Bassani did not direct films, and Eugenio Montale did not write popular journalism. Although Pasolini excelled at all of these genres, he was first and foremost a poet (see Chicago's bilingual edition of his selected poems from 2014). Whatever he was doing, Pasolini's poetry informed all aspects of his creative life, from his plays to his visual art, from his films to his political essays. In this second edition, which includes a new Afterword that contains material that has come to light since the early 1990s and revelations about Pasolini's last days, Schwartz introduces this multimedia artist to a new generation of scholars and students trying to negotiate the complexities of the Italian cultural landscape. As Susan Sontag wrote, Pasolini is "indisputably the most remarkable figure to have emerged in Italian Arts and letters since the Second World War." This new edition, revised and updated throughout, is a natural companion to our volume of poetry and, with the poems, will be a perennial seller for years to come.
Author: Pier Paolo Pasolini
Publisher: New Academia Pub Llc
Release Date: 2005
Genre: Language Arts & Disciplines
This is an expanded edition of Pier Paolo Pasolini's long out-of-print Heretical Empiricism. It includes a new Introduction by Ben Lawton that discusses the relevance of the book on the 30th anniversary of the author's death. It also features the first approved translation of "Repu- diation of the 'Trilogy of Life'," one of Pasolini's most con- troversial final essays.While Pasolini is best known in the U.S. as a revolutionary film director, in Italy he was even better known as poet, novelist, playwright, political gadfly, and scholar of the semiotics of film. "New Academic Publishing should be commended for making this expanded version of Pier Paolo Pasolini's Hermetic Empiricism once again available to the English-speaking public, especially in the light of the fact that the important essay, "Repudiation of the Trilology of Life," has been added to its contents. Thirty years after Pasolini's violent death on 2 November 1975, the appearance of this excellent translation and edition of his major writings on Italian film, literature, and language is most welcome. No figure has emerged in Italy since the writer/director's death that has aroused such passionate opinions from all sides of the political and cultural spectrum. The translations by Ben Lawton and Louise Barnett render Pasolini's sometimes complex prose accurately with ample explanatory notes to guide the reader without a firm grasp of the original essays in Italian. This book represents an important work to have in every library devoted to cultural criticism, cinema, and literary theory." -- Peter Bondanella, Distinguished Professor of Comparative Literature and Italian, Indiana University "One of the greatest cultural figures of postwar Europe, Pier Paolo Pasolini (1922-1975), who is already widely known as a revolutionary filmmaker, was an equally important writer and poet. Pasolini's numerous works are published in some 50 volumes, which include poetry, novels, critical and theoretical essays, verse tragedies, screenplays, political journalism, and translations. With this successful and complete translation of Empirismo eretico (a collection of Pasolini's interventions on language, literature, and film written between 1964 and 1971), editors Barnett and Lawton have made a wide sample of Pasolini's most significant theoretical work available to the English-speaking reader. Essays on the screenplay, on the commercial and the art cinema, and on film semiotics make the collection of special interest to American film scholars and students. This volume is further enriched by an excellent introduction, carefully edited notes, a useful biographical glossary, and a thorough index. Given the contemporary interest in studying film, together with other cultural forms, within a broad social and historical context, Pasolini's "extravagantly interdisciplinary" writings beckon as a promising source of insight. A potentially seminal text that could contribute to the further evolution of interdisciplinary humanistic studies, Heretical Empiricism is highly recommended for university and college libraries." -- J. Welle, University of Notre Dame, CHOICE (1989)
Author: Pier Paolo Pasolini
Publisher: City Lights Books
Release Date: 1986-06-01
Genre: Literary Criticism
The Italian film-maker Pier Paolo Pasolini was first and always a poet-the most important civil poet, according to Alberto Moravia, in Italy in the second half of this century. His poems were at once deeply personal and passionately engaged in the political turmoil of his country. In 1949, after his homosexuality led the Italian Communist Party to expel him on charges of "moral and political unworthiness," Pasolini fled to Rome. This selection of poems from his early impoverished days on the outskirts of Rome to his last (with a backward longing glance at his native Frill) is at the center of his poetic and filmic vision of modern Italian life as an Inferno. Pier Paolo Pasolini was born in 1922 in Bologna. In addition to the films for which he is world famous, he wrote novels, poetry, and social and cultural criticism. He was murdered in 1975.
Agon Hamza offers an in-depth analysis of the main thesis of Louis Althusser’s philosophical enterprise alongside a clear, engaging dissection of Pier Paolo Pasolini’s most important films. There is a philosophical, religious, and political relationship between Althusser’s philosophy and Pier Paolo Pasolini’s films. Hamza teases out the points of contact, placing specific focus on critiques of ideology, religion, ideological state apparatuses, and the class struggle. The discussion, however, does not address Althusser and Pasolini alone. Hamza also draws on Spinoza, Hegel, Marx, and Žižek to complete his study. Pasolini’s films are a treasure-trove of Althusserian thought, and Hamza ably employs Althusserian terms in his reading of the films. Althusser and Pasolini provides a creative reconstruction of Althusserian philosophy, as well as a novel examination of Pasolini’s film from the perspective of the filmmaker’s own thought and Althusser’s theses.
Author: Pier Paolo Pasolini
Release Date: 2014-11-02
Written between 1963 and 1967, The Divine Mimesis, Pasolini's imitation of the early cantos of the Inferno, offers a searing critique of Italian society and the intelligentsia of the 1960s. It is also a self-critique by the author of The Ashes of Gramsci (1957) who saw the civic world evoked by that book fading absolutely from view. By the mid-1960s, Pasolini theorized, the Italian language had sacrificed its connotative expressiveness for the sake of a denuded technological language of pure communication. In this context, he projects a 'rewrite' of Dante's Commedia in which two historical embodiments of Pasolini himself occupy the roles of the pilgrim and guide in their underworld journey. Densely layered with poetic and philological allusions, and illuminated by a parallel text of photographs that juxtapose the world of the Italian literati to the simple reality of rural Italian life, this narrative was curtailed by Pasolini several years before he sent it to his publisher, a few months prior to his murder in 1975. Yet, many of Pasolini's projects took the provisional form of "Notes toward..." an eventual work, such as Sopralluoghi in Palestina (Location Scouting in Palestine), Appunti per una Oresteiade africana (Notes for an African Oresteia), and Appunti per un film sull'India (Notes for a Film on India). The Divine Mimesis has a kinship to these filmic works as Pasolini himself ruled it 'complete' though still in a partial form. Written at a turning point in his life when he was wrestling with his poetic 'demons, ' the true center of gravity of Pasolini's Dantean project is the potential of poetry to teach and probe, ethically and aesthetically, in reality. "I wanted to make something seething and magmatic," Pasolini declared, "even if in prose." In this first English translation of Pasolini's La divina mimesis, Italianist Thomas E. Peterson offers historical, linguistic, and cultural analyses that aim to expand the discourse about an enigmatic author considered by many to be the greatest Italian poet after Montale. Published by Contra Mundum Press one year in advance of the 40th anniversary of Pasolini's death. * In the history of twentieth-century poetry, there is no other poet besides Pasolini who has more tenaciously interrogated his own 'I, ' more persistently contemplated it, admired it, examined it, analyzed it and dissected it in order then to show its suffering entrails to the world, as they beg for understanding, affection, and pity. - Giorgio Barberi Squarotti *"
The magic of Andalusia is crystallized in Federico Garcia Lorca's first major work, Poem of the Deep Song, written in 1921 when the poet was twenty-three years old, and published a decade later. In this group of poems, based on saetas, soleares, and siguiriyas, Lorca captures the passionate flamenco cosmos of Andalusia's Gypsies, ""those mysterious wandering folk who gave deep song its definitive form. Cante jondo, deep song, comes from a musical tradition that developed among peoples who fled into the mountains in the 15th century to escape the Spanish Inquisition. With roots in Arabic instruments, Sephardic ritual, Byzantine liturgy, native folk songs, and, above all, the rhythms of Gypsy life, deep song is characterized by intense and profound emotion. Fearing that the priceless heritage of deep song might vanish from Spain, Lorca, along with Manuel de Falla and other young artists, hoped to preserve ""the artistic treasure of an entire race."" In Poem of the Deep Song, the poet's own lyric genius gives cante jondo a special kind of immortality. Carlos Baur is the translator of Garcia Lorca's The Public and Play Without a Title: Two Posthumous Plays, and of Cries from a Wounded Madrid: Poetry of the Spanish Civil War. He has also translated the work of Henry Miller and other contemporary American writers into Spanish.
The Street Kids is the most important novel by Italy's preeminent late-20th Century author and intellectual, Pier Paolo Pasolini. A powerful, groundbreaking contemporary classic, The Street Kids is now available in a new translation by Ann Goldstein, translator of Elena Ferrante's Neapolitan Novels. Set in Rome during the post-war years, the Rome of the "borgate," outlying neighborhoods beset by poverty and deprivation, The Street Kids tells the story of a group of adolescents belonging to the urban underclass. Living hand-to-mouth, Riccetto and his friends eek out an existence doing odd jobs, committing petty crimes and prostituting themselves. Rooted in the neorealist movement of the 1950s, The Street Kids is a tender, heart-rending tribute to an entire social class in danger of being forgotten. Pasolini's novel was heavily censored, criticized by professional critics, and lambasted by much of the general public upon its publication. But its undeniable force and vitality eventually led to it being universally acknowledged as a masterpiece.
Author: Marc James Léger
Publisher: Intellect Books
Release Date: 2015-06-10
Drive in Cinema offers Žižek-influenced studies of films made by some of the most engaging and influential filmmakers of our time, from avant-garde directors Jean-Luc Godard, Werner Herzog, Alexander Kluge, Pier Paolo Pasolini and Věra Chytilová, to independent filmmakers William Klein, Oliver Ressler, Hal Hartley, Olivier Assayas, Vincent Gallo, Jim Jarmusch and Harmony Korine. These essays in critical cultural theory present interdisciplinary perspectives on the relations between art, film and politics. How does filmic symbolization mediate intersubjective social exchange? What are the possibilities for avant-gardism today and how does this correspond to what we know about cultural production after capitalism’s real subsumption of labour? How have various filmmakers communicated radical ideas through film as a popular medium? Drive in Cinema pursues Lacanian ethics to avenues beyond the academic obsession with cultural representation and cinematic technique. It will be of interest to anyone who is concerned with film’s potential as an emancipatory force.
Poetry. Translated from the Italian by Michael Daley. ALTER MUNDUS (Other World) is a collection of poems, some love poems and some political poems, by Italian poet Lucia Gazzino. The poems are translated by American poet Michael Daley, and the collection includes a preface by Ivano Malcotti and an introduction by Jack Hirschman.
Author: Marc James Léger
Publisher: John Hunt Publishing
Release Date: 2013-05-31
The Neoliberal Undead describes the frightening world of class restoration, neoliberal austerity, ecological meltdown, and neo-imperialism a disaster capitalism that breeds mutant ideological justifications for itself and the inevitability of disorder, poverty and suffering. What role does culture play in this world of markets and how do new contestatory forms enable a leftist solidarity that can move cultural radicalism beyond the postmodern obsession with new subjectivities? Rather than become the symptoms of democratic materialism, signing up for endless culture wars, The Neoliberal Undead argues for a rethinking of radical cultural leftism against the terms of the dominant global situation. The relentless reduction of art criticism and art production under capitalist relations requires that the living separate themselves from the abstractions of globalization and reconnect with revolutionary theory.
Author: Pier Paolo Pasolini
Publisher: University of Chicago Press
Release Date: 2015-10-22
Most people outside Italy know Pier Paolo Pasolini for his films, many of which began as literary works—Arabian Nights, The Gospel According to Matthew, The Decameron, and The Canterbury Tales among them. What most people are not aware of is that he was primarily a poet, publishing nineteen books of poems during his lifetime, as well as a visual artist, novelist, playwright, and journalist. Half a dozen of these books have been excerpted and published in English over the years, but even if one were to read all of those, the wide range of poetic styles and subjects that occupied Pasolini during his lifetime would still elude the English-language reader. For the first time, Anglophones will now be able to discover the many facets of this singular poet. Avoiding the tactics of the slim, idiosyncratic, and aesthetically or politically motivated volumes currently available in English, Stephen Sartarelli has chosen poems from every period of Pasolini’s poetic oeuvre. In doing so, he gives English-language readers a more complete picture of the poet, whose verse ranged from short lyrics to longer poems and extended sequences, and whose themes ran not only to the moral, spiritual, and social spheres but also to the aesthetic and sexual, for which he is most known in the United States today. This volume shows how central poetry was to Pasolini, no matter what else he was doing in his creative life, and how poetry informed all of his work from the visual arts to his political essays to his films. Pier Paolo Pasolini was “a poet of the cinema,” as James Ivory says in the book’s foreword, who “left a trove of words on paper that can live on as the fast-deteriorating images he created on celluloid cannot.” This generous selection of poems will be welcomed by poetry lovers and film buffs alike and will be an event in American letters.