Home > Pier Paolo Pasolini > Annotated Bibliography of Anglophone Articles in Special Issue of Italian Quarterly on Pier Paolo Pasolini

Annotated Bibliography of Anglophone Articles in Special Issue of Italian Quarterly on Pier Paolo Pasolini

De Lauretis, Teresa. “Language, Representation, Practice: Rereading Pasolini’s Essays On Cinema.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

Pasolini’s film writings  as relevant to the 1980s need for “an understanding of the interrelations or mediations between the systems of determinations embedded in cinema as a social technology (systems of pre-construction of meaning, codes, technical availability and access,) its institutional orders of coherence (various discourses on the cinema,) and practices — social practices as well as practices of cinema” (160.) Pasolini’s insistence on the audiovisual character of cinema; his interest in the engagement of subjectivity in meaning and ideology (160.) Goes over Metz “Cinema: Language or Language System” (1964;) “language without a code” v the double articulation of shot and cinema in PPP’s “Language Of Reality” essay; Eco’s objection that objects in the frame aren’t like phonemes and his “semes, iconic signs and figurae;” PPP’s “ritmea” theory of editing and the shift from linguistic to discursive analysis of cinema (161.) A consideration of PPP’s cinema as the written language of action (and action as the primary human language) From “Language of Reality” (162.) Poetry as “translinguistic” that is always discarding its conventions (163.)  Names Pasolini’s interest in inner-speech and cinema as film theory’s most difficult problem in light of the psychoanalytic Metz. Mentions Salò as example of need to reclaim the iconic for the ideological and the impossibility of simply seeing.  Nice Durasian last line “Ideologize, he said” (165.)

Lawton, Ben. “The Evolving Rejection Of Homosexuality, Sub-proletariat, and the Third World in Pasolini’s Films.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

On The “Abiura.” Pasolini sides with sub-proletariat against bourgeoisie, but is angered and offended when it “does become free of traditional submission” for and against sexual liberation. Contradictions reflect inner conflcits (167.) The sub-proletariate as an early version of PPP’s utopia. Lawton at least understands that Teorema undermines the bourgeois family; shift in Davoli’s roles from undermining the family to exemplifying it.(168.) Salò  as a critique of homosexuality. Rather confused.

MacAfee, Norman. “ ‘I Am A Free Man:’ Pasolini’s Poetry In America.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

PPP’s Italian poems “ civil poems” not hermeticism (99.) Comp to Witman, Pound and Ginsberg. PPP sets example for US poetry in 1980 at a moment of its growth by asserting a central place in society. Interview with Pound from 1968. A version in Ezra Pound In Italy. The end of Salò as ambivalent homage to pound who’s words are said to be the thesis to the image’s antithesis. Salò as “the ultimate post-hermetic poem” (hermeticism as a way of negotiating fascism censorship) PPP told his publisher that if it were shown there would be no more censorship (though this needs to be understood in terms of his critique of permissiveness.) M doesn’t know of post Salò case, but he’s writing in 1980 (100.) M considers P’s homosexuality as something that sets PPP apart “from most ways of thinking that collide with power” (an outsider to the opposition) Reads from “A Desperate Vitality”

Mandelbaum, Allen. “ ‘Ah Mystica/ filogia:’ Rereading Pasolini.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

Pasolini’s declaration of his own bankruptcy “Io? Io sono inaridito e superato” (95) Catholicism said to put “tremendous pressure on the word all” (96) Reads capitalization to suggest that PPP’s poetry populated with personifications “richest in the clash of amore  and ragione.” 96) “Bureaucracy and organization had long since bloated and devalued them” said in PPP’s voice in response to a re-reader who finds they “lack the force of driven apparitions (96) Sees Pasolini’s inventio as blocked (96)  PPP’s fable says :”there was a chance for poltical inventio  that was not realized” (96) Pasolini as a man of the enlightenment “a rejecter of magic payri (97.) Poetic invention is premature, it is not because history is over, but because it has not yet begun” (97.) Pasolini asks, “when will the periphery become the center? And can the poet ever abandon his role as protagonist of the periphery without falling into banality?” (97) PPP’s gods those of “the unhoused and the ineluctable place (98.) “In a world of English and Russian, Rome becomes linguistic romance. It does not preside over its sub-proletariat, Friulian, Provebçal, the swarm of emarginated tongues — it joins them. But it joins them as a yet — and necessarily — imperfect instrument” (98) no “hypersigns” for PPP no ares grammatical. Comparison to Lukàcs’ awareness of predecessors and successors.

Marcus, Millicent. “ The Decameron:  Pasolini As Reader of Boccaacio.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

Pasolini’s film as platonic “imitation” of the Boccaccio (177.) Pasolini not only reacting to text, but to its Italian reception over 6 centuries [similar to PPP’s understanding of his use of early renaissance paintings as Christology in Il vangelo] (177-8.) Pasolini’s dispensing of frame story and blurring of the frames between tales as denial of formal satisfaction (178.) Pasolini as critic of Boccaccio’s scholasticism, which was obsolete in his own time and emphasizes distance of mideval text (178.) Pasolini plays Boccaccio and elaborates thereby a metafilm (179.)

Odlcorn, Anthony. “Pasolini and The City: Rome 1950 A DiaryItalian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

On Pasolini’s Roman Poems. Starts with Pasolini’s flight from Friuli after charges of “corruption of minors and obscene acts in a public place” (107;) expulsion from Communist Party; family background. Circumstances of arrival in Rome (108;) Gets to Roma 1950, diario on 109. Verse journal published in a 1960 limited edition. “Chronicles the poet’s state of mind in moments of rest from servile work” (109;) 11 syllable lines (11-28 of them) written in Standard Italian. PPP avoids “all undue emphasis and sublimity of diction;” uses a “bleached voice;” uses “deliberate understatement to the limits of banality” (109.) O cites Eldridge clever (to describe the poetic tradition of Roma 1950 “not part of the solution but part of the problem” (110.)  sense of physical confinement in poems “corresponds to the poet’s moral entrapment in a system and a discourse not of his own making” (110.) No “transvaulation of values” only extension of “those categories to accommodate moral phenomena they were never meant to embrace” (110.)n Failure to recognize that “by bourgeois standards, homosexuality was a qualitative, and not simply a quantitative transgression” (110.) Calls the poems a “Petrachan reaction” to PPP’s situation (110.) PPP casts himself as crucified Christ, but not as subversively as he later would (110.) Rejection of hermeticism; shared with neorealist poets (but notes that PPP had few sympathies with them; close to Cesare Pavese (Poem #1 “An Adult? Never! — Never; like existence / that does not ripen” in reject of hermeticism. seen as response to the epigraph of Pavese’s last novel La luna e I falò [The Moon And The Bonfires. R.W. Flint, trans.] “Ripeness is All.” (King Lear)) Giuseppe Ungaretti as influence (111;) Clemete Rebora, Camillo Sbarbaro (111.) Volume “a womb without much of a view. The city is outside, a backdrop, heard rather than seen” [“heard rather than seen might be an interesting way to think certain of PPP’s movie soundtracks] (111.) Translations of the Poems and the originals on pages 113-118.

Procaccini, Alfonso. “Pasolini, the Truant Realist.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

Attempts to read Pasolini’s work as asking “what it means to be intellectually provocative” (121) Focuses on Ragazzi di vita.  Ragazzi’s scandal prefigures “more noted, yet less notorious” La dolce vita scandal. The 2 are “the most discordant notes of an Italian overture that will by 1968 substitute real gun fire for the conventional blank shot of cannons.” (dude, come on…) wants to include Accatone’s scandal here, but it had less impact (121.) The Fellini is provocative, the Pasolini provoking (122,) meaning: Ldv was sold as a scandal and catharsis. Rdv collapses the reader’s distance and denies catharsis (122.) Rdv meets the criteria for realist lit, but not its function. Not Hegel’s “epic of the middle class” or a commodity (122.) Not about the ‘mal ontologique” of the bourgeois world (123.) None of Lukacs’ “virile maturity” (123.) A “no alternative” motif dominates the whole of Rdv (123.)  “His message appears to be that to cross the threshold is a futile step” (123.) [Like MR crying while watching Etore work near the center in Mamma Roma.] For PPP “there is no such thing as an Italian language which is ‘national,’ that is a language which embraces the splintered and fragmented sectors of what constitutes Italy as a nation” (124.) Paraphrases material from “Comments on the Free Indirect” on high, middle, and low language, as well as the ideological effects of the centrifugal of the dominant language. Claims Rdv rejects “discorso indiretto libro which AP calls “objective correlative” and is an example of direct discourse [can’t agree] (125.)  Pasolini speaks from “within the outside experience” and this is not a “scientific position” as in Verismo  (125.) This displaces the reader to the margin (125.) Claims that Pasolini does not use the “analogical” level of meaning in Dante’s scheme [which is strange since PPP says otherwise, perhaps not an analogy between the characters and the “universal problem of the everyman, but analogy none the less.] (125.)  Despite claim of non-analogy, claims that characters represent their class (125-6.)  “In Gramscian terms Pasolini defies both the traditional as well as the organic approach” (126.)

Schwartz, Barth David. “Why Americans Will Never Understand Pasolini.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

An utterly useless screed pointing out that Pasolini is difficult to understand in the US because Italian cultural history is different and complex. Fears that popularizing Pasolini would result in dorm room posters of him next to “Che Guevara and Bob Dylan.” Some OK sketches information about the Italian context, but there better ways to get it.

Weaver, William. “Il Primo Pasolini Tradotto.” Italian Quarterly XXI N 82 – XXII N. 83. Fall 1980-Winter 1981.

An account of Weavers exchanges with Pasolini while translating “L’appennio.” Weaver makes mistakes in Italian and Pasolini translates them in mistaken English. Fairly amusing.

Advertisements
  1. No comments yet.
  1. No trackbacks yet.

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: