National Gallery of Art Fall 2013 Film Program
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Women in Power About Aspen
No. 04 ASPEN.REVIEW 2017 CENTRAL EUROPE COVER STORIES Małgorzata Fidelis, Konrad Niklewicz, Dita Přikrylová, Matthew Qvortrup, Iveta Radičová POLITICS Andrii Portnov ECONOMY Ivan Mikloš CULTURE Michał Lubina INTERVIEW Agnieszka Holland, Teddy Cruz 9 771805 679005 No. 04/2017 Women — in Power Women in Power Women Quo— Vadis, Central and Eastern Europe? — Thinking Architecture without Buildings About Aspen Aspen Review Central Europe quarterly presents current issues to the general public in the Aspenian way by adopting unusual approaches and unique viewpoints, by publishing analyses, interviews and commentaries by world-renowned professionals as well as Central European journalists and scholars. The Aspen Review is published by the Aspen Institute Central Europe. Aspen Institute Central Europe is a partner of the global Aspen network and serves as an independent platform where political, business, and non-prof-it leaders, as well as personalities from art, media, sports and science, can interact. The Institute facilitates interdisciplinary, regional cooperation, and supports young leaders in their development. The core of the Institute’s activities focuses on leadership seminars, expert meetings, and public conferences, all of which are held in a neutral manner to encourage open debate. The Institute’s Programs are divided into three areas: — Leadership Program offers educational and networking projects for outstanding young Central European professionals. Aspen Young Leaders Program brings together emerging and experienced leaders for four days of workshops, debates, and networking activities. — Policy Program enables expert discussions that support strategic thinking and interdisciplinary approach in topics as digital agenda, cities’ development and creative placemaking, art & business, education, as well as transatlantic and Visegrad cooperation. -
Michela Zanarella, Com'erano I Ragazzi Di Vita
Mediterranean Perspectives Edizioni del Mediterraneo · Ediciones del Mediterráneo · Editions de la Méditerranée ____________________________________________________________________________________________________ Critical Thinking · Il Pensiero Critico | Passion and Ideologie · La passione e l'ideologie COM’ERANO I RAGAZZI DI VITA Michela Zanarella La morte non è nel non poter comunicare ma nel non poter più essere compresi. Pier Paolo Pasolini euromededitions.eu © Michela Zanarella © EMUI_EuroMed University ISBN: 978-84-697-6175-5 Mediterranean Perspectives Nr 06 Roma 2017 _____________________________________________________________________________ ©EMUI_ EuroMed University Editions · euromededitions.eu · Roma 2017 |1 Mediterranean Perspectives Edizioni del Mediterraneo · Ediciones del Mediterráneo · Editions de la Méditerranée ____________________________________________________________________________________________________ Critical Thinking · Il Pensiero Critico | Passion and Ideologie · La passione e l'ideologie È da Monteverde lo strazio dell’anima: il Mondo non mi vuole più e non lo sa PRIMA DEI FATTI Ogni incontro racchiude un significato ben preciso e io lo sapevo bene. Avevo lasciato la mia terra, la pianura veneta per andare a vivere a Torvajanica, nella provincia di Roma. Il mio era un addio voluto. Partivo per amore. Non era stata una scelta facile, ma sapevo che per la prima volta dopo tanti anni di duro lavoro, avrei potuto cambiare la mia vita per sempre. Sono rimasta tre anni in quella zona di mare, lungo il litorale laziale, non è andata però come speravo, ma ho imparato che nulla avviene per caso. Il destino mi aveva portato ad incontrare un nuovo compagno e a scoprire un nuovo quartiere, di cui conoscevo a malapena il nome: Monteverde. Mi sembrava tutto così diverso, ma allo stesso tempo così familiare, che non fu difficile ambientarmi. Avvertivo come una specie di legame con questo luogo, e alla fine non mi sbagliavo. -
Burning Bush
presents BURNING BUSH A Film by Agnieszka Holland 2013 / Czech Republic / in Czech with English subtitles / Color A Kino Lorber Release from Kino Lorber, Inc. 333 West 39 St., Suite 503 New York, NY 10018 (212) 629-6880 Publicity Contact: Rodrigo Brandão – [email protected] Matt Barry – [email protected] SHORT SYNOPSIS The three-part drama, directed by the Polish director Agnieszka Holland, is HBO Europe’s most ambitious, big-budget project to date. The film returns to a pivotal time in modern Czech history, ignored in Czech cinema until now. It begins with a reconstruction of the shocking act of a Czech university student, who in protest of the Soviet occupation of Czechoslovakia, set himself on fire in Prague’s Wenceslas Square on January 16, 1969, and died four days later. Through the story of the brave defense attorney Dagmar Burešová, who defended Palach’s legacy in a doomed lawsuit, the film examines the transformations taking place in Czechoslovak society after the invasion of the armies of the Warsaw Pact in August of 1968 and the installation of a hardline Communist government. It depicts the beginnings of Czech and Slovak resistance against the occupation, which reached its apex with the mass protests during Palach’s funeral. It also shows the nation’s gradual resignation under the pressure of fear and harsher persecution. LONG SYNOPSIS Part I On the 16th of January1969 on Wenceslas Square in Prague, a young student sets himself on fire in front of dozens of passers-by. Police Major Jireš (Ivan Trojan) investigates the circumstances of Palach’s actions. -
Alberto Caeiro's
UCLA Carte Italiane Title Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s La Ricotta Permalink https://escholarship.org/uc/item/8tv1n97r Journal Carte Italiane, 2(10) ISSN 0737-9412 Author Cabot, Aria Zan Publication Date 2015 DOI 10.5070/C9210023697 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Playing God: Alberto Caeiro’s “Num meio-dia de fim de primavera” and Pier Paolo Pasolini’s La ricotta Aria Zan Cabot University of Wisconsin-Madison Ciò di cui viene dissacrata la innocenza non è l’arte ma l’autore. Pier Paolo Pasolini, “L’ambiguità” This paper examines the relationship between “creators” (gods and poets) and their creations in the poem “Once at mid-day in late spring” (“Num meio-dia de fim de primavera”) by the Portuguese poet Fernando Pessoa (1888–1935)—but ostensibly authored by Alberto Caeiro, one of the numerous fictional heteronyms through which Pessoa published entire works in verse and prose—and Pier Paolo Pasolini’s short film,La ricotta (1963). I focus in particular on Pessoa and Pasolini’s displacement of a divine subject onto a human object and of creative authority onto secondary authors. Secondly, I consider the playfulness inherent in the irreverent rejection of the institutionalization of artistic and religious creation in the poem and the film, as well as the use of bucolic settings that revive a kind of pre-historical, pre-Christian religiosity in a landscape that is nonetheless distinct from traditional “pastoral” modes due to the constant interruption of modern systems of production and representation. -
PPP in the Background Mise En Abyme International Journal of Comparative Literature and Arts
Vol. I, Issue 1 January/June 2014 ISSN: 2284-3310 International Journal of Comparative Literature and Arts PPP in the Background Mise en Abyme International Journal of Comparative Literature and Arts Vol. I, Issue 1 January/June 2014 General Editors: Armando Rotondi – Nicolaus Copernicus University in Torun Elisa Sartor – Nicolaus Copernicus University in Torun Editorial Office: Elena Dal Maso – University of Verona Anita Paolicchi – University of Pisa Alessandro Valenzisi – University of Strathclyde Advisory Board: Beatrice Alfonzetti – University of Rome “La Sapienza” Raffaella Bertazzoli – University of Verona Cezary Bronowski – Nicolaus Copernicus University in Torun Joseph Farrell – University of Strathclyde José María Micó – Pompeu Fabra University Pasquale Sabbatino - University of Naples “Federico II” Álvaro Salvador – University of Granada Roxana Utale – University of Bucharest Logo and cover: Nicoletta Preziosi Publisher: Bel-Ami Edizioni S.r.l. Roma www.baedizioni.it Contact information: Armando Rotondi: [email protected] Elisa Sartor: [email protected] Submission of contributions and material for review purposes: [email protected] ISSN: 2284-3310 Vol. I, Issue 1 January/June 2014 ISSN: 2284-3310 TABLE OF CONTENTS Presentation p. 4 Monographic section. PPP in the background Uccellacci e uccellini: What Makes an Ideo-comic Fable? p. 6 Alessandro Valenzisi University of Strathclyde Cenizas de los tristes. Javier Egea y Pier Paolo Pasolini p. 30 Elisa Sartor Nicolaus Copernicus University in Torun After Pasolini’s Teorema: Notes on the Theatre of Grzegorz Jarzyna and Mikołaj Mikołajczyk p. 42 Armando Rotondi Nicolaus Copernicus University in Torun Reviews Scrittori migranti in Italia (1990-2012) a cura di Cecilia Gibellini p. 51 Pirandello e Gombrowicz - La presenza teatrale pirandelliana nei drammi gombrowicziani di Karol Karp p. -
The Soundscape of Pier Paolo Pasolini's the Gospel According To
Nicola Martellozzo The Soundscape of Pier Paolo Pasolini’s The Gospel According to St. Matthew (1964) ABSTRACT Il Vangelo secondo Matteo (The Gospel According to St. Matthew, IT/FR 1964), by the Italian film director Pier Paolo Pasolini, is one of the most interesting and widely acclaimed film representations of the life of Jesus. Its reception in the Catholic world has reflected the alternating fortunes of Pasolini himself, but over the years critics have come to fully appreciate its merits. While the director made faithful use of the dialogue in the Gospel, he constructed a new – but plausible – imagination, or “architecture of reality”, based on an intertextual code with intersecting pictorial, architectural, biblical and sound references. This essay aims in particular to employ a semiotic approach to an- alyse the musical motifs in the film and the way in which they convey precise meanings and values to the viewer about the figure and life of Jesus. Songs and musical compo- sitions are leitmotifs that punctuate the narrative, interweaving with the visual compo- nent to form a full-blown language in its own right. KEYWORDS Pier Paolo Pasolini; The Gospel According to St. Matthew; Musical Leitmotifs; Intertex- tuality; Audio-visual Syntax BIOGRAPHY Nicola Martellozzo graduated from the University of Bologna with a degree in cultural anthropology and ethnology. The author of an essay on the phenomenology of religious conversion (2015), he has presented papers at various specialist conferences (Italian Society of Medical Anthropology 2018; Italian Society of Cultural Anthropology 2018; Italian Society of Applied Anthropology; Italian National Professional Association of An- thropologist 2018). -
“70” Parlare Di Pier Paolo Pasolini, Personaggio Alquanto Controverso
Negli anni “70” parlare di Pier Paolo Pasolini, personaggio alquanto controverso sia per la sua grande versatilità, sia per la sua ostentata omosessualità e le sue vicende giudiziarie, era pressoché un tabù per noi giovani del paesello, assai bigotti e lontani dal fermento di quella meglio gioventù alla quale appartenevamo ma che non vivevamo con uguale intensità. Dopo aver casualmente potuto apprezzare la poesia “Supplica alla madre”, che ho precedentemente scritto nel mese di Maggio nel nostro “Salotto di Poesia”, mi è rinato il desiderio di conoscere più da vicino questo grande artista in tutti i suoi aspetti. Quindi, insieme alle mie allieve- colleghe del Corso, ho intrapreso un viaggio nel variegato mondo di Pier Paolo Pasolini. Artista a tutto tondo, si è dedicato con uguale passione al lavoro poetico, che si è poi intrecciato con quello narrativo, per divenire in seguito attività cinematografica ed infine giornalistica. Il suo punto di partenza è stata la raccolta “La meglio gioventù”, scritta in dialetto friulano,luogo di origine della madre, ma da lui molto amato perché vi trascorse gli anni giovanili , quelli durante la guerra e anche quelli dopo, come insegnante nella scuola media, dalla quale venne allontanato per uno scandalo a sfondo sessuale. In tale raccolta il poeta si esprime in dialetto con coraggio, pur avendo precedenti illustri nazionali e rifacendosi anche al grande Romancero spagnolo, in quanto considera il dialetto la lingua del mondo contadino da cui proviene. Nella raccolta “L’Usignolo della Chiesa Cattolica”, letterariamente molto elaborata, troviamo poesie- litanie che contengono la confessione della sua omosessualità dichiarata, ma vissuta con i sensi di colpa inculcati da un’educazione cattolica che lo porta a vivere in maniera spesso contraddittoria. -
Gazeta Volume 28, No. 1 Winter 2021
Volume 28, No. 1 Gazeta Winter 2021 Orchestra from an orphanage led by Janusz Korczak (pictured center) and Stefania Wilczyńska. Warsaw, 1923. Courtesy of the Emanuel Ringelblum Jewish Historical Institute. Used with permission A quarterly publication of the American Association for Polish-Jewish Studies and Taube Foundation for Jewish Life & Culture Editorial & Design: Tressa Berman, Daniel Blokh, Fay Bussgang, Julian Bussgang, Shana Penn, Antony Polonsky, Aleksandra Sajdak, William Zeisel, LaserCom Design, and Taube Center for Jewish Life and Learning. CONTENTS Message from Irene Pipes ............................................................................................... 4 Message from Tad Taube and Shana Penn ................................................................... 5 FEATURE ARTICLES Paweł Śpiewak: “Do Not Close the Experience in a Time Capsule” ............................ 6 From Behind the Camera: Polish Jewish Narratives Agnieszka Holland and Roberta Grossman in Conversation ................................... 11 EXHIBITIONS When Memory Speaks: Ten Polish Cities/Ten Jewish Stories at the Galicia Jewish Museum Edward Serrota .................................................................................................................... 15 Traces of Memory in Japan ............................................................................................ 19 Where Art Thou? Gen 3:9 at the Jewish Historical Institute ........................................ 20 REPORTS Libel Action Against Barbara Engelking -
Pier Paolo Pasolini, 1968)
Christel Taillibert Théorème (Pier Paolo Pasolini, 1968) Né en 1922, Pier Paolo Pasolini n'a cessé tout au long de sa vie de fustiger la société, ses conservatismes, ses hypocrisies et ses impostures. A la fois poète, essayiste, romancier et cinéaste, son art sera avant tout l'expression d'un être en souffrance, en rage contre un système dans lequel il ne se reconnaîtra jamais et qui jamais ne l'acceptera. De remous en véritables scandales, aucun de ses films ne laisse indifférent. Que ce soit en termes moraux, religieux ou politiques, Pasolini endure tout au long de sa carrière les foudres de ses - nombreux - détracteurs. Théorème, œuvre polysémique signée en 1968, est particulièrement symptomatique des passions que ses films étaient capables de déchaîner à l'époque. Générique Scénario, dialogue, réalisation : Pier Paolo Pasolini D'après le roman de Pier Paolo Pasolini, "Teorema" (Garzanti Editore, 1968) Interprétation : Terence Stamp (le visiteur), Massimo Girotti (Paolo, le père), Silvana Mangano (Lucia, la mère), Anne Wiazemsky (Odetta, la fille), Andres José Cruz (Pietro, le fils), Laura Betti (Emilia, la servante), Ninetto Davoli (Angiolino, le messager), Susanna Pasolini (la paysanne) Image : Giuseppe Ruzzolini (Eastmancolor) Décors : Luciano Puccini Costumes : Marcella De Machis Effets spéciaux : Goffredo Roccheti Montage : Nino Baragli Musique : Ennio Morricone et extraits du Requiem de Mozart Production : Aetos Film Producteurs : Franco Rossellini, Manolo Bolognini Directeur de production : Paolo Frasca Distribution : Coline / Planfilm Durée : 98 mn Résumé Un jeune homme aussi charmeur que silencieux débarque un beau jour dans une famille bourgeoise de Milan. Tour à tour, tous les occupants de la maison se laissent séduire - intellectuellement comme physiquement - par l'étrange visiteur. -
Adorati Toponimi: Tracking Ideological Space in Pier Paolo Pasolini Fabio
Adorati Toponimi: Tracking Ideological Space in Pier Paolo Pasolini Fabio Vighi University of Portsmouth One of the most evident but least investigated aspects of Pasolini’s work is its extensive use of toponyms, that is names of places that physically exist outside the text, regardless of the fictional world they participate in. Through an examination of some typical Pasolinian toponyms, this article will seek to trace the theoretical line that links the Friulan (1940s) to the first Roman (1950s) period of the author’s career, attaching particular attention to written sources that have been generally overlooked by the critics, such as his letters and articles. Despite consistent critical claims that Pasolini’s move to Rome in 1950 signalled the abandonment of Friulan poetics and the consequent elaboration of a new ideological discourse, very few scholars have attempted to support such claims through a systematic inquiry into the theoretical matrix of Pasolini’s œuvre. Arguing that both in Friuli and in Rome Pasolini’s elaboration of space consistently exploited a utopian perspective, I will show that it is precisely because of this perspective that the author manages to progress to a socially aware interpretation of social reality. Toponymic space is dealt with very directly by Pasolini. All his texts, both creative and critical, are crammed with articulated references to real urban and rural settings. The first toponym that springs to mind is Casarsa della Delizia, the Friulan village where the author spent most of his youth and elaborated a notion of poetics that he later assessed as aestheticising, that is endorsed by a mystical, elegiac and essentially ahistorical apprehension of reality.1 Pasolini’s first collection of poems, published in 1942 with the title of Poesie a Casarsa (Poems in Casarsa) shows clear evidence of this attitude. -
La Critica Della Società Italiana Nelle Opere Scelte Di Pier Paolo Pasolini
La critica della società italiana nelle opere scelte di Pier Paolo Pasolini Ćapin, Josip Master's thesis / Diplomski rad 2019 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Zadar / Sveučilište u Zadru Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:162:773803 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-25 Repository / Repozitorij: University of Zadar Institutional Repository of evaluation works Sveučilište u Zadru Odjel za talijanistiku Diplomski sveučilišni dvopredmetni prevoditeljski studij talijanistike Josip Ćapin La critica della società italiana nelle opere scelte di Pier Paolo Pasolini Diplomski rad Zadar, 2019. Sveučilište u Zadru Odjel za talijanistiku Diplomski sveučilišni dvopredmetni prevoditeljski studij talijanistike La critica della società italiana nelle opere scelte di Pier Paolo Pasolini Diplomski rad Student/ica: Mentor/ica: Josip Ćapin Prof. dr. sc. Nedjeljka Balić-Nižić Zadar, 2019. Izjava o akademskoj čestitosti Ja, Josip Ćapin, ovime izjavljujem da je moj diplomski rad pod naslovom La critica della società italiana nelle opere scelte di Pier Paolo Pasolini rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 31. listopada 2019. Indice 1. Introduzione .......................................................................................................... 6 2. La vita di Pier Paolo Pasolini .............................................................................. -
Pier Paolo Pasolini
PETROLIO Pier Paolo Pasolini Bibliografia e filmografia Biblioteca Berio - Via del Seminario, 16 - Genova [email protected] - www.bibliotechedigenova.it Siamo su… INTRODUZIONE Poeta, giornalista, regista, sceneggiatore, attore, paroliere e scrittore italiano, Pier Paolo Pasolini è uno dei maggiori artisti e intellettuali italiani del XX secolo. Nasce a Bologna il 5 marzo 1922 e muore al Lido di Ostia il 2 novembre 1975. Alla mia nazione Non popolo arabo, non popolo balcanico, non popolo antico ma nazione vivente, ma nazione europea: e cosa sei? Terra di infanti, affamati, corrotti, governanti impiegati di agrari, prefetti codini, avvocatucci unti di brillantina e i piedi sporchi, funzionari liberali carogne come gli zii bigotti, una caserma, un seminario, una spiaggia libera, un casino! Milioni di piccoli borghesi come milioni di porci pascolano sospingendosi sotto gli illesi palazzotti, tra case coloniali scrostate ormai come chiese. Proprio perché tu sei esistita, ora non esisti, proprio perché fosti cosciente, sei incosciente. E solo perché sei cattolica, non puoi pensare che il tuo male è tutto male: colpa di ogni male. Sprofonda in questo tuo bel mare, libera il mondo. A cura di Mauro Paolucci – Ottobre 2018 BIBLIOGRAFIA Album Pasolini: biografia per immagini e documenti Milano: Oscar Mondadori, 2005. -- VI, 310 p. : ill.; 21 cm. -- (Grandi classici; 106). 851.914 PAS alb Alì dagli occhi azzurri Milano: Garzanti, 2005. -- 515 p.; 19 cm. (Gli elefanti). N.A. PAS ali P283.5 Amado mio (preceduto da “Atti impuri”) con uno scritto di Attilio Bertolucci. Milano: Garzanti, 1982. -- 201 p.; 22 cm. - (Le mosche bianche). Pub. con Atti impuri.