Indice del fascicolo 17 (25 ottobre 2017)


Sulle tracce di Medea, di Maria Panetta

Letture critiche

La “Medea” di Pasolini, di Giuseppe Garrera e Sebastiano Triulzi

Abstract: This is the text of the presentation of the photographic exibition on Medea, the famous Pasolini’s film (1969). Two of the curators notice that Maria Callas had been chosen by Pasolini in a period of fragility, due to this abandonment of her husband Onassis and to voice problems. For Pasolini the encounter with Callas inspires visions and he begins a journey into the world of mothers.

Nota per l’esposizione, di Giuseppe Garrera

Abstract: The note for the Pasolini’s Medea exposition emphasize how the photogenicity of Callas was exciting for a director who aimed at a film similar to painting, following the lesson of his Master Roberto Longhi. According to Garrera, the film is an allegory of female pain, and Tursi’s photos have a great visionary impact.

Medea la sovrana, di István Puskás

Abstract: According to Puskás, Pasolini’s reinterpretation of Medea’s myth in the 1969 film is an allegory of the clash between the pre-modern and the modern society, between the West and the East. The critic uses the theory of biopolitics to read the work and illustrates the influence of Pasolini on the philosophy called “Italian Theory”, and especially on Giorgio Agamben.

Sul set di “Medea”. Pier Paolo Pasolini e Maria Callas, di Sebastiano Triulzi

Abstract: This essays describes in detail the photografic exhibition on Pasolini’s Medea hosted at Hungary Academy in Rome, motivating the choices of the curators. It analyzes also the relationship between Callas and her assistant, Nadia Stancioff, and finally it illustrates the pictorial setting of Pasolini’s cinema, interpreting Medea’s archetype as opposed to that of Jason, a symbol of the cold rationalism of Western civilization.

La poesia di Lucio Piccolo: uno sguardo lessicografico, di Antonio Di Silvestro

Abstract: The essay explores Lucio Piccolo’s precious poetical lexicon and highlights its main antinomies and some recurring themes: time, precariousness, mystery, memory and voice. Di Silvestro illustrates in detail also the affinity beween Piccolo’s work and Eugenio Montale’s poetry.

Il senso del tragico in “Dissipatio H. G.”: la catastrofe dell’incomunicabilità, di Maria Panetta

Abstract: This is the text of the conference read at Compalit Congress, in Venice, in last December. The essay illustrates the continuity between Morselli’s book intitled Fede e critica and his novel intitled Dissipatio H. G. and explains the sense of tragic in Morselli’s opera as a psychological question, and as solipsism drama.

Matteo Veronesi o del silenzio della parola, di Maria Panetta

Abstract: This essay examines the last book of verses of Matteo Veronesi, Tempus tacendi, edited in Switzerland in 2017. This Italian poet, born in Imola in 1975 and author of other verses, collected in the past in some anthologies, is also a refined literary critic and his deep knowledge about Italian and classical literatures emerges in his complex poetry.

Storia dell’editoria

La dislessia nell’attuale panorama editoriale italiano, di Alessandra Frustaci

Interviste agli editori: la Casa editrice Sinnos (Della Passarelli)

Interviste agli editori: la Casa editrice biancoenero (Flavio Sorrentino)

Interviste agli editori: la Casa editrice uovonero (Sante Bandirali)

Abstract: This article outlines the situation of contemporary Italian publishing that deals with dyslexia. Than, there are also three interviews with publishers’ professionals (they work for Sinnos, biancoenero and uovonero publishing houses).

«Emozionare con l’arte»: la missione di Eretica Edizioni e del suo fondatore Giordano Criscuolo, di Mattia Marzi

Abstract: This is the interview to the foundator of Eretica Edizioni, Giordano Criscuolo. In 2015 he has created, in a little town near Salerno, a new publishing house offering the possibility to publish their works to young writers and poets that dont’ like to pay to publish.



L’animal et son biographe” di Stéphanie Hochet, di Claudio Morandini

Riscoperte: “Biondo era e bello” di Mario Tobino, di Ivan Di Rosa