Le tre fiere di Dante in Pasolini: dalla «Divina Commedia» alla «Divina Mimesis»
ABSTRACT: During the ideological crisis of the 1950s, through the studies of Gianfranco Contini and Antonio Gramsci, the Divine Comedy proposed itself as an authorial, existential and political model and as a multilingual model, to which Auerbach's concept of Mimesis was added from 1957. A conc...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2022 |
| País: | España |
| Institución: | Universidad Complutense de Madrid (UCM) |
| Repositorio: | Docta Complutense |
| Idioma: | italiano |
| OAI Identifier: | oai:docta.ucm.es:20.500.14352/108862 |
| Acceso en línea: | https://hdl.handle.net/20.500.14352/108862 |
| Access Level: | acceso abierto |
| Palabra clave: | 821.131.1Dante, Alighieri7div.07 821.131.1Pasolini, Pier Paolo7div.07 81'27 Dante Pasolini Divine Mimesis Comedy Sociolinguistics Beasts Divina Mimesis Commedia Sociolinguistica Fiere Filología italiana Escritores Literatura 5505.10 Filología 6202 Teoría, Análisis y Crítica Literarias |
| Sumario: | ABSTRACT: During the ideological crisis of the 1950s, through the studies of Gianfranco Contini and Antonio Gramsci, the Divine Comedy proposed itself as an authorial, existential and political model and as a multilingual model, to which Auerbach's concept of Mimesis was added from 1957. A concept already prophetically sensitive to the arrival of neo-capitalism in the 1960s, which coincided, not by chance, with the triumph of the neo-avant-garde and the Gruppo 63. An artistic witness to the agonizing struggle against this arrival is La Divina Mimesis, an unfinished remake of Dante's poem, in which Pier Paolo Pasolini depicts the crisis of his mimetic poetics in the encounter between his 1950s self and his 1960s self. The characterization of the three beasts constitutes a sociolinguistic framework in which the author-actor does not renounce allegorical dialectics, identifying, in each one of them (lion-illusion, lion-superbia, she-wolf-conformism), the evil he recognizes in himself and in reality. |
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