Papers by Marco Ricciardi
L'Illuminista, 2022
Il saggio sottolinea come nell'opera di Giorgio Manganelli tre diversi livelli (meta-linguistico,... more Il saggio sottolinea come nell'opera di Giorgio Manganelli tre diversi livelli (meta-linguistico, metafisico-teologico e filosofico-politico) si sovrappongano e si mescolino tra loro in una continua metamorfosi allegorica. In particolare è proprio il piano filosofico-politico (ma anche su un piano "strutturalista", il politico-formale) a rappresentare una chiave di accesso privilegiata all'opera dello scrittore.
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Rossocorpolingua, 2022
La consapevolezza della natura politica del linguaggio accomuna il percorso poetico di Elio Pagli... more La consapevolezza della natura politica del linguaggio accomuna il percorso poetico di Elio Pagliarani a quello di altri autori del Gruppo 63. Verificare e vivificare la lingua, smontare gli automatismi e i conformismi alienanti che connettono significante e significato è stata un ambizione costante del poeta di Viserba. La democratizzazione del verso è stato invece uno dei suoi tratti più originali: un percorso che passa attraverso l’allargamento dei registri, la metabolizzazione in chiave poetico-biologica del linguaggio tecnico-scientifico, il moltiplicarsi “brechtiano”-teatrale dei punti di vista e il superamento dell’autorità mistificatoria di un io elegiaco. L’avversione visceralmente morale a ogni potere accentratore, a ogni conformismo e/o mistificazione del linguaggio, ci sembra in effetti essere la cifra più potente, l’impronta più originale e ancora oggi potenzialmente feconda della poesia di Elio Pagliarani. Una poesia che ha sempre provato (anche nelle ultime, meno "ottimistiche” prove) ad essere un potente strumento “alchemico” di rigenerazione del linguaggio e in ultima analisi della democrazia: solo verificando che l’immaginario collettivo non sia inquinato da falsificazioni arbitrarie (e sia invece quanto più possibile prodotto di punti di vista molteplici e autentici), si può tentare di (ri-)pensare una società realmente democratica i cui valori siano davvero condivisi e non imposti o peggio ancora mistificati da qualsiasi forma di potere.
The awereness of the political character of the language associates Elio Pagliarani’s poetic path with other authors belonging to Gruppo 63. Verifying and reviving the language itself (dismantling the automatism and the alienating conformism which connect signifier and signified) has been a constant ambition of the poet from Viserba. Whereas, democratising his verses has been one of his most original features. It’s a process that goes through the widening of the linguistic registers, the metabolization of technical-scientific language towards a poetic-biological translation, a “brechtian”-theatrical multiplication of points of view, and the overcoming of the mystifying authority of an elegiac ego. The viscerally moral aversion to any centralizing power, to any conformism and/or mystification of the language, seems to us, in fact, the most powerful access code to his work, and the most original and still potentially fertile print of Elio Pagliarani’s poetry. A poetry that has always tried (also in the last, less “optimistic” attempts) to be a powerful “alchemic” tool, able to regenerate the language and, finally, the democracy itself. Only verifying that collective imaginary is not contaminated by arbitrary falsifications (and instead it should be, as much as possibile, the product of different, multiple and authentic points of view) it would be (maybe) possible to think on a truly democratic society, which values could be authentically shared, and not imposed (or- even worst- mystified) by any forms of power.
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Il tarlo del critico, 2020
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L'Illuminista, 2008
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L'immaginazione , 2009
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L'Illuminista , 2006
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Rossocorpolingua , 2021
Le celebrazioni per il centenario della nascita di Zanzotto (che coincidono con i dieci anni dall... more Le celebrazioni per il centenario della nascita di Zanzotto (che coincidono con i dieci anni dalla scomparsa) sono un'occasione per tentare un approccio critico 'sintetico' all'opera del poeta di Pieve di Soligo. Una poesia al limite, estrema, che dubita del suo stesso poter essere, al contempo poesia ed 'epistemologia' poetica. Il principale carburante creativo dei suoi versi sembra essere la natura binaria e paradossale con cui Zanzotto interpreta la condizione strutturale dell'esperienza umana, in cui istanze del privato, dell'individuo, del particolare convivono e confliggono con quelle del pubblico, della comunità, dell'universale metafisico. Nella Gestalt di una poesia onnivora e totale convivono, tra alternanza e 'mistici' tentativi di fusione, numerosi correlativi di questo strutturale paradosso: parola e silenzio, caos e cosmo, eros e logos, calore/movimento e paralisi cosmica da zero assoluto, impeto erotico e verginità mistica, estasi e satori, Io e Altro, disgregazione schizofrenica e paranoica unità, dionisiaco e apollineo, informale e formale, ecc. La poesia proprio perché è, quia absurdum, espressione massima di questo paradosso (tra idioletto/originalità espressiva del poeta e aspirazione al riconoscimento universale in una langue 'pentecostale' di una comunità letteraria e umana), sembra essere lo strumento ideale per tentare un percorso 'impossibile' di sintesi.
Celebrating the centenary of Zanzotto's birth (which coincides with the 1oth anniversary of his death) provides an occasion to attempt a 'synthetic' critical approach towards the works of the poet from Pieve di Soligo. His is an extreme poetry that takes you to the limit, which doubts its own ability to exist, being at the same time poetry and poetic 'epistemology'. The main creative fuel of his verses seems to be the binary and paradoxical nature by what Zanzotto interprets the structural condition of human experience, where the requests of the Private, the Individual and the Particular live together and struggle with the Public, the Community and the metaphysical Universal. In the Gestalt of an omnivorous and totalizing poem, various correlatives of this structural paradox coexist, alternating among each other or merging in an attempt of 'mystic' fusion i.e.: word and silence, chaos and cosmos, eros and logos, dynamic heat and cosmic paralysis of absolute zero , erotic impetus and mystic verginity , ecstasy and satori, ego and the other , schizophrenic disintegration and paranoiac unity, Dionysian and Apollonian, informal and formal, etc. Poetry, precisely because it's, quia absurdum, a complete expression of this paradox (between the poet's idiolect/expressive originality and the longing for a universal recognition in a 'Pentecostal' langue of a human and literary community) seems to be the ideal tool to attempt an 'impossible' path to a synthesis.
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L'Illuminista , 2007
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L'Illuminista, 2004
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L'Illuminista, 2021
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Book Reviews by Marco Ricciardi
Rossocorpolingua., 2022
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Il Caffè illustrato, 2008
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Rossocorpolingua , 2022
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Rossocorpolingua , 2022
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Rossocorpolingua, 2021
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Rossocorpolingua , 2021
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Papers by Marco Ricciardi
The awereness of the political character of the language associates Elio Pagliarani’s poetic path with other authors belonging to Gruppo 63. Verifying and reviving the language itself (dismantling the automatism and the alienating conformism which connect signifier and signified) has been a constant ambition of the poet from Viserba. Whereas, democratising his verses has been one of his most original features. It’s a process that goes through the widening of the linguistic registers, the metabolization of technical-scientific language towards a poetic-biological translation, a “brechtian”-theatrical multiplication of points of view, and the overcoming of the mystifying authority of an elegiac ego. The viscerally moral aversion to any centralizing power, to any conformism and/or mystification of the language, seems to us, in fact, the most powerful access code to his work, and the most original and still potentially fertile print of Elio Pagliarani’s poetry. A poetry that has always tried (also in the last, less “optimistic” attempts) to be a powerful “alchemic” tool, able to regenerate the language and, finally, the democracy itself. Only verifying that collective imaginary is not contaminated by arbitrary falsifications (and instead it should be, as much as possibile, the product of different, multiple and authentic points of view) it would be (maybe) possible to think on a truly democratic society, which values could be authentically shared, and not imposed (or- even worst- mystified) by any forms of power.
Celebrating the centenary of Zanzotto's birth (which coincides with the 1oth anniversary of his death) provides an occasion to attempt a 'synthetic' critical approach towards the works of the poet from Pieve di Soligo. His is an extreme poetry that takes you to the limit, which doubts its own ability to exist, being at the same time poetry and poetic 'epistemology'. The main creative fuel of his verses seems to be the binary and paradoxical nature by what Zanzotto interprets the structural condition of human experience, where the requests of the Private, the Individual and the Particular live together and struggle with the Public, the Community and the metaphysical Universal. In the Gestalt of an omnivorous and totalizing poem, various correlatives of this structural paradox coexist, alternating among each other or merging in an attempt of 'mystic' fusion i.e.: word and silence, chaos and cosmos, eros and logos, dynamic heat and cosmic paralysis of absolute zero , erotic impetus and mystic verginity , ecstasy and satori, ego and the other , schizophrenic disintegration and paranoiac unity, Dionysian and Apollonian, informal and formal, etc. Poetry, precisely because it's, quia absurdum, a complete expression of this paradox (between the poet's idiolect/expressive originality and the longing for a universal recognition in a 'Pentecostal' langue of a human and literary community) seems to be the ideal tool to attempt an 'impossible' path to a synthesis.
Book Reviews by Marco Ricciardi
The awereness of the political character of the language associates Elio Pagliarani’s poetic path with other authors belonging to Gruppo 63. Verifying and reviving the language itself (dismantling the automatism and the alienating conformism which connect signifier and signified) has been a constant ambition of the poet from Viserba. Whereas, democratising his verses has been one of his most original features. It’s a process that goes through the widening of the linguistic registers, the metabolization of technical-scientific language towards a poetic-biological translation, a “brechtian”-theatrical multiplication of points of view, and the overcoming of the mystifying authority of an elegiac ego. The viscerally moral aversion to any centralizing power, to any conformism and/or mystification of the language, seems to us, in fact, the most powerful access code to his work, and the most original and still potentially fertile print of Elio Pagliarani’s poetry. A poetry that has always tried (also in the last, less “optimistic” attempts) to be a powerful “alchemic” tool, able to regenerate the language and, finally, the democracy itself. Only verifying that collective imaginary is not contaminated by arbitrary falsifications (and instead it should be, as much as possibile, the product of different, multiple and authentic points of view) it would be (maybe) possible to think on a truly democratic society, which values could be authentically shared, and not imposed (or- even worst- mystified) by any forms of power.
Celebrating the centenary of Zanzotto's birth (which coincides with the 1oth anniversary of his death) provides an occasion to attempt a 'synthetic' critical approach towards the works of the poet from Pieve di Soligo. His is an extreme poetry that takes you to the limit, which doubts its own ability to exist, being at the same time poetry and poetic 'epistemology'. The main creative fuel of his verses seems to be the binary and paradoxical nature by what Zanzotto interprets the structural condition of human experience, where the requests of the Private, the Individual and the Particular live together and struggle with the Public, the Community and the metaphysical Universal. In the Gestalt of an omnivorous and totalizing poem, various correlatives of this structural paradox coexist, alternating among each other or merging in an attempt of 'mystic' fusion i.e.: word and silence, chaos and cosmos, eros and logos, dynamic heat and cosmic paralysis of absolute zero , erotic impetus and mystic verginity , ecstasy and satori, ego and the other , schizophrenic disintegration and paranoiac unity, Dionysian and Apollonian, informal and formal, etc. Poetry, precisely because it's, quia absurdum, a complete expression of this paradox (between the poet's idiolect/expressive originality and the longing for a universal recognition in a 'Pentecostal' langue of a human and literary community) seems to be the ideal tool to attempt an 'impossible' path to a synthesis.