- We had a chance to meet Erminia Passannanti, Italian poet, writer and connoisseur of Pasolini's works. She is the author o Il corpo e il potere. Le 120 Giornate di Sodoma di Pier Paolo Pasolini (2004), Il Cristo dell’eresia. Rappresentazione di Cristo nei film di Pasolini (2006), La ricotta. Il sacro trasgredito.
- In lieu of an abstract, here is a brief excerpt of the content: an abstract, here is a brief excerpt of the content.
Pasolini Scritti Corsair Pdf Writer Reviews
A collection of Pier Paolo Pasolini’s controversial articles and interviews from 1973-1975 on the “anthropological revolution” that transformed Italy during the 1960s and early 1970s, with its “development without progress”, “consumerist hedonism”, “false tolerance”, mass culture, impoverishment of language, neurosis, destruction of traditional peasant cultures (“cultural genocide”), “strategy of tension”, and phony anti-fascism, signaling the decline of the old.
Pasolini Scritti Corsair Pdf Writer Online
- Agamben, Giorgio. The Open: Man and Animal. Trans. Kevin Attell. Stanford: Stanford UP, 2004.Google Scholar
- Atwood, Margaret. Negotiating with the Dead: A Writer on Writing. Toronto: Doubleday, 2003.Google Scholar
- Bachmann, Gideon. “Pasolini on de Sade: An Interview during the Filming of ‘The 120 Days of Sodom.’” Film Quarterly 29.2 (1975–76): 39–45.CrossRefGoogle Scholar
- Barthes, Roland. “The Poetics of Heresy” [1976]. Trans. Verena Conley. Stanford Italian Review 2.2 (1982): 100–102.Google Scholar
- Benjamin, Andrew. Of Jews and Animals. Edinburgh: Edinburgh UP, 2010.Google Scholar
- Boarini, Vittorio, Pietro Bonfiglioli, and Giorgio Cremonini, eds. Da Accattone a Salò: 120 scritti sul cinema di Pier Paolo Pasolini. Bologna: Tip. Compositori, 1992.Google Scholar
- Buber, Martin, Viktor von Weizsäcker, and Joseph Wittig, eds. Die Kreatur: Eine Zeitschrift. Berlin: Verlag Lambert Schneider, 1927–28.Google Scholar
- Cavani, Liliana. Il portiere di notte. Turin: Einaudi, 1974.Google Scholar
- Copjec, Joan. Imagine There’s No Woman: Ethics and Sublimation. Cambridge, MA: MIT Press, 2002.Google Scholar
- Farley, Paul, and Michael Symmons. Edgelands. London: Jonathan Cape, 2011.Google Scholar
- Freud, Sigmund. Civilisation and Its Discontents. Trans. James Strachey. The Standard Edition of the Complete Psychological Works, vol. 21. London: Vintage, 2001.Google Scholar
- Gordon, Robert S. C. The Holocaust in Italian Culture 1944–2010. Stanford: Stanford UP, 2012.Google Scholar
- Greene, Naomi. Pier Paolo Pasolini: Cinema as Heresy. Princeton: Princeton UP, 1990.Google Scholar
- Kerner, Aaron. Representing the Catastrophic. Lewiston: Edwin Meller, 2007.Google Scholar
- Kñlka, Tomás. Kitsch and Art. Philadelphia: Pennsylvania State UP, 1996.Google Scholar
- Macpherson, C. B. The Political Theory of Possessive Individualism: Hobbes to Locke. Oxford: Oxford UP, 2011.Google Scholar
- Maggi, Armando. The Resurrection of the Body: Pier Paolo Pasolini from StPaul to Sade. Chicago: Chicago UP, 2009.CrossRefGoogle Scholar
- Marcus, Millicent. Italian Film in the Shadow of Auschwitz. Toronto: Toronto UP, 2007.Google Scholar
- Marrone, Gaetana. The Gaze and the Labyrinth: The Cinema of Liliana Cavani. Princeton: Princeton UP, 2000.Google Scholar
- Marx, Karl. Capital.Vol. 3. Harmondworth: Penguin, 1991.Google Scholar
- Nietzsche, Friedrich. The Gay Science. Ed. Bernard Williams. Trans. Josephine Nauckhoff. Cambridge: Cambridge UP, 2001.CrossRefGoogle Scholar
- Pasolini, Pier Paolo. “Abiura della Trilogia di vita.” In Lettere luterane, 71–76. Turin: Einaudi, 1976.Google Scholar
- -. “Tetis.” In Pier Paolo Pasolini—Contemporary Perspectives, trans. Patrick Rumble, ed. Patrick Rumble and Bart Testa, 243–49. Toronto: Toronto UP, 1994.Google Scholar
- Pick, Anat. Creaturely Poetics: Animality and Vulnerability in Literature and Film. New York: Columbia UP, 2011.Google Scholar
- Ravetto, Kriss. The Unmaking of Fascist Aesthetics. Minneapolis: U of Minnesota P, 2001.Google Scholar
- Rinaldi, Rinaldo. L’irriconoscibile Pasolini. Venice: Mursia, 1980.Google Scholar
- Santner, Eric L. On Creaturely Life: Rilke—Benjamin—Sebald. Chicago: Chicago UP, 2006.CrossRefGoogle Scholar
- Schoonover, Karl. Brutal Vision: The Neorealist Body in Italian Cinema. Minneapolis: U of Minnesota P, 2012.CrossRefGoogle Scholar
- Seaman, Myra J. “Becoming More (than) Human: Affective Posthumanisms Past and Future.” The Journal of Narrative Theory 37.2 (2007): 246–75.Google Scholar
- Stiglegger, Marcus. “Cinema beyond Good and Evil? Nazi Exploitation in the Cinema of the 1970s and Its Heritage.” In Nazisploitation! The Image of the Nazi in Low-Brow Cinema and Culture, ed. Daniel H. Magilow, Elizabeth Bridges, and Kirstin T. Van Der Lugt, 22–37. London: Continuum, 2012.Google Scholar
- Wallace, Jeff. D.H. Lawrence, Science and the Posthuman. Basingstoke: Palgrave Macmillan, 2005.CrossRefGoogle Scholar
- Waller, Marguerite. “Signifying the Holocaust: Liliana Cavani’s Portiere di Notte.” In Feminisms in the Cinema, ed. Laura Pietropaolo and Ada Testaferri, 259–72. Bloomington: Indiana UP, 1995.Google Scholar
- Wittig, Joseph. “Der Weg zur Kreatur.” In Die Kreatur: Eine Zeitschrift, ed. Martin Buber, Viktor von Weizsäcker, and Joseph Wittig, 137–55. Berlin: Verlag Lambert Schneider, 1929–30.Google Scholar
- Wolfe, Cary. What Is Posthumanism? Minneapolis: U of Minnesota P, 2010.Google Scholar
- Žižek, Slavoj. “No Sex Please We’re Post-Human.” http://www.lacan.com/nosex.htm.