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“Il poeta del pastiche”. Echi gozzaniani in Petrolio di Pier Paolo Pasolini

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Liszka-Drążkiewicz A.

Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

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2017

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issue 9(3)

208-218

IT

Pier Paolo Pasolini in Petrolio cita alcuni versi di Guido Gozzano e in un saggio di Descrizioni di descrizioni lo presenta come “il poeta del pastiche”, sottolineando la sua epicità che lo avvicinerebbe a Dante. Considerando che numerosi riferimenti alla Divina Commedia e la predilezione per il pastiche costituiscono anche elementi basilari di Petrolio, esamino citazioni e allusioni alla poesia gozzaniana ivi presenti per specificarne le caratteristiche e determinarne le funzioni. Cerco inoltre di stabilire fino a che punto Pasolini si ispira a Gozzano e fino a che punto invece lo riscrive modificando in tal modo il significato delle sue poesie.

PL

Pier Paolo Pasolini w powieści Petrolio cytuje wiersze Guida Gozzana. W poświęconym mu eseju (przedrukowanym późnej w zbiorze Descrizioni di descrizioni) ukazuje go jako „poetę pastiszu”, podkreślając jednocześnie epickość jego poezji, która stanowi o jego podobieństwie do Dantego. Biorąc pod uwagę, że częste odniesienia do Boskiej komedii oraz upodobanie do pastiszu stanowią także istotne elementy samego Petrolio, w artykule autorka poddajeanalizie cytaty i aluzje do poezji Gozzana zawarte w tekście Pasoliniego w celu nakreślenia ich charakterystyki oraz ustalenia funkcji. Autorka stara się ponadto ustalić, na ile sam Pasolini inspiruje się twórczością Gozzana, a na ile ją przepisuje , modyfikując tym samym wydźwięk cytatów.

2

Pier Paolo Pasolini’s Pendulum Swing on Fascism

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Kozłowski M.

Studia Litteraria et Historica

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2021

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issue 10

PL

Poniższy tekst jest studium przypadku. Jego celem jest odtworzenie pewnej sytuacji rozpoznawania i rozumienia faszyzmu. Sytuacja ta jest wyznaczona zarówno przez historię, jak i przez społeczną dynamikę współczesności. Czas i miejsce to Włochy lat sześćdziesiątych i siedemdziesiątych XX wieku. Podmiotem rozpoznającym jest Pier Paolo Pasolini. Nie dlatego, że oferuje nam oryginalną, złożoną i wszechstronną teorię faszyzmu. Przeciwnie, Pasolini bywa powierzchowny, gwałtowny, jego pasja polemiczna często pochłania argument i analizę. Jednak sposób intelektualnego i politycznego zaangażowania Pasoliniego pozwala nam posłużyć się nim jako zwornikiem w prowizorycznej syntezie pewnej wersji lewicowego antyfaszyzmu.

EN

The following work is a case study. Its purpose is to reconstruct a particular situation involving the recognition and understanding of fascism. This situation is determined by both history and the social dynamics of the present day. The time and place is Italy of the 1960s and 70s, the observer – Pier Paolo Pasolini. But not because he offers us an original, complex and versatile theory of fascism. On the contrary, Pasolini can be superficial and rash, while his polemic passion often devours the argument and the analysis. However, Pasolini’s method of intellectual and political involvement allows us to use it as a keystone of a makeshift synthesis of a certain version of leftist anti-fascism.

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Muzyka w filmie Ewangelia wg św. Mateusza Piera Paola Pasoliniego

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Okołowicz J.

Kwartalnik Młodych Muzykologów UJ

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2015

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issue 3 (26)

4-22

EN

The Gospel According to St. Matthew (1964) was the third film made by an Italian intellectual Pier Paolo Pasolini. After many scandals and court trials which concerned seditious character of his earlier shortmovie La ricotta (making part of Ro.Go.Pa.G., 1963), he decided to dedicate his new film to the history of Christ, choosing the text of The Gospel According to St. Matthew, naming it the one which in the best way represents the human nature of Christ and his „being a man among men”. The film he made is an interesting work of art because of many reasons: it was filmed in the area of the South of Italy, it’s maintained in the neorealism aesthetics, and thanks to the actors who starred in the film (one of the Apostles was played by Giorgio Agamben, an Italian philosopher, Jesus was played by a Spanish student, a strong follower of communism and Mary was played by Pasolini’s own mother – Susanna). Nevertheless, The Gospel According to St. Matthew, among other Pasolini’s film, has the most complex and refined soundtrack list, because, this time, the music is the element which plays the major role in the film, being the factor of the stylistic contamination he applied in his works. The story of Christ is portrayed by unusual music choices such as Sometimes I Feel Like a Motherless Child by Odetta Williams, Gloria from the Kongo mass Missa Luba, Prokofiev’s Alexander Nevsky and others. Thus, it is important to have a closer look at the film’s music, and by decoding the intertextual figures such as quotations and allusions, try to understand its narrative symbolism and hidden, autobiographical motives created by Pasolini.

4

Filiation symbolique : le refus de la puissance paternelle dans Œdipe roi de Pier Paolo Pasolini

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Frach S.

Romanica Silesiana

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2017

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vol. 12

FR

The parent–child relationship is omnipresent in the works of Pier Paolo Pasolini. In Oedipus Rex, the filmmaker uses both the original myth and Sophocles’ tragedy to underline the fact that the father–son relationship is rooted in the Ancient World. Moreover, as will be depicted later on, Pasolini uses the work to evoke his personal experiences and artistic style. In this sense, the film is founded on psychoanalytic theories. Oedipus embodies the heart of Freudian thought: metahistorical hatred against the father, patricide and incest on the one hand, nostalgia and longing for the mother’s womb on the other. At the epicenter of this reflection lies the Oedipal theme of father–son relationship coupled with his digressions.

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1 Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura

1 Kwartalnik Młodych Muzykologów UJ

1 Romanica Silesiana

1 Studia Litteraria et Historica

1 Frach S.

1 Kozłowski M.

1 Liszka-Drążkiewicz A.

1 Okołowicz J.

1 2021

2 2017

1 2015

“Il poeta del pastiche”. Echi gozzaniani in Petrolio di Pier Paolo Pasolini

Pier Paolo Pasolini’s Pendulum Swing on Fascism

Muzyka w filmie Ewangelia wg św. Mateusza Piera Paola Pasoliniego

Filiation symbolique : le refus de la puissance paternelle dans Œdipe roi de Pier Paolo Pasolini