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Pier Paolo Pasolini - Essay Example

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This essay named "Pier Paolo Pasolini" describes life and work of famous Italian film director, poet and novelist known as Pier Paolo Pasolini. His experimental way of creating and his contribution to world artistic creation…
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Pier Paolo Pasolini
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Download file to see previous pages Were it simply a question οf quantity, however, were Pasolini's art no more than the indulgence οf an unrepressed narcissist, there would be scant interest in a study οf this kind. Instead, his work offers an extraordinarily fertile and dense example οf how subjectivities are built on something other and something far more complex than merely saying 'I'. Indeed, one might say that his work offers an illustration οf the ultimate incompatibility οf saying 'I' and being 'I', in any cohesive sense these phrases might have (Benveniste, 1966, 259-60). For Pasolini does indeed, as Barberi Squarotti implies, constantly offer himself up for display in his work, but to such a degree οf intensity that conventional mediation 'is cast aside: he is personally, bodily present within language, as he explains in Petrolio, 'in queste pagine io mi sono rivolto al lettore direttamente [. . .] in carne e ossa'. In other words, he uses the textuality οf his work or the semiosis οf his multiform interventions in order to embody himself, to project himself into, rather than onto forms οf expression.
The project is, οf course, deeply flawed and unrealizable, but also strangely utopian. It is an almost mystical aspiration to being-in-the text, to textual transubstantiation which can be related to his homosexuality. It represents a recourse to the essential signifier οf an 'authentic' body as a public locus οf discourse, in response to the exclusion from discourse and from normative sexual ideologies. But the recourse is a subversive and not a naturalizing one, since the irreducible aura f presence surrounding the body disavows coded norms (Dollimore, 1991). It radicalizes the relations between selfhood, signification and the real by projecting irreducible markers f the latter into the first two. It brings selfhood and form into uneasy synthesis, in a dynamic akin to that seen by De Lauretis, 1984, in Pasolini's essays in film semiology: a deployment and experience f forms f discourse as active and subjective ...Download file to see next pagesRead More
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