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Nicola D'Ugo

is precisely the answer,
dear mother, that I might seek, as individuals we

waste of time and old together for a
that still does not reveal new
its shape. That is neither myth nor history nor
progress.
Franco Marcoaldi [ 1]

In memory of Allen Ginsberg and John Martella

In a time when you go faster the aesthetic appreciation (also works of art), some older artists and poets, as in the good old days are profferli honors in the most number of occasions, the exhibition represents an individual path and time, the presentation of a book, citizenship and honorary degrees . These events, seemingly devoted to culture, have little to do with the actual use of the works of the celebrated and, as a source of little sparks, they produce a subtle effect on the community, who can identify with rather a pernicious failure: the promoters and interpreters celebrate a past event which is, yes, still alive, but not the end of the revenge of intelligence and the sensitivity of the narrow streets and alleys of oblivion but rather a guarantee by the Rite-autopromossa cultural academy, the political entrepreneur, operator of a cultural hand-blatant, and sometimes really unaware of impunity part of the Italians which art and literature are not entirely reluctant. These Italians are in fact misled, since the literature is true within the rules of the community, and you stay well, only when it is calm. I do not seem to find such serenity now in Italy.

Moreover, the political class that celebrates authors fervently working decades ago is exonerated, with a decades-long strategic distance from the neglect of his predecessors, as if to say: "See? We are different, we love the culture, sustainable, just as they did in previous decades the politicians pay attention to older artists and intellectuals of his age. Let us now be the deus ex machina curriculum of some politicians, who can also boast a critical task over, but critical service, that is pure and annotation and presentation of this or that, without sinking its assessment in the contemporary global land (and in the meantime West) and in its possibilities, needs and aesthetic achievements, even if it means clashing with the community itself: to avert such an outcome is that these are not a politician, whose career must seek the consensus of the most popular sovereignty that anthropological insights that could undermine the crisis.

The celebratory event is repeated, then, far from being of benefit to a large collective culture and horizontally stamped, addressed almost exclusively to the protection of political and economic power of those who officiates. The danger is spotted and avoided by the stormy political intrusion in the administration of the moral and material culture of the community, in its interest of issues that should be exclusively the domain of politics. This fear is understandable, given that today is ahistorical any attempt to curb the invasion of other social categories in that sphere. Examples of cultural invasion apparently are many, starting with the known and 'scandalous' election of Ilona Staller, alias Cicciolina, the Chamber of Deputies: the one that appeared to be a striking fact, it was really just the culmination of a phenomenon that swarmed under for a long time [ 2] .

Consider, meanwhile, that policy is added to the instance when a representative capacity aesthetic itself, which calls for collective participation that feels it is not only rhetorically informed and formed, that is when you live with the instrument of rhetoric horror and sickness of millions of men in this and other countries and the absurdity of the current political solutions (as well as the welfare of incantatory Heidi), when, again, it appeals to the intelligence and sensitivity and astuteness which characterizes not only the political class, then the political must actually fear more than it does in seeing the parliamentary seats, singer, television presenter, a journalist, a lone writer enabled [3 ] .

Moreover, the willingness to ghettoization of literature and art is already easily seen in the performance of the politician in schools. Even more serious is that there is a cultural policy of the Authority. The principle is the same as any activity that addresses the political and administrative culture: disinterest Italians to contemporary events.

The principles supporting school: the importance of biography (roughly already canonized by a castration, which coincided with a rise otherworldly dell'Alighieri with a kind of asexual, that even if true in its Comedia should at least be told the conditions), the explanation of the meaning work. The critical assessment of the students are not usually stimulated debate among students is avoided (for obvious reasons of time), the direct approach with the text of the student-that is without any comment by the teacher-is resolutely averted and too often, it is implied that the student has the audacity to tell a work in its own way. Furthermore, the contemporary literature is completely ignored, except when it comes to, say, or some reading Pirandello badly canonized by Eliot and Beckett's reckless, and except for some quixotic Sisyphean effort of teachers, as if these great composers of the past were really contemporary teachers and students.

The very idea of \u200b\u200bcontemporary cultural , once adopted by the State and founded on the demands and dictates of politicians, in fact becomes a lie itself, supported from the innocent language of the student, who needs to business tools for the interpretation of the times and its differences, but the contents of which fell within a depth of interpretation that is not the official state. In fact, in schools, using words whose meanings are complex and, again, with them a simple value, immediate and outraged. The contemporary becomes a classic of the twentieth century that uses the dangerous characteristics of the 'posthumous' on which he focused his criticism in recent years Giulio Ferroni [ 4] , when compared to its dangerous' Current scenario of literature, culture and Italian poetry, already too burdened by the past, to the point of trying, in recent decades to pursue the paths of the boldest experiments in search of that 'originality different from the two bulwarks synchronic and diachronic originality and authenticity [ 5] . This idea really distracts attention from contemporary events and check the shafts of the authors of the recent past, whose rage against their contemporary or is no longer the basis for the use they have made allegories of their time-to-o is understandable relegated to a condition of the community also, "posthumously", perfectly closed in their era, and that they were more to do with us (and leave out the alibi for a moment, abusatissimo, the universality of the human and the aesthetic ).

More than a Rector has noticed, over the past three years, that the Faculty of Arts students are rarely called upon to write, and, in fact, write badly. This discovery glimmers like an epiphany during the compilation of the thesis, when prompted to university thinking articulate and informed. It occurs to me that does not exist in Chilean universities, for obvious reasons of public health, the Faculty of Arts.

This is a long introduction that a bit 'off topic is actually the context in which it is required to exercise the profession of the critic and that of the writer in general. Do not omit an item that actually does not feel silenced, or that in Italy the crowd and almost infinite number of laws to be observed and bureaucratic formalities to be carried out is perfectly crafted to give Italy a medium limited time for reading and meditation, and away from another culture: the civic. Indeed it would seem that all these laws are the expression of a desire for the removal of Italian leisure (as well as the awareness of their rights).

A to shoulder the political class printing . Blablabla behind the 'speech' policy, which focuses on himself all the contemporary graffiti, can not and should not be off the voice of contemporary writers, who were in the hands of all , would undermine the great theorems of politicians and reveal, as some do, but in homeopathic doses, the contradictions, hypocrisies and deceptions of a society that is falsely (and more consciously) and told by the political journalist (except for rare mine stray exception). So the works of contemporary writers can end up rather in the hands of anyone . This difference between and all- anyone who seems laughable-ensures the primacy of political graffiti on the aesthetic discourse, philosophical, anthropological and sociological.

The press, in fact, produces culture as the political class wants: unashamedly pretending to play a critical date for the benefit of the community, hiring, in the case of newspapers and national weekly, big names, key signatures, and 'covering' arguments that count. Of course, the most prominent names have not the slightest intention of causing harm to the culture, they lend their works to the benefit of the community as it provides them with an inadequate means, as if to say: "Better this space that silence." These intellectuals must not hardly be blamed for their adventure this work, since, in many cases, they do not establish a complicity, but share a mutual use of the two entities (the newspaper, the essayist) ideally and strategically irreconcilable. But it would be appropriate to draw attention to them, being already self-conscious, to reflect on their relationship with mass media.

carefully leafing through the pages and inserts cultural de Unit , the poster , La Stampa, Il Corriere della Sera , the Republic, Il Sole 24 Ore , Time, The Messenger one is led to believe that in Italy during the week brought out a few dozen books. And the myriad of other authors, and hundreds and hundreds of publishing houses dotted around the peninsula daily commitment to publish new books, often hilarious, often valuable? Not if he knows nothing, and nothing if they know, unless a book is moved from a small publisher with a bigger publisher.

The same press freedom, understood as freedom of expression, is actually reduced to a few faculty members of the community, starting from the figure of 'director', as envisaged by Italian law [ 6] . Indeed, newspapers are responsible for their press freedom, and culture is treated as what is easy to recognize by means of inserts cultural they enclose: a cultural homogenization through light-hearted one and the other head. The critical task, not supported by an aesthetic that departs from clear principles are universal, meaning that recognition of a human faculty, that of view, it reduces the presentation of stories to read, thoughts to share, solitary moments to be taken (fiction, nonfiction , poetry) and some reviews that seem not to want to put in a dialectic with the other's state of knowledge and training.

publications poem Unit 2 corroborate any were needed, this thesis. Poems of William Blake, Charles Baudelaire, Antonio Machado, Robert Graves, Scipio authors mostly militants for decades and centuries ago in another Europe and another in Italy, who were for some of them similar to this but, meanwhile, did not share the great faces, names and events of the present. Even a song like "Theology" by Ted Hughes, a poet no longer young but still working, goes back to an Italian edition of twenty-four years ago, and there is no reason to be published out of context, since, in its extrapolation little he appreciates the meaning and design of the author and also the issue of reference is no longer available for several years at the publishing [ 7] . Thus the opportunity volume of output for Garzanti The hypothesis of circus Luciano Erba you an excuse to give the reader two short contemporary poems, 'spin doctors on TV "and" A school look, "and an essay by Cosimo Ortesta (' wistful search of elsewhere), which focuses on issues of "drama" and aesthetic, without confronting the contents of the work, without initiating this conversation with the author that makes the individual culture sensitive to the demands of others and why growth for the collective, the case is offered by the verses quoted by Ortesta of Grass: "Among the damp walls and peeling / a hotel room that he knew / mildew and brown ie chestnut / I want to pitch a love / or die as a Salesman " [ 8] . Perhaps the desire of death is too obvious, too inherent in man dwelling on, perhaps the poet is all in the aesthetic that is the measure of too much contemporary criticism, or the 'love of step "too obscene to tackle the meat and desire?

I can only hope that one day you read about these titles (if you really have an interest in a contemporary culture of the community turned to the court and not the 'learning' response to the mere statement of the editors) poetic reflections new and newly written [ 9] . It will be necessary, of course, a review of the existing editorial staff, but the effort is Herculean.

From a calculation that anyone can do, taking into account the current headlines coming out every day in Italy, it is easy to see that in this country could be thousands of unpublished poems published the year, which would be collected rather in volume at a later time. Just as they appeared in newspapers the less noble panes of horoscopes and crossword puzzles.

This observation is not a suggestion that the Italian newspapers, but the proof that what they conceive to poetry and culture has nothing to do with contemporary culture except as facimento of a tradition (the invention of a tradition) and, via the policy pursued by them, going to materialize for generations to come, with disastrous results all too evident to the community and the relationship that this creates with their culture. Who, among the Italian editors, referring to strange rules of 'modern journalism' to justify the absence of poetry in the newspapers will be invited to send a few copies of a U.S. newspaper of wide circulation even of the most daring: the Los Angeles Times .

Moreover, in many cases (in many cases), writing in a newspaper means exist: it is the existence of individuality, of his work and interests to be put in issue and in view. It is the point of view-inside-a day which seem unlikely to be the subject of a crisis. The eye of the critic is, in these cases, a myopic and astigmatic eyes, starting from its thematic work and dwells with an increasingly uncertain about the contemporary world. Instead of starting from basics aesthetic can move through a more universal reflection of his time, he moves through the poems, looking around among the balustrades of the movements preparatory courses and identifies, maybe even the future achievements. This last point, namely that facing the contemporary true, entails the risk of myopia and astigmatism of the poetics of the similarities and contagion, malcurato to hurry the events of first contact with cultural and aesthetic, and too often at a distance from Foreign remedies, from large international research centers, but that these must necessarily be identified with the institutions. It is in this space for receiving the criticism it easier for the foot mode, even if you call it by another name, even if there are large movements in a nutshell . It is here, if anything, Ferroni's speech on "posthumous" right of being a counterpoint. No wonder, then, if a senior author continues to write authors of which were green when he embarked on his career but now despite the label of contemporary , appear to be, in many cases, long-standing, in the best of classic twentieth century.

Nor can we be surprised if the current cultural context and that the enjoyment of poetry are always better apparent crumbling, as the poem as the mean daily entertainment and culture, but is not playing a game of interpretation and entertainment increasingly characterized by extremes of charm and riddle mentioned-but for different reasons-by Northrop Frye decades ago the Anglophone reader [ 10] . The options of writing tight, so clearly told by Giacomo Debenedetti, which should make you think of misleading conception of poetry has dominated the twentieth-century Italian, but born in philology aura. As a complement of a single framework, while the former was closed in riddle, the second was revealing the flesh of the thirteenth and fourteenth centuries and everyday Italian, either through the tool of historiography is due to the revaluation of the manuscripts that led to the successful edition of Comedy Dante of Petrocchi. Still, while the poetry Montalian, availed itself of literary terms such pegol, grammar etc.., Those same terms were identified as everyday, colloquial in thirteenth and fourteenth centuries, and it showed, in contrast, that the variant pitch was already covered by the Latin pegol. In other words, while the hermetic poetry took refuge in a distinctly literary tradition and contemporary society by far (but more poetic prosody), philology Contini points out, without exaggeration, a closer relationship with the community of poetry of his time. In fact, the obscurity in Italy coincided with an era the history of the Republic in which he avoided a unified corporate culture that does not coincide with a culture of fact-imposed from one culture to greenhouse-so much so that when this artificial culture and not in the individual was free to meditate call into question the achievements reflective and political changes, it is not clear today which ethics have to travel our country and how the current anarchy and particularism uprights possan coincide with a sense of national unity and sharing the collective destinies. The obscurity of this is, in fact, only one aspect that has invested and roost on Italian poetry of the twentieth century for over fifty years, even more serious when one considers represented by its international master figure of Montale [ 11] .

There is now proponents talk about tradition, as if these could be decisive of the critical debate on contemporary poetry. There is no doubt that these talks are supported by a large twentieth-century literature criticism, but it should be borne in mind that they are in the same tradition of thought that led all'elitarietà the Italian ghetto of his poetry. The tradition, as represented today, and never can be said universally uniform nor universal in its linearity or, more simply, linear, because or tradition is shared by at least a collective culture-and then is already difficult time and space to be universal-or is not in terms of any collective culture that can aspire to universality of its content and, therefore, is not, and best, and that unitary linear sparingly. As we are concerned, there is currently no collective culture in Italy unified, intimate sharing and any belief that can not be erased from the memory of the community in a very short time. But that's another story. In fact, the panel eliottiana on tradition and the 'objective correlative', in particular the near identity of the two that found in The Waste Land ( The Waste Land, 1922), moved, seventy-seven years ago, the terms of the question of individuality romantic [ 12] . The proposed Eliot was to remove the components of autobiographical opera taking place in their traditional objective correlative. We can clearly see the transition from certain elements of autobiography romantic all'autobibliografismo Eliott, in view of how The Waste Land has been accepted by European and American culture, merely observing, in addition to contemporary reviews, and the absurd disappointing search for the sources of the work in symbolic From Ritual to Romance by Jessie L. Weston and The Golden Bough by James G. Frazer. This research coincided, except with a romantic trip to the lakes, no doubt with a useless and tiresome trip to the library: this is what still happens in academia and in an area elitist who can not or will not recognize the current social framework, in which a standardization, because it is such, should not be simplistically defined in terms of culture or no culture, unless you recognize in one way or another in its manifestation.

This does not mean, of course, that it is unnecessary to look at the great works of the past. What is astonishing is the attempt to establish a discourse on the problems of contemporary poetry from its concepts such as that posthumously, as it seems like Ferroni, in fact debasing all that is good in his recent book Einaudi.

Ferroni wrote in "Presence of Silence": "In this perspective," posthumous "of course you define the meaning of the persistence of the" classic "and the relationship with the" classics ": beyond a lot of talk recently about" classic "and on reading the classics', for poetry is more necessary than ever to look at what's essential we have left the great works of the tradition." [ 13]

goes without saying that this essential is still debate within that Europe has brought poetry from the salons to the academies, while it will avoid phase column that he wants the poetry back in the salons. If you are concerned that the poem, going somewhere, going even in the salons, there is a real risk that it will not go nowhere more. I know that this is not the sense of affirming Ferroni, but can now be an undesirable effect. And yet, when he says: "Today there can be no poetic language that, as such, may contain within itself all the historical density of this: among the countless languages \u200b\u200bthat travel the world, in the tangle of words, messages, images, signals, noises every time they move in all directions, multiply in endless reproductions, reflect on themselves and intertwine with each other, poetry can create spaces Language interstitial, small pockets of resistance, which can draw on both experience levels and leaving more common than the more subtle literary, but still quite 'elsewhere' than the mixture of languages \u200b\u200bthat make up the current communication, "comes from noted that "all the historical density of this' is not with certainty be completely understandable by any contemporary, also described the contemporary languages Ferroni are so similar to the myriad of languages \u200b\u200bexpressed in the twelfth century that light up at the end of the second millennium offers too spontaneous to a question: whether there is reason to believe that in the twelfth century was conceivable work historically dense of this, when it was interpreting, per speculum in aenigmate , another language much more complex, divided and uncertain (the language of nature) in order to identify, within human limits, the divine truth: most essential ones. Yet, for as we have been handed down, that period coincided with the birth of our own literature and the flourishing of works for their "impossible absoluteness' is still of great interest and charm: a reference point for many contemporary authors, and unsurpassed luck at our academies.

could be a long debate on the great works of the past and their contemporary world, just taking some of the suggestions of the critics eliottiana more salty. But there is rifarebbe mostly at the hands of concept, not aesthetics and, once again, we scan the direct approach to contemporary works. Doing so would turn the man of today-l 'author, the reader and the child-feelings and places that belong only in small measure, depriving him of an art and a literature that, beyond any literary elite, invite him to reflect and to reflect and express the feelings of their time and the ever-expanding community of which it is intended to be part, rather than keep them away from contemporary events. Serious harm to the community that I personally do not feel the soul of support, increasingly they are far too many people who, with malice, they do everything because it will be sustained and prosper.

In this attitude will be necessary to offer a critique extended to the ways and means of communications and a poetic approach of a bardic the other in contemporary time introduced: I do not see how else you expected to achieve comprehensive solutions that meet the contact of poetry and its reception in the large floating among the media community.

[ you can download and read the original editorial essay in the format by clicking -> download PDF]

[published in: Praz!. The craft of criticism No 6-7, 1997, pp. 42-49. ]

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Notes:

1. Franco Marcoaldi , Celibi al limbo , Einaudi, Torino 1996, p. 29.  
2. Cfr. Jean Baudrillard , La trasparenza del male , Sugarco, Milano 1991: in particolare i capitoli riguardanti la transessualità, la transeconomia, la transpolitica e la transestetica.
3. Su politica e cultura vedi: Alberto Abruzzese , Analfabeti di tutto il mondo uniamoci, Costa & Nolan, Genova 1996.
4. «Prima e al di là del riferimento a una verità trasmessa e "tradita" l'orizzonte "postumo" delle scritture e di quella che noi chiamiamo letteratura) will be recognized for something set in their "after", drawn from experiences in their present something that remains "after" in their persistence when they ran out of life that created it. In this sense, one should pay attention to the material nature of writing itself, the spatial and temporal limits of real life, the same randomness and uncertainties of the individual and collective, namely that of the individual authors and that of social groups, civilizations and cultures. The condition of the posthumous writings are first and foremost is the inevitable relationship of any experience with death and destruction and the continuation of something which, precisely in its being beyond the death and ruins, remains marked by them (physical death, concrete, irreversible, non-metaphysical death, not mere subtraction of spiritual substance), " Giulio Ferroni, After the end. The condition posthumous literary , Einaudi, Torino 1996, p. 5.
5. Auden pointed out: "Some writers confuse authenticity, which should always aim at, with originality, for which one should never bother. There is a certain kind of person who is so dominated by the desire to be loved only for himself but must constantly test those around him with annoying behaviors, he says and does must be admired, not because is intrinsically worthy of admiration, but because it is his observation, his gesture. This does not explain quite a lot of avant-garde art? "Writing," in WH Auden, The Dyer's Hand , Vintage, New York 1989, p. 19.
6. Act Feb. 8, 1948, No 47, "Provisions on the press." In particular, Article 3 defines the role of managing director, while Article 5 paragraph 3, in relation to documents filed with the clerk of the court, reads: "a document showing the entry in the register of journalists, in cases where this is required by the laws on employment ". See Penal Code, Code of Criminal Procedure, read with complementary , Giuffrè, Milano 1992, pp. 1589-1594.
7. Ted Hughes, Thought-Fox and Other Poems , Mondadori, Milan 1973, trans. Camillo Pennati. This is a selection of poems taken from the first four collections of verse, Hughes ranging from 1957 to 1970, all published in the United Kingdom London publisher Faber & Faber: The Hawk in the Rain (1957), Lupercalia (1960), Wodwo (1967) and Crow (1970). Since the early nineties they expect the new translations of some of the most recent harvest, the which, for unknown reasons, are retained by Mondadori. See Unit 2, Monday November 11, 1996, p.6.
8. See Unit 2, Monday June 12, 1995, pp. 6-7 .
9. See, as an example in Anglo-Saxon for a way to present more pronounced in a newspaper a poem inspired by a true story, a bombardment of the Gulf War of 1991, the long poem by Tony Harrison "A Cold Coming "appeared in The Guardian March 18, 1991. See also Massimo Bacigalupo , (ed.), "A cold coming ', in Poetry No 99 a. IX, Crocetti, Milano 1996, pp. 2-13; Tony Harrison, 'V' and other poems , Einaudi, Torino 1996. For contemporary poetry dedicated to the events closely in place, for example, see: "Bosnian couplets," John Smith in , Those who hope to get by John , Garzanti, Milano 1993, pp. 20-21, and "Stabat Mater" in Lenis Maria Grazia , The ambush immortal, Bastogi, Foggia 1995. The choice of John Smith is linked, rather than to Pasolini couplets and even more than the elegiac Carducci, those famous and Auden's lucky: cf. New Year Letter, in Wystan Hugh Auden , Collected Poems, Vintage, New York 1991, pp. 197-243 (first ed. English Wystan Hugh Auden , New Year Letter, Faber & Faber, London 1940).
10. " Charm (spell) is to carmen, song, and associations are the main spell with the music, the sound and rhythm. The indigenous word to spell is spell, which is related, albeit indirectly, to another meaning of spell in the sense to read letter by letter o suono per suono. Riddle (enigma) viene dalla stessa radice di read (leggere): infatti read a riddle (interpretare un indovinello) una volta era praticamente un verbo con un oggetto affine, come raccontare un racconto o cantare una canzone . E come le connessioni dell'incantesimo sono piú vicine alla musica, cosí l'enigma ha affinità pittoriche, in relazione a cifre, acrostici, rebus, poesia concreta e calligrammi, e con tutto ciò che pone l'enfasi sull'aspetto visivo della letteratura», «Charms and Riddles», in Northrop Frye , Spiritus Mundi , Indiana University Press, Bloomington and London 1976, pp. 123.
11. just think that the Second World War to 1975, the year of the awarding of a Nobel Montale, include at least twelve editions in English dedicated to his poetry, including, in addition to those of his friend Ghanshyam Singh, we note the Venetian edition: Eugenio Montale , Poems, published by Lantern, Bologna 1960, with translations by Robert Lowell, a study by Alfredo Rizzardi and a watercolor by Giorgio Morandi. For some aspects of contemporary poetry and last Montale, see the intervention of Alfonso Berardinelli "The boundaries of poetry," in AA. Vv. , The word found , Marsilio, Venice 1995, edited by Maria Ida Gaeta and Gabriella Sica, pp. 211-216.
12. See 'Tradition and the Individual Talent "and" Hamlet and His Problems, "in Thomas Stearns Eliot , The Sacred Wood, Methuen & Co., London 1920. With regard to the universality of its size and the intervention critical era as they were intended-to-Eliot is also useful to consult the essays' The Perfect Critic "and" Imperfect Critics ", collected in the same volume.
13. " Presence of silence", in Aa. Vv. , The word found , cit., Pp. 168-171.

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Poetry and Criticism 'Hypatia of Alexandria' Mary Dzielska

of Luciano Albanian

[ Dzielska, Maria, Hypatia of Alexandria , Harvard University Press, Cambridge (Mass.)-London 1996, XII- 157 pp.]

The essay is built on a clear contrast between the "legend of Hypatia" and the historical reality. The first area is mostly in the works of a highly literary. According to this tradition, Hypatia is above all the "pagan martyr" in the dual sense witness the demise of the classical world and the Christian victims of intolerance. His tragic death is a sort of prelude to the Middle Ages, the barbarity of the "dark ages". The introductory part of the book is devoted specifically examine the most important features of this line of argument.

In a quick but effective reconnaissance, which is ideally resumed and completed the work of R. Asmus ( Hypatia in Tradition und Dichtung, Berlin 1907), are examined, first, the authors of the eighteenth century English and French that have contributed most to the formation the legend of Hypatia by the symbol of reason against obscurantism Church: Toland, Voltaire, Gibbon, Fielding. The focus then shifts Sull'Ottocento with Leconte de Lisle, Gerard de Nerval, Maurice Barres, Charles Kingsley. Hypatia became a romantic heroine, who embodies "the spirit of Plato in the body of Aphrodite," and addresses the Christian mob armed only with culture and beauty. Follow the British and American positivists such as JW Draper, forming a precursor of Hypatia of Marie Curie sacrificed on the altar of science: shooting interpretation by historians of science, as Van der Waerden, or more recently, M. Alice and the Dictionary of Scientific Biography .

No less attention is dedicated to Italian contributions (Diodata of Saluzzo Roero, Charles Pascal and Mario Luzi), German (Arnulf Zittelmann) and Canadian (Ferretti and Jean Marcel André). Rounding out the overview of the feminist literature, particularly Ursula Molinaro, and essays on Black Athena inaugurated by Bernal, which is the first victim of the oppression of Hypatia "colonial" in the Western Christian world against the Afro-Asian world, the true cradle of civilization, even dispossessed of this title.

the legend of Hypatia "oppose, however - this is the theme of the second part of the essay - a series of historical data, most notably the fact that most students and friends of Hypatia were actually Christians. He was a Christian, in particular, and the Bishop of Ptolemais, that Synesius of Cyrene, which remains the most famous of his students, whose letters - from A thoroughly examined. - Confirmation that the circle of Hypatia "real" pagans were to be few. There is even a tradition - but has always been considered unreliable - that was the same Christian Hypatia: Nestorian more exactly, and this would be born by the contrast with Cyril. In any event, even if the paganism of Hypatia, as already noted Hoche in 1860, there can be no doubt, the feeling is that it seeks - that is the basic thesis of Dzielska - to remain equidistant between pagans and Christians.

This attitude is demonstrated, according to A. From the fact that neither Hypatia, nor his students appear to have played an active role in the defense of the Temple of Serapis in Alexandria (destroyed in 391), defense and instead engaged a good number of exponents of Neo, most notably the Olympic Philosophy, held in Damascus in the Life of Isidore , and then ammonium, Helladic, and perhaps the same Claudian, paganus pervicacissimus , which in those years was still in Alexandria . This confirms the intention to remain neutral in the conflict between pagans and Christians, and reveal a kind of aristocratic detachment, typical of a mind prone to mathematical rationality, towards the religion of the masses and practices of a cult that borders on magic and divination. No coincidence that the sources describe as a follower of Platinum Hypatia, the neo-Platonic less compromised with this type of operation.

Hypatia, therefore, was not a "pagan assault" as Olympian, or a sworn enemy of Christians. But then why she was killed so brutally by a group of Christian fanatics, perhaps instigated by the bishop Cyril, however, and that were part of his personal guard, the so-called Parabolan? The pagan sources (mainly the Suda, which is based on fourth Hesychius of Miletus and up to three quarters on the Life of Isidore of Damascus) do not give a satisfactory answer, merely to give direct responsibility for the murder to Cyril, without examining the reasons for his hostility to Hypatia.

More light is cast on the episode instead of some patristic sources, especially Socrates School, always judged by the author of the story more detailed and more reliable. They've got it as scholars Hoche, Asmus, Praechter, Lacombrade (referred to also see the recent article written for the "Reallexikon für Antike und Christentum '), and Socrates is also based guide to the reconstruction of Dzielska.

Rumor says Socrates (HE VII, 15), Hypatia, which exerted a great influence on the imperial prefect of Egypt, Orestes, was opposed to reconciliation between him and Cyril. So one day she was attacked by a mob of Christians exalted, smashed and burned at the Cinarone. From this stemmed a big blame on Cyril of Alexandria and the Church itself. The background to the 'same episode are further clarified by Socrates (HE VII, 7 ff.). The prefect Orestes was a Christian. However, he tried to oppose the policy of Cyril.

After his election, Cyril had erected a defender of 'orthodoxy (that is, its vision of Christianity, which he will prevail at the Council of Ephesus), is oppressing dissidents, such as Novatianists that the followers of other religions, Jews (who managed to drive from Alexandria) and pagans . That could turn 'outbreaks dormant just after the events of 391, creating serious problems of public policy, a sphere of jurisdiction of the Empire. They had already been incurred, for that reason, very bitter conflict between Orestes and Cyril. Orestes had been arrested and tortured, on the recommendation of the Jewish community, an agent provocateur of Cyril. In retaliation five hundred monks, called for that purpose by their hermitage, had staged a violent demonstration against Orestes, and one of them, ammonium, wounded him with a stone. The prefect had him tortured to death, and Cyril had 'glorified as a martyr, which it renamed Taumasio.

In the "relentless war" (Socrates) between Orestes and Cyril, Hypatia must have Oreste provided - these are the conclusions of Dzielska - a kind of political support. Also From the letters of Hypatia Sinesio that exerted a significant influence on prominent political figures and military. Many imperial dignitaries were his pupils, and she had personal contacts with representatives of public life in Cyrene, in Constantinople and Syria. The same Suda speaks of a coming and going personality in front of his home show, this, that had aroused the wrath of Cyril. Using the support of Hypatia, Orestes must have formed a political party opposed to the bishop of Alexandria.

has been mapped out a scenario that sees not, or not so much a clash between pagans and Christians, as a clash between two Christian factions: an intransigent and "orthodox", led by Cyril, and respectful of the prerogatives of ' imperial authority and tolerant of other faiths, including Judaism and paganism itself. In this scenario - destined to repeat itself over the centuries - Hypatia was therefore not a minor part. It is clear, in fact, that she was siding with Orestes, in fact - as claimed by the A. - It was the main political support. The rumors about him, given by Socrates, therefore, were not entirely unfounded. But the hostility of Cyril against Hypatia could have other origins.

The best-known student of Hypatia, Synesius of Cyrene, was also one of the leading exponents of Christian Platonism, ie the phase of "acute Hellenization" of Christianity - the stage that will extend in Renaissance Platonism - that interprets the Trinitarian dogma in the light of Neoplatonic triad. Hadot has shown, Porphyry and Victorinus, the dependence of both, Victorinus and Sines, porphyria. But through Porfirio Sinesio had been in contact with the Chaldean Oracles , one of the key texts of the Platonic tradition. The influence of Oracles on Synesius perceived both in Hymns that De insomniis , is very strong, and formed the subject of detailed essay by Theiler, Die chaldäischen Orakel und die Hymnen des Synesios , then taken up by des Places in his edition of the Oracles and Garza in his edition of Sines.

This in turn raises a problem not easily solved: what nature was the teaching of Hypatia? Was it Hypatia the same origin of that process platonizzazione of Alexandrian Christianity that was to constitute a second reason for concern for a man. as Cyril, who looked with suspicion the same Origen as more greek than Christian? The sources (always the way Suda Hesychius) to attach comments to Diophantus Hypatia, the Conics of Apollonius, and identified with the work Prochêiroi kanonês of Ptolemy. Since this work is attributed to Hypatia, this should be the version of the same - the only form in which we own - generally attributed to Theon of Alexandria, but in reality (according to the hypothesis already advanced by Usener and taken up by Cameron) would be the result of work of her daughter. And because the codes attributed to Hypatia also the edition of the Book III Syntaxis commentary by his father, and comments on Diophantus and Apollonia are partly survived the first Arab in the comments, and to EuToch the second, we should have a most of his scientific production.

But Hypatia's teaching focused primarily, if not exclusively, on mathematics and astronomy, or follow other paths? The Dzielska on sheet A. Cameron ( Barbarians and Politics at the Court of Arcadius , Berkeley 1993), seems inclined to answer in the affirmative. In fact, if the De gift of Sines reflect the teachings of Hypatia not only for what concerns the construction of the astrolabe, but also for what concerns the relationship between theology and astronomy, it follows that the science of the stars, and then mathematics is a ascetic discipline preparatory to the ineffable, that is, towards the theology of the One. If we reflect the teachings of Hypatia, albeit only partially, the interests of Sines to the traditional gods of Egypt (De Providence) and from alchemy (in an almost certainly his, addressed to a priest of Serapis in Alexandria), one should conclude, as does Cameron, that the Oracles of the Chaldeans Hypatia was to account for - as for the other Neoplatonists - a kind of Bible.

But here, obviously, there is a difficulty. If the teaching of Hypatia was this, it becomes difficult to sustain, as the Dzielska that Hypatia and his circle were indifferent to the destruction of the Temple of Serapis. Especially since the building housed in its outer belt is also a rich library, "daughter of" the most famous library of the Museum. Although it is possible, after the painstaking work of EA Parsons ( The Alexandrian Library, London 1952), that the books were destroyed, is at least certain that they were largely stolen. In any case, the insult not only to religion, but at the same pagan culture was too big for one. educated woman, intelligent and sensitive as Hypatia remained indifferent.

is difficult, in fact, that the same woman-who objected to Cyril could have remained indifferent to Teofilo. How 'says John of Nikiu, Cyril did nothing but bring to completion the work of Theophilus. The arrival of Cyril must have pushed Hypatia to fight because they do not repeat the carnage perpetrated by Teofilo. Fortunately, not all Christians were like Cyril: there were men more open and tolerant, with which it was appropriate to take sides. This decision, unfortunately, was fatal.

The most valuable of the book of Dzielska lies in strict adherence to classical sources and the scientific literature, which offers an almost exhaustive examination, at the same time doing a useful work of spreading the same at a wider audience than specialists. Hence probably its only flaw, that the juxtaposition of "two" Hypatia. The first scientist aristocratic and "Plotinus" indifferent to the earthly disasters, on which the tragedy seems to fall as if by accident. The second, politically committed against intolerance and consciously hostile to Cyril. This defect, of course, derives from the fundamental dualism of sources, which describe, on the one hand, a victim only Hypatia (the pagan sources), on the other, Hypatia an active part in the story (the Christian sources). It is certainly a demonstration of the seriousness historiographical take account of both traditions. However, the legend, in this case, will always be a real advantage on the story: that of having a choice.

[ you can download and read the editorial review in the original format by clicking -> download PDF]

[published in: elenchos. Review of studies on ancient thought No XVIII / 2, 1997, pp. 416-21. ]

---

On the Internet:

• Dzielska, Maria, Hypatia of Alexandria , Harvard University Press, Cambridge ( Mass.)-London 1996.
• Wikipedia: Hypatia .

Power Of Attorney Texas

Profession lover


AUTHOR: Giuseppe
Starring: Jan Holsen / Miguel Le Breton
GENRE: Erotic
RATING: NC 17
DISCLAIMER: I just took inspiration from the "Special Team Leipzig" but the characters are completely original
SUMMARY: Jan Holsen professional gigolo will dare go against a ruthless drug lord? His protector will pull him out of trouble or things will get worse?
Feedback: giusipatito@yahoo.it



White Rabbit


The roadmap said, always follow the coniglio bianco. Jan ci aveva messo poco a scoprire che il coniglio bianco era il nome di un bar che logicamente non era un vero bar ma un troiaio. Un locale per scambisti con tanto di spogliarelli e ballerine di Lap dance. Si maledì per aver dato di nuovo retta a Miguel ed essere venuto in taxi. Difatti il tassista non sapeva un accidente di dove si trovasse il coniglio bianco, e da quasi due ore giravano come trottole nel hinterland di Berlino.Tra l’altro odiava passare per i sobborghi, gli ricordavano troppo il quartiere dove era cresciuto.
Finalmente trovarono il locale, all’insegna mancavano tre luci.
“Mi lasci pure qui” gli appioppò venti euro e poi scese. L’omuncolo li accettò e prima di andarsene gridò: "Farewell fennel Jan Holsen said the middle finger and then swore. Already that evening did not really want to work, there was Bayer Monaco - Borussia. He loved to die for football, had also practiced as a kid now than he kicked over a can of beer.
He passed a group of people waiting to enter.
"Hello Jan, enter" threw out the one recognized him.
"Berger" was pleased to see a familiar face. Berger was a friend of his, although it was more a friend of Miguel.
"You talk to the guy with white hair and whiskers, his name is Eduard Rott, who you will give him an appointment"
"Very well thank you" Following a final pat on the back Jan ventured to enter. Like all the crap he had to attend taverns that also had little lighting and the smell of semen was a slap in the face given to the open hand. He covered his mouth in disgust and then, to drive the nervous, stroked his brown leather jacket. After a short corridor reached the main hall. The furniture was scarce and poor, a bar where the cocktails were dished out, a dozen small tables scattered here and there, and of course the stage where some half-naked little girls stage a sort of Decameron lesbian. Finally eyed his man
"Edward?"
"You are Jan's boyfriend Miguel"
"I qui per il lavoro, sì” gli dava sempre fastidio quando lo definivano ‘ragazzo di Miguel’. Lo faceva sembrare una sua proprietà, ed era l’ultima cosa che avrebbe voluto. Ma da oltre cinque anni era il suo protettore e anche volendo non sarebbe riuscito a privarsi di lui. Li legavano troppe faccende. Jan non avrebbe mai ammesso che senza Miguel sentiva perso.
“La coppia ti aspetta al primo piano, la terza stanza sulla destra.”
“Che tipi sono?”
“Beh lui sembra mezzo suonato, lei però è molto carina, slava”
“Sempre slave” sbuffò, a lui piacevano more, magari non tanto alte e con i fianchi importanti, era stufo di farsi sempre lo stesso genere di donna: alta, bionda, rifatta. Ma gli uomini ricchi, che erano la maggioranza dei suoi clienti, le preferivano così: bamboline da sbattere o meglio da far sbattere. Si accomiatò da Eduard e seguì la linea tratteggiata sul linoleum che conduceva alle scale.
Il nuovo corridoio sembrava quello di un albergo, c’erano porte sia a destra sia a sinistra. Da dietro ad esse provenivano gemiti e altri rumori ai quali Jan era fin troppo abituato. Bussò.
Un uomo sui cinquanta, talmente magro che non si capiva bene da dove traesse la forza per reggersi in piedi, pelato davanti e con un buffo codino, lo fece entrare.
“Si accomodi” da come parlava ansante sembrava avesse un enfisema o qualcosa che was slowly killing him.
"Good evening" Jan looked around the room was even more anonymous than a motel and the smiling girl sitting on the bed was terribly insignificant. He thought it would be hard to have it be a great undertaking, and cursed herself for leaving the house to viagra.
"Hello" she made her ecstatic expression. "Rott said you were beautiful but not so realistic I thought it was his description" got up and met him.
"He's always horny" the man said "this happens to leave a mature woman for a teenager in heat" to the word teenager shot the professionalism di Jan
“È maggiorenne oltre che arrapata?” lo fulminò con lo sguardo.
“Diciotto anni e sei mesi proprio oggi, Belinda fai vedere i documenti” lei sorridendo smorfiosa tirò fuori dalla Luis Vuitton la carta d’identità. Jan controllò con accuratezza poi restituì.
“Tutto a posto, poliziotto? Sono in regola?” civettò smorfiosa.
“Tutto a posto” ripeté lui cercando di trovare intrigante quello che scontato.
Il cornuto prese il suo posto in prima fila, seduto su una poltrona strategicamente posta ai piedi del letto, mentre Belinda si toglieva le autoreggenti bianche. Jan le fu addosso pronto a disegnarle un bel pigiama di saliva. Fu rallegrato che quanto meno non sapesse di qualche squallido profumo costoso, conservava invece un sano odore adolescenziale. E questo fece risvegliare i suoi sensi attutiti oltre che a far defluire i centilitri di sangue necessari per guadagnarsi una robusta erezione.


“Chi mi paga?” Jan non aspettò neanche che il cornuto si fosse ripulito, Belinda invece era in bagno probabilmente a smaltire l’ubriacatura da orgasmi multipli.
“Con Miguel ero d’accordo che li davo a lui”
Lo aggredì ponendo la sua alta figura contro la sua piccola e insicura. “Non mi fido di lui. Dammi i miei millecinquecento euro se non vuoi che pianti un casino” l’uomo, essendo infinitamente less gifted physically backed away, scared of impetuousness younger.
"Okay, do not worry, I will pay. Among the other was so good, I'm sure my little one will want to fiddle with her new "
" If he wants to fool around with me to hurry up and bring out the grain "
From the pocket of a coat probably exaggerated by the value, the ' homunculus took out the money. It was an old trick too abused: Jan did pay the first so that Miguel was going to cash in, at which point the fee would be doubled without much effort. But no one usually had to say, and because the bill if Jan is earned because were almost all filthy rich. Therefore, most euro, euro less. it made no difference.
Belinda left the bathroom smiling, he wanted to leave her stud with a nice kiss, but he politely refused any advances. The couple left without saying goodbye.

Miguel was doing weights in the living room when he heard the roommate enter. It was not unusual for two in the morning did gymnastics. Miguel Le Breton led a life completely disconnected from society for schedules and habits. For example, if the restaurant was never ordered the first second, always to start from fresh. Then stated that if he had entered the rest would come up all'antipasto. He had the habit of starting from below also in business as in sex, in fact it was a foot fetishist. The intrigues not touched, he preferred the business in particular those leading easy money. He lived in an apartment in the ultra-luxury percent of Berlin. He loved to surround himself with beautiful things for the sake of having them. The box contained only clothes closets of couture and luxury bathroom as well as being in all respects as a small beauty farm, each containing male cosmetic expensive sale in the city. He had just thirty-two, among other things, she looks great, but took care of his appearance with the craziness of a middle-aged lady. Her eyes were clear and reassuring, the mischievous smile, muscular arms: bodyguard ideal for any woman. To make it even more sexy a scar under the lip, procuratasi during a confrontation with a peer during adolescence. At least this was his version. Jan
pushed the card into the slot, a snap decision and the door opened.
"But I think that this is the time to workout?"
"How did it go?" Miguel got up to welcome her man. She kissed him on the neck, "You stink of the brothel"
"And what do you think I should smell of incense? I was not mica in church! "Took off his shirt still drenched in all the scents of white rabbit. When he was naked, jumped in the shower. Miguel followed him in the bathroom, picked up his pants lying on the ground.
"Always wake up my boy," chuckled while condescending catch the notes from his pants pocket, counted them to be safe then left the room smiling. Maybe should have a wash but he preferred to lie down on the couch drinking brandy.
slept in their own room, Jan was not wearing it was not even allowed to bring any customer and those rare occasions when he had an appointment real Miguel advised in advance of ordering not at home.
After the night at the White Rabbit, Jan woke up it was already one o'clock on the night table next to the bed he found a note from Miguel, was written: you have an appointment alle otto a Rudower Straße, 90. Vestito elegante. Il giovane imprecò a mezza bocca, ma non voleva pensare, non prima di aver bevuto un caffè lungo, ingurgitato horaffen, e spremuta d’arancia. Per sua fortuna la loro domestica aveva fatto previste il giorno prima. Dopo essersi rifocillato fece la doccia. In accappatoio entrò nella grande cabina armadio dove tirò fuori una camicia rosa e un bel vestito blu “lo troverà abbastanza elegante il capo?” pensò ad alta voce. Sapeva che ci sarebbe stato anche lui a quell’indirizzo. E tutto sommato gli piaceva che vigilasse su di lui in quel modo. Era molto protettivo nei suoi confronti, da questo punto di vista non poteva capitargli magnaccia migliore! Arrivò a Rudower Straße, 90 alle cinque. Pensò di fare un giretto. Il tempo sembrava non passare mai. Sperò in una telefonata di Miguel, provò a chiamare lui ma dio solo sapeva dove si andava a cacciare di giorno. Di solito s’incontravano sempre di notte, o di prima mattina se erano entrambi ancora svegli. Alle otto in punto si fece trovare davanti al luogo dell’appuntamento. Si trattava di un portone di uno stabile elegante. “La signorina Legarn l’aspetta al quinto piano, troverà l’ascensore sulla destra” fece sapere il portiere, un uomo di mezza età stempiato e di bassa statura. Jan posò lo sguardo su di lui poi tornò ad osservare attorno a sé: “Prima devo attendere un amico”
“Se the friend is a man with short dark hair and has already gone up and wait, sir, "
" Let there be less general, there are many who have short hair and dark "is annoyed.
"Le Breton, I think he said, a French surname"
"Okay, then I can go," sighed with relief.
Just walked down the hallway outside the elevator that would take him on arrival. He heard the busy hum through the door. A blonde girl and the tipsy already opened, unleashing a radiant smile.
"Jan Six is \u200b\u200bnot it?" Looked him from head to toe "I hope so!"
"Yes, it's me"
"Even your friend is cute, enter" grabbed his arm so that he found himself inside the apartment. Looking around he noticed that it was an elegantly furnished loft. Having scrutinized the mobile video the other occupants: half a dozen girls, all between twenty and thirty had surrounded Miguel sunk comfortably into a velvet chair. He laughed too, as they raced to mess up his hair and rubbing her breasts under her nose.
"Hello Jan, I'm glad you did not you missed"
"How do you lose if you force me to always go by taxi?"
"Come on, pastry, do not take it, you know that without a car I stand there "had a car in two and Jan always complained of being on foot. Miguel took him by the arm, inviting him to come closer. All looked at him horny. "But it is a kind of orgy of women only?" Jan said with his mouth when he was one step away from the ear of his patron.
"Do not you understand? I know you are my friend sailed! It is a hen! "
" And the bride who would it be? "
" not yet arrived, you are still the main attraction "
" Yeah, but first we have fun with you, "interjected a brunette and curly. She took him by the life and drew her to him. He pushed his lips its fine. Jan accepted the language. Soon, all seven kissed him in turn and found himself to dirty shades of lipstick from the front of the shirt collar.
"On a quiet girl, I do not scrambled too" Miguel dodged him, embracing him. It
apartment. "Are you having fun?"
"I'm wild!"
He looked around as if afraid of being heard: "Play Jan: you must be available at the birthday girl, got on?"
"Why this distinction? Fuck is my job, or do you think it makes me problems for her future husband? "
" Poor bastard, you bastard already! " chuckled "what I mean is: Work hard, the person who wants you to pay the face full service" Jan always gave a little 'bored when expressed with phrases like' full service '' chore soft 'and so on. Jan was raised on the streets, used to call things by their name. "I have come to her mouth and her ass, why not speak out?" Stared at the widening cracks blue. Miguel gently stroked his beard just checked.
"You do seem almost poetic" her voice was sweet. Without notice to kiss her lips. It lasted just a second.
"You are now stained with lipstick too," muttered cynically, Jan, was actually upset, but he avoided showing it. Miguel, after a hearty pat on the back of the ladies invited him to return.

Watch Fishsticks Southpark

Death of a Beat poet. Gregory Corso died last January in Capri

Nicola D'Ugo

had seventy Gregory Corso, the most pro-European poet of the Beat Generation, the movement that the Fifties had opened the way for the youth protest in America. He died in January at the hospital of North Memorial Medical Center in Robbinsdale, Minnesota, where in September he had moved to the home of his daughter Sheri Langerman, a nurse, for prostate cancer.

self-taught poet (read Dostoyevsky, Russian, French and English Stendhal Percy Shelley in prison), his language is still considered as the dream of the Beat Generation, even the most naive and naive . In order to bring poetry to a colloquial language, street, typical of New York poets of the fifties and sixties, was able to tell directly, as a chronicle extemporaneous speech, events, and the health of Americans. First of all, avoiding the rhetoric of mass of youth claims that, to the extent that they wanted to be revolutionary, ended up being dictated by the schematic again, habits and formal constraints that were in contradiction with the idea of \u200b\u200ba free man as Corso aspired. With his irony has written a provocative anti-Beat, to the extent that, in time, be Beat meant to be fashionable.

Even within the Beat Generation was always included. Allen Ginsberg and Jack Keroack pointed him out as the best poet of America, while another great writer of the Beat movement, the publisher of City Lights Lawrence Ferlinghetti, a publication denied him, believing fascist including only years after he had been wrong, which course did not like the proclamations and the ideologies canonized by a group.

The most famous poem of course, "Bomb" (Bomba, 1958), was the object of misunderstanding. Written in the form of a nuclear mushroom, is an elegy satirical, full of humor and rhythm. After witnessing the demonstration of a nuclear test in England and zealous pacifist against the bomb, if the New York poet grappling with the violent expression of pacifism itself, forming a "love letter" to the atomic bomb against generating human stupidity violence course for the bomb was a product of history, a mentality that was involving all the wrong end, militarists and pacifists alike, who saw being challenged on grounds of violence, which induced expression in the individual and socially shared both sides. The famous film by Stanley Kubrick Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb came eight years later, and took a much less ambiguous language of poetry by Gregory Corso. Moreover, this so ironic to write an elegy against destructive human race had already been used at the end of ten years from the greatest poet of the war and the pity: Wilfred Owen ( Poems of War, Einaudi, Torino 1985). So, in "The American Way" (The American Way), the arrows of Italian-American poet against the 'American dream take the bend of a colloquial speech, in which points out, in line with Walt Whitman, of evil' America the Americans themselves and not their rulers, who are unaware (and managers) of American contradictions. The poetry of course, you can see the parallels with the famous poem "America" \u200b\u200bby Allen Ginsberg, is part of the historical process, not only in their own time and in the current political scenario.

daring writer on language, certainly unusual, sometimes bizarre (like the sea when he says that what you eat is the adoptive mother and not a fish), but also and especially from a reading of life made before the books, the streets, Gregory Corso was born March 26, 1930 in Greenwich Village, the bohemian quarter of New York, where they would be passed, in addition to Keroack and Ginsberg, legendary figures like Dylan Thomas and Henry Miller and, when he became rich, Bob Dylan. Far from being the birthplace of poetry: the two parents were bohemian, but two teenagers of Italian origin of seventeen and sixteen, who left six months after the birth of the poet, and his mother returned to Italy. Since then the child's life was an impressive series of admissions in orphanages, foster care and running away from home of his father, who had taken with him at the age of 11 years. Twelve ends up in reform school, serving three to seventeen years in prison for stealing a radio. That's where he learned the difficulties of prisoners and their humanity, and began writing poems. Released from prison, he met in a Greenwich Village bar frequented by lesbians as Beat poet Allen Ginsberg, who introduced him to avant-garde writing, and soon to fame among New York writers. But it is not an easy life. Thirty years moving from one job to another, he embarks for South America and South Africa, and finally lands in Europe. Introduction alla raccolta più celebre di Corso, Gasoline (Benzina), Allen Ginsberg segnala al lettore che Corso è forse il più grande poeta americano, ma di fatto fa la fame in Europa.

Erano anni in cui la Beat Generation subiva attacchi non solo dai circoli letterari tradizionali, ma dalle corti di giustizia, e in cui era facile essere additati come comunisti. Durante gli anni del terrore macarthista in America, Corso preferì abbandonare l’insegnamento della poesia di Shelley all’università piuttosto di sottoscrivere la dichiarazione di non essere un comunista. Più che al comunismo, l’attenzione di Corso era rivolta all’affrancamento dalle regole, attraverso classical culture and Buddhism, not to mention Christianity. According to Ann Douglas, professor of American studies at Columbia University, the poem "Marriage" (marriage) be a source of encouragement for women's empowerment:

"Women looked at Corso and other Beat poets, and wondered "If these same men can be free from gender roles of pre-marriage, working for a corporation and so forth-why not us?" And he followed suit. Corso, who was married three times, ended the essay with: "Ah, yet well I know that if a woman possible as I am possible then marriage be possible. "

unruly, drug addicts and alcoholics in life, even in recent times by ill, had not lost the love of freedom which was known in his youth. The daughter Sheri Langerman said that last September found him in a desperate condition, left to himself in the house, refusing the help of friends:

I dovergli already preparing the funeral, but then it was taken: enough to drink, curse and hold back the poker games.

He had brought with him from New York to Minnesota, where course after an initial "shock cultural, "he began to play with the grandkids and leave the house. And he had lost even the humorous vein:

Once we took him to the casino in a wheelchair, wrapped in blankets and flowers, which seemed to Whistler's mother. He took $ 1,200 away from the blackjack table. When the casino employee called him "Lady", he said: "I'll take it as a compliment. It means that I have a beautiful skin."

course has continued to work late last. "Poetry is my paradise," said a boy. The week before he died, he recorded a CD of music and poetry with Marianne Faithfull home of her daughter Sheri. He left five children, seven grandchildren and one great-grandchild. Before he died, he expressed the wish that, after the funeral in the church of Our Lady of Pompeii (Our Lady of Pompeii) in Greenwich Village, his ashes were buried in Italy, in Rome's Protestant Cemetery, beside the grave of the English romantic poet Percy Shelley.

Read today's poetry helps us to understand the atmosphere and the reflections of a man who lived and recounted some of the most significant and controversial of the war, in which, alongside the economic boom and the Cold War, were manifested new demands of individual freedom and ideological repression of democracy in the country most famous.

[ you can download and read the original article in the editorial format by clicking -> download PDF]

[posted in: News ... Backlight, No X / 3, March 2001, pp. 20-21. ]

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Bibliography:

• Corso, Gregory , Petrol, Bloomsbury Publishing, Parma 1969. Edited by Gianni Manarini.
• -, Gasoline , City Lights, San Francisco 1958.
• -, Poems, Bloomsbury Publishing, Parma 1976. Edited by Gianni Manarini.
• Owen, Wilfred , Poems of War, Einaudi, Torino 1985. By Sergio Rufino.

On the Internet:

• "Bomb" .
• "Marriage" .
• "The American Way" .
• A translation of "Bomb" .
• A translation of "Marriage" .
• Wikipedia: Gregory Corso .

Retirement Announcement Examples

of Luciano Albanian

Nietzsche spent the winter of 1876-77 in Sorrento, in the company of Paul Ree and his old friend von Malwida Meysenbug, which was established in this city since 1862 and at which he found hospitality. During this period, Nietzsche visited all the surrounding territory, and of course also made an excursion to Capri.

Nietzsche was then thirty-two. In 1869 he became professor of classical philology at Basel University, and was famous for publication in 1872 of Birth of Tragedy and the violent controversy that had followed. However in 1876 her health had deteriorated to the point that in 1879 pushed him to leave teaching. The trip to Sorrento and a visit to Capri is situated at a critical moment in the life of Nietzsche, in which he essentially was taking an important decision: to cease its activities to become a philologist, philosopher, but a philosopher-type Specifically, when life, action and body language would form the center and the stimulus for each reflection.

The South and the East in general, have to always exerted a great attraction for the Germans, and in particular men of culture. Before Nietzsche, Goethe had already made a trip to Italy, and described the South with colors so vivid to exacerbate further the desire of sun and freedom - let us say of anarchy - of many German intellectuals and philosophers, who, impatient of the rigid education Protestant felt - as he said the young man talking about Hegel Kant - of 'having your own master within himself', in a word to be slaves themselves. In Nietzsche, this same desire for freedom are added and blended with the spirit of rebellion that permeated his philosophical musings, and invested the whole tradition German philosophical idealism, which he - the last heir to the Hegelian Left - try a birth of Protestant Christianity. Already in Feuerbach's repudiation of Christianity and the monotheistic religion had an inevitable effect of increasing sympathy for pagan worship and polytheism, in which the welding between man and nature emerges powerfully as the primary data. Nietzsche - The Birth of Tragedy that in had placed at the center of discussions of the importance of the 'Dionysian' and the irrational in human existence - seems attracted to Capri, especially from the cult that Christianity had always considered his worst enemy: Mithraism, the worship of the god Mithra.

This worship, according to a tradition of interpretation that Nietzsche obviously deemed reliable, took place in what the inhabitants of Capri still call the 'cave of marriage', or 'Cave Matromania or Matermania'. However, Nietzsche did not read the story of Mithra (which, however, still ignore the real meaning) through the eyes of an archaeologist or philologist. In the eyes of Nietzsche, it became a matter of flesh and blood, an event in which sacrificial exploding and uncontrollable ancient ancestral instincts. References to the 'Cave of marriage' fragments appear in the spring of 1878 (28 nos. 17, 22, 24, 25, 34, 39, vol. IV 4 Nietzsche Werke, hrsg. Von Colli-Montinari, vol. 3 IV ED. Italian).

- Mitromania. Wait until the glow of the first rays of the sun, and finally fix it, challenge him and see him off.

- Mithra - Mithra Hope

Madness!

- Cave of marriage, painting idyllic unconscious

- Tiberius: the madness of the action. Its negative: the folly of knowledge

- Imagine life as a party that has its point of departure in Mitromania.

- Mithra slaying the bull, which pounced on the snake and the scorpion

Cave reappeared a few years later in the aphorism 55 of Beyond Good and Evil . During a debate on human sacrifices Nietzsche remembers 'the sacrifice of the Emperor Tiberius in the cave of Mithra in the island of Capri, the most terrible of all Roman anachronisms'.

I would add, finally this brief and fascinating overview of Nietzsche's references to the cult of Mithra, which could be echoes of the cult itself, in Thus Spoke Zarathustra , first the name of Zarathustra-Zoroaster, that the neo-Platonic sources (Porfirio) closely related to Mithraism, and secondly, the two symbols of the serpent and the dog, ubiquitous in every tauroctony. I must point out however that it is virtually impossible to be very clear about what I have said so far. Groped to explain Mithra with Nietzsche, Nietzsche or inversely with Mithra, is like light in the dark. In the case of Mithra, we have no reliable literary documents can decipher the meaning of the paintings and reliefs, starting from the same event Central, the killing of the bull, which were given very different interpretations over time. The latest, in time, to Ulansey, even linking it to the precession of the equinoxes. In the case of Nietzsche, it is known that the character and deliberately obscure aphoristic fragments and many philosophical works by authorizing ever more varied interpretations. I shall therefore make some clarifications are of a more historical and philological, advancing when it is appropriate that those are only hypotheses at this stage of interpretation.

start with the relationship between Mithra and Campania. The cult of Mithra in Campania was quite widespread: in addition to the findings of Posillipo (the Grotta di Pozzuoli: a tauroctony visible at the National Museum of Naples [inv.6764] Carminiello to Mannes and Pizzofalcone, we Mitreo of Santa Maria Capua Vetere, with the important and beautiful frescoes and the equally important scenes of initiation, and other claims of the presence of the cult are mitriaco Calvi (ancient Cales: tauroctony terracotta, Naples Museum inv. 6854; a second tauroctony clay, very special, lies in the Berlin Museum) and Ischia (see monograph Santa Maria Capua Vetere on Vermaseren and the volume of Tam Tran Tinh on the worship of deities in eastern Campania, both published nell'EPRO).

We must now Capri. The presence of Mithra in Capri is known to all, to the point where it is spoken in the film Toto Emperor of Capri (1949) (writers Vittorio Metz, Marcello Marchesi and Luigi Comencini, who was also the director), where between merits of Toto, together with that of carrying a snake around the hat, is quoted above to "have renewed the worship of the god Mithra in Capri." But, apart from cinema, it is from Capri that comes another relief of Mithra tauroctono the National Archaeological Museum of Naples (inv. 6723). In his speech at the Congress of November 3, 2001 on the presence in the ancient oriental Capri, organized by the Istituto Universitario Orientale of Naples, Carmen Simeone has carefully reconstructed the history of this survey. The news about his oldest find was made by Luigi Giraldi, who in his description of the island of Capri (1775) says that the survey, found in a nearby vineyard, was placed at the Church of San Costanzo. Resulted in the Bourbon Museum of Portsmouth, the survey also found their permanent home in the Naples Museum, where it is currently visible. That its original location was in the Cave of Marriage and the cave itself was a mitreo is an assumption that the Count della Torre Rezzonico in its Isle of Capri (1794) writes that you "do not say that the marble was first discovered in San Costanzo Matromania to, or in the Great cave of Mithras, and the entire cave temple was prepared. " It is therefore starting from the statements of Count della Torre Rezzonico Matermania that the cave is assigned the role, hitherto unpublished, of magnum Mithrae antrum and 'natural place' pad Capri. And since the laws have always been a greater penetration of the truth, the legend, through a series of mediations, first of all the reports of travelers, had taken hold even on the big Gregorovius, that before the Grotto of Capri writes:

Everything indicates that we are in front of the cell of a temple. Matromania The name of the cave, with unintended irony that the people has changed in Marriage, as if there Tiberius had celebrated his wedding, is derived from Magnae Matris antrum or antrum Magnum Mithrae [But] it is said that the temple was dedicated not only to Mithra because the Persian god was worshiped in this place, but because this cave was found in the survey, which represents the sacrifice of Mithra [...]. The relief shows Mithras in Persian costume, kneeling on the bull in the neck as he plunged the sacrificial knife and the snake, the scorpion and the dog attack the bull. ( Figuren, Geschichte, Leben und aus Italien scenerio, Leipzig 1856, 360 ff.)

As you can see, Gregorovius as fully trusted that it was just a legend about the origin of the cave and the original location of the relief. But the authorities Gregorovius, who was also a personal friend of oltretuttutto Malwida von Meysenbug, Nietzsche was such that, when he visited Capri and the cave, could have no doubts about its meaning. But going into detail.

From what Nietzsche says it is clear that he identified Mithra with the Sun today Although this part of the communis opinio , it is not peaceful, because on the one hand, this identification seems to be reflected in the epigraphic material, in that the dedications Soli Deo Invicta Mithrae are recurring (one, written in greek, comes precisely from Ischia CIMRM I 178), on the other Mithra and the Sun are two distinct iconographic characters, as seen from the side panels of the tauroctony, and two distinct levels of initiation , Eliodromus and Pater, identified respectively with the sun and Mithra.

The feast of Mithra and Mitromania. The Zoroastrian feast of Mithra was the festival of Mihragan, and took place in a period roughly equal to our autumn. Mithraism in the Roman festival of Mithra coincided with that of the unconquered sun, and was set on December 25th, our Christmas. If the marriage was a cave mitreo as Nietzsche thinks, the feast of Mithra - that Nietzsche was of course the more general meaning of 'celebration of life' and the joy of living - could also take place there. In fact, as we have seen there is no evidence that it was, but Nietzsche threw his marriage on the Cave of the desire for freedom. Not by chance in 28, 33, Nietzsche speaks of the period lived in Sorrento as a liberation: "In Sorrento I threw it behind his back nine years of stickiness."

The connection between Mithra and Hope finds no immediate feedback. Hope Farm was a deity of the Roman Republic, and was in the area later occupied by the Circus Vary, near the Church S. Croce in Gerusalemme. A combination - only implicitly - between Mithra and the hope is perhaps found in the prayer of Cascelia elegans, found carved on a small stand inside the Mitreo S. Stefano Rotondo in Rome. The combination makes more sense, however, the prospect of hope for a 'return' of deities and ancestral forces advocated by Nietzsche, in which concepts such as "Dionysian" and "will to power" tend to identify themselves. In this return to the forces of the unconscious - the same one that Freud would have put at the center of his reflections - were a representation of 'idyllic', in view of Nietzsche, its in the cave of Capri.

the same lines, the reference to Nietzsche's "madness" of Mithra, who in the literary and epigraphic material does not find any feedback. On the contrary, Mithra was known as the "mediator" (this is the meaning of his name), and the Neo-Platonic philosophy (Porfirio) made it a quasi-divine image of the intellect, which is the opposite of insanity.

The folly of Mithra, the reading of Nietzsche, is immediate correspondence in the madness of Tiberius, which then, in Beyond Good and Evil , are assigned a human sacrifice made - as initiated into the mysteries Mithra - precisely in the Cave of marriage. Of course, even here the folly of Tiberius - opposed, as it appears, the 'madness of knowledge' - first of all the meaning that can be deduced from the general guidelines of the philosophy of Nietzsche. As for the historical foundation of the news, Tacitus and Suetonius - the most likely source of Nietzsche - attributed only to Tiberius 'madness' of a sexual nature (the usual excesses attributed by historians of the Senate and the Republican party to almost all the emperors) but do not mention anything like that, and certainly if the news had not been true if the escape would be made. Tiberius - how many emperors - can have had sympathy for Mithraism is still possible, especially as this cult was widespread in the army.

Turning now to alleged human sacrifice. Although there are reports of 'foundation sacrifices' in relation to some mitrei (Vermaseren, Mithra, ce dieu mystérieux 137-8), the fact is that Mithraism - as is also evident from the paintings of S. Mitreo Maria Capua Vetere - foresaw violent initiations, and - like every mystery cult - an 'death ritual', which obviously was not a real death. As for the attribution of human sacrifice to Tiberius, it is likely that here Nietzsche was betrayed by memory, and has attributed to Tiberius an episode instead History Augusta (Vita Commodi 9) attaches to Commodus, namely the deliberate or accidental killing of an adept at a kind of 'mystery play 'in which Commodus was to recall, in the guise of Zeus, the myth of the killing of the giant anguipedi (a very common scene in the side panels of the tauroctony).

of this or a similar episode, which attributes to Tiberius, Nietzsche speaks of as 'the most terrible of all Roman anachronisms'. It is difficult to clarify the meaning of that term. An anachronism is literally something relevant to the past or lived as if it were revived today. Mithra was actually an ancient Indo-Iranian deity, spoken of in the Vedas . When the cult of Mithra was introduced into Rome (according to Plutarch by Cilician pirates captured, then later built by Pompey in the Roman social and economic fabric of [60 BC]), it had already undergone profound changes which will make it comparable to other popular Oriental cults Empire. Compared to its original Indo-Iranian, Roman Mithraism can be considered a phenomenon of 'modern' and in this sense also 'anachronistic', as might have seemed anachronistic compared to the Roman Empire Empires years that had preceded him. As in Nietzsche, as we know, the 'modernity' begins with Socrates - difficult to completely rid a German professor Hegelian legacy - it is possible that he meant that to recover the true meaning of the cult of Mithra was necessary to return to his true sources, the fiery world of Indo-Aryan heroes, the model of the superman, and then to go back several millennia. This may explain why the rising sun of Mithra seems to be disappointing: it is a pale reflection of 'real' sun, can only raise the 'hope' of a return of ancient gods in all its glory.

Finally, a brief description of the relief that Nietzsche, following Gregorovius view from the cave. Strangely, he only speaks of the serpent and the scorpion, forgetting the dog. The tauroctony of Capri does not have anything relevant than the standard model spread throughout the Roman Empire, except for one peculiarity, which is also noticeable in the painting by Marino: a ray of sun longer than the others, which goes directly harming Mithra, as always facing toward the Sun while killing the bull. Between the two there is the crow, under the tutelage of Mercury. Franz Cumont, the first great student of the mysteries of Mithra, he thought the raven was the messenger of the Sun, and that the sacrifice of the bull happen behind his order. The fact that Mithra is always facing the Sun could confirm this hypothesis, but this does not increase our understanding of the scene, which, as I said, have been given conflicting interpretations.

We now return to the involuntary protagonist of this story: Cave of the marriage. 'Cave of marriage' is the term / popular explanation of 'Cave Matermania or Matromania' (the variant 'Mitromania' seems to appear only in Nietzsche), but the explanation that 'learned' connects to the cult of Mithra, as we have seen, or that of the Great Mother Cybele (or later for both). The report of Carmen Simeon, which I mentioned, has made it very clear to rebut the reading of the same cave as a place of worship of Mithra. During the same meeting another relationship, that of Eduardo Federico, had explained just as well be unfounded link the cave to the worship of Cybele (which also mentions Gregorovius then rejected in favor of Mithra), the difference being that while the cult of Mithra in Capri there are claims, the same can not be said for that of Cybele (see Tran Tam Tinh on this issue pp. 94-97). Again we must go back to the eighteenth century and the historical relationship According to Giuseppe Maria (1750). The cave, he wrote:

name is corrupt Matromania by its Latin name of the tomb or probable ara Matris Manium or temple Matris Magnae or both of Cybele, still seeing the niches, and the signs of the altar.

This interpretation was accepted mainly by English and German travelers, who described the cave in those terms, alternating with the name of Cybele that of Mithra. It is likely that the name - according to a hypothesis of Domenico Silvestri picked up by Eduardo Federico - resulting from a more original name Matrumo / marriage, which would be derived from an adjective Matrumaneus / Matrimaneus, where local forms Matrummanie / Matremmanie. The folk tradition Act as Matremmanie Matremmònie, that is, as marriage, and hence the popular name of the Grotto, which is opposed to the name 'product'. If that is so popular the phrase would have greater historical basis of that fear, and confirms the well-known adage, vox populi, vox of .

[ you can download and read the original editorial essay in the format by clicking -> download PDF]

[published in 4 parts: News ... Backlight, nn. XVIII/11, November 2009, p. 16; XVIII/12, December 2009, pp . 15-16; XIX / 2, February 2010, p. 16; and XIX / 3, March 2010, p. 15 . ]

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