Nicola D'Ugo
wire conduits of the items that make up the work of a critically engaged in their diversity of style and width, is the attention given to literature as capable of producing discourses on contemporary topics (love, diversity, fatherhood, war, democracy, technology, environment, city, casts cultural, communication, suction etc.).. What matters is a critical care literature, the ability of a text to stimulate questions and, also, to provide answers to questions, are answers to our requests for emotions che di idee. Una difficoltà della critica letteraria applicata ai testi contemporanei sta nell’individuazione della forza di un testo, a prescindere dagli interessi momentanei del lettore e del critico, dalla loro sfera culturale e ideale, dalla sensibilità che rivolgono a certe tematiche: in altre parole, dalla prospettiva del lettore che preceda la lettura.
Un grande testo mette in crisi, in genere, proprio quella prospettiva; in qualche caso, invece, le dà spessore, la approfondisce. Un buon modo di vedere un testo non è necessariamente anche la migliore prospettiva di un testo diverso; per cui è necessario, di volta in volta, imparare a guardare il mondo che emerge dalla prospettiva the text. Place in a very careful eye perspective is inadequate in a kind of blindness as seen by the most candid touch naive. The charm of the interpretation is to discover, from time to time, where you can see a better text and paths through which you can see it better and more direct. If the path is happy, one ceases to be a landscape view and begins to take on the appearance of a place visited, the fact that humanity, of those concerns, suggestions of those that once experienced is hard to forget. The text continues to speak without having need to read, it suggests and warns, indicating the open spaces beyond the narrow limits of daily life (Which is just, basically, a life that we happened to live).
In other words, is not happy to apply rooms Poliziano to the same standard of reading that can be happy reading Remains of Elmet by Ted Hughes, not because these works were written on different occasions, but because their perspective is essentially different, starting with the recurrence score and the continuous movement of the verses of the police and the wet suspension, which breathes and hovers between heaven and earth, free verse of Ted Hughes. Similarly, do not apply the same criterion would be happy to read The blue flowers of Raymond Queneau of Ulysses and James Joyce, or, in the same page, the Waste Land and Rhapsody on a windy night TS Eliot, for all these texts as nothing more than stories and points of view, more or less delightful pastime as boring or, at best texts unable to say anything other than what we would be willing to listen, although anyone can benefit from them for therapeutic purposes, and neither more nor less than a walk, a conversation among friends, to dip a rock. The greatest risk is to stick to a rigorous critical method of reading rather vigorous they have learned, applying it, the more older, the latest of a world constantly changing.
In other words, is not happy to apply rooms Poliziano to the same standard of reading that can be happy reading Remains of Elmet by Ted Hughes, not because these works were written on different occasions, but because their perspective is essentially different, starting with the recurrence score and the continuous movement of the verses of the police and the wet suspension, which breathes and hovers between heaven and earth, free verse of Ted Hughes. Similarly, do not apply the same criterion would be happy to read The blue flowers of Raymond Queneau of Ulysses and James Joyce, or, in the same page, the Waste Land and Rhapsody on a windy night TS Eliot, for all these texts as nothing more than stories and points of view, more or less delightful pastime as boring or, at best texts unable to say anything other than what we would be willing to listen, although anyone can benefit from them for therapeutic purposes, and neither more nor less than a walk, a conversation among friends, to dip a rock. The greatest risk is to stick to a rigorous critical method of reading rather vigorous they have learned, applying it, the more older, the latest of a world constantly changing.
[ you can download and read the original article in the editorial format by clicking -> download PDF]
[posted in: News ... Backlight, No XIII / 7, July 2004, p. 18. ]
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