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Открийте безкрайна вселена от истории

Слушайте и четете

David Lombard

EN. This essay serves the double purpose of investigating the aesthetic dimensions of Thoreau’s environmental philosophy while examining the philosophical and political implications of its capacity to break down the boundaries between the natural and the technological landscape. Deeply rooted in an Emersonian transcendentalist tradition viewing nature as an organized and holistic “whole,” Thoreau’s ecophilosophy seeks to reconcile the idealistic pole with the empirical pole in its approach to natural and technological landscapes, objects and situations. Consequently, this book starts by considering Thoreau as a “techno-author” who does not shun from embracing technological change in the Romantic period and proceeds to develop an alternative, proto-ecocritical form of the aesthetic of the sublime. It also calls for a reconsideration of Thoreau’s poetics and its legacy against the background of the “toxic sublime,” which sheds a new light on the methods and purposes of ecocriticism as well as on recent trends in environmental (non)fiction.

IT. Questo saggio si propone il duplice scopo di studiare la dimensione estetica della filosofia ambientale di Thoreau e di analizzare le implicazioni filosofico-politiche della sua capacità di abbattere i confini tra paesaggio naturale e paesaggio tecnologico. Profondamente radicata nella tradizione trascendentalista di Emerson, che vede lo spazio naturale come un “tutto” organizzato e olistico, l’eco-filosofia di Thoreau cerca di riconciliare – con il suo approccio ai paesaggi naturali e tecnologici, agli oggetti e alle situazioni – il polo idealistico e il polo empirico. Pertanto, questo libro inizia prendendo in considerazione Thoreau come “tecno-autore”, che non si rifiuta di accettare i cambiamenti tecnologici verificatisi nel periodo romantico, ma sviluppa una forma alternativa e proto-ecocritica dell’estetica del sublime. L’autore cerca anche di riesaminare la poetica di Thoreau e la sua eredità sullo sfondo del “sublime tossico”, gettando così nuova luce sui metodi e sulle finalità dell’ecocritica, nonché sulle recenti tendenze della (non)fiction ambientalista.

Quodlibet

Elements

Techno-Thoreau: Aesthetics, Ecology and the Capitalocene

Jean-Michel Rabaté

We are still debating whether Kafka should be considered as a tragic or nihilist author, a terrifyingly dark, sardonically bleak neurotic, or as a savvy comic writer with a taste for black humor. This quandary explains why I begin by wondering whether one can say that Kafka was “laughing out loud.”

Kafka L.O.L.: Notes on Promethean Laughter

Michel Delville

Mary Ann Caws

«Here is, we think, the point. It doesn’t matter for what reason the writer or painter or lover destroys the creation: the real point is that destruction itself, like a gigantic statement. It is, in fact, something of an excitation, a stimulation to further thought: what is this ACTION about?»What do Stéphane Mallarmé, Antonin Artaud, Meret Oppenheim, Asger Jorn, Yoko Ono, Tom Phillips and Martin Arnold have in common? Whereas a wealth of critics have diagnosed contemporary art’s preoccupations with madness, depression and self-abuse as well as its tendency to cultivate an (anti-)aesthetics of the negative, the excremental and the abject (say, from the Vienna Action Group to Serrano, McCarthy or Delvoye), much less attention has been paid to how modern and contemporary artists and public have thrived on the destruction, disfiguration and obliteration of work by the artists and/or by that of others. From Artaud’s «terminal» notebooks to the recent upsurge in «erasure poetics», the history of «undoing» art deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde.

Undoing Art

Thomas Peterson

«The neomannerist poetry of the Novecento is featured here in concise analyses of the works of seven poets. The dark light that gleams from their verse is at once the product of derivation from the earlier maniera and of a new poetic idiom, coined in direct response to the late modern experience of the sublime, the irregular and the unexpected.»This study approaches mannerism as a constant in literary history, a stylistic system that re-emerges in the 20th century with particular force. As demonstrated in readings of Ungaretti, Sinisgalli, Fortini, Campo, Giudici, Rosselli and De Signoribus, the neo-mannerist poem is both self-generated and derivative, and proposes in its message a strong ethical response to the crises of the century.

Modern Mannerism in Italian Poetry