Audaci fantasie (Italian Edition)

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People who are nothing like us rescuing a world that is nothing like ours is not a recipe for artistic renewal. To me, the sense in this is inarguable. In a world where certain films are wholly critic-proof, how do you assess a superhero juggernaut?

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Is Avengers 7: The Interminable Revenge of Whatever to be considered relative to superhero films only, or to the whole field of cinema? Why are we so afraid to make a distinction between art and entertainment? The recent creation of a new Oscar for Best Popular Film , which will presumably crown some big CGI hoopla every year, shows that the Academy also has major collywobbles about this question.

The Neapolitan novels came easily.


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Ferrante wrote 50— pages a time without stopping to revise. Which is as it should be. Still, she writes obsessively at the end, right up until the hour the book goes to proof.

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The Myth of the New Man in Italian Fascist Ideology

For the editor, only formal experiments can help recreate the world magically. Bruno regarded the universe as both infinite and finite.


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It is infinite insofar as it is boundless, but finite regarding its constituent worlds, which are plural. Both are the products of God, who is boundless and infinite.

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The universe is one and complete, incorruptible, whereas its components are alterable and corruptible. God acts on her, but by means of her. There is no difference, says Bruno[,] between the smallest possible chord and the smallest possible arc, no difference between the infinite circle and the straight line. The maxima and minima of particular contraries are one and indifferent. Minimal heat equals minimal cold. Consequently transmutations are circular.

The principle minimum of one contrary takes its movement from the principle maximum of another. Therefore not only do the minima coincide with the minima, the maxima with the maxima, but the minima with the maxima in the succession of transmutations. Maximal speed is a state of rest. The artist gravitates in the propinquity between the centre and the circumference of the circle, where the opposite centripetal and centrifugal forces annul each other. As a matter of fact, the figure of the circle stands for the emblem of the alchemical process, without which transmutation is not possible.

One of these images, and undoubtedly the most famous one, is the ouroboros. The emblem either depicts a snake or a dragon biting its own tail. Beckett also combines two emblems of alchemy, that of the circle and the life tree. The former allows an alchemical transmutation, whose secret magic can be drawn from the life tree.

Here Beckett has transmuted the circle into a spiral. It is made of an inner circle, which is framed by a square, itself contained by a triangle. The outer circle, which encompasses the three interlocked figures, represents the infinity of the universe. Through the union of body and mind, transmutation is possible.

Alchemy thus thwarts dualism so as to allow the union of opposites. If Beckett uses alchemy to overcome dualism, it is certainly not to unite body and mind but to integrate the split-self of the artist. Autology is related to the study of the self. The rationality of mathematics is of no help. Squaring the circle embodies this mathematical impossibility: a square cannot have the same area as a given circle.

Alchemy overthrows this impossibility to expose the irrationality of art, and thus its beauty as long as it does not need to be explained. It is enough to summon the image of the ouroboros causing the rest of the paragraph to coil upon itself. It is also a way to combine opposites, such as counterfactuality and factuality. The laconic formula deflates what has not yet happened while empowering its actualization. With his work for the international little magazine transition , Beckett stood at the heart of the European artistic fervour and crisis; as a young apprentice, he was caught in the modernist flux in spite of himself.

For what matters remains a modernist preoccupation, that of sheer formal experiment. Bair, Deirde. Harcourt Brace Jovanovich, : pp. Beckett, Samuel.

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Grove Press, pp. Grove Press, E Gontarski. Grove Press, , pp.

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Smith and Michael A. Verso, Eisenstein, Sergei. Houghton Mifflin Harcourt, Eliot, T. The Wasteland and Other Poems. Faber and Faber, Fenollosa, Ernest. City Lights Books, Graves, Robert and Laura Riding. Haskel House, Howarth, Peter. The Cambridge Introduction to Modernist Poetry.

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