The Body as a Frontier: Paolo Volponi and Tiziano Scarpa
Abstract
This paper proposes an analysis of some texts by Paolo Volponi and Tiziano Scarpa in which the body reveals the alienation of the protagonist. By the analysis of the texts we reflect on the concept of the Persona as the complex concept of human being in which the physical body, the juridical essence and the sensible entity are unified. The body is a porous barrier, a threshold that the authors use to discover the points of contact and separation with the external world, it’s man’s first space and his first language.
In the age of the Body fabrication” some concepts as “the senses feast” by Kristeva, and as the one of Somatisation derive from a recent analysis of the human body and of its relations with the representation of human sensibility. These works describe cases of alienation by mean of a sort of body language, activated by the illness or other specific circumstances, the paper then tries to reconstruct the last changes related to the body concept and to analyse the literary examples in relation to recent theories on fragmentation and dissociative disorders (corps sans organes- Deleuze Guattari)
The description of this fragmented condition reveals the necessity to rebuild a human integrity, to construct a new concept of human physiology based on an organic vision of the human being. The current dilatation and deflagration of the intimacy then seems to be a strategy to overpass the limits of conscious communication, to impose a new holistic concept of human sensibility.Downloads
References
Bibliografia
Bettini, Filippo, Volponi e la scrittura materialistica, Roma, Lithos, 1995.
Deleuze, Gilles, Conversazioni, Verona, Ombrecorte, 1998.
Ferretti, Gian Carlo, Volponi, “Il Castoro”, Firenze, La Nuova Italia, 1972.
Gigliozzi, Giuseppe, “Memoriale di Paolo Volponi”, Letteratura italiana. Le Opere, diretta da A. Asor Rosa, Torino, Einaudi: 729-769, IV.
Grassi, Ugo, La tutela esterna del possesso. Contributo allo studio delle fattispecie a qualificazione plurima, Napoli, 2006.
Iermano, Toni, “Non ci sono più personaggi. Ritratto di Paolo Volponi”, Testo e Senso, 9 (2008) http://testoesensoold.uniroma2.it/magazine/index, online.
Jung, Karl Gustav, "The Relations between the Ego and the Unconscious" (1928), Collected Works of Carl Gustav Jung, London, Routledge, 1990, VII.
Id., “The Archetypes and the Collective Unconscious” (1935), Collected Works of Carl Gustav Jung, London, Routledge, 1990, IX.
Lacan, Jacques, Scritti, Torino, Einaudi, 1974.
Natoli, Ugo, Il possesso, Milano, Giuffrè, 1992.
Pasolini, Pier Paolo, “Volponi” (1956), Passione e ideologia, Milano, Garzanti, 1994: 479-485.
Id., Saggi sulla letteratura e sull’arte, Milano, Mondadori, 1999, I.
Rojek, Saveria, “Nus comme des sculptures”, Paris Match, 11 ottobre 2001: 10.
Sacco, Rodolfo - Caterina, Raffaele, “Il possesso”, Tratt. Dir. civ. e comm., diretto da Cicu - Messineo, Milano, Giuffrè, 2000.
Sanguineti, Edoardo, Smorfie, Milano, Feltrinelli, 2007.
Scarpa, Tiziano, Amore®, Torino, Einaudi, 1998.
Id., Corpo, Torino, Einaudi, 2004.
Serra, Catalina, “Entrevista: Spencer Tunick Artista: Mis instalaciones provocan emociones fuertes”, El País, 6 giugno 2003.
Troisi, Bruno - Cicero, Cristiano, “I possessi”, in Trattato di diritto civile del Consiglio Nazionale del Notariato, diretto da P. Perlingieri, Napoli, Edizioni Scientifiche Italiane, 2005.
Tunick, Spencer, Naked States, New York, I-20 Gallery New York, 1998.
Turner, Grady, “Abstracted Flesh: Pop, Culture, Sex and the Body in Abstract Art”, Flash Art, 204 (January-February 1999): 66-69.
Vazzoler, Franco, “La fabbrica dei dolori: Albino e Volponi, il memoriale e il romanzo”, Istmi, 15-16 (2004): 83-123.
Volponi, Paolo, Il Ramarro, Urbino, Istituto d'arte, 1948.
Id., Corporale, Torino, Einaudi, 2001.
Id., Memoriale, Torino, Einaudi, 1997.
Zinato, Emanuele, “Introduzione” a Paolo Volponi, Romanzi e prose, Torino, Einaudi, 2002/2003.
Zublena, Paolo, “Anteo liberato? La lingua della Macchina mondiale di Volponi”, Istmi, n. 15-16 (2004): 125-156.
Copyright Notice
You are free to copy, distribute and transmit the work, and to adapt the work. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work).
