By Alessia Ricciardi
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Questo libro prende le mosse da un commento a un breve articolo di Sigmund Freud, “La negazione”. L'intento è quello di ricostruire l’intero pensiero di Freud cercando di stabilire ciò che distingue l. a. psicoanalisi dalle altre forme di psicoterapia. Viene così proposta una visione del tutto originale della psicoanalisi, non riducibile a nessuna delle varie interpretazioni che oggi dell’opera di Freud vanno in line with los angeles maggiore.
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Additional info for After la dolce vita : a cultural prehistory of Berlusconi's Italy
Not surprisingly, Vattimo makes Adorno and the thinkers of the Frankfurt School into favorite targets of his polemic. He repeats throughout his writings that Adorno’s apocalyptic prophecies regarding the mediadriven culture of sameness have not come to fruition in a world dominated by subcultures, thanks precisely to the ubiquity of the media. However, in the light of Berlusconi’s advance from a fortune in real estate to control of the nation’s presses and broadcast outlets and ultimately to abuse of political power to exempt himself from the law, Italy seems as though it may be exactly the wrong setting in which to complain about the limits of Adorno’s critique of the culture industry.
This point is made in a subsequent scene during a soirée set in Steiner’s apartment. Steiner hosts a gathering of his cosmopolitan, artistically inclined friends, a party to which he has invited Marcello and his unhappy girlfriend, Emma. Several speakers by turns deliver epigrammatic pronouncements on various subjects, but the overall impression is one of tiresome cliché. ) A few moments later, Marcello notices a painting on the wall by that exemplary Italian modernist painter Giorgio Morandi, and expresses his admiration to Steiner, who replies that Morandi is the artist he loves most on account of the painter’s clarity and precision: “Such power, precision and rigor.
A convenient excuse to do whatever you like. . I am afraid you are becoming an endearing buffoon, my dear. . 51 That this episode was not included in the finished film might be explained in various ways, but the chief suggestion I wish to make is that it is redundant. We have already observed Steiner’s function in the narrative as a kind of substitute for Marcello’s potential suicide. A more analytic or nuanced representation of the defeat of his residual intellectual ambition would have been superfluous, particularly given the film’s interest in mapping the new cultural and intellectual territory that lies beyond modernism.
After la dolce vita : a cultural prehistory of Berlusconi's Italy by Alessia Ricciardi