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The Ashes of Pasolini

机译:帕索里尼的灰烬

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Abstract Pier Paulo Pasolini’s engagement with Antonio Gramsci is both inspiring and tragic, beginning with Pasolini’s early poem, “The Ashes of Gramsci,” and ending with the film-maker’s murder in 1975. In his essays and films, Pasolini explores his affective, aesthetic preoccupation with the “sub-proletariat” of the Roman suburbs, contrasting it with Gramsci’s political and strategic concerns. This article analyses that material with special emphasis on its relation to Pasolini’s work on the semiotics of film and his theory of the “cinema of poetry.” Keywords: Pasolini, Gramsci, semiotics, politics, poetry.
机译:摘要保罗·帕索里尼(Pier Paulo Pasolini)与安东尼奥·葛兰西(Antonio Gramsci)的约会既鼓舞人心又是悲惨的,始于帕索里尼的早期诗作《葛兰西的灰烬》,直到电影制片人于1975年被谋杀。全神贯注于罗马郊区的“无产阶级”,与葛兰西的政治和战略关注形成鲜明对比。本文分析了这种材料,特别强调了它与帕索里尼在电影符号学上的工作及其“诗歌电影”理论之间的关系。关键字:帕索里尼,葛兰西,符号学,政治,诗歌。

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