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"There is much debate and the damage to the Latin School"

Abstract A theoretical premise is necessary with regard to the question of relations between Latin contemporary age, or rather, the availability of the network, since that the revolution brought by new technologies has generally open fields hitherto unsuspected of the communication and information. A reflection on Latin - a discipline that is generally perceived in itself away from the younger generations - can not ignore this logic ironclad connections.

1. On the mythical level of Άλήθεια the issue of technical

a) is in the Greek civilization that created the plethora of terms and concepts that prepares the historical criticism, from the first settle the question of truth to the question of technology addressed by Martin Heidegger. Of course, to a fine start to the problem of truth was given just by the work of Heidegger Being and Time (1927), in which the German philosopher upheld the interpretation of Άλήθεια as non-occultezza, unconcealment Άλήθεια and seeing the original phenomenon of truth .
proper definition of instrumental technique identifies it as a means towards an end, but his instrumentality does not say what is the essence of technology, because the finding does not necessarily reveal what lies ahead in its essence. Τέχνη except that not only do the manual, but rises above all to the production and ποίησις, so the technique displays its context in which happens to be the unveiling dell'ἀλήθεια. But just modern technology, Heidegger pointed out, unlike τέχνη, is a provocation and the essence of the technique is tax and is no longer a sufficient definition of instrumental τέχνη. The technique is not
the danger but the danger is the essence of the technique. Heidegger's influence was considerable and his proposal was followed by almost everyone, but Detienne stands in opposition to this line of research started to address the transition from the μῦθος λόγος.

b) Detienne uses very disparate sources creating his equation between memory and truth. The truth is not deified, but it is an object that appears in its adjectival form, and after a verbum dicendi to assert the truth. Memory is closely linked to forgetfulness, but not its opposite (ἀλήθεια / ἀ-λήθεια). The truth is opposed deception in a society and a structure of thought in which the word of praise and ἀλήθεια align.
The transition from myth to reason was greek heard much less than what you say. Even in Plato and the rift between μῦθος λόγος is not so determined. Connecting memory and truth, Detienne the poet, the prophet and the king of justice are united by the same sacred function. But what was the value of memory in the ancient world?
The first association was the muse and memory (the Muses are the daughters of Μνημοσύνη).
In the modern world the memory is related to time, and antiquity it does not correspond to a system over time but if it falls outside.
Μνημοσύνη continues to play its role through the genealogy. Apollo presided over the function of the bard, the bard el'indovino share the gift of clairvoyance, that does not mean physically see: Calchas and are blind Homer (Il. I, 70; Theogony, 32-38). The soothsayer favors the forecast into the future, while the poet sees the past. Homer sees the old days staring at the genealogy of the heroic age where there Hesiod in the search for origins, which gives the language the character of sacredness. In general, the invocations to the Muses before the names of the catalogs, which are the stock of a company without writing (the catalog is the chance to go to the past).
In Hesiod's Theogony is the song of the Muse ἐξ ἀρχῆς. From mythic thought goes to rational thought but recovers some aspects of mythical thinking: through the Orphic or Eleusinian initiation is possible to reconstruct a path of this kind. Hesiod emphasizes that his is the poetry of truth. He was born in the poetic awareness of the distinction between lying and Musa Musa true: the inspiration of the Muses is closely linked to the person who sings it, that is the truth of poetry, so the singer does not lose its personality. So every true poet will say things, whereas before the poet Hesiod's poem was merely an expression of magical-religious and, for that matter, in Aristotle's Poetics will make the distinction between the real and true historical fantasy (poetry deals with things that could happen The history of things that have happened). Hesiod does not note that two different types of poetry: when you think of tradition as a matter of truth, there is criticism. When you suggest the possibility of differences between poet and singer, then it also introduces its own criticism.

c) From an etymological point of view, Άλήθεια indicates the object that you clear, which is imposed on anyone who sees it. It is the non-occultezza, non-forgetfulness. In Homer, the term indicates the precision, clarity, accuracy (if something is true is unclear). In the diaphragm. Solon 21 on charges of lying poets, as will the pre-Socratic: the discourse about the gods of Homer is ugly, but through no fault of the gods, but the poets liars.
Pindar will put his criticism of some of the myths not only for themselves but how they were treated by other authors before him. In Olympic, X, 4-5, Άλήθεια is called daughter of Zeus (the term is also found in Parmenides ἀλήθεια):

ὦ Мοῖσ, But He also contract and thygᾴtir
Άlάtheia Zeus orthᾷ hand
erύketon psefdέon
Enipeas alipoxenon

(tu, o Musa, e tu anche verità figlia di Zeus, sollevate la mano, arrestate l'onta d'inganni che frodano l'ospite).
Pindaro in Nemea, IV, 23 aveva infatti detto che l'abilità del poeta (wisdom, che non è la saggezza but the poem) tricks (κλέπτει) seducing with fantastic tales, and then recalls the fantasy realm that defies the test of time in which to undergo the truth of the facts. Pindar distinguish historical truth from the pseudo-truth, and even the pre-Socratic make this distinction. But as Hesiod had simply said the presence of his poetry without condemning the epic, Pindar condemns these lies like truth and says that the mistake of lying is always recognized in time. It would appear that Pindar is raised with greater vehemence criticism of Hesiod, but his is not a historical criticism. A tradition is rejected by him in relation to another simply because they are not gods to be protagonists.

d) The philosophy of Parmenides as the philosophy of being as it is, directs us to the equation the same as the philosopher poet, to a magician (shamanism greek), the hearing of ancient Greece (it is the thesis Giorgio Colli).
Prehistory dell'ἀλήθεια philosophical brings us to the soothsayer and poetry have the same purpose (with regard to things that were, are and will be). This establishes equation even with the King of justice, inspired by the divine power. The poem inspired by the gods because it is true.
Detienne in Masters of Truth in Archaic Greece (1977) has this structuralism in the connection between memory and truth. The language we speak is structured on the concept of logical contradiction (lie is the opposite of truth, love is the opposite of hatred, etc..) Source-formal Aristotelian logic. The mythical world and, conversely, pre-logical, ambiguous (the opposites, love and hatred are closely related). In the past
Hesiod is the origin of the primordial reality. Vernant finds religious meaning given to the poet who is the author of a sacred message. There is no separation between past-present-future, because the gods do not die (in the Hittite myth, by the way, the gods die). Leaving this, then only separate us from the visible world but without the word of the poet can not access the invisible. The song is a story that Μνημοσύνη deciphering of the invisible, with a geography in high Olympus and Tartarus below. The memory does not abolish the time nor the rebuilds. Instead, the memory in the mythical language builds a bridge between the living and nourishment of a world beyond.
Detienne refers to the principles of structural semantics they want the method of timing, but he needs to expand to the scarcity of ancient texts, taking into consideration the diachronic method and examining the level of mythic Άλήθεια. The French scholar sheds light on the variations of similarity that characterizes the archaic concept of Άλήθεια and bind to other concepts. Distinctive features of effective word magic-religious poet, who has omniscience of divination, and his word is assertion of truth, the inspired poet in this way is equivalent to the prophet and the king of justice. Truth and reality are, therefore, to coincide with the difference that the words of the poet can create the illusion of reality (in this case becomes an instrument of falsehood and deceit).

e) At a certain stage mythical concept can be posed into its opposite: in the Theogony (v. 27) may be said of the Muses lies like truth, in an intermediate stage between the mythic and the rational. This logic of ambiguity becomes the logic of contradiction, but also typical of the sophistry of religious sects (good / evil, good / bad, right / wrong, etc...) For the transition from μῦθος λόγος was obviously necessary to the advent of the social structure of πόλις but, ultimately, Detienne
1. excludes from its analysis of every aspect profane
2. apply the methodology of the semantic field;
3. identifies social environments that give a different characterization Άλήθεια (if one starts from a Άλήθεια differentiated, this concept corresponds to a rational evaluation of the concept).
The truth of the poet is short, assertive, and nobody complains, nobody shows it, resulting from the gods, it is truth. If the poet is truly inspired, in fact, if he is visionary, but his word is the word of truth and is equipped with clairvoyance. But in the passage from memory-Musa and Musa-Άλήθεια Μνημοσύνη only have mythical significance. Άλήθεια did not, however, the role of religious power: they are really the only religious Musa and memory. The beauty of the song, for its part, is not only the formal beauty of course, but also that of the hand in its content. Calliope accompanying the king. The song serves as a subject that is sung, also accompanied the venerable king.

In Heidegger, the imposition of provocative modern technology such as revealing the hidden, and then hides what happens when the truth-ἀλήθεια. There is nothing dangerous in the technique. There is a danger, rather, in the mystery of the essence (ambiguous) of the technique (irreversible), which consists in the mystery of its imposition. The essence of technology ends up being a danger, which carries salvation. If the essence of the technique is the danger, salvation is in danger which is the essence of the technique.

2. The essence of classicism in the modern

a) This is a reflection that wants to demystify the meantime, once again the vexed question of the applicability / utility practice of so-called "dead language" problem, in the terms in which it is placed wrong from the profane, is the same then that would appear on the applicability / utility of the humanities in general practice, because knowledge of Latin is obviously aware of the introduction to the literature, and therefore is responsible the enjoyment of the aesthetic and cultural discourse that crosses the old age, including therein not only the specific literary but also a more complete and direct knowledge of the classical world through, for example. the enjoyment of visits to archaeological sites (the ruins of Pompeii and Herculaneum is still the best reference).

b) an Italian, and indeed precisely for this role, Matthew palumbo, introduction to the ancient of Marcello Leopardi Gigante recently highlighted not only the close connection between the literary work of Recanati, and the foundation of classical culture (which is the subject of the book) but also confirmed as the essential condition of consists precisely in its modern classicism:
"The coexistence of the classical organ, composed by leading voices of its authors, with the modern sensibilities of the author of Songs and desperately Zibaldone is a theoretical reason which can not be ignored. Paraphrasing a famous passage of Gianfranco Contini, one might add that their modernity is the condition of its classicism. Assimilating the knowledge of distant worlds, keeping them still active in his reflections in the architecture and poetry, Leopardi, in fact, is the story of the opera towards unexplored horizons. In him remains, however, the echo of those thoughts and words. " [1]
goes without saying that this is not an issue as Leopardi Leopardi but - once set aside obsolete and suggestions bombastic rhetoric and mythologies interpreted ancient evil - the relationship that must be implemented and hugging between two epochs, although so hopelessly far away in time, if you do not want to end in an artificial and devoid of scientific validity. Conversely, in the greeting to the Congress "Leopardi and Naples." (Naples January 14, 1999), precisely Marcello Gigante had occasion to speak as follows, starting with a reference to himself:
"classical philologist and then I try to follow the wonderful developments criticism of the current season in which stresses the unity of the poet Leopardi and the thinker is to prevail 'meditation' is to prevail the 'hand', the two poles made by Cesare Galimberti, to whom we owe the realization of a volume containing texts of Friedrich Nietzsche Around Leopardi (1992). Nietzsche's Second Untimely about the plot and the loss of the life history of supra-motifs and images resulting from operettas and songs, in the suggestion Niebuhrians Nietzsche contrasts the modernity of the Italian philologist at the grayness of the German scholars [...]. " [2] When you enter the ancient, Nietzsche's name is in fact always a must because of its particular philological training, transvaluations later in the genealogical reconstruction, which is still debated, the whole Western culture.

c) Below you will want to point out concepts disclosed incorrectly, and daily practice which has unfortunately become accustomed. There is a considerable amount of Latin texts available online, which demonstrates the vitality of Latin, especially where it is represented by a functional use of contemporary communication.

I. The pronunciation of Latin scientific

If the network covers the whole of cyberspace, where particularistic cultures are disappearing behind the phenomenon, disturbing traits of economic globalization and culture, it is true that specific differences are to be determined in this case as early as the pronunciation of Latin, which and the Pacific adopted in our schools. Here in Italy is prevalent pronunciation of medieval Latin, which coincides with that of the Church. In other words, in Italian schools is the law in a Latin way similar to how words are pronounced in our language. Omitting the fact that, for reasons of wear semantics, basically we continuo to read and speak Latin to like it, in two millennia, it has become in Italian, this is not necessarily a bad thing because the specific cultural traditions can be safeguarded and strengthened equally. But while Western culture is the foundation of biblical-greek (greek for thought, Roman law, biblical Jewish-Christian roots, however, not to mention the great experience of the European Enlightenment), it is undeniable that in countries of Anglo-Saxon culture , and generally in Northern Europe, pronuntiatio Restituta prevail, ie the pronunciation of Latin for scientific as it has been, and will be returned by scholars through the examination of documents and sources, since we do not have visual evidence of how effectively Cicero spoke, or a courtier of Augustus, or simply belonging to the Roman plebs. Notwithstanding that, then even the peoples of Northern Europe is expected to entertain with a pronunciation of the Latin language more similar to their own than to that of the Romans, reserving the scientific expertise to the university, as indeed occurred or may still be in Italy .
You can make use of voice Latino online encyclopedia Wikipedia to determine the outline of the following differences:
the letters' C 'and' G 'have always guttural sound (as a house, dormouse), even before' i ',' and ',' l ' and 'n': for example Cern (pronounced Kern, observe), GEMINUS (pronounced gheminus, twin), and so on, there is no
v fricative sounds, the graphic sign 'V' was pronounced as uou interconsonantica: eg VVA (grape) was pronounced uua; VINVM idem (wine), pronounced uinum and so on.
the 't' followed by 'i' is pronounced like this: for example, GRID (grace) is pronounced gratia
the diphthongs AE and OE are pronounced "ai" and "or" the letter H
suction imposed at the beginning of the word (perhaps not in the center) and PH, TH and CH, transcriptions of the Greek letters φ, θ and χ, we had to say as a P, T or C followed by aspiration, after which it was said as a PH f
the Y was the transcription dell'ononimo greek sign, for this was that as a French u

II. The traditional use of Latin

There is widespread use of terms derived from Latin and Greek in scientific classifications. In some international conferences, scholars still use the Latin, although this happens quite often because you look at the most practical and immediate preference of English, and trained interpreters. Some poet or writer enjoys writing in Latin, by emulating the late grazing. But outside of these narrow fields of expertise, it is hard to think of a practical application of the Latin di fuori della Chiesa cattolica, che lo usa tuttora specialmente come lingua ufficiale della Città del Vaticano , nonché come lingua liturgica (almeno fino al Concilio Vaticano II, ma attualmente di nuovo dopo il motu proprio Summorum pontificum sulla messa in latino, che si fa risalire al famoso messale di Pio V del 1570).
Ecco un altro esempio di latino reperibile in rete:
POPULORUM PROGRESSIO
LITTERAE ENCYCLICAE*
Ad Episcopos, ad Sacerdotes, ad Religiosos, ad Christifideles totius Catholici Orbis, itemque ad universos bonae voluntatis homines: de populorum progressione promovenda.
PAULUS PP. VI
VENERABILES FRATRES ET DILECTI FILII SALUTEM ET APOSTOLICAM BENEDICTIONEM
1. Populorum Progressio, qui maxime ab iniuria famis, egestatis, morborum domesticorum, ignorationis rerum abesse nituntur; qui largiorem bonorum societatem ab humanitate vitae profectorum expetunt, atque humanas suas proprietates postulant in opere ipso pluris aestimari; qui denique ad maiora incrementa constanter mentes intendunt: horum videlicet popolorum progressio a catholica Ecclesia alacri et erecto animo spectatur. […]
2. […]
3. […] Fame laborantes populi hodie divitiis praepollentes populos miserabili quadam voce compellant. Quapropter Ecclesia, anxiis huiusmodi clamoribus quodammodo cohorrescens, singulos omnes vocat, ut amore impulsi quasi fratribus opem implorantibus tandem suas dedant Aures.
I would like to dwell on the last two periods:
peoples in hunger are making a dramatic peoples of opulence. The Church shudders before this cry of anguish and calls each to respond with love for his brother.
Note that in this last point:
"The church [...] calls everyone to respond with love to his brother" appears in the text orgininale:
"[...] Ecclesia [...] singulos vocatio omnes, ut love pulses almost fratribus opem implorantibus tandem Suasa dedant Aures. "
Underlining mine. I got this illustrious example to point out that one of the effects of Latin on the web and its enhancement universality of the texts through their accessibility, according to a plan for continuity of course not only linguistic. Thus the undoubted effectiveness of the Aures dedant the final sentence is more than just Italian verb "answer". In its brevity, Aures to express the urgency of the problem of hunger in the world more dramatically, that is, universally, the Italian version
is known as then as the pastoral staff (lituus) of Augustus as pontifex maximus in which is made in the reconstruction of the "Colossus" has been directly handed down to the Roman popes, according to an extension linear length of the power already identified by Marguerite Yourcenar Memoirs of Hadrian wrote that at one point: "If ever the barbarians took over the empire of the world, will be forced to adopt many of our methods, and will ultimately resemble. Cabria bother to see one day pastoforo of Mithras or the bishop of Christ to stay in Rome and replace the Pontifex Maximus. If unfortunately this day came, my successor along the ridges Vatican has ceased to be the leader of a circle of affiliates od'una band of sectarians in turn to become one of the universal expressions of authority. Inherit our palaces, our records will differ da noi meno di quel che si potrebbe credere. Accetto con calma le vicissitudini di Roma eterna.” [3]

III. ALTRI SITI WEB DELLA “LINGUA VIVA"

Di seguito si riportano citazioni dal sito Ephemeris :
a) De Francisci Petrarca vita et scriptis Latinis.
Scripsit Victorius Ciarrocchi.
I. Die 20mo m. Iul a. 1304 in Tusciae urbe Arretio natus est Franciscus Petrarca, cui parentes fuerunt Petrus sive Petraccus, Dantis Alagherii amicus Guelforumque factionis 'Albae' sectator, et Electa Canigiàni. Annum agens octavum una cum patre Avennionem, in Galliae urbem ubi pontifices id temporis commorabantur, Franciscus se contulit ibique prima elementa didicit. Anno 1320 Bononiam petivit ut iuris studia, in quae iubente patre incumbere coeperat, tandem perficeret.

b) The Cambridge Encyclopedia of the World’s Ancient Languages (Encyclopaedia Cantabrigiensis Antiquarum Linguarum Mundi)Domus editoria: Cambridge University PressCantabrigiae Anglorum 2004
In lucem modo prodiit apud Cantabrigienses de totius orbis linguis antiquis liber mirificus, doctus Iuppiter et ponderosus, qui Anglice inscribitur: "The Cambridge Encyclopedia of the World’s Ancient Languages" a variis linguarum hominibus peritissimis conscriptus, a viro docto Roderico [Roger] Woodard curatus (Cambridge University Press, [2004], ISBN 0 521 56256 2).

c) Maria Callas (1923 - 1977)
Scripsit Victorius Ciarrocchi
Viginti sex anni hodie sunt expleti, ex quo Lutetiae Parisiorum mortua est Maria Kalogeropoulos, quae anno 1923 Novi Eboraci nata erat. Eius pater nomen gentilicium in "Callas" mutavit, quo illa femina toti terrarum orbi nota est. Non omnes primo aestimarunt Mariam, quippe qui huius feminae vocem parum canoram iudicarent parumque aptam operibus musicis *melodramaticis*. Attamen die 21 Oct. 1940 felix arrisit Mariae exitus, quae in Atheniensi theatro regio partem Sanctinae (Italice: "Santuzza"), feminae a duobus viris concupitae in fabula musica c. t. "Ferox animi magnitudo" (It.: "Cavalleria rusticana"), mire cecinerat. Altero bello mundano confecto et Greciae condicionibus in peius prolabantibus, anno 1947 Maria in Italiam venit et Veronae cecinit in fabula c. t. "Gioconda".

d) DE IOANNE SPADOLINI (1925-1994).
Scripsit Victorius Ciarrocchi, Italus Pisaurensis
Ioannes Spadolìni, Florentinus, die 4 Aug. 1994 annum undeseptuagesimum agens Romae mortuus est. Qui vir, ingenio peracuto praeditus, iam a puero summam variis in rebus explendis industriam a vitae probitate non disiunctam posuit. Nondum annum undecimum expleverat, cum prima historiae Italicae lineamenta quaedam composuit de viris, qui a Friderico Hohenstaufen Aenobarbato usque ad Benitum Mussolini partes bonas aut malas apud populos Italicos egerint. Anno 1948 in actis diurnis symbolas sive 'articulos' scribere coepit [utrum verbum, quod est 'articulus', rectum an erratum sit ad compositiones in actis diurnis editas significandas, equidem nescio; dicant, quaeso, Latinitatis aureae peritissimi, quibus in antecessum plurimas gratias ago vel si me improbaverint, quia, vestigia Eduardi nostri sequens, tali vocabulo, quod forsitan Cicero isto sensu instructum non intellexisset, uti sum ausus:-)].

Bibliografia e siti consultati

Classici Latini
Detienne, Marcel-Sissa, Giulia, La vita quotidiana degli dei greci, trad. it. di Claudia Gaspari, Roma-Bari, Laterza, 1991.
Ephemeris (a newspaper all in Latin)
Hesiod, Theogony, trans. com. Graziano Arrighetti, greek text in front of Milan, BUR, 1984.

Gigante, Marcello, Leopardi and the ancient, Naples, Italian Institute for Historical Studies, 2002, Società Editrice Il Mulino, MMII (for a contribution to the question of the relationship between ancient culture and modern research has emerged from the great classical philologist posthumous ).

Heidegger, Martin, essays and speeches, c. Gianni Vattimo, Milan, Murcia, 1976.
Latin is a living language! (updates on the use of Latin in the Church)
Latino (Online encyclopedia Wikipedia to free content supported by Wikimedia Foundation, a non-profit)
Nunta (radio news in Latin)
Palmer, LR, The Latin language, Torino, Einaudi, 1977.
Latin Rite (Wikipedia)
Official Web Site of the Holy Vatican City

http://www.scavidipompei.it/

Yourcenar, Marguerite Memoirs of Hadrian followed by notebooks notes, a c. Lidia Storoni Mazzolani, Einaudi, 1963, 1981 and 1988.

[1] Marcello Gigante, Leopardi and the ancient, Naples, Italian Institute for Historical Studies, 2002, Società Editrice Il Mulino, MMII, p. XIII.
[2] Op. cit. Appendix II, p. 150.
[3] Marguerite Yourcenar, Memoirs of Hadrian followed by sketchbooks, c. Lidia Storoni Mazzolani, Einaudi, 1963, 1981 and 1988: 274.

Sandro De Fazi

Why Is It Bad To Eat Unopened Mussels?

"The life of Dimatteo and the impossible search for the lost time" of pd ("La Gazzetta del Mezzogiorno", 29/12/2009). HELIUM

A date, April 14, 1985. A letter. Begins: "... I write briefly to apologize for my silence ...." It became the title of the book by Sandro De Fazi, foreword by Elio Pecora, Cross Library Editions. Words addressed to his friend Anna Maria Ortese painter Gaetano Dimauro Nova Siri. The letters are many, some published, many others do not. But even more have been calls for the writer, torrential at any time of day or night. With a growing danger lurking, lose the thread and turn the phone into the thread of laziness and gossip. It is one of the most intense moments of descriptive book De Fazi dedicated to the life of Gaetano Dimauro. Difficult task. Moreover, he writes so honestly: "I am well aware, however, secure the fact - to which I resist - that the writing of this biographical work is the same in spite of myself deeply and with a certain inability to write ...." Can not say
De Fazi. Meanwhile, he says, of a world, that of the "magnificent six", Alberto Moravia, Elsa Morante, Pier Paolo Pasolini, Dacia Maraini, Enzo Siciliano and Dario Bellezza, the Roman school of poetry, recalled in a recent book by Renzo Paris, titled personal life, issues HACC. Dimatteo was part of that world, especially through Beauty that in 1979, so described his work: "... sees the painting as a tragic solar activity, with this painting is to witness the south of a child whose condition is suspended between past and future, between instinct of life and death ... instance." Sumptuous glories and miseries of this wretched time happens in the book De Fazi, trace a history of derailments that become daily, often painful and no rule for who does not want to give any rule, because, he writes, also "the artists are known to be monsters solitary and do not like themselves. "
There are many pages devoted to beauty, which, in his life had only two true friends, one of them is Dimatteo. The "poet damn, wanted to rename the artist in Nova Siri, Depisis and called him "demoted" to the rank of driver. And in that drama that mingles with the life and that has united the two, the artist became a key figure in Lucan, tried to pick isolation Boiled Beauty Castle, the ancient name of Nova Siri. Dimauro was the liberator of Isabella Morra other which sprayed in the wrong way, not that of the nearby Valsinni, where he lived the reclusive poet, but in the domain of his alleged lover Diego Sandoval de Castro. It was a liberation that occurred through the throat, tickled by the skilled hands of the mother of Depisis Lucan, Giuseppina Santarcangelo, or its Mediterranean cuisine, simple and delicious. But, as De Fazi adds, "This is not a memoir, the search for the lost time is impossible." I mean, you go for chips, segments, reviews dazzling as that expressed by Moravia in 1989, the International Fair of Contemporary Art in Bari: "The painting of Dimatteo is refined." De Fazi, warns that later, however, is typical middle-class 'lie' bourgeois and exclusive reasons of social convenience, not for ethical reasons. But there is still a middle class? Or an absence is now able to steal life-blood scandal that cause - not anymore - The works and life of Dimatteo? The artist in Nova Siri, who is bursting with health, it is more just, and this book can only strengthen it, because today has the privilege of even more authentic "enemies." It can only fear the biological processes allies at the time that passes, opponents of the ruthless dreams of earthly glory that everything decomposes. Then, there are only infinite silence. With all the background noise that is difficult to listen. It's no accident that the volume is devoted to silent film star Louise Brooks.

(pd)

Grecian Formula, Does It Work?

SHEEP: preface to Sandro De Fazi, "I am writing briefly to apologize for my silence. Gaetano Dimauro Life."

E 'no doubt the singularity of This book, which belongs to the genre of the novel and even that of biography. But we know that many in the vividness and vitality of a book rarely depend on whether to ascribe to a genre, imprisoning him in a category.
It is instead a book that is independent from genres as it mixes the rambling narrative thought, annotation, reflection, variety and velocity of the note, the continuation of a citation, the fragment of a memory. And the structure of the novel rejects probation, the performance ended. It is a writing that goes into his unstoppable flow, and also holds the reader and leads to unexpected returns, not even if such trespass in new questions, troubling to anamorphosis.
De Fazi aims to tell the life of Gaetano Dimauro, painter and set designer Luke's, a man of considerable quality, with deep and proven commitment to constant. And many of these pages tell and reveal the artist and la_ vastness and complexity of his work, but even before his son's tenderness, suffering creature, with an attentive and faithful friend, a person who lives with passion and with the participation his time.
But a single existence and carries with it many other lives, certainly those that have touched so closely by nurture, motivate, increase tenfold the strength and gifts. So the biography becomes the story of many, The knot is the hub of upcoming events and different. Time expands, the sites multiply, s'alleano voices in a choir.
Thus, the life of Dimatteo, intertwines and blends with that of Dario Bellezza and Anna Maria Ortese here present and pressing. We read their letters, listen to their phone calls, we perceive the pain, captures the uncertainties, I re-read the prose and verse, we learn the disappointments, the rare happiness. And friendship is tinged with love, understanding becomes close, sharing a journey. And painting and poetry, open and closed speech confidence expression come to be sought and achieved performance. The years go by
crossed seventies to today. Pass and stop Moravia, Elsa Morante, Pen, Amelia Rosselli, Pier Paolo Pasolini, Luchino Visconti. They talk and reveal themselves in a tangle of moods, of truth and take harsh. Friends Dimatteo, who has devoted exhibitions to Moravia and Visconti, and that for decades has had the affect of Ortese shared long stays in Nova Siri Beauty, are captured by De Fazio - who some of those "stars" friend was in an age which has strong nostalgia - with vigor and grace, with attention to the poet and critic, but especially the man who puts patients above all other feelings.
For this reason, in this book has the best aesthetics. By raising an altar words of the artist and man, and with him and for him to that group of authors which has been strongly linked Dimatteo, Sandro De Fazi evidence as it may take precedence over all vision and the right feeling, or what Proust called again the "heart intelligence": that is the measure of the world, its mandatory rule, its true inner health.

Elio Pecora

November 2009

Dune Buggy Frame Blueprints Free

Review to "My Awards" by Thomas Bernhard. Sandro De Fazi

Review to My awards of Thomas Bernhard. Sandro De Fazi

We entertained that its purchases of clothes before he goes to collect the so-called Grillparzer Prize, or complicity sentimental with the beloved "aunt" to the Stock Exchange of the Culture of the Federal Association of German, and he does not care about the money to buy a house only after collecting the token of the Literary Prize of the Free and Hanseatic City of Bremen prior arrangement with a broker naive, and maybe the money should not be enough. Bernhard was a good person? Life belongs to the work or the opposite is true? Beginning in the Hellenistic
the Convention seeks to separate the taxes paid author in his everyday existence by what he himself attributed literary intention, but in our time worrying the use of computer form inevitably complicates the speech to the Marie Short or improbable future biographers in direct or through a third party even though published posthumously in life, and the questions become endless. In three hundred pages of Life of Moravia (1990) by Alberto Moravia and Alain Elkann is not the slightest mention of Thomas Bernhard, unless his name is not taken back disturbing anamorphosis in the conduct of the written word that swallows everything in greedily. Bernhard is a relative uncomfortable, and who knows Dario Bellezza, a novelist as he wanted to call themselves besides the great poet did not think of disturbance (1967) by the Austrian writer writing Disturbance (1984), a novel now nowhere to be found in bookstores ... The author of this page on a social network, for that matter, we would say today, a part of her life or work? And who is behind your account, or by whom it is actually run?
We can not answer these questions, relying on My awards, the slim volume published in Italy by Adelphi in 2009, where Bernhard's prose is masterfully irritating. And yet he is busy Citati Peter, according to which 'Thomas Bernhard imagine that we are nearing the end of the world, and all his books remind us every moment - with the barking of dogs, the cries of calves killed, inhumane acts Suicide - the imminence of this order, as John reminded his contemporaries of the imminent catastrophe. " And it was distinct from the more angry with Flaubert criticism from various Tamaro (which according to Anna Maria Ortese was unforgettable and presumably is still a good person) and Baricco today.
The truth is that we are caught in the final by Speech on the occasion of the award Georg Büchner on silence and the words: "the words that we handle in the brain into turmoil, thousands upon thousands of worn out words, for We recognize, through the infamous truth, as the infamous lies and vice versa, through infamous lies, truth be recognized as infamous in every language, in any relationship, the words that we venture to pronounce and write, and shut ourselves in the form of speech. "
My awards Thomas Bernhard seem confessions of a filibuster, but we can not necessarily match the mood that he describes Bernhard attaches itself to the moods of Bernhard himself.


Sandro De Fazi

Published in "ITALIAN POETRY" 2/1/10
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