Dear James
I met last night at the Filmmuseum Virgolin Louis Monaco, a member of the fund PP Pasolini Bologna. I spoke briefly of our initiative, as well as interest from my / our study the appearance of the body in the universe PPP. So I asked him if any one of our meetings on the subject, if it felt to come and talk: the case of serious boy, young and cute, he obviously said yes. So count on it when the time comes, to make him come and to involve them in our discussion. You must know that for years has been involved in recovering "lost body" of the cinema of Pasolini, overseeing the restoration of films and the identification and cataloging of photographic materials collected in the Bible by Laura Betti number. Last night showed us a documentary about a lost episode of the Decameron, in poor shape (perhaps a little too small-scale), but rich in content. To introduce it, Louis has just mentioned the last Pasolini passion for documentation of bodies in danger, threatened by the expansion worldwide of a new consumption pattern: among them (and the argument seems surprisingly relevant to our seminar ) that the city and men linked to the old cultures of the people, to survive in certain parts of the world (eg. in East Africa) of architectural and urban traditions of such sacred, mystic. In short, it is reasonable to think that Pasolini was outlined in more quell'urgenza to describe and make bodies symbolically emphasize that attest to the end of a world and a set of values \u200b\u200bconsidered (humanities) thousands of years. Now unable to treat the body (human, urban, social) as part of a dialectic of rational mold and / or ideal, but also compelled by his present to see the collapse last few residues of archetypal humanity (in the rites of the people in folklore, etc..), Pasolini takes and develops his intellectual work as an aesthetic mission, the limits of mourning, that is not only a body of theorizing in danger (eg. one of the Trilogy of Life), but also a body accomplice the same ideology that threatens him (see the perpetrators and victims of Salò), and therefore rinpianto no more nor regrets. What seems significant to me in all this, is the waiver by a Marxist Pasolini as redemption of history: in him there is that sense of actuality which allows, as in Benjamin, to break with the use of images dialectic (again, studying the body and the signs of urban history) in the past, present, or so - on the same principle - to project a theologically time of redemption of the class struggle in the future. So, we are talking about a Marxist without faith, without a historical idols of history, without a Jungian archetypes. Such a position, paradoxical and apocalyptic, it is not (can not) existential or nihilistic. It occurs to me, rather, to those characters of the Bible, like Isaiah or Jeremiah, who build and use the word against the greatest power, denigrating themselves and those who would redeem them, that they are exposed, and for this they need a wilderness to be alone and to voice their complaint.
I hope to come back on this and other things, as soon as possible. See you soon
Raoul
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