Le tre fiere di Dante in Pasolinidalla Divina Commedia alla Divina Mimesis.

  1. Coriasso Martín-Posadillo, Cristina 1
  1. 1 Universidad Complutense de Madrid (UCM)
Journal:
Estudios románicos

ISSN: 0210-4911

Year of publication: 2022

Issue Title: 1. Escritores filóginos en la Querelle des femmes durante el Renacimiento italiano 2. La neología y la neonimia en lenguas románicas.

Issue: 31

Pages: 408-413

Type: Article

DOI: 10.6018/ER.501791 DIALNET GOOGLE SCHOLAR lock_openDIGITUM editor

More publications in: Estudios románicos

Abstract

During the ideological crisis of the 1950s, through the studies of Gianfranco Contini and Antonio Gramsci, the Divine Comedy proposed itself as an authorial, existential and political model and as a multilingual model, to which Auerbach's concept of Mimesis was added from 1957. A concept already prophetically sensitive to the arrival of neo-capitalism in the 1960s, which coincided, not by chance, with the triumph of the neo-avant-garde and the Gruppo 63. An artistic witness to the agonizing struggle against this arrival is La Divina Mimesis, an unfinished remake of Dante's poem, in which Pier Paolo Pasolini depicts the crisis of his mimetic poetics in the encounter between his 1950s self and his 1960s self. The characterization of the three beasts constitutes a sociolinguistic framework in which the author-actor does not renounce allegorical dialectics, identifying, in each one of them (lion-illusion, lion-superbia, she-wolf-conformism), the evil he recognizes in himself and in reality.

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Data source: Dialnet