Pier Paolo Pasolini is one of the most important but also most misunderstood Italian artists and intellectuals of last century, a cultural and artistic myth often understood and used in excessively sectorial or expedient ways. This dissertation defines and explores Pasolini's carefully constructed authorial apparatus, in the sense attributed to this term by Michael Foucault. It argues that Pasolini's authorial apparatus is a labyrinthine subjective construction, which functions within the gigantic interdisciplinary macro-structure of Pasolini's body of work, demanding from its audience a comprehensive reading. Pasolini's authorial apparatus is deconstructed in this dissertation while following the making of Pasolini's incredibly complex body of work, which, crossing medium and disciplinary boundaries, includes poetry, narrative, film, but also theater, essays and even painting.
| Identifer | oai:union.ndltd.org:columbia.edu/oai:academiccommons.columbia.edu:10.7916/D8PN9D1M |
| Date | January 2011 |
| Creators | Annovi, Gian-Maria |
| Source Sets | Columbia University |
| Language | Italian |
| Detected Language | English |
| Type | Theses |
Page generated in 0.0016 seconds