Staph In Belly Button

Eliana Forcignanò

“La mosca nel bicchiere”, ecco la poetica di Bene

Perché di Carmelo Bene (Campi Salentina, 1937 – Roma 2002) non si potrebbe o dovrebbe parlare? Forse, perché si tratta oramai di un mito, tuttavia i miti si costituiscono proprio attraverso la parola che li tramanda di gente in gente e la mitopoiesi è un’attitudine irrinunciabile dello spirito umano. Il razionalismo critico, però, ci suggerisce anche che i miti vanno indagati e contestualizzati al fine di comprendere the roots of their size and, if necessary, revised without falling into a sterile hagiography. In other words, the context, the cultural climate within which the myth of the "coming out" is essential and should be investigated with scrupulous. This is the work of Stefano Di Lauro, for Books of Icarus, published "The fly in the glass," an essay on the poetry of Carmelo Bene contextualized in the cultural landscape in this century. The book was recently presented to the City Paper by Maurizio Mauro Marino and Nocera. A search

deep, committed, crystalline that the author has conducted placing the goal of analyzing "explicit poetics" of good, namely that evidenced by the writings of him have survived. Addressing Good thinking - as Lauro calls it - is a tall order, especially since there are numerous references to the decadent culture and philosophy of the nineteenth and twentieth centuries. Di Lauro, and exposes them to identify clearly, going upstream in a river whose course seems to be endless: "The paper medley in this study - Di Lauro writes - has none of the treatises, the material examined, although libraceo to form asistematicità and recalls certain notebooks in which are mixed haphazardly notes and reflections. " It is true, however, that Good has always pursued the idea of \u200b\u200ba "Synthesis of all Wildean art and criticism" and the two poetic - implicit and explicit - have gone hand in hand until the last few years, "except at the end of his career when the intent theorists are so ambitious and rare that it can not be met reasonable that the price of silence. " It is impressive to see the philosophical background from which it draws nourishment Good thinking: Structuralism, Nietzsche, Schopenhauer, Deleuze, with whom he has even collaborated Good writing the booklet "Overlays." Now, why is this important essay on the poetry of Carmelo Bene? Because until now, few had bothered to examine the antecedents Well of philosophical thought, simply locate small scales only implicit in the poetry. Di Lauro, however, deep down, that comes to sceverare issue as important as the "super human" Well, on which he based much of his work. Needless to say, "over the human" immediately calls to mind the well-man of Nietzsche that rises above the chaos of the everyday, to find a proper order that goes beyond the common Homunculus. Well known is the exemplification of the eternal which shine in all its power the well-Man who says yes to life, yes to the 'aion " against the "chronos", yes to the 'ambition to exceed the human eternizzante through the power of Art ". Art, of course, is one way of deliverance from the Will enumerated by Schopenhauer's pessimism that he reappears in the sample, a conversation with Carmelo Bene scholar Umberto Artioli, quoted in the book "The fly in the glass." But Di Lauro flees from a position of general philosophical thoughts that inspired Well Schopenhauer and give the rightful place in Good thinking, namely that of "educator" How much art as liberation from Will, Good points out: "The art really it sucks. I am interested in the most pathological, that is not daily but what, say, psychoanalysis is called, called imaginary. " Di Lauro interprets this statement as a gesture of fatigue the last Fine pointing to the 'surplus in itself, ending with theorizing a "regression at the intersection" in an attempt to escape the tyranny of the symbolic. " Along with Nietzsche and Schopenhauer include other big names like Stirner, De Saussure, the Italian poets Leopardi and Manzoni. But if the pessimism of Manzoni is a consolation in life after death and that of Leopardi in solidarity between men, there is nothing that Carmelo Bene man can do to improve his condition. "The horizon of brotherhood Leopardi - writes Di Lauro - has no place in Good thought, irrevocably affected by a structure (psychological, linguistic) inert to the reasonableness of the compromise and that does not include mutual aid as a way of universal and lasting."

Another issue that can not fail to fascinate the reader is the religion of Carmelo Bene: Di Lauro defines an "agnostic restless, very restless." For Salentino is the Socratic "oiomai eidenai me," I do not know, but his research, his hunger for transcendence does not cease. In the theater of Caramel Well, according to Alberto Signorini, there is an endless, impossible "nostalgia of the Other" and when you say nothing else you can not think of God That Carmelo Bene - Signorini's opinion - which is a baroque religiosity back to a negative theology. God can not say anything because they "have to say is compromise." Carmelo Bene iconoclast, a Catholic not in the traditional sense, but in the sense of being aware of their finitude, to live perpetually uncomfortable as Kierkegaard wrote in "The deadly disease." This feeling perpetually guilty reminds devotion Old Testament, when the man, Far from putting in an equal relationship with God, he prostrated himself before the Supreme Ente who would not even mention.