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Il Roveto: Poesie [Paperback]

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Item description for Il Roveto: Poesie by Erminia Passannanti...

Parlando della poesia di Erminia Passannanti, la critica ha impiegato termini e categorie di chiara matrice novecentesca: surrealismo, onirismo, frantumazione dell'io. A ragion veduta, poich alcuni moventi profondi della scrittura dell'autrice, ben presenti anche ne Il Roveto, sembrano appartenere ad una zona di confine tra realt e immaginazione, inconscio e ragione, in cui l'io si fa teatro di apparizioni e sottrazioni governate da una "logica fantastica" (cos Guido Guglielmi), imprevedibile e impertinente. Una tal logica opera tanto nei nessi costruttivi, quanto in quelli linguistici, per via di spostamenti e febbrili alterazioni: in questa raccolta, essa si manifesta attraverso la costante contaminazione di elementi eterogenei e non di rado contraddittori, vedi l'uso di lessico corrente e colloquiale e, negli stessi testi, di arcaismi che sfiorano il kitsch; la presenza di linguaggio di matrice religiosa unito a schegge di registro tecnico-protocollare o d'inglese; fino al complessivo configurarsi di una lingua ibrida e meticcia, senza pi una vera patria.



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Item Specifications...


Pages   80
Est. Packaging Dimensions:   Length: 8" Width: 5" Height: 0.19"
Weight:   0.21 lbs.
Binding  Softcover
Release Date   Mar 30, 2005
Publisher   Troubador Publishing Ltd
ISBN  1905237081  
ISBN13  9781905237081  


Availability  0 units.


More About Erminia Passannanti


Register your artisan biography and upload your photo! Dominique Vivant, Baron de Denon (4 gennaio 1747 - 27 aprile 1825) nacque a Givry, un borgo vicino a Chalon sur Saone, il 4 gennaio 1747, da una famiglia di piccola nobilta. Fu artista, scrittore, diplomatico e museologo. Trascorse sette anni a Napoli presso la corte di Ferdinando IV e Maria Carolina. Fu nominato direttore del Louvre da Napoleone, dopo la Campagna d'Egitto del 1798-1801.

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Product Categories

1Books > Foreign Language Books > Italian > All Italian Books
2Books > Subjects > Literature & Fiction > Poetry > Anthologies
3Books > Subjects > Literature & Fiction > Poetry > General
4Books > Subjects > Literature & Fiction > Poetry > Single Authors > Continental European



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"The Body of Discipline and Incontinence"   Aug 22, 2005
Erminia Passannanti,Il Roveto (Poesie, Troubador, 2005,$ 15, pp. 78)

Erminia Passannanti's new poetry collection, Il Roveto, explores the links between the language of poetry and the language(s) of religious and bureaucratic discourses from a theoretical and formalist point of view. The book also shows the ways in which these languages are inscribed into the "body" as a cultural and socio-political artifact.

Ne Il Roveto, body and language appear as reciprocal instigators, at work within a space of disruptive interaction. Language's form, structure and norms with all their complex implications seep and affect the body, which, in its turn, becomes an intertwined, ideologised and gendered constructs, pushed to its limits, until sense is subverted and lost, as in "Del senso" ("potendo strapperei via il senso / come un insulso membro / lo getterei nel gabinetto / e tirerei lo scarico", p. 39). This interaction often assumes transgressive and parodistic performances, as in the poem "Lo stato della Rosa": "Nell'anomalo ritmo, i recettori / rilevano troppo bassa l'effervescenza, / scoodinata l'attivita' dei muscoli." (p. 21)

In the same poem, the persona, which through the collection is alternatively male (a religious figure) or female (a chastised rebel) appears to be out of place, sick or utterly dysfunctional, as though held captive within a bounded form ("teatri d'apnea diurna, il desiderio di mancare / quale esigenza vitale", p. 21). The subject is tormented by corrosive doubts ("tale disposizione al dubbio / e' aggravata / dalla tendenza ad ammalarsi.", p. 21) which aggravate his/her suffering. Although the world is seen through "scene di lotta / popolate di bestie moleste" (p. 21), a sense of continuity still regulates its radicalized dissonances.

The main point of distinction of the persona is thus his / her congruent state of illness and its related performances, beliefs and mental dynamism, as in "No": " non ho Padre, ne' padre / ne' bandiere ne' terre, / manco di peli e ovaie, / non ho lingua d'orpelli." (p. 31). The persona's identity is thus constructed not in positive gendered terms, but trough ambiguity and negation. At the same time, the persona's body is not represented as neutral. In fact, this ambiguity creates a sense of strength in the character's voice, transcending and controlling sexual incompatibilities: "Eppure, ho la potenza / dell'amplesso contrario. / Godo in un freddo letto." (p. 31)

The most interesting and visible extratext of this fourth collection is its response to Foucault's Discipline and punishment, and Madness and Civilization. As in Foucault, the bodies of Passannanti's personae seem inscribed in constrictive social, political and religious practices, as it becomes apparent in poems such as "Esercizio spirituale"(p. 60), "Pratica" (pp. 61-62), "Tre metodi della prece" (p. 63), and "Esercitazione all'ascolto", challenging normative principles of what is healthy, holy and normal (p. 64)

Ci si sieda nella sedia, verticalmente ma comodi,
con il posteriore sostenuto. Avviso: si aggiustino i suoni
che si possono sentire, suoni lontani, nella via. [...]

In the quoted lines, the normative way the senses are disciplined by spiritual and intellectual exercise does not indicate any particular gender of the persona, but rather an innate behavioral disorder. The author's main task is thus to mock the way bodies are made docile at different levels of obedience to the enlisted and prescribed norms:

"Prima regola. La prima regola e' che ci si debba ben non astenersi tanto dal pane, perche' non e' alimento a cui l'appetito sia adusato per comportarsi cosi' disordinatamente, o alla qual tentazione e' sollecito, come invece accade nella cassa degli altri alimenti", (p. 61)

Prayers to to be made, laws to be respected and norms to be followed are here techniques to render the body, whether male of female, an object of patriarchal disciplinary control, as in "Esercizio spirituale, whose advices are uttered by the off-set voice of a sort of trainer:

"La vostra riflessione sia su quello che ritenete essere nel corpo e non sui pensieri circa la sua condizione. Se vi sentite scomodi o pruriginosi o smaniosi di mutare la vostra posizione, appena si riconosca il disagio, ci si assicuri che sia tutto a destra, e, senza muoversi, si continui a concettare e/o parafrasare cio' che potete ritenere sia nel corpo." (p.60)

The sacred and the profane pervade most poems, centered on the ethical concept of "humanitas" as "feritas" and "divinitas", as we read in "Teoantropologia": "La religione e' un nodulo che duole se toccato. / Lascia che pago dorma il malato." ("p. 32) Thus religiosity and impiety, transcendence and immanence, Christianity and paganism follow a comprehensive line of poetic research. Here, the Humanae litterae persist within a secularized poetic tradition, as traces of the old sphere of religio:

Nella distanza la speranza
nel contorno il giorno
nell'immediata presenza l'assenza
per lor capacita' di coglier in questa
idee inadeguate all'ispezione attenta. [...] ("Teoria della Pintura", p. 49)


While proceeding along a series of titles as explicit as "Il Lemma-Cardine", " Dottrina", "Rosa Mistica", "Jesus agli Apostoli", "La Presenza del Dio", one is prone to ask: "But where is God in this book?" And indeed, between his menacing presence and his complete absence, between belief and atheism, a relationship of juxtaposition and at the same time of coincidence exists, that makes the book humanistic in spirit and agnostic in principle, identifying in the way body and language are inscribed in or expelled by religious spheres, one of the major inspiration of poetry.


In La linea del dissenso: Artaud-Rosselli-Passannanti, Laura McLoughlin (ed.), 2005.

 

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