Senso e funzioni della fotografia nella poesia verbo-visiva

The essay analyses the essential role of photography in Visual Poetry experimentation, with specific reference to the European context. It aims to exemplify the complexity and aesthetic relevance of this kind of works within the twentieth-century phototexts. It also studies the relations between Visual Poetry and the methodological acquisitions of visual culture studies. In this sense, a paradigmatic sampling of authors (L. Pignotti, L. Ori, E. Miccini, L. Marcucci) is proposed. In them, photography represents, through a constant dialectic with verbal language and pictorial sign, a construction that is a sort of interlingua or super-language to be opposed to advertising.The essay analyses the essential role of photography in Visual Poetry experimentation, with specific reference to the European context. It aims to exemplify the complexity and aesthetic relevance of this kind of works within the twentieth-century phototexts. It also studies the relations between Visual Poetry and the methodological acquisitions of visual culture studies. In this sense, a paradigmatic sampling of authors (L. Pignotti, L. Ori, E. Miccini, L. Marcucci) is proposed. In them, photography represents, through a constant dialectic with verbal language and pictorial sign, a construction that is a sort of interlingua or super-language to be opposed to advertising

Lucia Marcucci, maestra verbovisiva

This article considers the work of visual-poetry artist and poet Lucia Marcucci. It aims to exemplify the complexity and aesthetic importance of her works. Mischievous irony, political awareness and the unending need for experimentation are but a few of the main qualities of Marcucci’s work identified here. Combined, they entitle this Tuscan artist to be considered one of the masters of her artistic and literary era

Chapter Fototesti di viaggio: Absolutely nothing di Giorgio Vasta e Ramak Fazel

The essay examines the travel photo-text genre from a theoretical point of view, through the example of Absolutely Nothing by Giorgio Vasta and Ramak Fazel. It discusses the key issues and perspectives within the theory and methodology of visual studies and visual culture and describes the opposition between the verbal and visual parts of the volume, understood as a “Struggle for Territory”. This puts on strain the foundations of the travel story tradition, such as the narrative authentication

Letteratura e cultura visuale. Stato dell’arte e qualche minima proposta

This essay briefly summarizes the state of art on research about the relationship between Visual Culture and Literary Studies. It aims to exemplify the main critical consequences the methodological acquisitions of visual culture studies could bring on the literary discourse. In this sense, the main reflections on ékphrasis, iconotexts, iconisms and scopic regimes are discussed, and a paradigmatic sampling of theories (from W.J.T. Mitchell to G. Boehm) is proposed

«Il cinese ero io, naturalmente». Sanguineti, Tel Quel e il dibattito politico delle neoavanguardie

The essay recalls the debate between Edoardo Sanguineti and the editorial staff of Tel Quel in a meeting that took place in Cerisy La Salle in 1963. The two positions, which were very distant at the time, were to approach in the immediately following years, also on issues politically urgent posed by the student movement of 1968. The adhesion to Marxism-Leninism and the theoretical reflection of Mao Tse-tung's thought will therefore be common.Il saggio ricostruisce il dibattito tra Edoardo Sanguineti e il comitato editoriale di Tel Quel, in occasione della décade di Cerisy La Salle del 1963. Le due posizioni, molto distanti all’epoca, si riavvicineranno molto negli anni immediatamente successivi, anche per le questioni politicamente urgenti poste dal movimento studentesco del 1968. Comuni risulteranno, infine, l’adesione al marxismo-leninismo e la teorizzazione sopra il pensiero di Mao Tse-tung

Silvia Albertazzi, <i>Questo è domani Gioventù, cultura e rabbia nel Regno Unito 1956-1967</i>

Recensione del volume Questo è domani. Gioventù, cultura e rabbia nel Regno Unito. 1956-1967 di Silvia Albertazzi

Avanguardia o sopravvivenza: il Gruppo 70 e la dischiusura del campo letterario

This article presents literature as a vital and irreplaceable form of human culture. It does so by discussing various prominent works by Gruppo 70, which already by 1963 had conceptualized literary conscience as beyond literature per se. Scurati declared that the necessary broadening of the literary field emerged from the conviction that our literary conscience “is, today, largely integrated, if not mostly integrated, by the use of works which are not mediated by written words”. On the other hand, Lamberto Pignotti’s presentation at the “Art and Communication” symposium (May 1963) underlined how “avant-garde after avant-garde” represented the only survival option for literature in a neo-capitalist society. This article starts from this discussion to analyse the clash between a “closed literature” definition – whereby aesthetic differences imply meaning and value – and an “open literature” definition – literature as a vital and irreplaceable form of human culture. It does so by discussing various prominent works by Gruppo 70