from left (pictured): I. Apolloni, S. Lanuzza, A. Contilia and S. Pattavina
"Island" from the Broadway production of Stephen Lanuzza
Anthony Palermo Contilia
Presentation of "Island. Novel of Sicilian literature "(Alternative Press) by Stephen Lanuzza library of Palermo Broadway (May 14, 2010). It is the author of this book. Coordination of Ignatius Apolloni. Speakers and Sergio Antonino Contilia Pattavina.
Island, like Dante and others, is the book critic and essayist Stephen Lanuzza that is in non-conventional literature. Specifically, is the literary production Sicilian authors, and its peculiarity is in proposing it as a "novel."
"Romance of Italian literature," the first (Dante and others), "Romance of the Sicilian literature," the second (Island). A choice predicate
unusual, unconventional, one of our critical literature to refer to it as a novel. You might say, reversing the relationship between gender and species (as in a metonymy or a synecdoche), the species with its specific difference - the novel - takes the place of gender: literature. The subset takes the place of all general, who thus leaves its function inclusive container of parts.
and literature as a fixed object identity - the literature of a day that is always the same "(to paraphrase a thought of Gaston Bachelard) - which Lanuzza questions. The identity of the literature, like that of philosophy, that had to deal with and aim for and from other points of view, if the history of knowledge and knowledge is also dependent temporalization well as hypothesis-function (Galvano della Volpe ). So if yesterday
the literary work, for example, was a factum within the individual development of unified national consciousness (De Sanctis) or equivalence intuition-expression (Cross), then mirroring (orthodox Marxism) or monument and document (Michel Foucault) and minor language (Gilles Deleuze), différance (Jacques Derrida), etc.., nothing prevents us from seeing and propose the fictional literature as the phenomenology of a subject (taken metaphorically) that takes the form of dual-configurable reports dynamic between content and form of construction method and put to work. The objects of knowledge, as in the field of scientific knowledge is not standard, are (first) thought experiments that the factum of fielding a "technology" conceptual-imaginative, certainly unorthodox, and as such an abstraction in every way must relation to the concrete materiality of the rationality of the historical dialectic and speculative.
Every age has, in literature, and of course, not only this, that a peculiar language, with its meaning, expresses a number of essential meanings. Thus, changing the forms of expression but also changes, from the point of critical interpretation of the facts. There's a writing metaphor where words and things, symbols and reality interact animated by a single energy that will acco ¬ muna. There is, again, an expression assertive or 'solemn', in which, especially for poetry, a word meaning fully, 'prophetic', replaces a thought or concept. In this case, the language indicates an order of things having to do with a truth not appointed through procedures of consequential logic but for glimpses and short circuits. Finally, we have a descriptive language that, by excluding the imaginary, aims to trace the words on things. In the Italian literature of 900, with a body of work that epitomizes that of other centuries, contains all these modules, resulting in a versatility of meanings at times interconnected and, more often, distant from each other.
It's like saying that the purpose of literature is not naturalistically to explain reality, but to increase it "discovering" the new standards and that the newspaper does not allow. As with scientific knowledge and philosophy, in literature, the "formalization", to each his own field of knowledge, with its typical technical and methodological, conceptual, expressive and communicative, never permanently stabilized, establishes a complementary relationship-to-date, so that there is a real come true thanks to these same procedures to investigate significant.
In the two books of literature and Dante and the other islands and the identity of literature as an aesthetic object and fixed so that the real is being challenged. Because, as he had already seen the semiotics J. Kristeva (Matter and sense), when we discussed the status of the literature around post-structuralism and post-reflection, the literariness is rather a textual (like every single write a text) generating sense or practical significance, because "production and structuring of meaning" that not only significant or language already has a fixed meaning and working in the exchange and inter-communication. In writing
aesthetic-literary and poetic, there is a distancing dall'univocità homogenisation and semantics as the constant of textuality working relationship between form and content by becoming continuous war and the (socio-political and psycho-cultural subjectivizing) that through the report and the historical correlation. No
hypostatization identity can crystallize and then imprison the preaching of the word semantics literature, and not just because of the second level or "multilingual" - re-design and re-organization of the tongue base. The language of expressive aesthetics of literature and poetry, even if you think the other details of the historical context of conflict and antagonistic as they come up, and production is an ongoing revolution that is integrating "technology and content.
A "minor language", say G. Deleuze. Because that child is not more than literary language, but because it undermines the standardization with the waste and its semantics aseità complex. It is a language, the literary-poetic, in fact, where aesthetics is aimed at information-multivalent plural and polyphonic polysemantic as a change or difference that is altered continuously while the market mystifying to conflict with each use unique and homogenized. And this without disregarding the ethical-political bodies that may qualify, while in the east-style ethics, the fictional narrative of literary writing (in general) of Italian and / or islands.
literature as a novel is not surprising that much, then, where else in philosophy for example, speaks of Hegel's Phenomenology of Spirit as a novel or a fictionalized story of the spirit.
What is the history of literature, then, if not "properly, the story of literary or aesthetic value of certain texts of the autonomic" (S. Lanuzza, Dante and others), it is the choice of works and their artistic sense, is, again, selection of authors (from the Latin auctor: augere from the verb, which means increase, add) whose commitment is also of increasing, with their books, the reality. " The reality in the reality of literature that the shape is of secondary importance compared to the count ¬ Nuto, "because, if so, any written could be called literary. " The shape really needs its own autonomy (literary), although not isolated from historical and social relations, which manifests itself with its own phenomenology qualifies "as a series of short stories and novels."
is not surprising, then, that there Lanuzza present literature as a novel or a narrative where the subject is literary writing with its waste and its semiotic aseità same organic, a novel where the various chapters and authors that they populate, albeit in schematic conceptual characterizes them, are the various special achievements that animate the phenomenology of writing ISLAND. Exemplifying the maximum you can take this as a functional titles vari capitoletti del libro (fra l’altro espressi con i colori idiolettici propri della lingua siciliana):
‘A vucca parra e 'a menti studia; ‘A vuci passa e 'a scrittura rresta; Chi si ‘nto ‘nfernu? Si rnartiddìa; Cantava accussì ‘u cirrincinciò; Mégghiu mmìdia ca pietà; Varda '’nterra e cunta ‘i stiddi; Cu òpira jùdica; Nun diri quantu sai, nun fari quantu poi; Vossiabbinidìca; Mégghiu acéddu di voscu c'acéddu di jàggia;Nun éssiri bannera ‘i campanàru; Nìuru ccu nìuru nun tingi; Quannu nesci ‘u suli nesci ppi tutti; Si babbu o babbìi?; Sùrfaru sugnu; Cca ssutta no nails; nnicch Who 'and nnacchi?; The rebate' rriva and 'to no estimate; Cu arrinésci Nesci, Unni you tag Sangu Nesci, Unni cc'è cùrrunu apple' mosses; Avira a vrazzu longu el'àutru Curtu; Appréssu 'u pic the very veni; Cu of intra avi amaru not some' leaders sputàri; Munnu munnu and is held; D'u is fruitful develop the canùsci àrvulu; Pirch? Pirch dui fannu tri nun.
are various licenses ISLAND, as many people (spectators and participants at the same time) that is about telling the phenomenological Lanuzza "literariness" as a real ideologeme kristeviano which acts as a unique source of aesthetic writing itself.
