Care Package For Heart

Novel of Sicilian literature


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.

Csaying For 3rd Birthday Invitation

Lanuzza Stephen and Celine, the "uncanny"

Lanuzza Stefano, DAMN CELINE A MANUAL OF CHAOS, Stampa Alternativa, Roma 2010.


The essay on the French writer, critic Stephen Lanuzza Destouches Luis Ferdinand, Celine said, has renewed interest and even controversy about an author who certainly has not failed to give his side the grievances and dissent for its clear and unequivocal position in anti-Semitic, and other allegations of undue "collaborationist" who attributed to him. The style of violent, irreverent and very far from the usual literary stigmatized dall'argot of banlieuses (where Céline plied his trade as a doctor without getting paid by the poor and the marginalized, Jews or non-Jews were the sick and poor), but filtered version of literary innovation (by altering the syntax, punctuation, accentuating the ellipsis el'esclamazione, known as the critical Lanuzza), certainly has not helped the doctor Destouches / Celine. Violent and delusional because of strong impact repugnant, but has had an effect and efficacy that led to the revolt more than the acceptance of this unrepentant and marginalized desecrator as rancorous and bilious stray, but sincere and dispassionate (disenchanted) as few both in thought and in writing. The repulsions are therefore immediate or reasoned argument.

On the other hand the reader can follow the path traced by Lanuzza through the signs that he left the same in every part of his book and as summarized in the index:
Celine. U'autobiografia ... Almost; Lexicon Celine-Dion as 'Nouveau Philosophe'; books Céline, Louis Ferdinand Céline - à la guerre comme à la guerre; Topics céliniani; first French edition of the works of LF Céline, selected bibliography.
But what interests this writer is not only the existence of the afflicted French writer, who has made revolutionary literary writing of its fuel (compared to the canon of distance and balance the emotional and passionate art-looking-good-Truth asked the writer), but the identity conflict of culture and civilization Western-European thought, the life and work of the cursed Céline summons. That identity - Moi meme - that coagulates around the values \u200b\u200band ideology of humanism and its various "ages", and not free of contradictions and paradoxes unresolved - that touch the lives and identity of each - not always addressed with honesty, intelligence at the same selflessness and objectivity and ethics of nudity that the "thing" demands.
Celine is dead and buried by unanimous consent, and conformist, and politically correct to voice sloppy maid urbi et orbi the master of all time and guidance. An ugly "race", this, of hominids that the "master-slave dialectic" Hegel-Marxist have only enjoyed the exchange value of slavery-body mental and socio-political, so enjoy the privileges of merchandise, a sure guarantee of the dominant ideologist, in the odor of life disgustingly acquiesce to any cowardice. Hang
Céline, then, is the decision of the MOI MEME Western bourgeois metaphysics and religious-political umanistoide, alias, memento, bad seed in place of the "banality of evil" or the nut that holds the thought of that little gray matter without autonomic "soul" and animus. That absence of fat pads that is well known that Hannah Arendt has denounced as bad uncritical thinking and deconstructed, revealing the instrumental use of anti-Semitic hatred as the only cause of persecution for those who were guilty of anti-Semitism and genocide Semitic. Hang
Celine. Hang him yet because his voice is unbearable for the poor and powerless liar humanistic conscience, says (to himself and to others who practice self-righteous alter ego moralistic in recriminations and varied and essence) the MOI MEME dogmatic, cutter heads and hardened spokesman of religious and political respectability umanistoide secularization of this post-modernist weak because murderer!
IO - MOI MEME - I can not stand, so I do not want to see, my hypocritical floating image, reflected and complementary in the likeness of God, spit on me the unbearable stench that animates me, or I Squaderno murderess on the squalor of humanistic unrepentant puppet and ideological soul. Unrepentant believer, to the mass killings and other pleasure-ad libitum orgies crazy (this is history-capitalist political status that I do not unworthily), I can not stand that scoperchino graves for the bodies of those who meet me lovingly, absolutely indifferent to God, in life and I slaughtered secula seculorum damned all'innominabilità, such as anti-Semitic Celine. That was only then that Céline anarchist and a communist rebel in any urtasse harnessing that his paradoxical to impersonate as an anti-Semite is not anti-Semitic. In fact, no evidence of this alleged crime abominable can be produced on a court (as stated in the book Lanuzza), while many respectable church and state that wander around there are galore, but do not have the dignity of the scapegoat Céline .
MOI MEME these politically correct (pennivendoli birds) does not recognize, for himself, no court or criminal court. Absolute headhunter thinking kills anyone did not like, fake or real is the action of the persecuted. The Divine Marquis (De Sade), an analogy to remember the persecuted Celine, to his interrogators and jailers have always said that he would never do anything of what he wrote in his masterpieces of literature heterodox, heretical. But the various
headhunters Israelis, and affiliates, undaunted, did not cease to persecute heretics, whether alive or dead. Since the war have continued to use anti-Semitism as farcical jus ad bellum. And their norimberghiani processes, involving the death penalty, yet still keep active the guillotine for the alleged perpetrators dall'ingiuria achieved under the 'law of suspicion' and the hands of the horde used to hunt witches.
shot dead and ostracism (including the same memory - and not just the author - as you can see in place following the resurgence of anathemas around the media or network) is anyone, properly or improperly, dare to take the questionnaire paradox of literary sarcasm, so colorful and explosive typical dell'argot Celina, or dare to revive memories anarcho-communist and desecrating the thought of Celine. Dion made no secret of his contempt for any bourgeois morality and its duplicitous Catholic and even the stupidity of the butcher totalitarian dictatorships of Nazism and Fascism and the criminal diversion of Stalin, as well as for aggression and vulgarity free of those who robbed and beat him on the street. The ruling
criminal punishment does not spare even his witnesses and documented more careful critics, who omitted nothing of the cursed life of the writer. They are the subject (not to mention the recent publication of the essay by Piero Sanavio, the "Virtues of hatred") which, as Stephen Lanuzza with his "DAMN CELINE-Owner of chaos", that contextualize the author examined in its political and historical time-examination with distance due critical. Do not leave out corner and closet that could shed light to do justice to the ontology and existential literary author examined, Céline. The Damned Céline, sorry to God and his enemies. the "uncanny," Dr. Freud would say that no one, however, would revive, remember.
Whenever his name comes back to show clearly and warn then it must acknowledge it, and even those who remember and he enlivens the need for truth!

Is Rhino Shield Worth The Price

Roberta Matera interview Nino Contilia


Contilia Nino Marsala's interview about his latest literary work
by Roberta Matera.





The last interview with the poet Anthony Marsala Contilia dates in late summer 2009. Our paper, then heard him on two particular events. One concerned the results of its interests in the summer evenings poetic "Ong non-extinct poetry" on the rock Marsala - notes "2rocche - Cape Boeo. The other touched her poetic and cultural production. In this case, specifically, our interview revolved around the recognition that the city of Sassari, with the prize of poetry - "The Island of the verses" (Sassari, in October in poetry) -, had allocated for its collective work - 'Elmotell blues (Navarra Editore, Marsala). The poet had, in fact, received the first prize for the section of the works published. But since then, the poet-philosopher - as the critic Stephen Lanuzza shows in his work (wandering in Sicily 2003; Island Romance-Sicilian literature 2009) - has continued its efforts and acquired other results. And that is what we intend to ask him some questions. Also because our newspaper, publishing writings, gradually was able to follow the thematic range and publications (debates, poetry, essays) and traditional on-line.

D. 1 - Once again, with his friend Mr. Fabio D'Anna, this year, monthly, at the of Merkaba Marsala, has pledged to continue (until June 2010) the poetry evenings "Ong extinct non-poetry." Your diary has planned meetings with the texts of Ferdinand Pessoa, Ossip Mandelstam, Ezra Pound, Bertolt Brecht, Paul Celan and Ferdinand Céline. In March 2010, for Papers "Collective R / Atahualpa", accompanied with an introduction by prof. Sergio Pattavina (professor of literature at the University of Palermo), released his new poetry I (s) dyad / The binary dell'Asiento. We want to say if there is a relationship between the two events, and synthesize something about the title of his book and his content?

R. 1 - Not only is there an ideal significant continuity between these readings evening dedicated to poets of the twentieth century (and even contemporary living) and my last book, but there is a real political and cultural harmony. A harmony that, while, in terms of poetic language, practicing as a speech allegorizing symbolization and meaning "revolutionary" than the everyday life and stereotypes circulating, I was on the other (s) dyad / The Binary ' asiento, including lyrical, irreverent humor and satire, is a real attack on the order of the power of our delusional and inauspicious days in Sicily, Italian, European, planetariums. Nefarious, this power of capitalism and liberal, why turn back the clock of history, democracy and human rights achievements of the same "vision" of liberal society. Pernicious because he wants a fence of slaves accustomed to the speed and depth without critical reflection, without thinking. He does not like and do not accept it subject to critical thought and action. The poetry of our evenings "Ong non-extinct poetry" and that of the texts I (s) dyad / The binary dell'Asiento, however, is a story of people equal and free. Subjects capable of action and thought - a broad and deep reflexivity (denied and prevented in the society of consumption and market meanings homogenizing) - and aimed at co-along of being plural. And / horizontal cooperation with this power, social subjects thoughts and actions aimed at keeping critical-conflict situations. No sugar or attracts the mousetrap to the emotions surrounding the collection of easy and confusing the consumer society and the "privatization". The "content", so to say I was (s) dyad / dell'Asiento The binary is exactly the opposite of revolutionary terrorism and racism in the state of the masters of power. The power that affects and disrupts the common good, love, social ties as the cultural heritage and the landscape and local not local. The power that claims the right to decide and life and death of each and every thing. The power of labor and the exploitation of nature is passed to the conduct and control of biopolitics and biopower, and against whom Michel Foucault and Gilles Deleuze have provided a more intellectual or cleric of the party, or master of the conscience, but as a person directly and another fighting for a society without social hierarchies. My book of poems I (s) dyad / The binary dell'Asiento moves in this line of thought and action, and in some texts also talk of how much (and not landscaped commons), even in our city / area , does not escape the nefarious marketing and profit of civil liberty.

D. 2 - We've read several times of his activities and non-fiction publication of another more complex weaves literary theory and engagement - engagement - with the poetic and philosophical and even scientific research with the same Marxist critique of political economy. Can you tell us what relations can relate knowledge that, at first sight, seem to be distant from each other?

R. 2 - The research essays accompanied, upon its release, my poetic writing and the type of linguistic experimentation that connotes. From the time of the review "Commitment 70" first, then "Commitment 80 "to" glimmers "to" ferment "(Rome)," barring unforeseen circumstances "and" Collective R / Atahualpa "(Florence) and new electronic journals (such as www.retididedalus.it, www.vicoacitillo.it, www.retroguardia.it, www.overleft.it, www.stilos.it ...) today, the publication of this essay is enough. I have already published (I remember a few): Poetry and Madness: body and shadow (barring unforeseen circumstances, 1988/1989), Philosophies of Poetry: The 'butterfly effect "(Molloy, Florence 1991), on the ruins and traces of a uninterrupted dream (opening, Marsala 1997); Antigruppo Sicilian - fragments of history, avant-garde and effort (www.vicoacitillo.it, Naples, 2003); know little foresight in (i) From the ethical spheres of Dante-Dante all'ipersfera Riemann (Brew, Rome, 2009); The poetic subject cognitive economy (Brew, Rome, 2009), broken symmetry. The Koch curve. The collective subject / avant-garde poetry and committed (www.vicoacitillo.it / Naples, 2010), Making poetry in Sicily (www.bollettario.blogspot.com / 'stub', XXI, No. 61, January 2010). Regarding the relationship between knowledge of poetry and the sciences (in general), using the tool of analogy, I might say, in short, that share a common capacity for abstract imagination, common rhetorical tools of investigation (such as metaphors , the principle of similarity, contradiction ...), and the ability to build worlds and alternative models. Universes of discourse plurisignificativi that enrich the knowledge as the practical ability of the subjects in a given historical context. Another paper - "For a critique of poetic ego" - and then fill the larger work broken symmetry. The Koch curve. The collective subject / avant-garde poetry and engaged, using an additional ana-logical path, try to deconstruct what substantializes and ossified remains of the universe (language and knowledge) of the discourse of poetry. Here, indeed, as in the political economy of capitalism, atomized individual consciousness (the ego) behaves like the "I respect the capitalist productive activity and its" constructive ". Both exclusive owners of the product placed in the common market. For one, the artifact (goods) is solely owned by him, and that its value is only as exchange value, profit oriented ad usum delphini individualistically enjoyable. For others, the artifact (poetry) is the only interior (perhaps distressed and abandoned ...) liricizzante and the sole property of the ego. Lyricism displayed on the counters at most of the market "naive and sentimental" (Friedrich Schiller) but only for the consumption of private subjectivity. And the latter increasingly reduced all'ineffabilità or, worse yet, locked emotionality boorish and sedative (discipline and control) of aesthetic spectacle today.

D. 3 - Finally, another question. Reading the various contributions made by her on several occasions and listening to the things we say in this short but concise and chat, it seems that in his speech runs an implicit point of view that is talked together economics, politics, poetry and common goods. And, not to be too vague, we refer to his action against the privatization of water, to his meeting (UNESCO, Erice 2009), the philosopher of science Ervin Laszlo or licenses some of his essays (mentioned here) as a poetic subject, the collective subject, knowledge-based economy, cutting-edge commitment, etc..

R. Briefly 3-(it would take more time and space ... for similar arguments). Like water, earth, air ... they are common property of / for all men, therefore, not private or privatized, so goods are common knowledge, knowledge, language, culture, poetry and art. Personally, with topics and texts of poetry, I choose to "fight" for the defense of common goods and political economy and cultural collective. A way of being-there, the latter removed from the law of the market value of robbery and use of the world market as the profit of private individuals, corporations, banks and financial exchanges. The philosopher of science Ervin László we were perfectly in line on this point: it is necessary for the good of all the world and each chooses a different paradigm or model or style of life than the privatization of science and subject to market profit and individualism. Yes that is an urgent need to restore the value of the collective and the individual over the collective patterns of vertical integration and the hierarchy of the past. We can not afford to mortify the sense of priority "we" and directly democratic social practice plural. Outside there is no life for no separate individuality, especially if sick of the "libido dominandi" (St. Augustine). The collective subject of poetry and the poetry itself, deciding to leave the room for intimacy opera isolationist "mingle" with the outside world and its historical materials, so they believe, is certainly a considerable stimulus in this direction. At a time when the language and communication have become productive force industrialization of new generation (post-Fordist industry), his language it escapes the approval and commercialization, and also because the subject, which over time has built the house, is manifesting itself in a collective common heritage of the poietic who gave him life and consistency.
The paintings of the cover, which enhances the semantics of poetry I (s) dyad, is the painter Giacomo Cuttone, and is titled "The island is not coming second."