General Thank You Wedding

The I (s) dyad / The binary dell'asiento A. Contilia the "Fardelliana" I

The I (s) dyad / The binary dell'asiento A. Contilia the "Fardelliana"
Trapani, January 27, 2011, 17:30


After the strike by 100 poets in "Trampling the oblivion" (Rome, January 8, 2011) and 105 poets mafia - "The unpoetic Mafia" ( edited by G. Lucini) - of which there was the presentation of the Carmine Marsala (crowded room) in the presence of Rita Borsellino (MEP), and the Lucini same poet, the author Marsala N. Contilia is the focus of another presentation.
Meanwhile, for the manifestation of "Trampling the oblivion" and "The Mafia unpoetic" you can see movies (several steps) on the site http://www.youtube.com/user/Lucreziocaro90.
The new work - The I (s) dyad / The binary dell'asiento (R Collective Papers / Atahualpa, Florence, 2010) - of Contilia, always dedicated to his poetic "committed", will be presented January 27, 2011 , 17.30 hours, in the conference room of the library "Fardelliana" in Trapani. The organization is was edited by Mrs. Margaret Giacalone Dir. Speakers two professors at the University of Palermo: Sergio Pattavina (who wrote the introduction to the book: "The indignation of Contilia"), and Barbarian Marta (who has already edited a job essay on the poetry of Contilia. The essay, in the near future, will published in the journal "Sandstone" in Palermo ("Sandstone" - A series of information of modern and contemporary literature - out by the poet Lucio Zinna).



In short, the work , whose cover is illustrated by the semantics of Art Framework - "The island is not coming 2" - the painter Giacomo Cuttone (also present him to the "Fardelliana"), we highlight some critical excerpt. The critical short quotations are taken from the prof. S. Pattavina essay and the work of Professor M. Barbaro.



Sergio Pattavina: "The indignation of Contilia here comes the pitch, and while it reaffirms, as" poetry in speech "that" is not the time to ask / require is time and set / dance like mosquitoes / tumors notice disarray words / more fire and cross-chest "(Cave avatar), invites us to look for and seek a path, a path, a ring that does not take ", for the ultimate assault on the sky," we seek a path to heaven, like yesterday / adventurers and sell the lies / that's where the market is ashamed / because we want more ships that zinc-and surf pirates who know of no, rappeurs (Cabron). Among the subjectivity of the poet, then, with its abstract principles of liberty, equality, solidarity, peace, establishing an acrimonious disagreement with empirical reality made of exploitation, imperialist wars, old and new fascism, racism, which gives place invective, irony, the most tricks in-sensible "to disjoint speech, twisting alchemical language, the text (literary, journalistic, television) has the power, the prerogative of the ruling classes. "


Marta Barbaro: "In I (s) dyad's everything from wars to migration, anti-clerical dall'invettiva complaint of neoliberal economics, environmental disasters September 11, from the news to politics, with names , names and facts that concern the Italian life and world, and yet, drawing on the slogan of the television communication as well as the cinema and jargons, and alternating skills of astronomy and quantum physics with those in the world of computers and technology, moving from macro to micro history and cosmology of subatomic particles and of digital bits. Not only did each invest a text field or a different problem of our present, as we indicate the different titles, but within each poem to the themes and codes are intertwined and seem to be generated from each other "(from the essay forthcoming publication ("Sandstone").
's close in anticipation of that is coming in another anthology that brings other poems by A. Contilia. In the meantime we extend an invitation to attend the presentation of January 27, 2011, 17.30, the "Fardelliana" in Trapani.

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The "100 poets against the Mafia" in Marsala

Epos, Poetry civil and political


Gianmario Lucini (unpoetic The Mafia, introduction)

The idea from which it takes body of this anthology comes from reflections on the role of poetry in contemporary society. The poem in fact, since its inception, has always played an important role [...] in every major culture. [...] In the Greek civilization, the first tool for the dissemination of the emerging philosophy to Socrates and Plato: An example is the poem of Parmenides, Heraclitus, the judgments of Hermeticism. [...] The poem was also historical and mythical memory, memory feats of origin lost in time, the consecration of an epic deeds to be handed down to posterity as an element of identity and social cohesion. [...] The times changed and now it has come, after twenty-five centuries, to a poem devoid of role, being divided and exiled in limbo, often in conversation only with itself within a bubble of knowledge that we call "literature." [...] No one would imagine to see the masses to a performance of poetry, as it was in greek theater, but one has to add that our modern performances of poetry are sometimes something really depressing. [...] The so-called "reading" of poetry - today - [...] do not have the ability to inspire that feeling of emotional empathy el'alone instead raised (and still inspires) epic poetry. It spoke of the polis, its people and its life, its problems, his doubts, his atavistic fears. It was a poem that can be inside the historical society and to propose a very clear role, that of interpreter of the deepest humanity, to put it on stage even in its contradictions and paradoxes in his pain. Contemporary poetry instead, too often, is boring and monotonous proposal of a "poetic I" solipsistic, who does not care about the other, but only for himself, does not feel responsible for the communication process, but they put Gegenstand, overlooked, too often from a pulpit, from within a game whose rules are unclear to anyone, maybe even the poet himself. The ancient poetry was criticized by everyone, for these flowers agoni poetry that gave us the best classical poetry.
Contemporary poetry is often criticized because it does not share its criteria with no meaning. [...] So it's no wonder that people "do not read poetry." I think it is not so much a question of cultural level, but rather of mental health, a form of self-defense by the non-decayed sense of poetry and self-referential.
Therefore, if we seek feedback in some way "literary" to the creation of this anthology lies in this: to find a schedule that would allow poets who adhere to write a page of epic, in a broad sense, not literal. This anthology illustrates, for sampling, as the poet "sees" or "hear" what happens in the world and which usually occupies the poetry but not the record. Unfortunately, the record is very detailed, when it is, the "tell" the facts, but not to express a world view, that thinking (poetic, of course, not noetic). This particular poetic vision, which is transmitted through the components of symbolic language, is left to art: the record can not. And if art does not produce a symbolic vision of the crimes, then to chronicle difetterà always a profound connotation and pass on our consciences without leaving track, as it were fate. As a result we do nothing, even when the news tells gruesome facts. In fact, almost without a trace pass, in the collective consciousness, wars, global injustice pass, pass the robbery to the environment, runs every mob, every corruption, every unpoetic. All this goes to swell the so-called collective removed, the garbage under the carpet of the drawing room. The news indeed lasts three days, the art well done it lasts forever.
[...].
This is the lens and I had to put in brackets the need to select the text by selecting only the most prestigious literary point of view. In fact, at this historic moment underestimate the devastating impact of large-mafia culture in every social, is much more important to get a clear signal, expressing a general willingness in the literary community, to collect any contribution, any subject. [...]
Our small signal to the mafia culture seems so loud and clear, although not as strong as it could have been, given that many of the biggest names of the letters have not signed (though I imagine that perhaps many did not ' have not heard) and then we turn this part of their responsibilities, for the poets who have attended here have fulfilled their part of the effort in assuming a role precise, that somehow involves them in the future.
[...]
And I would like to pay tribute to those who have fought the mafia, not with words but with our lives. I wish that this anthology was a tribute to the memory of thousands of victims who fought for freedom and the dignity of work, life, for the principles that underlie any democratic coexistence, and therefore for the future of us all . [...] Because "a country does not mean being alone, in the words of Cesare Pavese [...] is unfortunately not so well as the demonstrations organized in memory of the dead killed by the Mafia, like the March 21 organized by a few years' Association "Free", are still not adequate consensus, little media exposure and, above all, a little cultural debate.
The anthology is dedicated to the memory of Angelo Vassallo, Mayor of thumb in the province of Salerno, who was killed by mobsters because he opposed a policy of land use - the so-called "ecomafia".
[...]
We want to remember, with thousands of heroes (yes, no others for which they are requested medals and monuments ...) known as Peppino Impastato, Vincent Grasso, Lolli Carter, Rocco Gatto (the miller Gioiosa Jonica), Rocco Chinnici, Don Puglisi, judges Falcone and Borsellino, Livatino, and others cited poems, and the many strangers who have defended themselves, often in a climate of collective indifference if not of silence, the freedom of all - or what little is left of it. Not just a book like this to list all killed by the Mafia, or to describe all types of crime that characterize the activities of the Mafia, in every sphere of civil society.

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"100 poets against the Mafia" in Marsala





Epos, Poetry civil and political


Gianmario Lucini (unpoetic The Mafia, introduction)

The idea took shape from which this anthology comes from reflections on the role of poetry in contemporary society. The poem in fact, since its inception, has always played an important role [...] in every major culture. [...] In the Greek civilization, the first tool for the dissemination of the emerging philosophy to Socrates and Plato: An example is the poem of Parmenides, Heraclitus, the judgments of Hermeticism. [...] The poem was also historical and mythical memory, memory feats of origin lost in time, the consecration an epic of the deeds to be handed down to posterity as an element of identity and social cohesion. [...] The times changed and now it has come, after twenty-five centuries to a poem devoid of role, being divided and exiled in limbo, often in conversation only with itself within a bubble of knowledge that we call "literature" . [...] No one would imagine to see the masses to a performance of poetry, as it was in greek theater, but one has to add that our modern performances of poetry are sometimes something really depressing. [...] The so-called "reading" of poetry - today - [...] do not have the capacity to sustain that feeling el'alone affective empathy instead raised (and still inspires) epic poetry. It spoke of the polis, its people and its life, its problems, its doubts, its atavistic fears. It was a poem that can be inside the historical society and to propose a very clear role, that of interpreter of the deepest humanity, to put it on stage even in its contradictions and paradoxes in his pain. Contemporary poetry instead, too often, is boring and monotonous proposal of a "poetic I" solipsistic, who does not care about the other, but only for himself, does not feel responsible for the communication process, but they put Gegenstand, overlooked, too often a pulpit, from within a game whose rules are unclear to anyone, maybe even the poet himself. The ancient poetry was criticized by everyone, for these flowers the poetic contests have given us the best classical poetry.
Contemporary poetry is often criticized because it does not share its criteria with no meaning. [...] So it's no wonder that people "do not read poetry." I think it is not so much a question of cultural level, but rather of mental health, a form of self-defense by the non-decayed sense of poetry and self-referential.
Therefore, if we seek feedback in some way "literary" to the creation of this anthology, lies in this: to find a schedule that would allow poets who adhere to write a page of epic, in a broad sense, not literal. This anthology shows, for sampling, as the poet "sees" or "hear" what happens in the world and which usually occupies the poetry but not the record. Unfortunately, the record is very detailed, when it is, the "tell" the facts, but not to express a world view, that thinking (poetic, of course, not noetic). This particular poetic vision, which is transmitted through the components of symbolic language, is left to art: the record can not. And if the art does not produce a symbolic vision of the crimes, then to chronicle difetterà always a profound connotation and pass on our consciences without a trace, as it were fate. As a result we do nothing, even when the news tells gruesome facts. In fact, almost without a trace pass, in the collective consciousness, wars, global injustice pass, pass the robbery to the environment, runs every mob, every corruption, every unpoetic. All this goes to swell the so-called collective removed, the garbage under the carpet of the drawing room. The news indeed lasts three days, the art well done it lasts forever.
[...]. This is
optics and I had to put in brackets the need to select the texts by selecting only the most precious literary point of view. In fact, at this historic moment underestimate the devastating impact of large-mafia culture in every social, is much more important to get a clear signal, expressing a general willingness in the literary community, to collect any contribution, any subject. [...]
Our small signal to the mafia culture seems so loud and clear, although not as strong as it could have been, given that many of the biggest names of the letters have not signed (though I imagine that perhaps many did not ' have not known) and then we turn this part of their responsibilities, for the poets who have participated here have fulfilled their part of the effort in assuming a role that involves them in some way in the future.
[...]
And I would like to pay tribute to those who have fought the mafia, not with words but with our lives. I wish that this anthology was a tribute to the memory of thousands of victims who fought for freedom and the dignity of work, life, for the principles that underlie any democratic coexistence, and therefore for the future of us all . [...] Because "a country does not mean being alone, in the words of Cesare Pavese [...] Unfortunately Not so well as the demonstrations organized in memory of the dead killed by the Mafia, like the one held March 21 in recent years by the "Free", are still not adequate consensus, little media exposure and, above all, a little cultural debate .
The anthology is dedicated to the memory of Angelo Vassallo, Mayor of thumb in the province of Salerno, who was killed by mobsters because he opposed a policy of land use - the so-called "ecomafia".
[...]
We want to remember, with thousands of heroes (yes, no others for which they are requested medals and monuments ...) known as Peppino Impastato, Vincent Grasso, Lolli Carter, Rocco Gatto (the miller of Gioiosa Jonica), Rocco Chinnici, Don Puglisi, judges Falcone and Borsellino, Livatino, and others mentioned in the poems, and the many strangers who have defended themselves, often in a climate of collective indifference if not of silence, the freedom of all - or what little is left of it. Not just a book like this to list all killed by the Mafia, or to describe all types of crime that characterize the activities of the Mafia, in every sphere of civil society.