No. 2369 "in April 2011 by Adur
revisited Castellani, Lucas · Comment
In critical Castellani, Diego Bentivegna proposes an approach that seeks to reposition the" furious Jesuit "in the literary work of the priest argentino.La Leonardo Castellani covers a large number of volumes and a remarkable variety of genres: folkloric tales, biblical exegesis, manuals philosophical, literary criticism, key parables gaucho, detective stories, tales, and even an annotated translation of the Summa Theologica of Thomas Aquinas. This huge mass of text remains largely ignored by academic criticism. If you are granted somewhere while Castellani is the author of detective stories, particularly The nine deaths Chestertonian Father Metri (1942) that once Rodolfo Walsh considered as the best book of this kind written in our country. The rest of the production Castellani seems expelled from the institutional repository of traditional criticism and literature: a word extópica, anachronistic, always out of place.
The recent work of Diego Bentivegna, Castellani critical. Discursive essay on war and the word transfigured (Buenos Aires, Cabiria, 2010) proposes a new approach which seeks to reposition the "furious Jesuit" in the Argentine literary field. It is not yet an apologetic reading of a mere attempt to "rescue" the author of oblivion, but a critical essay on the power running through the work castellaniana. Bentivegna reviews the issues that occupied for decades the priest Santa Fe, many of which are still outstanding: the complex relationships between religion and politics, the role of media in shaping and manipulating public opinion, the successes and failures of the educational system and market interference cultural practices, to name a few.
Castellani interventions on these issues (all issues) are usually made with a vehemence that takes Bentivegna to speak of a true "war speech." The author analyzes in detail the unique rhetoric of this debate that at times santafecino1 Bloy "approaches to discourse strongly swollen the pamphlet. "
The irony, pun, parody and injury are among the resources that Bentivegna points and can be found abundantly exemplified in the critical Handbook appended to the book. They include a highly original point about "fat and literature" and a definition of James Joyce as politically incorrect as fun.
However, this fascinating style is closely related, as evidenced by Bentivegna, an idea of \u200b\u200bliterature and criticism. The author notes that there is in Castellani a particular sensitivity to the material conditions and technical issues in its interpretation of cultural phenomena, allowing you to connect your thinking with that of Marxist theorists like Walter Benjamin and Antonio Gramsci. Of course, in Castellani, this conception "materialistic" criticism is not of Marxism but of one of the central tenets of the Christian faith: the Incarnation. In the last chapter of his book (perhaps the most interesting), Bentivegna develops the notion of "transfiguration." Returning
considerations Maritain, Auerbach, Jean-Luc Nancy and the same Castellani, the author argues that Christianity itself is the search for a red art, combining the material and spiritual dimensions. This confluence "high" and "under" left visible marks on the writing castellaniana. His style leaves every ideal of "purity" and uniqueness rules to explore the mixture and plurality of languages \u200b\u200bthat form the fabric of society, a tradition that Bentivegna (by Pasolini) back to Dante. The critical and literary work of Castellani is a foray into the complexities of Argentine discursive universe of his time: the language of scholars, the dialects, the cocoliche immigration, the technicalities of theology, the classics and popular slang overlap in their prose.
Language Castellani heterogeneous stands against all pretense of thinking literatura como puro hecho del espíritu. Como afirma Bentivegna, la “palabra transfigurada” del santafecino supone “una afirmación de la materia, del carácter corporal del acto estético”.
Esta concepción encarnada de la literatura permite releer no sólo a Castellani sino a toda una serie de autores más o menos cercanos a él (vg: Leopoldo Marechal). De este modo Castellani crítico, con un gesto que tiene algo de discreta provocación, vuelve a poner en discusión un sector de nuestra literatura que parecía “ilegible”, contribuyendo a lo que, como hemos dicho en otro lugar, es una de las funciones fundamentales de la crítica: la constante revisión the canon.
Castellani in 1952 wrote a few lines on Leon Bloy, mutatis mutandis, it could apply today: verbal violence, taste for the huge lack of moderation and willingness to "barking against anything established."
The author is a Doctor of Letters.
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