"Leonardo Castellani: canon and criticism" is the title of the conference will be held Saturday at 17 in the Ethnographic Museum.
Editors of The Coast
On Saturday 21, at 17, in the field of Reading Workshop on Innovation and Culture Ministry, which operates in the Ethnographic Museum, Diego Bentivegna lecture on Leonardo Castellani: canon and criticism. Bentivegna conference, open to the public is part of the conference "Fall Reading," which meet this Friday and Saturday to authors from different locations from the 19, in that museum, May 25, 1470. Bentivegna
Castellani is the author of critical. Discursive essay on war and the word transfigured (Ediciones Cabiria, 2010), which covers the production of Leonardo Castellani criticism from some large groups: the question of the controversy and war discourse, the relationship between critical and exegetical reading and the problem of self-righteousness; the site of the evangelical concept of transfiguration to think the politico-theological interventions Castellani. As Cecilia Roman wrote in our pages of Arts & Letters, is "an essential book to place our author [Castellani] in time and space, and confront him with his contemporaries, who praised them or ousted, according to the time and the time cross-country policy. "
Leonardo Castellani's work is one of the most prolific of the literature Argentina, is at the same time, paradoxically, one of the least visited by academic studies. Born in Reconquista, in the Chaco Santa Fe, in 1899 (the same year that Borges) and died in Buenos Aires in 1981, Castellani through the twentieth century Argentina, with its achievements and its contradictions, passions and tragedies. His work can review some of the great moments that will constitute what we think, always so problematic, as "culture of Argentina."
farmer Castellani is a sharp pen and sometimes hurtful, even in relation to ecclesiastical institutions, not less data to understand their expulsion from the Jesuit Order in 1949, after two long years of residence in the town Catalan Manresa, where he ponders its place as a writer, as a believer and a priest.
His critical writing, in principle, interventions controversies surrounding some key components of national literature, as his contemporaries Jorge Luis Borges and Ezequiel Martínez Estrada-with whose readings of Martin Fierro-lucid polemic, book reviews, prefaces, translations ( as the Lord of the world, the English novel Hugh Benson, and Castellani, a member of the Jesuit order). They also include extensive articles with authors to those who feel particular empathy, as Dante, Paul Claudel, Gilbert Chesterton. In the second part of his life, his world is peopled with characters essay as the Danish philosopher Soren huge Kierkegaard, who with all his Christianity and its struggle against institutionalized versions of religion, Castellani is transformed into an essential reference. Copenhagen philosopher dedicated Castellani, in effect, what is perhaps his most powerful book essay: From Kierkegaard to Thomas Aquinas, published in 1973 by Editorial Guadalupe. Castellani
also focuses sharply on exegetical reflection about the great texts of the Christian tradition. Emerge from this reflection volumes as The Gospel of Jesus Christ, which includes articles published Sunday in the newspaper La Tribuna de San Juan, The Parables of Christ and, essentially, volumes devoted to the problem apocalyptic Christ, return or not return? and The Apocalypse of St. John.
be recalled that the Jesuit Santa Fe is the creator of the fictional police series centered on the figure of Father Metri, an Italian priest in the middle of Chaco Santa Fe installed by solving a mixture of Thomism and popular wisdom, a number of cases singular truculence. But Castellani also passes as literary author, by a huge variety of records, writings and genres, from the account of regional nuances, such as farming in northern Stories bravo volume, which collects stories set in the wide arc ranging from Catamarca Andes the coasts of the great rivers of the Coast, to the novel, in different forms and varieties. Thus, we find novels in advance, as His Majesty Dulcinea matrix apocalyptic novels, intended as fictional devices that display complex and sometimes risky, exegesis of biblical texts (The papers of Benjamin Benavides) and even a mystery as the nouvelle enigma ghost car, written during the stay of Castellani in the city of Salta, where he experiments with varieties of Castilian spoken in northwestern Argentina.
In short, to quote the words you enter Hernan Benitez, another great Argentine Jesuit intellectual's work Castellani, en su complejidad y en su variedad de estilos y géneros, constituye un “género único”: uno de los más potentes y problemáticos, sin duda, de la literatura argentina.
Diego Bentivegna es doctor en Letras por la UBA, donde se desempeña como docente en el área de Literaturas Comparadas. Ha publicado los libros Paisaje oblicuo (ensayo, 2006), Viaggio in Italia. 8 poetas italianos contemporáneos (Crítica y traducción, 2008) y El poder de la letra. Literatura y domesticación en la Argentina (ensayo, 2011). Ha estado a cargo de las ediciones en castellano de La Divina Mimesis, de Pier Paolo Pasolini (2011) y del epistolario del mismo autor (2005
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