By Guillermo Saccomanno, in Radar books.
"translator and prologue of La Divina Mimesis, Diego Bentivegna pointed out that with Contini, the 50 are for Pasolini the teaching of intellectual Erich Auerbach, whose work draws on the concept of mimesis, understood in a sense peculiarly attentive to its linguistic dimensions. For reading La Divina Mimesis is important to remember that in the critical path of Auerbach, Dante is at the hinge in Western literature. Pasoliniana writing here is a full time mimetic project which combines the sacred and the profane, the ridiculous and the sublime, the frivolous and theology. Prior to La Divina Mimesis, Pasolini's Dante fervor can be traced to an essay of 1965: Dante will be a poet (compiled in Empiricism heretical imperative, translated and annotated by Stephen Nicotra) which raised the importance of linguistic operation of Dante: the Latin cum, writing his Commedia in the Tuscan language, ie any political attitude to deviate from a hegemonic cultural language by adopting a commoner. This strategy pasoliniana return to Dante, was a new meaning that challenged "some Italian Marxist critique" to return to the origins of the language if I wanted to discern a poem questioning of a mediocrity. Almost redundant to point it out: for Pasolini Dante represents the total operator that marks the passage of the Middle Ages to the Renaissance, the ideologue articulating political theories that do not forgive those who do not take sides warm, poet that their world novelizations appealing to popular sublanguages \u200b\u200b... "continues here .
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