Rosaria Lo Russo and Daniela Rossi
The historical moment this makes it very necessary for women artists take a stand for a revival of ideals of the feminist movement and its struggles in the second half of the twentieth century, battles now forgotten and denied by the grotesquely dall'annichilimento of conscience and political power in contemporary Italy.
Our manifesto is to be a proposal to deploy once the cultural awareness of the enormous wealth of contemporary women's poetry and its appreciation.
The title of our manifesto, Fragile Warrior is taken from the video of Daniel Smith in memory of two great poets have disappeared, with a presentation of Rosaria Lo Russo, who inaugurated the critical content, and ethical-political poetry of this manifesto sulla novità della poesia epica scritta da donne. Il video è stato presentato in occasione della bellissima iniziativa di Maria Teresa Carbone e Franca Rovigatti ROMAPOESIA-PO/ETICHE, Roma 2010, Festival interamente dedicato alla poesia delle donne.
Dalla seconda metà del Novecento ha preso corpo in Italia un nuovo filone letterario, la poesia epica scritta da donne, non ancora storicizzato in quanto tale e quindi non ancora sufficientemente conosciuto e valorizzato dal pubblico e dalla critica, né mai prima tentato dalle autrici di poesia italiane dei secoli precedenti, sempre limitate alla poesia lirica occasionale o d’imitazione del canone petrarchesco. Le madri fondatrici del poema epico femminile italiano contemporaneo The dragonfly is Amelia Rosselli, composed between '58 and '62 and Patricia Vicinelli with the foundations of being, written between '85 el''87. These two works, with its compositional distance among them and launched a long-time writing poetry, represented today - we think - by a lot of poetry written by women. Two works are therefore historically crucial for starting a new poetry and antiliricistica poematica and experimental nature, in stark opposition to the Italian literary canon, obviously male, and while in excruciating dialogue with it, and strongly question in relation to it, especially in relation to the reformulation, and subversive subversive dell'imperante I am poetic, omnipresent (that is lyrical poematico) hero of our literary tradition.
The Epic of Rosselli and Vicinelli reformulates and recasts the foundations of the canonical opera and traditional poem. Their poems are the foundation on which Love (the core of our tradition stilnovisti) between the I and Thou opera becomes the means of an initiatory path that has as its goal the establishment of a new self poetante, a new authorial identity other than the canonical as a feminine way. It is proper to gain permission to write on the ground, through a reformulation of identity experienced in the testing of pronominal, verbal, syntactic, topics: authorization, in the double sense of 'permission to write' - do not forget, basically denied to women until the nineteenth century - and 'become an author', ie take its own stylistic identity, re-establish a genre, the epic genre. Our two poets have challenged the authorship of the male entering the fee through the door inside, that noble and mythical epic, entered the literary arena rid of qualitative and quantitative limits imposed by the love lyric, the only given in the centuries to poets, harnessed in metric grids and repetitive themes and suffocating.
The burning question, in their journey of initiation, is this: Who am I? Who is saying here and now, women in the poem, I? The myth of the quest for the Holy Grail, The foundations of being parodied it (title, in this sense, eloquent), is the pursuit of a self poetante androgynous, which is still unresolved conflict between the hero of the past and a ' hypothetical heroine of the future, although, paradoxically, is already operating in the very fact of poematicità Vicinelli poetry. In The dragonfly, the chaotic battle between the I and Thou, which runs through the poem as obsessively incessant question - a question of life or death - is resolved in the final the poem in a finding of identity parthenogenetic bravely, that of a daughter of the fathers who take responsibility of the authorization, the Daughter of the self is self-healing "well-fortified to rain, very quiet / the pain, well-delivered one of the many filters / experience - to know that light is your mother, And the sun is almost your father and your members / your children. " Automusività, parthenogenesis of the self, an ego that is mother and father to himself, or an androgynous I am, I am a woman who is an old knight, "beardless" (Rosselli) and ancestrally defeated (Vicinelli). The poems of Rosselli and Vicinelli us wonder about the brave fragility Self-feminine, submissive ancestrally relegated to the role of a Tu-poematico lyric, lyric of an object rather than an "I", a lyrical subject-poematico.
But what is the state of the art? Certainly the voices that challenge the tradition in dialogue with it are many, and perhaps the defeat is no longer the necessary culmination of the fragility of the fragments of the poem today. How the Self poetante women today? How can we still speak - knowing that he must speak because the issue is still largely taboo - a gender difference as to the identity poetante? Rosselli if challenged, by formal experimentation, the poetry of Dante, bells, Montale, and Vicinelli to Eliot, high borrowing patterns of the ancient Fathers and modern, keeping fit, going to the epic step with the Holy Fathers, whether with the Elsa Morante world saved by children was not afraid to protest loudly proclaims with tones, tones absolutely antilirici then Patrick Valduga Rosaria Lo Russo and have established a parody of Dante (with the epic poems The temptation of the first and the second Comedia), Vivian Lamarque with the thick-courtly lyric quotations and the poem fabulistico This Quiet Dust, all production poematica Iolanda Insana is in direct relation with the search rosselliana to arrive at the case of Sara Ventroni with research poematica very innovative in the gasometer. But only a few examples are ad hoc, because this is not the place to give definition summary writers who also have a close relationship with the literary challenge that we want to define: what about the production of Anedda Antonella, Maria Grazia Calandrone, Ida Beam, Laura Fist, Mariangela Gualtieri, Mariella Bettarini, Loredana Magazzeni, Florinda Fusco, Bianca Frabotta, Enrica Salvaneschi, Anna Lamberti Bocconi, Mariapia Quintavalle Paola Turroni, Geraldine Colotti, Antonella Bukovaz, Jonida Prifti, Gilda Policastro (each, of course, with its unmistakable peculiarities, arising from the generation gap also) and many others as well di moltissime autrici esordienti, come Maria Valente o Renata Morresi? Rivolgiamo a tutte queste autrici una domanda: vi sentite rappresentate da questo manifesto? Come affrontate po-eticamente il vostro operato artistico, che peso date ad esso nella vostra vita sociale e civile?
Nella ricerca poematica di cui stiamo parlando l’Io personale e occasionale, l’Io autobiografico dominante nella produzione femminile fino alla prima metà del Novecento, quello che ha reso deteriore o secondaria la poesia scritta da donne e ridicolmente lezioso il termine ‘poetessa’ – tanto che tutte le autrici cercano di schivarlo, chi facendo proprio il veterofemminista ‘poeta’ declinandolo latinamente for women, who omit entirely self-definition - so the same permission ...? Power of terminology! - Is the object of epistemological now wants to be reinvented. Coining the term for convenience 'poetrice,' woman poet who is also an actress of his verses, enter this address in the second central issue. Each of the authors cited as a pioneer in search of the self and the abolition of the author's agent awe of You, has responded by creating an actant epic: a transpersonal self wearer's desire for community self-consciousness of women is poetic and ethical, time to expand and increase awareness of their role of literary, stylistic and content through the search. Equally fundamental and inescapable part of this research is vital that all the 'poetrici' mentioned have given and give - the choice epic consubstantially - orality. To Rosselli, Vicinelli, Lo Russo, Valduga, Insana (and Ventrone, Gualtieri), is also clearly written to be read poetry aloud to an audience, or to just be the bearer of a collective consciousness, performing poetry in the most of the term: part of a community (as a new female subject) facing the community (society). We
we want the poetry of writers working in the knowledge of their conquered autorializzazione and, aware of one's self from the tradition because the authorial self in relation to it, have the strength and courage to pursue projects poetic comprehensive and innovative. We believe that the literary model launched by the destabilization and the framing of literary and Rosselli Vicinelli poetry can give women a sense of today's ethical and aesthetic, not a reason deeply and occasionally poetic calendar of its work, aimed at the transformation of society - 's image of women in contemporary society, disastrously declined compared to the historical achievements of feminism – basato sulla consapevolezza della forza dirompente e nuova di un Sé, liberato dall’imperio dei modelli maschili del femminile, e che parli ad alta voce: che canti la propria libertà di pensare e di creare ad un pubblico più ampio possibile. Noi vogliamo che le giovani autrici, ma anche le autrici già affermate, si sentano autorizzate e incoraggiate a perseguire progetti poetici ampi e organici, con il coraggio e la generosità di dare un senso e una partecipazione collettiva al loro operato individuale.
Questo manifesto, nella convinzione dell’importanza sociopolitica oltre che artistica del filone po-epico femminile, è volto alla sua valorizzazione tramite una serie di iniziative quali the organization of events: readings of poetry-performance multimedia, educational interventions in secondary schools and universities, debates and seminars on the topics on display, but also collection and selection of new texts for new authors to present to the public at the poetry festival. Why the confusion poetic dell'iperproduzione our choice is clearly distinguished and historically finalized.
He said that the poem was called
in another way because it served to other hosts,
and thus becomes active movement
From The foundations of Patrick Vicinelli
in another way because it served to other hosts,
and thus becomes active movement
From The foundations of Patrick Vicinelli
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