PASOLINI AND CRITICISM
In Italy and beyond, Pier Paolo Pasolini has been presented for a long time as a thinker of contemporaneity; making less important the several divisions - in different genres or phases - that were used to introduce his work. This tendency can be detected in books like Didi-Huberman's Survivance des lucioles (Les Éditions de Minuit, 2009); or before that, in Franco Cassanos's Il pensiero meridiano (Laterza, 1996); also in more recent works, such as Effetto Italian Thought (Quodlibet, 2017), organized by E. Lisciani-Petrini and G. Strummiello, and Decostruzione o biopolitica? (Quodlibet, 2017), organized by Elettra Stimilli.
What predominates in this other particular configuration of meaning, done after his work and life, is the centrality of his public intellectual image and the dimension reached by his criticism. Pasolini himself recognized such centrality and said:
"It is true that my first book (...) was a poetry book. And it is also true that I began to write poetry when I was seven, during elementary school (...) But when I think indistinctly about the beginning of my career as a writer, I see myself as someone who 'comes from criticism'. Maybe because in the early 40s my greatest enthusiasm - greater than poetics - was dedicated to the study of romance philology and art history (...). The fact that my first published verses (and to this day not repudiated), verses from when I was 18 years old, were written in friulano shows that my poetical practices used to happen under a very strong critical, intellectual inspiration".
This issue of Remate de Males welcomes articles that emphasize questions brought up by Pasolini's radical criticism, considering the multiple ways it can be seen: from literature to visual arts, from philology to semiology, from cinema to drama, from poetry to translation, in his answers to newspapers' readers, in his constant public interventions through periodicals and in his interviews.