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paper against. Number 47 January 2011 / Issue 47 January 2011

Per gli articoli del mese, vai a "gennaio 2011 "in BLOG ARCHIVE, or see the alphabetical index below. To go to the arrears and BLOG ARCHIVES" What we talk about 'cards aligned': Indexes. "Search for names and specific titles with the SEARCH BLOG / Find the entries in the current month at "January 2011" in or BLOG ARCHIVE in the INDEX below. Find past issues in BLOG ARCHIVE and in 'What do we talk about line cards: Indexes'. Look for specific names and titles by using the SEARCH BLOG.

ALPHABETICAL INDEX / INDEX

The items listed below without the author's name were written by Roberto Bertoni. Poerio Pictures Marzia / Entries listed below without the name of the author were written by Roberto Bertoni. Poerio Pictures by Marzia .

- AVOLEDO, Tullio, L’ULTIMO GIORNO FELICE . Note di lettura, 7-1-2011.
- BAUMAN, Zygmunt, L’ARTE DELLA VITA . Note di lettura, 29-1-2011
- FERRAMOSCA, Annamaria, LINGUASILENZIO E FORSE CON UNA DONNA . Testi, con traduzioni di Anamaría Crowe Serrano, 15-1-2011.
- HUR, Jin Ho, 팔월의 크리스마스 (PALWILUI CHRISTMAS). NATALE D'AGOSTO . Storie di film di Renato PERSÒLI, 21-1-2011.
- KI, Min Soo, 그바보 (KU PABÓ). QUELLO SCIOCCO . Storie di film di Renato PERSÒLI, 17-1-2011.
- KIM, Yong-Hwa, MINIONUN GOIROWO (미녀는 괴로워) . Stories movie Renato Persol, 13/01/2011.
- Maupassant, Guy de, NOTRE COEUR . Reading, 01.25.2011.
- NICOSIA, Salvatore, "died in my place" by Elias Canetti HELIUM ARISTIDE . Reading Notes, 09/01/2011.
- LACE, Marina, EVE overtaking, 2009-2010 [21-30] . Text, 01/19/2011.
- SUN THROUGH TREES . Photography and poetry by Marzia POERIO, with commentary, 01/01/2011.
- TONELLI, Angelo, herons, IN THE EVENING. Text with commentary, 01/27/2011.
- TORELLI, Raffaele, PASSIONS AND EMOTIONS IN THE PHILOSOPHICAL-RELIGIOUS TRADITIONS OF INDIA premodern . Reading notes Aurelio Devanagari, 03/01/2011.
- VEO, Rudi, January 23 (Page edited by Gian Paolo Ragni) . Sorie of music, 19.1.2011.
- Yasushi, Inowe, the shotgun . Reading Notes, 01/03/2011.
- YOUNG, Augustus, MAUPASSANT WANTS TO DIE IN SICILY (1885) . Text, 11/01/2011.

What To Say In Wedding Card To Stepsister

Zygmunt Bauman, THE ART OF LIVING


[ Shopping and imaginative art (From the walls of Brussels) . Photos of Marzia Poerio]

title of the original THE ART OF LIFE (2008). Translated by M. Cupellaro, Roma-Bari, Laterza, 2009

Happiness is understood here as momento fondante della modernità, già nell’illuminismo intesa come “diritto universale dell’uomo” (p. 5).

Mentre in anni recenti le società prospere dell’Occidente sono diventate sempre più ricche, “non è affatto chiaro se con ciò diventino più felici” (p. 3). I parametri utilizzati nelle inchieste ufficiali sembrano suggerire che la felicità debba essere collegata alla crescita materiale; nondimeno, nota Bauman, ciò che fornisce felicità autenticamente non è reperibile sul mercato, bensì nelle emozioni, nella dimensione comunitaria e nell’autorealizzazione: amore, amicizia, cura per gli altri, autostima, operosità. Di ciò il volume riscontra ampie conferme nella storia culturale, in parte citando i filosofi classici dell’etica come Seneca, in parte contrapponendo in negative il superomismo nietzschiano. Da queste premesse Bauman procede ribadendo vari temi del suo pensiero.

L’identità, osserva, è divenuta un attributo provvisorio, soggetta a una “trasformazione permanente” (p. 94); eccede dunque dalla costruzione progressiva della personalità per aggregazione, ovvero dal “progetto di vita” formulato a partire dalla gioventù, che in parte autobiograficamente il sociologo polacco ascrive, rispetto alla sua generazione, all’influsso di Sartre e che oggi non avrebbe senso in una compagine social fragmentation in which personal aspirations are changed with the changing phases of life and lead to some uncertainty almost by definition is opposed to the enjoyment of happiness if one assumes that it is based on a fully stable. If the ratio of individuals in the past with the past was important to live the present as well, according to Bauman for the new young only the present exists "(p. 67).

This is a "new ideology [...] Conservative [...] in the sense that by Mannheim are ideologies (the opposite of utopias). It raises insurmountable laws of the universe to the everyday experiences of the world where you live at that time and only rises to point of view it is possible to define the state of the universe the perspective of the individual-to-order "(p. 117).

The model of consumption based on an unsatisfied desire and a tendency to acquire more and better in the future as well as disposable as it is enjoyed himself also inform the decisions of life and interpersonal behavior. Bauman's conclusion on this point is a rhetorical question: "I leave to readers to decide whether the coercion to seek happiness in the form practiced in our liquid-modern society of consumers who make you happy is forced" (p. 65).

One of the contemporary unhappiness is the different hierarchy from the other, with the paradox that, in our society, "everyone has the right to consider themselves equal to anyone else, but in fact is not capable of being," it follows from this that "the vulnerability is (at least potentially) universal "(p. 34), and create division among the privatized individuals are opposed to each other, with which" exacerbates conflict "(p 118).

missing "points of reference solid and reliable" and "guides ddi trust worthy" (p. 111), which were replaced by the reference model proposed by media.

Selfishness altruism prevails, yet the individual is open to the outside.


[Roberto Bertoni]

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Angelo Tonelli, herons, IN THE EVENING


[ High intensity stone . Photos of Marzia Poerio]


intensity are created, and are undone,
that laugh loud at night, in the riverside
when the birds fold their wings
under low clouds, and the leaves of warm
vibrate in the wind ' east.
sank in the stillness of the night, the indomitable myriads

the day and we loved hated complicated
in short time frames for the infinite and eternal
or depending on the soul
shrinks or expands nell'aión. We
still intoxicated with life, the mighty - Caracalla
at water
defeat the carcass of the animal, the innocent
broken - and now
contemplate the stillness of the night, and all human
collected cocoons of
cosmos. Row on,
silent, the heron in the evening.



NOTE

emotional emphasis with adjectives like "powerful", "indomitable" and metasostantivo "intensity" which refers both to its psychological definition as that of the language used in this poem by individuals even "intoxicated by life, "intoxication vital that the opposite also has its counterpart in a total thanatos, with connotations of decay ("the bastard / defeat), but an allusion to impermanence, the lability, nell'airone (bird as a symbol of the Jungian spirit?) night adeno (Hades). Meanwhile the relationship between similarity and integration synaesthetic landscape of "low cloud" and the 'soul'. At the bottom was the heart, feeling, to define themselves as ephemeral possession and then lost?

[RB]

Oxford Vocab Level E Answers

Guy de Maupassant, NOTRE COEUR

1890. Italian Trad F. Francavilla, our hearts, Milan, Rizzoli, 1963

André Mariolle, an idler "Rich enough to live in his talent, which acted cautiously so far, it being" always on the defensive in life, [...] preserved by the passions "(p. 45), content" to enjoy life as a spectator, or better as an amateur "(p. 12), estimated by his friends, back to the mundane environments," loyal, devoted, of pleasant company, very nice "(p. 13), yields little time to the lure of Michèle de Burne, widow a marriage without love, "owl," salon, "independent in nature, cheerful, even exuberant, sweet and amiable" as well as beautiful and elegant (p. 15), discreet and not talk in company, not less able to ensnare the number of suitors. The report

entertained by these two characters see André increasingly in love, eager to absolute and exclusive, and Michael, while remaining true to history and granting secret with him, remains somewhat distant, continuing, albeit platonic, flirting with the other patrons of the lounge and not be able to get a more intense level of passion. André grieves and moves away, breaking the relationship. A

Fontanebleau, where Andre takes refuge, a maid, Elizabeth falls in love with him, so you start a new relationship. When Michèle reappears, while remaining attached to her heart, André holds a closer link with Elisabeth, promising to be his lover even when they moved to Paris, choosing to be loved than loving as a source of minor pain.

If this story is outlined with varied psychological traits, which express the alternation of suffering and pleasantness of love, is both a historical context, literary discussions with urban as well as gossip and not entirely successful attempt to take refuge nature and authenticity with the parties acclimatized to Mont St Michel and Fontanebleau.

More intimate than other novels by Maupassant, in part (even if only indirectly) and directed by autobiographical stories written shortly before the last tragic years of malattia e di ricovero nell'ospedale psichiatrico, si dota, come si legge en abyme , di "un occhio atto a captare le immagini, le attitudini, i gesti con la rapidità e la precisione di una macchina fotografica" per rappresentare "un brano dell'esistenza umana strappato alla realtà" e "il movimento della vita stessa" (pp. 21-22).

"Guardiamo tutto attraverso il sentimento", dichiara nel romanzo Michèle, "non dico attraverso l'amore - no - attraverso il sentimento, che ha ogni sorta di espressioni, di manifestazioni, di sfumature" (p. 29), sebbene il vero personaggio sentimentale sia qui non tanto lei quanto André.

Michèle rappresenta, come viene più volte repeated in the novel, the woman of "modern casual" than the second Mariolle, another character from the "old women of the novels", or "spiritual" and "heart" (p. 32).

Funny, reading some criticism, as the figure of Elizabeth, a man so sensitive, it is often simply the "home" instead of having a name that deserves to be recorded, as this girl from humble beginnings in love and is able to demonstrate genuine attention to the fiance, unlike the worldly woman protagonist and representatives of social class Michèle, although ultimately Elisabeth is very flattered by the prospect of climbing the social ladder to become the friend a rich, but this aspiration is confused about her feelings with authentic to André and instead emerges as we come to his conscience.

[Roberto Bertoni]

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Rudi Veo, January 23 (Page edited by Gian Paolo Ragni)

" And when we wonder what we're doing, we can answer include" (Ray Bradbury, Fahrenheit 451)

Roberto Franceschi In 1973 she was 21, studied economics at the University Bocconi University and was a militant student movement. On the evening of January 23 of that year the collective of the Student Movement of Bocconi had called a meeting between students and workers at the Aula Magna of the university, the rector of a practice contrary had already gained denied entry to non-members at the Bocconi University, that in fact had prohibited the meeting and the decision to impose a police department was deployed at the entrance of the university. As soon as students and workers have come to attend the meeting mention a protest the police did not hesitate to upload them, there was a brief confrontation and when the protesters were already removing officers and police officers repeatedly opened fire on them with revolvers ordnance. Two young men were shot in the back: Roberto Piacentini, despite the severity of the injury, was saved. Roberto Franceschi died Jan. 30 after seven days of agony.

We had a group in those years, we had founded shortly after the murder of Roberto and his memory was called Collective Franceschi. It was a collective a bit 'weird, some band, which provided political and popular songs, mainly from the popular American heritage, as we were heavily influenced by Woody Guthrie and the Stormy Six, partly political collective, which moved in time ( with the tiny ...) between the political organizations of the then "new left". Durammo a couple of years, before breaking up in the tumultuous movement of the time, in which among other things some of us began to write songs and propose a timetable for the movement which to intervene. This was written by Rudi Veo, a component of the Collective in the spring of 1974 and it seems to me that the ingenuity of its net even twenty years, retains its freshness intact poetry and politics.

Sure the songs should be heard, not only read, but unfortunately finds vintage listeners do not have to date been found ...

[Gian Paolo Ragni]


January 23

How can cost a wad of lead?
How can cost a wad of lead?
What will it take to make a bullet of lead?
little money and little time
little money and little time

How can cost the life of a boy?
How can cost the life of a comrade?
How long does it take to live and think? The answer is not

The answer is not

It was cold last night in Milan on
You were left for the meeting as usual
Put the green parkas
But in the mist you see
But in fog you see is so unreal

Milan
And then at night the headlights turned on in the face of jeeps
only the chill of night on the hair in the pockets
a fist clenching their fists in the pockets


And then the noise and then screams and then gunshots
And then the legs are not support
The hand is no longer locked in his pocket
The fist is raised to the sky
The fist is raised to the sky

was dark last night in Milan on
But you broke out in the sun you do
Of course it is now clear as day
For the murderers will be murderers to
night night

[Rudi Veo]

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Hur Jin Ho, 팔월 의 크리스마스 (PALWILUI CHRISTMAS). CHRISTMAS August


[ Symbol of something? Allegory? Just a realist sculpture? (Seoul 2010) Pictures Marzia Poerio]


Korea, 1998. Title in English: CHRISTMAS IN AUGUST. By Han Suk-kyu and Shim Eun-ha Jung Won

a photo shop inherited from his father. Da-Rim, a young policewoman, under the pretext of the photos, the courts returned. The two will be able to give a date, but at one point Jung Won disappears. The spectators, but not by RIM, are aware that he is admitted to a hospital, where he died. Da-Rim waiting for him at the shop several times in the days after admission, exasperated to the point of pulling a stone against the window. Finally, the film gives no explanation at the end if the young person is to know whether the disease Jung Won, Da Rim known of the objects in a snapshot shows that the photographer had tripped and, reassured by the importance attributed to it (since the image has been chosen for the showcase of very few), he resigned at the end of that love is not advanced beyond the dialogue and the kindness that the two have exchanged over a period of time.

If the plot is so cleverly minimalist and melancholy, each element of this movie it is a worthy container.

The semi-urban landscape is that Korea is not a completely modernized. The characters express reticence, shyness, consideration for others, unresolved dramas that do not prevent them from continuing to live with dignity. Falling in love

Da Rim reopens the possibility of feeling in Jung Won, who has never married because of love for a girl who had chosen another. Jung Won now appears to turn the page, just when death awaits him with a fate that faces with courage rhetorical and altruism, not revealing to the problem from RIM to not commit to a relationship that would end so traumatic for her. Not that that matters as much as the feelings experienced in this film with conviction, yet rendered with a human sympathy and words of silence measured in smiles and simplicity, qualities that, in contrast with our years of excess and word dominance of narcissism, the more we value.

The film has a small memory, whose agent is photography. It especially shows photos of an old lady who posed for the photographer to get an image suitable for your funeral when it will be. The relationship between death and life is not only the cycle of existence, but also the relationship between memories and present.

Both group and individual poses, often in the film are recorded by the camera slowly. The photography in this film, as well as symbolize the recording of memory, is a metaphor metatextual art images, and even the film industry. The acting is natural and everyday. The street noise can be heard in the dialogue between external as in a documentary.

is a film rightly mentioned among the forerunners of contemporary South Korean cinema.


[Renato Persol]

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Marina Pizzi, EVE overtaking, 2009-2010 [21-30]

21.

ambushes to do this quickly
omelette with lobster.
m'intrometterò tomorrow in a residence of the horizon to stop it

and dry out the flaws of the death rattle.
tomorrow m'inventerò halo
for chains ax
quiver where poets.
upstream of a coat without slots
the wind flapping the bitter sharpness.
meal in the resin of this cypress Executioner
born not to give birth
that laughter and gangrene of vacant seats.


22.

autumn leaves
sacrifices for a banquet of steps.
a stamp with a light heart rejoices to be

arrived in the pit of love letters.
a minority of games
fracture
dolls who can not laugh. you oppress me with the soul
a bag and the collar removed.
the prince of citrus fruit is a Franciscan
liquor that are good for the spirit
spirit. the grin of the moon whispers
that the cotton is just a ride in a suit and tie for
more uncomfortable. embers of the bony
ordeal chirp malaria without escape.


23.

the custom of the register is to be alert
for the filing of an urn without destruction.
in hand to walk the route
the thalamus is a naughty games.
qui per la maggiore va l’oasi del sogno
dove bivaccano le tane delle rondini.
scarsa baraonda inguine di vento
questo dispendio darsena sul seno.
mesti comunque il senno e l’augurio
quando si termina l’oceano del vate
e le stazioni baciano la terra.
disconvenevole l’attrito degli spasmi
l’aureola corrotta dalla frusta.
in mano alle moine del buon cordolo
tu dimentichi di me che sono innesto
con le perfette nuche che sperdono il dolore.


24.

mi mangerò le unghie fino al sangue
al guaio di gemere la fune garbuglio
di tramonti. in mano alla stesura del fossato
è venuto il Nobel per la Polish literature.
the trouble is the front of the white flower
naive red poppy. the real old stuff
of rain clouds. General
medalist at the door of the barracks.
back of the funnel you into a perennial challenge by seagulls looking for.
the buttons do not hold up the wedding dress
the breasts, breathing in the dreaming.
dusty ears last frog
spaces have canonical than the sickle
the hierarchy of the saint who makes bread.
for soups nails is under close observation
a little girl blasphemous octogenarian, still smart
carer's claim that the root ball.


25.

already almost along the dark goodbye
credulous and surf the shadow of wind
bags with the oasis of the patent.
long night on the minutes of the veto by stumbles
discover the stars.
summer vacation this terrible disaster
abituro to swallow the lot.
habit of bitterness remain
guests to cancel in the disciples crying
goliards servants of the vintage.
at home I only have one oar per catalog.


26.

that raged in the wake summer camp
the rounds of the full moon.


27.

Visible

bowl the last glimmer of the sea, the student
cypress weeps on the case, the cypress
undulates rhythms of novena.
matriarchal voice
the pace of research consular tide.


28.

god of the gerund swallow soft
farewell free happy
on the side of sultry swell where it is pointless
asthma and stuttering.


29.

all around with the salt wind

docks where laughter is the hoary
route to form for children.
throne in the stock of the village
sing the mud that runs after the body.


30.

the hilarity of the vacuum
havoc
only the caste of the swallows dying is bad
where the verb of I rule
thud of the snail in the race.
the Furies of the air disaster brown
cost a lot of pain lido.


[ The verses earlier EVE overtaking outputs are "line cards" on 11.27.2010 and 17.12.2010 ]

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Ki Min Soo, 그바보 (KU Pabo). The fool


[ Seoul General Post Office (2010 ) . Photos of Marzia Poerio]

Scripted television in sixteen points, Korea 2009. Title in English: THAT FOOL, also known under the title The Accidental COUPLE. With Baek Sung Hyun Hong Ji Young, Hwang Jung Min, Joo Sang Wook, Jun Mi Sun, Kim Ah Joong, Kim Kwang Gyu, Lee Chung Ah, Lee Soo Young, Yoon Joo Sang Yun Joo Mi

Han Ji Soo is a famous actress, girlfriend secretly for seven years with Kang Mo Kim, the son of a politician who was a candidate for the office of mayor of Seoul and to carry forward the campaign is betrothed to the son with the daughter of a powerful businessman and important, so Mo Kang Ji Soo promises to marry her when his father will be elected and he can then close the engagement with the other. However, when the entrepreneur discovers the son of the future relationship with the actress, that would be unacceptable to middle-class respectability of the family of politician and of course to the officer who is the girlfriend of the other actually in love with Mo Kang, the the latter's father arranges a fake wedding between Jin and Soo fan of the actress, a postal employee naive and good-hearted, Baek Dong, which lends itself to the trick, not wanting any compensation in return, only to be rescue the actress who idolizes. Kang Mo is not only aware of everything, but it is active and co-author is gradually more and more involved in the plot of the engagement to the point of assuming responsibility for undertaking relief and promise of the future father-in real opportunities for marriage politico-economic daughter to him, whereupon Soo Jun, up to that time available to these deceptions for the sake of Mo Kang is subtracted. A journalist, a political enemy of his father Kang Mo, tells his girlfriend he's official relationship with Jin Soo, so the entrepreneur's daughter breaks off the engagement. Kang Mo tries again to deceive with fake Jin Soo, but now she and Mo Kang has been established more than a relationship of friendship and solidarity. Little by little, the clumsy but sincere Dong Baek, who fell in love almost immediately and nice dell'avvenente Jin Soo, has crept into the heart of the young, so that, as revealed in public deception at the risk of losing their fame and position, Jin Soo finally marries him really.

We were struck by the character of the improbability of the plot engine of reason: a false marriage, difficult to sustain a narrative, yet so similar, thinking of the Western tradition, the commedia dell'arte, for example, and, once suspended disbelief, you get in tune with these characters so well spoken mainly by the two protagonists, Hwang Jung Min in the Goo Dong Baek and Kim Ah Joong in that Han Ji Soo. On the comedy side

, the characterization is well done and quite funny in the growing web of twists and misunderstandings.

same time there is a delicate love story in which the authenticity emerges as the dominant positive value, as opposed to games in the corridors, deception, and perhaps above all the power and wealth. With Mo Kang, Ji Soo crying and is always in a bad mood or anxious, forced to hypocrisy and unable even to notice for several episodes of what is being manipulated and used. Instead, with Dong Baek she gradually opens up emotionally, smiles, regaining a taste for the feelings, actions and behaviors easier and also originating in the construction of his personality, because at first it was dedicated to acting career to help his sick mother and not for fame and greed for material goods.

So we have a clear clash of worlds, not only determined by the contrast class. The world of the poor is generally preferred as the depositary for something more real and sincere, but without much concessions idealization, rather than with the moral and psychological stress of individuals with regard to the Byzantine behavior of those who consider themselves smart and sophisticated, but really corrupt and maneuver with egoism, constantly creating misery around them and for himself. In this one, which in many ways is a modern fairy tale, what prevails in other words, in the end, kindness, selflessness and authenticity in relation to Jungian mask. In the end, those who suffer are those who are more sensitive, even beyond the differences of class, as the official girlfriend Mo Kang, who uses an innocent positive social position and money per promuovere le arti e ha sentimenti genuini.

Sul piano della politica, sembrerebbe suggerita l'ipotesi che la corruzione e l'uso scorretto del potere siano quasi inevitabili. Tuttavia, per l'azione di un giornalista onesto e sotto la catena del destino e dell'autodistruzione che la sete eccessiva di sopraffazione provoca nei personaggi, i progetti inconsulti e distruttivi dei disonesti vengono sconfitti, per lo meno momentaneamente.

Si ha poi una contrapposizione tra il realismo machiavellico, qui chiaramente rappresentato, e l'idealismo della vita basata sull'accontentarsi di quel che si ha e sulla repulsione delle lusinghe dell'eccesso di denaro, con la ricerca al contrario di una contentezza serena che alla fine premia, leading to self-actors in a common dimension which includes the small community of family, friends and acquaintances formed in the meantime.

We can not deny being a party to this emotional drama that entertains in an ironic and sentimental, but also through the tasteful and sensitive approach in the representation of positive emotions.

Surely the television series have a commercial background, they insist on matters of delay and repetitive to prolong the suspense feelings and serve to glue your attention. However, frankly, because they are sometimes criticized for bias almost as if by itself, as the series, were alienating and wrong? We found a THAT FOOL-length film that speaks to the heart and intelligence, as well as not to exclude the action taken by not only the ethical negativity personal but also political ones, throwing messages that ultimately are Democrats and progressives.

[Renato Persol]

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M1-M2 COMMITTEE VENETO REGION

Hello,
Veneto Regional Committee in collaboration with the provinces of Padua, Rovigo, Verona and Treviso organizes training courses for instructors M1 and M2.

Date of presentation of the course is Sunday, January 23, 2011 in Verona at the Club Diver The road Scaliger Rizza, 65 Verona .

Here all information

POSTER M1-M2
TRAINING PROGRAM M1
TRAINING PROGRAM M2
FORM

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27th

Hello,
the Federal School of Vicenza offers the 27th Instructors Course M1.

The course presentation is scheduled for Monday, January 24, 2011 at the headquarters of the Group Underwater Vicentino via Burch, 17 Vicenza.



POSTER

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VICENZA COURSE COURSE INSTRUCTORS M1 Underwater PFs1

Hello,
is starting a course in underwater photography BLUSUB held by the Mestre.

all the information below.

Contact: Alessandro Bigozzi 347 271 42 42
Registration by January 20, 2011

information
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Annamaria Ferramosca, LINGUASILENZIO AND PERHAPS WITH A WOMAN


[ Something did emerge from the snow . Photos of Marzia Poerio]


1.

A LARGE RAINS LINGUASILENZIO HAPPY

a large rain linguasilenzio happy
cantapetali penetrates into the inside
innocent sanguelinfahumus
permeates so without
metallo che risuoni

da muro a muro da spina a spina
i dispersi al tocco sussultano si stringono
di fronte è la gelida notte
lontane le due torri come mammuth
emersi domani dalle nevi

ecco che galleggia sopra di me un Atlante
di sperdimento avvampa
così intensa la musica
ha forma d’arpa il telaio
tutti quei pesi di terracotta
a piombo come ghigliottine
ora stanno in levità di vibrafoni
nel primitivo piegarsi delle spighe
spose che vanno, culle
luce sul confine tra carezza e lama

abbiamo consegnato le ferite
insieme alle armi, preferito la festa
the long tables
honey sound of the wedding spread
go barefoot on bare earth gorge themselves
lamb
thousand times if it is still necessary for the trickle of blood


end doors of the world returning to cities such as golf shafts
sow
illuminated the kingdom rain
a silent beatitudo
infant sleep, petrified lava

a row of stones to be rewritten


LANGUESILENCE A LONG AND HAPPY RAINS

a long and happy languagesilence rains
penetrates into the inside petalsongs
innocent inside , bloodlymphhumus
Meaning permeates with metal without
That Might resound from

wall to wall from thorn to thorn
dispersed people are startled by touch, reunite
faced with the freezing night
the two towers are gone like mammoths
emerging tomorrow from the snow

now the Atlas mountains float
over me bewildering, burning
the music so intense
the loom looks like a harp
all those terracotta weights
like leaden guillotines
now light as vibraphones
among the primitive bending of wheat
brides ambling, cradles
light on the border between caresses and blades

we’ve handed over the wounds
and our arms, we’ve chosen the feast
its long boisterous tables
wedding honey flowing
we’ll return naked to naked earth
be the lamb’s throat a thousand times over
should blood be required once more
to drip slowly to an end

doors of the world back to trees
cities as fields to be sown
lit like kingdoms it’s raining
beatitude-silence
a child’s sleep, lava that petrifies

there’s still a row of rocks to be rewritten


2.

FORSE CON UNA DONNA

Lasciarla far luce
con le sue lanterne, vigile
sulle alte mura trasparenti
lasciarla apparire e sparire
come lei vuole
dosare i richiami
perché possa appartarsi
in qualche sua giungla di luna

Perhaps with a woman desperate
you, your world is not split crowns

better to be exiles set sail with her

lunar spacecraft landing on the calm ginecosfere
where she is housekeeper
bread and

words Maybe with a woman
heard more amazing that
stupidity, especially when

resurrected from the rubble slowly become limpid
villages with tears and she starts talking


Perhaps the roses with a woman

laugh with your emphasis and imperfection
her accomplice guardian
of fullness and anxiety
rice and pathos
that does not slip in his suffering


immerses you in the soft

you offer her the full current
Invert your sea, I disagree that you were the auctioneer

(now more open to the world ports)


2.

MAYBE WITH A WOMAN

Let her shine a light lanterns
with her, watch over the high transparent walls

Let her Appear and disappear as she wishes

negociar the Demands
know she can slip away into one of her
lunar jungles

Maybe sharing a woman with a crown
troubled by you, by your world is useless

best exiles together
Become her like a little sail boat
berth in placid moon gynaecospheres
Where She dispenses
bread and words

Maybe with a woman
you could more often feel wonder
instead of being stunned, especially
when the debris slowly
reemerges as towns
cleansed by the wailing and she
starts to talk to the roses again

Maybe with a woman
you could laugh together
about your bravado and imperfection
she, your accomplice, custodian
of satisfaction and unease
of the laughter and pathos
you won’t spill
on her suffering

She immerses you
in her tender offer
you, overflowing with her, change the course
of the currents in your sea, giving up
the town crier that you were
(the doors to the world now more open)


[Translations of Anamaria Crowe Serrano]

Why Does My Cervical Mucus Looks Like Jello?

Kim Yong-Hwa, MINIONUN GOIROWO (미녀 는 괴로워)


[ What the image-society projects as ideal (Seoul, 2010) . Photos of Marzia Poerio]

Title in English: 200 POUNDS BEAUTY. Korea, 2006.Con Ju Jin-Mo, Kim Ah-Joong, Kim Hyon-Suk, Lim Yon-shik, Park No-Shik, Song Dong-Il

In recent years, joining the usual one, and the films involved copyright, we have developed an interest for some key emotional film, if properly constructed, we would not have suspected that appeared when, at other times, we chose almost exclusively the so-called film d'essai . Se il nostro interesse per Hollywood resta limitato a pochi casi che ci sembrano più interessanti di altri, è invece più frequente la curiosità per il cinema asiatico, in parte indiano, ma più spesso, negli ultimi due anni, cinese, coreano, giapponese e di altri paesi dell'area estremoorientale, come pure alcune serie televisive, i cui prodotti sono parsi gradevoli ma anche non di rado commoventi e fondati su un'etica che, mentre rappresenta i valori diffusi dei buoni sentimenti, pare farlo, nonostante gli ibridismi parziali coi temi e i sottotesti culturali dell'Occidente, in modi che riflettono una maggiore coerenza di valori di quelli disgregati non rari nelle società statunitense ed europee. Abbiamo avuto a note of this passage, for example, reviewing the series drawn from the novels of Louis Cha, some different kinds of dramas and more.

This Korean film, directed by Kim Yong-Hwa was born from a Japanese comic book of Yumiko Suzuki, told a large audience in an ironic, engaging and human story of transformation. The main character, Hanna, singer behind the scenes that lends itself to a performer pretty but that voice can not sing, because of its ability but lack of attendance due to obesity and clumsiness, changes into a different person after the decision taken and carried out in secret to take a drastic slimming accompanied by an almost total plastic, which in Within a year, leads her to appear on stage with the name of Jenny is not clear at first even by people who knew her well, so much has changed in appearance, retaining the prestigious item, but we now possess the beauty that allows' Access to fame. It thus assists

narrative topos of Cinderella, while that of vanitas date of infidelity for themselves. Of course, Jenny / Hanna redeems himself, and really the decisive day of the concert that will launch on significant audiences, tells his story in public, reconnects with the affections, especially with her best friend and the father is sick and not opposed but supported by the public, raising as a Hanna again and abandoning the false personality, but not the body, the post-metamorphosis.

Certainly there is a history of individualism, but also hung up the value of loyalty with the nucleus of personality and a genuine resumption of altruism that the failure to market pressures image had threatened to suffocate.

The irony is also against the excessive plastic, which, according to data provided by the International Society of Aesthetic Plastic Surgery, South Korea sees the world's leading per capita actions (74 actions per 10,000 inhabitants in 2009 ).

The comedies of this kind are not superficial e vuote, al contrario spingono a prendere coscienza dei rapporti umani e delle difficoltà di gestire la vita individudale nella società tardomoderna che sembra liquefare gli schemi di esistenza precedenti.

[Renato Persòli]

Congratulations Engagement Wording

Augustus Young, MAUPASSANT WANTS TO DIE IN SICILY (1885)

The street appears to be wet.
No. No. You've just been crying.
How easily we forget
the source? The pavement's drying.
I lent it my handkerchief.

The sun smiles to banish grief.

It shone on the day he died.
They all went to the beach . I'd
rather it that way. Termites
embark from Tunisian nights
and come out in thermal springs.

In order to check the weapons,

remove dentures and eye-glass.
Flash them and they let you pass.
The horizon grits its teeth
as the black sun sinks beneath
necessity's terrible bite.

Darkness won't let you off light.



AUTHOR’S NOTE

In Sciacca there is concrete theatre abandoned to weeds. Nearby is the spa hotel where Guy de Maupassant stayed as his syphilis was entering the tertiary stage (general paralysis of the insane). The thermal springs appear to have dried up. Maupassant recovered sufficiently to write an affectionate book about Sicily.

What Should Cervical Mucus Look Like?

Salvatore Nicosia, "died in my place" by Elias Canetti HELIUM ARISTIDE

“Studi italiani di filologia classica”, Supplemento a VII.1, 2007, pp. 105-20

In this article, suggests that some aspects of a broader research on the relationship between the individual and the author's death, Nicosia focuses on a phenomenon of the cycle, as you might say, using the pattern of 'eternal return Eliade , for which death is an element of the alternation of states that back to life: a prelude to the rebirth of spiritual darkness of death and mourning, overcome and lead to an advancement of the psyche, so the start, for example, but also more ingenerale in the various rites of the society about the relationship with thanatos.

The specific issue of Nicosia is the emotional identification with a person deceduta, la cui morte provoca la rinascita di colui che vi si era immedesimato, partendo da una constatazione di Elias Canetti sul suo rapporto di fratellanza spirituale con Cesare Pavese. Canetti scrive: “Quando la notte scorsa, in preda alla più cupa disperazione, ho preso i suoi diari [i diari di Pavese], […] lui è morto per me. È difficile crederlo: oggi, attraverso la sua morte, io sono rinato. Si potrebbe ricostruire il corso di questo misterioso processo: ma non voglio farlo. Non voglio toccare nulla. Voglio tenerlo segreto” (p. 106).

Il secondo esempio è tratto dalla vita di Jung che, colpito da infarto nel 1944, scrive in MEMORIES, DREAMS, REFLECTIONS OF CALR GUSTAV JUNG (New York, Random House, 1961, trad. italiana di G. Russo, Ricordi, sogni, riflessioni, 1992, Milano, Rizzoli BUR, 2006) ebbe visioni del cosmo e di un meteorite al cui interno c’era un tempio indiano, entrando nel quale ebbe la sensazione di apprendere il senso della vita e, in seguito all’apparizione del suo medico curante sotto la forma di basileus di Coo, si concluse l’apparizione lasciando l’impressione di un ritorno al mondo della falsità e del grigiore dopo aver visto la luminosità. Jung commenta: “Improvvisamente mi assalì il terrificante sospetto che il medico [che gli era comparso in quello stato di visione] dovesse morire al posto mio” (ed. it. cit., p. 348). Nicosia spiega the psychological mechanism, "someone has died in his place, and Jung may continue to live" (p. 108).

addition to an example from Joseph Karo, Nicosia deals with Aelius Aristides (117-180 years or so), which he received in a dream a "prophecy of the year" by Apollo or Asclepius (the figure is uncertain in the dream piece) which foreshadow perhaps 13 or 17 years of life left. Falling ill seventeen years after the dream, appears in another dream that Athena "heartened and promised his help" (p. 113): so we started again, but the adopted son dies in his place.

In all four cases treated, "is the same feeling of anguish death "and" identity is the psychological process that relieves: convinced that the death of someone, totally unaware of the use that he is doing, is the surrogate of his own, and that the other person 'dies in his place' "and it is always a loved one, family member or friend. Here you have a particular series of the broader context of "dying for another", which deals with research in Nicosia at the time the article was in progress). In this sense, "there is a generous and loving self-sacrifice, nor violence omicidiale exercised over others, nor any relationship between two people, but a simple, painless hermeneutic operation [...]. The frequency and variety of cases documented in other contexts, independent and distant in time, shows that we are in the presence of a deep psychological structure. It also explains why psychoanalysis is so determined to find much in Greek culture, and not only in mythology, archetypes are able to clarify certain that world, but at the same time to explain what came after "(p. 119).

[Roberto Bertoni]