The Selected Poetry of Pier Paolo Pasolini A Bilingual

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The Selected Poetry of Pier Paolo Pasolini,The Selected Poetry. of Pier Paolo Pasolini,A Bilingual Edition,Edited and Translated by Stephen Sartarelli. With a Foreword by James Ivory, T h e U niversity of Chica go Press Chicago and London. Pi e r Paolo Pas olin i 1922 75 was an Italian film director. writer and intellectual Step h e n Sarta re lli has translated. widely from French and Italian most recently works by Andrea. Camilleri and Gabriele D Annunzio,The University of Chicago Press Chicago 60637. The University of Chicago Press Ltd London,2014 by The University of Chicago.
Italian poems The Estate of Pier Paolo Pasolini,All rights reserved Published 2014. Printed in the United States of America,23 22 21 20 19 18 17 16 15 14 1 2 3 4 5. ISBN 13 978 0 226 64844 6 cloth,ISBN 13 978 0 226 12116 1 e book. DOI 10 7208 chicago 9780226121161 001 0001, Published by arrangement with Garzanti Libri S p A Milano. The University of Chicago Press gratefully acknowledges the. generous support of James Ivory and the Merchant and Ivory. Foundation toward the publication of this book, All the images in this volume have been reproduced by permission.
of the Gabinetto Scientifico Letterario G P Vieusseux of Florence. Italy No further reproduction or duplication thereof can be made. without the express written permission of the Gabinetto Vieusseux. Library of Congress Cataloging in Publication Data. Pasolini Pier Paolo 1922 1975 author, The selected poetry of Pier Paolo Pasolini edited and translated by. Stephen Sartarelli with a foreword by James Ivory Bilingual edition. pages illustrations cm,Includes bibliographical references and index. ISBN 978 0 226 64844 6 cloth alk paper,ISBN 978 0 226 12116 1 e book. I Ivory James writer of preface II Sartarelli Stephen 1954 translator. editor III Pasolini Pier Paolo 1922 1975 Poems Selections English. IV Pasolini Pier Paolo 1922 1975 Poems Selections Italian V Title. PQ4835 A48A2 2014,851 914 dc23,2014007478, This paper meets the requirements of ANSI NISO Z39 48 1992. Permanence of Paper,List of Illustrations ix,Foreword xi.
Acknowledgments xv,Pier Paolo Pasolini A Life in Poetry 1. A Note on the Texts 59,I Da La meglio giovent 1954. From The Best of Youth The Friulian Poems,Il nini mu rt Dead Boy 62. David David 62,Tornant al Pa s Returning to the Village 62. Ciant da li Ciampanis Song of the Bells 64,La dom nia uliva Olive Sunday 66.
Dansa di Narc s Narcissus Dancing 76,Pastorela di Narc s Narcissus Pastourelle 76. Il d de la me mu rt The Day of My Death 78,Laris Thieves 80. Conz it Envoi 80,II Da L usignolo della Chiesa Cattolica 1958. From The Nightingale of the Catholic Church,Le albe Dawns 84. La Passione The Passion 84,In Memoriam In Memoriam 92.
Litania Litany 94,Lingua Language 98,Un Cristo A Christ 104. Memorie Memories 104,L ex vita My Former Life 112,Ballata del delirio The Ballad of Delirium 116. La scoperta di Marx Discovering Marx 122,Poesiole notturne Little Night Poems 130. III Da I diari 1950,From The Diaries, Adulto Mai mai come l esistenza Adult Never never like life itself 138. Sarebbe cos facile svelare It would be so easy to unveil 138. Pieno di confidenza e di tepore Full of intimacy and warmth 140. Chiusa la festa su una Roma sorda At holiday s end in a Rome deaf 142. La piogga ha verniciato la terra Rain has varnished the earth 142. Se qualcuno mi chiede Should anyone ask me 144, Interrotto nel momento pi limpido Interrupted at the clearest of moments 144.
Come in uno spasimo del pensiero As in a spasm of thought 144. Correvo nel crepuscolo fangoso I was running in the muddy twilight 146. IV Da Le ceneri di Gramsci 1957,From Gramsci s Ashes. L Appennino The Apennines 152,Le ceneri di Gramsci Gramsci s Ashes 166. Il pianto della scavatrice The Cry of the Excavator 188. V Da La religione del mio tempo 1961,From The Religion of My Time. La ricchezza Riches 220,Da La religione del mio tempo. From The Religion of My Time 270,Appendice alla Religione Una luce.
Appendix to The Religion of My Time A Light 286,Al principe To the Prince 292. A Bertolucci To Bertolucci 292,Alla mia nazione To My Country 294. Frammento alla morte To Death A Fragment 294,La rabbia Rage 298. VI Da Poesia in forma di rosa 1964,From Poem in the Shape of a Rose. Da Poesie mondane from Worldly Poems,23 aprile 1962 April 23 1962 306.
25 aprile 1962 April 25 1962 308,10 giugno 1962 June 10 1962 310. 12 giugno 1962 June 12 1962 312,Supplica a mia madre Plea to My Mother 314. La persecuzione Persecution 316,Una disperata vitalit A Desperate Vitality 330. Marilyn Marilyn 358,Profezia Prophecy 362,VII Da Trasumanar e organizzar 1971. From Transhumanize and Organize,Richiesta di lavoro Job Request 378.
Preghiera su commissione Commissioned Prayer 378,Uno dei tanti epiloghi One of Many Epilogues 380. Canto civile Civic Song 382,La strada delle puttane The Whores Road 384. Versi del testamento Lines from the Testament 386, La poesia della tradizione The Poetry of Tradition 388. Atene Athens 392,Timor di me Timor di me 394,La presenza Presence 398. Ossessione soteriologica Soteriological Obsession 400. Appunto Note 404, Gli ultimi sogni prima di morire Last Dreams before Dying 404.
Introduzione Introduction 408, Materiali per l introduzione Materials for the Introduction 414. Altri materiali c s Other Materials as above 420,Il giardino dei pesci The Garden of Fish 424. VIII Last Poems,Da L hobby del sonetto From The Sonnet Hobby. 1 Qual l idea felice che mi risveglia What happy thought wakes me. 13 Perch mi fermi a un ora in cui ci si incontra Why do you stop me when. by sad coincidence 430, 20 Ascoltate Signore questa storia estiva Listen Lord to this summer. 55 Non c era Ninetto quando guardavo Ninetto wasn t there when as a. 63 Volevo semplicemente dire I wanted simply to say 434. 105 Erano quasi le due di notte il vento It was almost two in the. morning the wind 434, 110 C era nel mondo nessuno lo sapeva There was in the world though.
nobody knew it 436,Castalia Castalia 436,Saluto e augurio Goodbye and Best Wishes 440. Selected Bibliography and Filmography 483,Index of Titles and First Lines 491. Illustrations,Pasolini Self Portrait 1965 Pastel on paper ii. Autograph manuscript of El nini mu rt ca 1941 xviii. Pasolini Reclining Boy date unknown Crayon on paper 61. Pasolini Head of Boy date unknown Oil paint on cellophane 83. Pasolini Landscape with Figure date unknown Ink and crayon on. Opening of Le ceneri di Gramsci 1954 Typescript with autograph and. editing notes in another hand 151, Pasolini Ecclesia Reginae Martyrum dicata ca 1944 Ink on paper. Illustration from a handwritten manuscript of same 219. Pasolini Self Portrait 1965 Pastel and red ballpoint pen on paper 305. Pasolini with Maria Callas and cameraman Tonino delli Colli on the set of. Decamerone 1970 Photo by Mario Tursi 377, Autograph manuscript of Vado nella notte d Inghilterra from L hobby.
del sonetto 1971 429, There may be people who ask why the Merchant and Ivory Foundation is. interested in helping to publish these English translations of seventy six. poems by Pier Paolo Pasolini Merchant Ivory and Pasolini together in the. same sentence almost the same breath in some kind of artistic or literary. collaboration Such a seeming misalliance could not be imagined To put. it simply Pasolini s films were everything ours were not punchy icono. clastic coolly fashioned by a graceful and highly cultured Communist. who was eventually expelled by the party because of his supposed immo. rality Pasolini was a filmmaker from the rebellious Sixties who on the one. hand was celebrated for fiercely shaking things up for striking out at his. countrymen s acceptance of the most ingrained Italian values via starkly. brutal images of family life caste and class religion commerce art litera. ture and even history itself being blown apart And we on the other hand. were a pair of filmmakers from the comfortable Eighties who gained our. reputation by seeming to exalt in our films what Pasolini chose to obliter. ate in his via optimistic stories about seeking connection seeking com. pleteness seeking beauty even in imperfect worlds from which there is. little chance of escape and little chance of change for the better It is true. that in our own way from time to time we also came out against the order. of things but our slyer protests were far more decorous than Pasolini s. could ever be, Do I have delayed feelings of remorse because in my forties I did not. feel compelled to watch Pasolini s films with the same avidity that I had for. Fellini s more jovial and brightly hued ones Now that I am in my eighties. am I making up for my passive neglect of this terrific artist by hastening to. underwrite translations of his poetry mostly unknown in the United States. as well as unknown to me There may be some truth in that but what I like. is the notion of our foundation s putting 7 544 lines of this auteur s finest. poetry before a public that may not remember him now probably has not. seen any of his films in a commercial theater in decades and may not have. read a single word of Italian or English from his very large body of work. The lives of twentieth century auteur filmmakers can seem awfully. brief The unstable nature of both black and white and color film can. within four or five decades doom their finest images making them re. semble so many faded flowers pressed between the pages of a book The. visually dynamic sequences that thousands of a director s fans watched. in cinemas on both sides of the Atlantic and in Japan are now viewed. on DVDs by film scholars via their computers These DVDs are often. labeled restorations The 35mm and 70mm prints that cast their thrill. ing images on immense theater screens are now mostly dust or have been. recycled In India old films are sometimes made into women s bangles. when a film is a flop it s said to have gone to the bangle factory Prints. that have survived are prone to vinegar disease are too fragile to project. and may be in quarantine Color films go all pink If by chance prints re. main uncontaminated they can only be projected at a film archive where. they are displayed to respectful viewers like relics and are handled by cura. tors wearing white gloves After viewing they are returned to their ever. chilled underground chambers, In 2012 the Museum of Modern Art in New York screened all of Paso. lini s features shorts and unfinished films Wounded and hospitalized. original prints from their own and other archives were no doubt collected. in order to create such an extensive program A mostly aging audience. who had grown up on Pasolini s subtitled films watched favorites like. Accatone The Gospel According to Matthew La ricotta Teorema and Hawks and. Sparrows One misses the work of the old European auteur filmmakers. as one misses friends from one s youth who have died I miss Fran ois. Truffaut You miss their tone of voice their presence their beauty their. uniqueness even their sometimes tiresome preoccupations. A poet of the cinema Pasolini has left a trove of words on paper that. can live on as the fast deteriorating images he created on celluloid can. not In the cinema as in the other visual arts great images are rarely pro. duced alongside comparable and separate written images in the work of a. single artist There are few William Blakes and as yet no Michelangelos of. the cinema Almost entirely a visual medium films must be seen and can. be heard their greatest words come only with perishable images Of all the. twentieth century arts cinema is probably the most ephemeral on a par. with choreography Great choreography lives best through great dancers. but dancers are mortal We can think of them as large gorgeous fluttering. insects doomed at the end of their season So too are the last century s. most renowned film directors whose works began fading even before the. end of their brilliant seasons, Pier Paolo Pasolini was a true modernist working in an age of cinematic. reinvention How fortunate then that some of his greatest written images. gathered here can live on can gain strength with time and can find a new. audience in the new century Merchant Ivory is proud to have helped this. volume s subtle translator Stephen Sartarelli himself a poet and the. University of Chicago Press in bringing out a fascinating and charismatic. director s saved other words other images other tones of voice works. that do not share the inevitable destiny of celluloid cannot be contami. nated and need not be handled with white gloves,James Ivory.
The selected poetry of Pier Paolo Pasolini edited and translated by Stephen Sartarelli with a foreword by James Ivory Bilingual edition pages illustrations cm Includes bibliographical references and index isBn 978 0 226 64844 6 cloth alk paper isBn 978 0 226 12116 1 e book I Ivory James writer of preface II Sartarelli Stephen 1954 translator editor III

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