Fino alla fine dellillusione (Italian Edition)

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As often happens in Erasmus's Colloquies, the Socratic interlocutor, who brings with him a more mature ethical awareness, uses his dialectical and maieutic technique to demolish the prejudices of his interlocutor. Even Curione's Pasquillus a stone statue that paradoxically reveals itself as a herm, a Silenic emblem , argues socratically. The Pasquillus, like Funus, Exorcismus, Peregrinano religionis ergo, satirizes the ridiculous escatology of the friars, especially the Franciscans. Curione, the 'reformed' propagandist, does not ignore the authority that popular consciousness places in the religious visions of persons possessing — 25 — Luca D'Ascia the odour of sanctity.

But this fact is used to expose heterodox opinions; ironically, both the protagonist and the content of the ecstatic vision are altered: In a quar- relsome, Ariosto-like monastery from which Silence has fled, Pasquillus studies the preliminary exercises. Halfway between asceticism and necro- mancy, these are used by the monks in order to induce visions. After study- ing them, Pasquillus uses them in the same way. The protagonist is tormented by a state of doubt that cannot be resolved by reading and meditation.

Odd Nugget

The Christian meditates on divine providence and is disturbed by the contrast between, on the one hand, the optimistic theology of the dignity of man and the perfection of the uni- verse, and, on the other, the fact that the historical and social worlds are dominated by evil. He is thus subject to the temptations of Epicureanism and Manichaeism. In fact, the cult of saints appears to him to be very close to the propitiatory and apotropaic cult of evil gods.

Yet he is not able to negate the factual reality of miracles and the intervention of supernatural powers in human affairs, irreducible to the beneficent and well-ordered action of a supreme being. The parody of a revelatory vision coincides with a positive revelation: Rigorously literal and scriptural, it reinforces, contrary to the degeneration of the Church, a positive model of the cult of the spir- it and of truth. The imagi- nary voyage to heaven to examine up close the nature of the supposed saints is anything but a joke: The world, then, is apparently governed by the devil, or by a demiurge that is Gnostic and Manichaean he of course collaborates with the elect for the greater glory of God.

The eschatological 'joke' is an authentic apocalypse, and here Curione diverges from Erasmus: Even among the Lucianic pleasantries, Pasquillus echoes the Reformation theme of the Pauline con- version on the road to Damascus. The trip across the sky is a parenthesis placed between two catacomb-like spaces: In this context, any aspiration to a comical representation of a daily life of moderation vanishes, as does the program of educating Epicurean and Christian elites through humour and graceful pleasantry.

Erasmian humour is founded upon a supple manipulation of language; the humour of Curione, rather, derives from violent caricature. The grotesque element emerges forcefully in his portrayal, with its cursive Latin filled with Italianisms: Curione transforms the images of the Legenda aurea Golden Legend into an elaborate caricature. This caricature emphasizes the inconsistencies both of the Catholic theology of good works and of a forensic conception of the Last Judgment, one that ignores the benefit or good favour of Christ.

The anti- thetical structure of Pasquillus naturally calls for a description of the — 27 — Luca D'Ascia Christian heaven, but this description remains sketchy and is hmited to generalities — luminous radiance, Pythagorean musical harmony — that are quite removed from the rich figurative descriptions of the papist heav- en. This different treatment of the two heavens corresponds to their diverse natures: The papist heaven, on the other hand, is nothing more than an image, a disquieting product of the imagination. It is evidently necessary to rediscover in its pure conceptual form the Christian truth that lies behind the imaginative universal.

On the other hand, Curione recognizes the existence of an original wisdom common to both Christians and pagans, expressed through images and parables. These have been altered and corrupted by the people, who are deaf to the para- doxical truth of Pythagorean metempsychosis as they are to the teachings of Christ. The serious tradition can be seen as the presence of the Middle Ages in the Renaissance. It presents an eschatological truth in the form of a privileged revelation, one that is verified during sleep or ecstasy.

The parodie vision replaces the eschatogical content with an imposture or fraud, either con- scious as in the Boccaccian examples or imposed as in the case of Alberti's Libripeta, who believes he is raving without impunity in the coun- try of dreams, and is punished for his surly misanthropy. The serious vision, as an ecstatic moment in the sermon, constitutes a fundamental aspect of sacred oratory.

The parodie vision inserts a critical element into the celebratory nature of the epideictic rhetorical genre as in Valla's In Praise of St. Pasquillus extaticus contains both didactic and satiric aspects: The Italian Reformation could not admit any other source of eschatological truth if not the enlightened study of the Bible. Its heaven, stripped of all colour, could only be concretely portrayed as the antithesis of a pagan and papist heaven. The city of the seven walls is not the Celestial Jerusalem, but the City of Dis that has risen to heaven thanks to the miracles of the Anti-Christ.

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The Reformation notion of justification — 28 — The Grotesque 'World Beyond' from Boccaccio to Curione by faith alone resulted in the emptying out of hell. It becomes identified rather with that despair of divine mercy that had consumed Francesco Spiera of Cittadella, who had been elevated to the level of symbol of the unhappy conscience. In this religious context, the lines between sacred and profane, serious vision and parodie vision, literary tradition and grotesque invention, tend to become blurred for Quattrocento writers and for Ariosto too.

Hell is neither below the earth nor at the source of the Nile in the mysterious country of the priest Gianni-Senapo: The real heaven is hidden behind the appearances of the imposture. The precious gems of the cathedrals more precious when they are mounted on the walls of Paradise are not symbolic of the papist Jerusalem. Much more symbolic are the mitres, the crosiers, and the other liturgical objects that those gems had ennobled. They have been rendered profane, snatched away from the sac- risties only to be hoarded up in heaven.

Like the foolish prayers of the men of the Lucianic tradition, or the obscene materials found in the dreams of Libripeta, they indecently clutter it. The traditional heaven, the one of Aristotle, Ptolemy and Scholastic theology, is reduced to a literary back- drop for mimics, comics and hystrionic Sileni. The Counter-Reformation will once again place the ecstatic vision in all of its sublime seriousness on the altar, but it will not be able to remove the grotesque image of superstition: Latin quotations translated by Edward Moore.

Qui cur nulli secundum lacere debeamus ex eo probabant, quod quidam integerrimae vitae frater inter orandum viderit Augustinam, quem summum theologum statuunt, et una Thomam, mirabili utrumque praeditum maiestate, Augustinumque dicentem audierit Thomam esse sibi in gloria parem" Ibid. As to why we should consider him second to none, these men give this proof, that a cer- tain Brother of very holy life, in the midst of his prayer, saw Augustine, whom they consider the greatest of the theologians, and with him Thomas, both surrounded with wondrous majesty, and he heard Augustine declaring that Thomas was equal to him in glory.

Canunt enim semper apud Deum scriptores rerum sanctarum: The Quattrocento audience could not possibly miss the Pauline reference to the "cymbalis," full of science but lacking caritas. This is not the only ironic passage in the Encomium: Thoma episcopo Cantuariensi, qui tamquam pastor bonus pro grege suo, tie clerus bonis spoliaretur, occubuit" Ibid. Valla, De vero falsoque bono, Q Erasmus, "De pueris statim ac liberaliter instituendis," in Opera omnia.

After criticizing teachers for their excessive use of corporeal punishment, Erasmus refers to the severity of the Old Testament, and comments: Nunc oportet Hebraeorum dicta civilius interpretati [emphasis added]" However, while the text seems to indicate the pre-existence of souls, the figure of God as creator is com- pletely absent: Cf , for example, Artemidorus, "Having a few lice It is likely, however, that the derivation is not direct: Artemidorus's text was not reintroduced into the West until after the fall of Byzantium.

The allegorical backdrop is the same: Its swift tor- rent is said to swell with the tears of wretches and mourners" The Dream, in Dinner Pieces, Once again, it is the River of Life, exposed to the uncertainties of fortune. The stylistic register, however, is quite different. Parody is obvious, for example, in the substitution of the grotesque and repugnant old women, used as rafts, for the imperial ships and for the planks of the arts used by men in Fate and Fortune. Another figurative detail common to the two texts are the bladders, which in Fate and Fortune symbolize adulators and in The Dream political power.

The Dream emphasizes the expressionistic and grotesque details: Cf Alberti, Momo o del principe: Universum enim terrarum orbem cimice, tinea, fuconibus, crabronibus, statanionibus et eiusmodi obscenis et sui similibus bestiolis refertissi- mum reddidit" Therefore he [Momus] then devised a plan worthy of him. For he made the entire world to abound in bed-bugs, maggots, bees, wasps, cock- roaches and foul insects of this sort, which shared his likeness.

Cf Ariosto, "Satire, "6. But you, whose study is entirely human.

The Satires of Ludovico Ariosto, Nella novella di Ser Chiappelletto a che altro attese che a levarci dal cuore la riverentia et divotione de santi? Teli me, please, you followers of Boccaccio, did he ever attempt, in the novella of Gianotto Giudeo, to do anything other than to make us hate the most holy Roman court, always calling the lives of priests now wicked, now filthy, never real- izing that his own life was far worse than all others? What was he thinking about when he wrote about Frate Rinaldo, the Angel Gabriel and Don Felice, if not to disgrace holy friars, who are the barrier and the bastion against heretics, and to make us unhappy, as would happen if the holy friars with their good teachings and many good examples did not defend us from the pestilence of heresy?

And what else did he set about to do in the novella of Ser Ciappelletto if not to remove from our hearts the reverence and devotion of saints? Sed ubi erat Christus? But where was Christ? I didn't see him, but having been ordered to leave the coun- cil, I saw a little boy playing with some genii in front of the palace. When I asked my guide about him, he said it was Christ who was playing there and who had entrusted all things to his mother.

Cf also Erasmus's Religious Pilgrimage. But it was fitting for the Gospel of St. In addition, a sacred stole as it is called , with the opening verses of St. The paternity oi]ulius Excludedis a much debated question. I feel that the undoubtedly Erasmian core of the dialogue was reelaborated in a philo-French and openly conciliar direction before the edition of , probably by a humanist from Basel belonging to the circle of Boniface Amerbach.

Nevertheless, the attri- butions to Hutten and to Fausto Andrelini are certainly unfounded. Pasquino attempts to enter the papist Heaven, but the old guardian sends him away: This — 33 — Luca D'Ascia heaven is not open to a Momus or a mocker. Pasquino, however, is not impressed: Nimis Socratice mecum disputas: You argue too socratically with me: I don't understand this well enough, these tricks of logic.

We speak of the gods of the Christians, Pasquillus; let's leave Lucianic pleasantries to their author. Sed unum te interrogabo, cuius pene iam eram oblitus. Si isti tot visionibus scatent, cur tantis superstitionibus, tantisque mandacijs ut soles dicere adhuc involvuntur? But I will ask you one thing, which I had nearly forgotten.

If those people abound in so many visions, why are they as you often say wrapped up in so many superstitions and deceits? Because they don't ask that the truth of sacred matters be revealed to them, but rather they ask for other pleasantries, which are sometimes impious. The description of sorcery in Curione is very close to a famous episode in Cellini's Vita in which Cellini describes a necromantic experiment that ends mis- erably and is quickly forgotten by the adventurous protagonist himself Cellini's sarcastic conclusion is highly emblematic: Thus we find the sphere of fire, the appearance of the Angel, the biblical model of the chariot of Elijah.

Interea dum video omne meum studium male collocatum iri, coepi nonnihil dubitare de rebus humanis, qua sorte regerentur, haesitabam mecum de Dei providentia, de Dei iustitia, videns iustorum passim afflictionem, et impiorum fortunatam sortem. In the meantime, while I saw that all my learning would be poorly arranged, I began to doubt some things concerning human affairs and by what chance they're governed; to myself I was unsure of God's providence, of God's justice, seeing here and there the affliction of the just and the fortunate lot of the impious.

I would often think to myself, what is it I ask that governs things now among men, convinced almost that it was something other than that which governs the other affairs of nature. That was the true way towards Epicureanism. As in Erasmus, provocation is linked to the traditional fight against 'paganism. NuUam vidisti materiem fundamentorum? Erant cuculia, rosaria, vestes sordidae, detonsi crines, vela vestalium, mille vestium, mille calceorum, mille rituum formae. Have you seen no foundational material?

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There were cowls, rosaries, coarse clothes, tonsured hair, the veils of virgins, the forms of a thousand clothes, shoes and rites; along with these, add rotten fish, the threefold crowns of the mitre and various lit- de books, all of which had been mixed together with tufa stone and lime, and this was the base of the foundation. These are followed by the tribunal and finally by the palace of the Lady of the Apocalypse where the secret consistory is held; and the churchmen deliberate on how best to keep the princes and peoples of Europe in ignorance.

The first levels are a parodie echo of the Dionysian tradition. In his description of the 'Christian' heaven, on the other hand, Curione eliminates all hierarchical elements there are no distinctions between angelic orders, no grada- tions of beatitude among the elect , insisting instead on absolute equality. Although for a long time I had sought out some path to heaven, I was never able to find this path; although I read much concerning Protheus and Icaromenippus, who were said to lead there, there was but silence as to which path to take.

Ergo ista administratio rerum ad veris Sanctis non egreditur [sic]. Scio, ab immundis spiritibus, qui hominibus pulchris titulis illudunt. Nescis Dominum in Evangelio dixisse, Antichristum miraculis fidem eversurum? You tell of wonderful things. Therefore such administration of matters doesn't proceed to the true saints. Do you know by whom? Don't you know what the Lord said in the Gospel, that the Antichrist would overturn faith through miracles?

Quoties in conviviis imperium transtulimus in lulium pontificem et summum pontificium in Maximilianum Caesarem! Deinde collegia monacharum — 35 — Luca D'Ascia matrimonio copulavimus coUegiis monachorum. Mox descripsimus ex illis exerci- tum adversus Turcas, deinde colonias ex iisdem in novas insulas. Breviter univer- sum orbis statum vertebamus. Sed haec senatusconsulta non inscribebantur aureis tabulis, sed vino, sic ut sublatis poculis nemo meminisset quid a quo dictus esser" This freedom in banquets and friendly conversations pleases me, and I often over-indulge in it, assessing the minds of others from the standpoint of my own.

How often in conversation did we transfer the empire to Pope Julius and supreme power to Emperor Maximilian! Next we joined in marriage the commu- nities of nuns to the communities of monks. Soon from them we formed an army against the Turks, then from the same we established colonies on new islands. In short time we overturned the entire state of the world. But such "Senate decrees" were not inscribed in gold tablets, but in wine, so that once the glasses were born away, nobody remembered what was said by whom.

Agnosco errorem, tu deinceps mihi eris pro Gratiano Pasquille. Sane debebas ista in triviis declamitare. Non tamen id me puderet, nisi timerem decretum Pontificis illius Germani revocatum iri I acknowledge the error; you will stand then for me in place of Gratianus, Pasquillus. Clearly you were obliged to declaim those things in the streets. Namely, to those listening porters. However it wouldn't shame me, unless I feared that the decree of that German pope would be revoked I would not like this meeting of ours to be known to everyone, when already the truth, which is diligently sought in your presence here, is despised by all.

Typical of this way of proceeding is the reference to Saint Michael. Curione argues against the legend which claimed that the Archangel had installed himself on Mount Gargano. The cowherd, from whom the mountain had supposedly got- ten its name, had gone in search of a lost bull. Upon finding him, he fired a poi- sonous arrow at him in a fit of anger, an arrow that instead turned around and struck the person who had fired it.

Saint Michael announced to the citizens of the area that he would from then on establish himself on the mountain as guardian cf Jacobus de Voragine [sic]. Curione further distorts the text of the Golden Legend: Dicebant ilium esse D. M[arphorius] Ilium qui in monte Gargano dicitur amasse taurum? They used to say he was Saint Michael. You mean he who is said to have loved a bull on Mount Gargano? But above all he invents in pure legendary style the struggle between the Archangel and the devil not found in Jacopo da Varagine for the possession of a soul: Angered, [Michael] struck the demon with his sword, and he threatened him with the red cross which he bore on his chest and ordered him to be quiet.

Indeed, the demon, reduced at last to obedience, stood with his head bowed, just as a fox will do who has stolen away a hen. If the peasant comes upon him and threatens him with a stick, he withdraws completely, nevertheless still holding the hen in his teeth. This comparison has an exactness that recalls Dante, and is very far from Cinquecento canons of decorum, especially in connection with the Last Judgement; the humanistically educated reader cannot but exclaim with Marphorius: Moreover, before I would accept these arguments, painters themselves often caused me to have doubts about this [purgatorial] fire.

For when they depicted men with their feet and hands raised in the air, showing their bodies complete and their hair and beards unharmed, I thought that this fire was not greatly effective. Oportet te scire, esse magnam dififerentiam inter solem et lunam qui hunc orbem quotidie ambiunt, et inter eos qui banc reginam [the Lady of the Papist heaven] vestiunt. You should know that there's a great difference between the sun and the moon, which circle this world daily, and between those who dress this queen. If it is that difference which is found between fictional or depicted things and real things, certainly the difference will be great.

Don't persuade yourself, Pasquillus, that this giant was ever so large, but rather it was an invention of the ancient and wisest Greeks during the time when the Christian republic was still growing. Desiring to explain to everyone the com- plete Christian man and his life, they combined everything in a single image, which they called Christopher: Cf Curionis, Araneus seu de Providentia Dei: Adeo periculosum est, Paradoxa et remotiores paulo sententias efFerre: Since Pythagoras, that founder of recondite philosophy, somewhat more subtly disput- ed these things, they were accepted, as they were then new, but had deserved oth- erwise to be accepted; and he himself was exposed to mockery through the base envy of certain people.

Therefore it is dangerous to express paradoxes and some- what more obscure opinions. He who considers in what way the pleas of Christ were accepted, when they were first spread among the people, will easily discover this to be true. Curione's positive assessment of Pythagoras derives naturally from the Florentine Platonic tradition: It was the custom of Pythagoras, Socrates and Plato everywhere to conceal divine mysteries in figurative guises, discreetly to distinguish their wisdom from the boasting of the Sophists, to joke with serious intent and to play most studiously.

Opera inedita et pauca separatim impressa. Fate and Fortune, in Dinner Pieces. The Satires of Ludovico Ariosto: Artemidorus The Interpretation of Dreams. Menippean Satire in the Renaissance. Araneus seu de Providentia Dei. North Holland Publishing Co. Collected Works of Erasmus, Literary and Educational Writings. Collected Works of Erasmus Classical Tradition and Humanist Innovation. Erasmo in Italia Diffusione e metamorfosi d'un libello antiromano del Cinquecento," in Forme e destinazione del messaggio reli- gioso. Aspetti della propaganda religiosa nel Cinquecento. Alberti," in Le due Rome del Quattrocento.

DalTanabattismo al socinianesimo nel Cinquecento veneto. Ex officina Henricpetrina, University of Chile, Editorial Universitaria, De vero falsoque bono. Voragine [sic], Jacobus de. Readings on the Saints. Princeton University Press, While discussing some original traits of certain dialogical texts, ones involving the 'fantastic,' I had occasion to refer in passing to problems related to 'vision' and, to put it in more secular and mundane and, hence, modern terms, to the visual element in Anton Francesco Doni's concept of the theatre of the world.

I begin with the same basic concepts, but with the goal of carry- ing out a more careful analysis of the hidden meaning of the relationship between the theoretical-practical elaboration of dreams and the highly salvific function of fantastic writing, which Doni establishes with exem- plary clarity. His writing has two levels of meaning: His characters, members of what he calls the Academy of the Pellegrini or Pilgrims, display a highly articulated and ambiguous familiarity with the masters of great visionary literature.

He does so for the sake of a thoroughly deliberate game that does not lack its own cynical ambi- tion. Through the sophisticated mechanism of burlesque discourse, this lusus attempts to cast doubt on both the absolute meaning and the moder- Quaderni d'italianistica. This process is conceived as an approach to the meaning of modernity, of that mannerist modernity of the sixteenth century which, even while following the script of a fiction enacted by a burlesque confraternity, involves a collective voyage by the members of the Academy of the Pellegrini.

Their voyage exorcises the idea of a mystic immobility, of a solitary conquest: Its ambition is to place the subject in a different perspective, in the unprecedented context of plurality and contiguousness. This fictional subject is destined to travel unharmed along the impractica- ble and ideologically risky itinerary of late-Renaissance mannerism, which saw the fading of the dreams of renewal that the severity of the Counter-Reformation attempted to render even darker and more prob- lematic.

First and foremost, it is noteworthy that the debate in Doni's Mondi on the nature of dreams with relevant confirmation in his work entitled Marmi [Marble Steps] and elsewhere is, in the end, nothing but a mime- sis of that problematic utopia of playful knowledge. First of all, plurality. It is a space presented to the readers who, in this situation, are themselves in need of a different imagi- native order. Onde si ritroveranno, al par di voi, per aven- tura a godere il bene dell'intelligenza di quest'opera. Now we proceed to print not, as was planned, the Greatest Worldhxxt the Imagined World, We wish to relieve him somewhat with some curious inventions.

If, spiritual readers, these pleasantries should bring you some annoyance, the very book which you have in your hands will be able to satisfy you as far as doctrine and the spirit are concerned, because, by finding the things written for your benefit, you may feed on them. And the others, who are not yet so perfected in matters pertaining to God, will make themselves ready with these means, because they will find certain hidden stairways by which to climb higher.

Like you, they will find themselves, by chance, enjoying the advantage of understand- ing this work. Here then begins the new World [i. This composite mode of writing also allows for a different way of read- ing. This is the logic of the hypertext; that is, of a work capable of ensuring, beside the 'spiritual' reader, the presence of a different reader, on another wavelength, one more attentive to its curious inventions.

Only in this way can the 'alchemy' of such an anomalous text be guaranteed or rather protected — 43 — Raffaele Girardi from censorship. It is presented, moreover, from the very beginning by Elevato himself as a great mass of writings, some true, some doubtful, and some resolved "scritti, parte veri, parte dubbiosi e parte risoluti" 6. The addition of meaning, ensured by the hypertext,5 is precisely the goal sought by the adventuresome Pellegrini through dream. By means of both practice and narration the playful rhetoric of the harangue, or solemn discourse, distorts the tradition of persuasive oration in a burlesque key.

It does so in order to narrate in a fuller imaginative space a topos much loved by Doni, i. It actually aims, in the very spirit of a singular hyper- textual voyage, to create a space for writing that is free and arbitrary. The organic unity of the world, regulated by the logos — the rational order of the universe — opens the way to a fantastic multiplicity, to an invisible cosmography. In this way, as Heraclitus had already seen in the relationship between wakefulness and sleep, the norm of daily order is replaced by what lies outside of it — a plurality that is wholly individual and the disorder of dream.

It involves a dia- tribe launched in collaboration with another Academy present on the stage, that of the Vignaiuoli or Vine Dressers of Rome. It ends in an incon- clusive manner, and not without a burlesque reminder of other, ancient forms of voyages to salvation for example, the naval voyage in Lucian's True History and the earthly voyage in Dante. This blasphemous taste for controversy in connection with the theme of the mode of ascesis proposes a subtle distinction that involves the very nature of the visionary design: Non voglio or dire che la fantasma [mi] abbia qualche volta stretto il cuore sul principio del dormire, innanzi che io abbi appiccato il sonno.

Saiyuki (manga)

We were on a pil- grimage of jests and wild fancies of gluttony, as was seen in Fichi [Figs], Nasi [Noses] and other very lively witticisms, and not a pilgrimage of devotion. You, then, should pray, that you may have some vision, which will teach you how to get to heaven; or aJlegorically, through the medi- um of dream [sonno] , you could learn how easy or how difficult is the thing which you are seeking. In the insogno, which is the ordinary dream of humans, we have had many of these, which I believe are not true, because they have been caused by various accidents, mixed according to one's type of constitution: I do not wish to say now that fancy has on some occasion wrung my heart at the beginning of sleep, before I had begun to doze.

But no more of this, because they are not suitable means for such a high ascent. They do not pertain to these pilgrims who are without a fixed sanctuary, as Artemidorus, an authority on the theory of dreams well known to the members of Doni's circle, would have it. There remains only one form of oneiric creativity that is fully human insofar as it is tied to the various acci- — 45 — Raffalle Girardi dents of the human physical constitution, namely the insogno or enhyp- nion.

VVnother and more complex dimension is the concrete- ness of Doni's writing, in which the expectation of knowledge and the prospect of artistic synthesis — that is, a ratio, even if fantastic in nature, to be put into practice through the representation of dreams — are not by any means discarded.

They are still present. Furthermore, there is an important reference to the same "wise" dream of the pilgrimage in Artemidorus himself, according to whom this is to be interpreted in light of the expectation lying at the depths of consciousness: Instead the idea of flight was more acceptable. It was more in keeping with the re-invention of scenery that was playfully mysti- cal and aerial, and designed to receive in the intermediate spaces between the Mondi the Mondo immaginato, misto, risibile and savio Imagined, mixed, laughable and wise Worlds the old archetypes of the divine lusus, namely Jove and Momus.

The mediator-shaman himself is authorized to solve on a playful level in reality with desperate irony and disenchantment the enigma of visions, of the world seen from outside. This is because in lusus there is hidden an evidently inescapable truth content, even if at times it is inexpressible inso- far as it is outside reason and, so to speak, officially extraneous to the logos. In the imagination of the Pellegrini dream hardly ever evokes the idea of solitude.

It always takes the form of a socializing story that turns quick- ly into an emblem, and becomes the subject matter of collective narration. At times, in fact, its oneiric derivation is recognized and certified a posteri- ori, after having been already received as a story. Leggiadro utters the following: But the most active and significant concentration of Doni's antinomies occurs in Mondo savio, which not by accident has the task of completing, in the form of a climax, the itinerary of the intermediate worlds; it is the epilogue of a discourse which, with the dialogue between Pazzo Madman and Savio Wise man , has reached the highest level of concentration and, so to speak, of symbolic inflation.

When it comes time to reach some pro- visional conclusion about this rapid excursus, then the truly fundamental significance which this inflationary result assumes for the entire develop- ment of the discussion on meaning and currency should become clear. In the universe of dream, there is no logos that provides reassurance about the unity of the world, and the word can do nothing more than predicate an eternal plurality and disorder of meaning.

It is not surprising, then, that the mediator-shaman Savio himself remains trapped in the insurmountable dilemma of the antinomic rapport between Wisdom and Folly. He is uncertain as to how to name the reality of utopia, that is the new world. On the threshold of recounting a new vision, he demonstrates his vexation to the readers through another of the numerous harangues: Voi avreste forse piacere di sapere quello ch'io aveva pensato in tanti ri- voltamenti Prima inalberai con il nome, se io doveva chiamarmi il Savio o il Pazzo: O il dirti savio non monda nespole: Se ben voi lo chiamaste ermafrodito, non ve ne darei una castagna.

Lo svolgimento della storia raccoglie i volumi da 7 a 9 di Saiyuki Gensomaden e i primi quattro volumi del Reload. Raccoglie i volumi del Reload da 4 a 5, e poi prende una piega totalmente diversa. Inoltre di Saiyuki esistono anche 24 urasai molto divertenti con la durata di secondi l'uno. In tutto il mondo, ad eccezione dell'Asia, gli episodi sono stati trasmessi in streaming in simulcast , anche coi sottotitoli in lingua italiana, da Crunchyroll.

Requiem - Erabarezaru mono e no chinkonka? Il film racconta una "tappa" nel viaggio verso Ovest dei quattro protagonisti. Dei protagonisti solo Sanzo ha mantenuto la voce della prima edizione Andrea Ward , per i secondari Lirin e pochi altri. Gli OAV sono inediti in Italia. Ambientato nel passato rispetto a Gensomaden Saiyuki, descrive la vita dei quattro protagonisti prima della loro formazione ed il loro viaggio ad ovest. I personaggi del manga si scostano fortemente dalla leggenda tra parentesi i doppiatori originali e italiani dell'adattamento in anime.

Prima di diventare custode dei sutra, il suo nome era Koryu. Amico di Tempou e Kenren di quest'ultimo un po' meno , era il custode di Goku, ed era stato proprio lui a dargli il nome. Come armi utilizza una shoreijyu pistola con proiettili ricavati da un cristallo molto particolare in grado di uccidere i demoni , il Maiten Kyomon sutra del cielo demoniaco e un harisen ventaglio usato per picchiare Goku. Se incontri un tuo antenato, uccidilo. Non avere legami, non essere schiavo di nessuno. Vivi semplicemente per la tua vita.

Che si tratti del nemico o di qualcun altro, non fa differenza. In particolare, fa la conoscenza anche di Nataku Taishi, fratello di Homura Taishi, e spesso, durante la trasformazione in Seiten Taisei, ha dei flashback nei quali rievoca i volti dei suoi vecchi amici. Sul viso ha dei graffi causati dalla sua matrigna. Per poter celebrare il loro amore, i genitori di Gojyo si erano tolti la vita e la sua matrigna, madre di Jien, aveva cercato di prendersi cura del suo figliastro; ma a lungo andare aveva perso la ragione e aveva cercato di uccidere Gojyo con un'ascia, ma era intervenuto Jien che aveva ucciso la madre, e poi era scomparso a sua volta, accusato di omicidio.

Altre volte usa la Shakujo, un'alabarda di ferro con una lama a mezzaluna, collegata al resto della struttura per mezzo di una catena. Nella sua vita precedente, nel Tenkai, era Kenren Taishou, capitano di un corpo d'armata delle guardie armate della divisione Ovest e grande amico e sottoposto di Tempou, oltre che del piccolo Goku.

These most recent works of his draw the viewer in to contemplate how the colors move and blend seamlessly creating a dreamlike composition. Just in the last period, he decided to recapture abstractminimalist art bringing it towards a new avant-garde. He has exhibited his work in several exhibitions all over the world and he now lives between Manhattan and Ashikawa City in Japan. Io uso il tessuto delle calze per realizzare opere che prendono origine dalla matematica e dagli algoritmi, una mia grande passione.

Ci racconta la sua originale ascesa nel mondo della moda? A un certo punto lei disse: Senza perdere tempo le presentai dei disegni semplici, geometrici, regolari, il cui tema portante erano le righe bianche e nere, o bianche e blu, bianche e rosse, orizzontali e verticali. Se dovesse mettere Firenze e New York a confronto?

Se devo essere onesto quando sono a Firenze vorrei trovarmi a New York e viceversa. Chiudiamo con un consiglio per un giovane artista. Nei Paesi nordici, in Europa, in Russia. Curated by Giovanni Granzotto and Alberto Pasini is a sublime exhibit of twenty-five works by Emilio Cavallini—a designer, weaver, and mathematician, who never leaves his masterpieces to chance.

In the manner of Da-Vinci, Emilio sketches, plans, and locks precision into a program prior to launching into a three-dimensional frenzy. Very much like Karl Lagerfield, Cavellini weaves nylon hosiery into sensational fractals, whose every angle-to-space convex enact a precise mathematical formula; Chanel does the same but through tweed. Rigorously organized grids supply potential momentums with vertigo effects that mesmerize. Erecting bifurcated images on the side, hosiery remained the primary canvas through which his affinity for mathematics flourish.

He would only later make his magnificent tapestries accessible to the public. For more information on kinetic and op art, please check http: I have known Emilio Cavallini for over 20 years and I consider him a dear friend but you have my word that I will stay utterly objective. Always ready to praise someone, always ready to forgive, no matter what.

We met in Milan in the early nineties and we immediately bonded. At that point, Emilio was at his peak fame as a fashion designer and he hired me as a model for many of his whimsically original fashion shows. Needless to say we had a ball. I have always known that he personally created and designed his groundbreaking pantyhose patterns, something that set him apart from all the other fashion designers.

Like a mad scientist, Cavallini was guiding and submitting chaos into order. The resulting art works are at once muscular yet ethereal, their beauty lies both in their objective elegance and grace and in their deeper conceptual strive of trapping the infinite in the finite. It was then that I understood how he channeled his peculiarly boundless energy. Simply put, Emilio makes energy tangible. Gregory de la Haba: Why in your opinion are we witnessing an Op Art and Kinetic art resurgence?

I personally find the fact that these two art movements are introspective and void of any political, religious or social commentary immensely refreshing. First and foremost, Kinetic art and Op art are not the same: Many of the Op and Kinetic artists were fascinated by mathematical puzzles, and scientific experiments in phenomena such as the parallax effect, in which objects appear to move in relation to things around them.

They combined science and art but, at the same time, explored the philosophical depth and intellectual aspirations of Geometric Abstraction and its spiritual overtones. Works by artists such as Argentine painter Eduardo Mac Entyre and Omar Rayo Colombia , among others, suggest a higher, meditative purpose. Can you imagine an artist weaving together vibrantly radiant spools of yarn and thread into intricate patterns?

Emilio Cavallini, who is a renowned avant-garde fashion maven, structures his artwork on a palette of geometric arrangements.

Unsparing in color and vision, viewers can treat their eyes to wonder. His imaginations are a beautiful ecosystem of threads: He expounds on weaving elaborate designs, which speak to the synergy between chaos, organization and placement. Calze bianche da sposa, calze colorate, calze decorate, calze a righe, a pois, lucide e opache. Calze che compongono geometrie, formule, movimenti, effetti ottici. A solo exhibition of the Italian artist and kinetic and op art innovator Franco Costalonga at the GR gallery.

Good luck out there. You might not have heard of Alberto Biasi , but you should. A pioneer of Kinetic and Op Art, he founded the groundbreaking avant-garde collective Gruppo N in , leading the way for a generation of artistic experiments into the optical and physical possibilities of art. Tutto ebbe inizio con un party grandioso a Venezia, e un premio mancato, dice qualcuno, per colpa della CIA.

Interview with Italian artist, Alberto Biasi. At GR Gallery in Manhattan on show three of his series. He gets his inspiration from the fire and the rain, h creates movement out of stillness, and he finally feels understood. The new exhibition space, covering more than square meters on the ground floor at Bowery, features 40 works by a collection of artists who reflect the most unusual, dynamic experiments on themes of perception and movement that have in influenced contemporary art since the Sixties.

The exhibition will run from January 14 through March 12, The opening reception will begin at 6: In the new space, which covers over 1, square feet, on the ground floor of Bowery, will be displayed. The exhibition will focus on the themes of perception and movement, as well as the Optical, dynamic and. About 20 artists will be the protagonists of this event, which, starting from the. The exhibition will run through March 12, Un sacilese sulla piazza artistica di New York.

In esposizione per la prima una quarantina di opere di vari autori, realizzate attraverso tecniche diverse. Un concentrato di optical, strutturazione dinamica e…. I grandi artisti che hanno consacrato la corrente internazionale sono Alberto Biasi, Jarrit Tomquist, Le Parc e altri.

Tue - Sunday | 12 to 7pm

Welcome to the Post-Truth age. A small sampling of additional works from the upcoming exhibit follow: I like the playful images and show here my favorites, a very subjective selection as usual. The age of distraction. A new arms race. In this show of original artworks, wall paintings, editions, and installations, the two find a common language of color while bringing their individual take on character to the party.

We asked both artists about the show and how they worked together to find a common route in outer space. Can you tell us a little about the process of creating work for this dual show with Buff Monster. Was there an effort to find a common aesthetic or approach? The collaborative exhibit will reveal a total of 16 new artworks such as paintings, editions and installations created by the duo. Thursday March 8, 6: Buff Monster About Buff Monster Buff Monster , names heavy metal music, ice cream, pop art, Japanese culture and graffiti as major influences.

A little word from GR Gallery…. Demsky - Brad Howe. Sophisticated and poppy palette-play coupled with a mid century affection for abstract geometry? Meet the night-glo arcade color selections and graphically charged motion of a 90s inspired digital graffiti artist. Brad Howe and Demsky, both internationally known on the street and inside gallery walls, are separated by two decades but united by a desire to define the aesthetics and experience of public space.

The interplay of these strong singular voices is charged in this common space and is often full of motion. From the Street Felipe Pantone has just left his tag in New York City, his bright creations are influenced by the internet and the technology hungry world we live in today. Retro-Futurism with Felipe Pantone. Curating what they estimate to be over shows worldwide over that time, their GR Gallery is relatively new to New York, opening in with a 40 piece group show spanning the most unusual and dynamic techniques of the genres. In mostra le opere di diverse generazioni di artisti innovativi provenienti da Europa e America: I already know that you know Nadia very well; what do you think of your American.

Then, I met gallerists who believe in my work enough to include it in their exhibi ons in Vienna, Milan, Verona, and on other pres gious occasions I dare not men on for good luck. On display six works by each painter, leading the visitor on an ideal path through different styles spanning from impetuous, informal signs and gestures, to synthetic, minimal perspectives, in a dimension where creativity is made possible by the extraordinary influence of the famous city on the lagoon.

Here is the final speech of the gallery owner during the opening exhibition: Beyond the cinematographic suggestions, the global Art system has not passed through Rome, but through Venice, as well as through Paris: Besides, innumerable private structures stimulated and cultivated for some decades the cultural ferments of the Venetian lagoon, first among everything the Guggenheim Foundation.

Peggy Guggenheim came ashore in Venice and the town became the true laboratory of contemporary art. Why is the history and the artistic developments of the lagoon city so unique and influential to the curator? Venice and Paris have been the true cultural hubs in Europe: This is so influential to the curator, Giovanni Granzotto, because he established himself, over the last 45 years, intense relationship, both personal and professional with many venetian artists that created this unique art scene.

The exhibition will run from November 19 to February 5, , and be open Tuesday-Saturday through that period from noon GR Gallery , born almost forty years ago in the mids, soon focused its activities on the enhancement and promotion of the European mostly Latin post-war avant-garde, giving priority to those artists who have produced special and personal propulsive thrusts during the so-called Informel period, especially focused on the Spatialism movement of Venetian matrix and the artists who have gravitated to this city or made this their muse.

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