The critical path of the volume, divided between painting and poetry, combines various hermeneutical approaches. First, the point of view of aesthetics, here represented by the categories adverse classic / anticlassical, synonims of ancient and modern, which owns, in the School of Vienna, evolve from the level of representation of (old) protocols perspective of the Renaissance (modern). Second, you can scour the homology between paradigms metaphorical poetry and painting, the braided to the meta-discourse on the structural coherence of the poem (Mallarmé) overlaps with docility to the fact metaphors on the ef-fects of the techniques used in painting, which emerge from the writings of nineteenth-century art critics. Finally, attempts to define the genesis of Gestalt foundations and operation of optical metaphors that look to concepts such as rhythm, cadence, scan, or staging space rational work of art. The confluence of these angles allows you to bring highlight a widespread regressive movement in the direc-tion classic to hook the two-dimensionality of the space to the re-emergence of the "plan" unique representation shown at the beginning of the twentieth century by the art critic Riegl as typical of ancient art. Self-Guito adoption of certain techniques in painting (and emerging grids metaphorical calibrated on those techniques), the body and I tend to squeeze out a single level of coplanarity. It then prepares an ontology that tries to set aside the element of illusion of depth. From Mallarmé to du Bouchet, the body and the movement appear as events on a floor that absorbs itself in any depth, schematics free mobile thick able to slide along the lacking vision plastics attributes that mimesis had assured them earlier. The time, the place alternately empty or full caesura between the governing artistic vision from the mid nineteenth century, became the seat of the body and subjectivity, part of a surface organized by rhythms and divisions that can accommodate the individual or oust him.
I percorsi critici del volume, divisi tra pittura e poesia, combinano vari approcci ermeneutici. In primo luogo, il punto di vista dell’estetica, qui rappresentato dalle categorie avverse classico/anticlassico, si-nonimi di antico e moderno, cui fa capo, nella Scuola di Vienna, l’evolvere dal piano della rappresenta-zione (antico) ai protocolli prospettici del Rinascimento (moderno). In secondo luogo, si perlustra la possibile omologia di paradigmi metaforici tra poesia e pittura; quello intrecciato al metadiscorso sulla coerenza strutturale della poesia (Mallarmé) si sovrappone infatti con docilità alle metafore sugli effet-ti delle tecniche utilizzate in pittura, quali affiorano dagli scritti dei critici d’arte ottocenteschi. Infine, si tenta di definire su basi gestaltiche la genesi ottica e il funzionamento delle metafore che guardano a concetti come ritmo, cadenza, scansione, ossia all’allestimento razionale dello spazio nell’opera d’arte. Il confluire di tali angolazioni consente di portare in evidenza un diffuso movimento regressivo in sen-so classico, di agganciare la bidimensionalità dello spazio al riemergere del “piano” unico della rappre-sentazione indicato agli inizi del Novecento dal critico d’arte Riegl come tipico dell’arte antica. In se-guito all’adozione di talune tecniche in pittura (e al delinearsi di griglie metaforiche calibrate su quelle tecniche), il corpo e l’io tendono a schiacciarsi su un unico livello di complanarità. Si appronta insomma un’ontologia che prova ad accantonare l’elemento illusionistico della profondità. Da Mallarmé a du Bouchet, il corpo e il movimento appaiono come eventi su un piano che riassorbe in sé ogni profondità, schemi mobili privi di spessore in grado di scivolare lungo la visione privi degli attributi plastici che la mimesi aveva loro assicurato in precedenza. L’intervallo, il luogo alternativamente vuoto o pieno tra le cesure che regolano la visione artistica a partire da metà Ottocento, diventa la sede del corpo e della soggettività, parte di una superficie organizzata da ritmi e divisioni capace di accogliere l’individuo o di estrometterlo.
Corpi nell'intervallo. Classico e anticlassico da Mallarmé a Du Bouchet / Blanco, Massimo. - STAMPA. - 14:(2012), pp. 1-308.
Corpi nell'intervallo. Classico e anticlassico da Mallarmé a Du Bouchet
BLANCO, Massimo
2012
Abstract
The critical path of the volume, divided between painting and poetry, combines various hermeneutical approaches. First, the point of view of aesthetics, here represented by the categories adverse classic / anticlassical, synonims of ancient and modern, which owns, in the School of Vienna, evolve from the level of representation of (old) protocols perspective of the Renaissance (modern). Second, you can scour the homology between paradigms metaphorical poetry and painting, the braided to the meta-discourse on the structural coherence of the poem (Mallarmé) overlaps with docility to the fact metaphors on the ef-fects of the techniques used in painting, which emerge from the writings of nineteenth-century art critics. Finally, attempts to define the genesis of Gestalt foundations and operation of optical metaphors that look to concepts such as rhythm, cadence, scan, or staging space rational work of art. The confluence of these angles allows you to bring highlight a widespread regressive movement in the direc-tion classic to hook the two-dimensionality of the space to the re-emergence of the "plan" unique representation shown at the beginning of the twentieth century by the art critic Riegl as typical of ancient art. Self-Guito adoption of certain techniques in painting (and emerging grids metaphorical calibrated on those techniques), the body and I tend to squeeze out a single level of coplanarity. It then prepares an ontology that tries to set aside the element of illusion of depth. From Mallarmé to du Bouchet, the body and the movement appear as events on a floor that absorbs itself in any depth, schematics free mobile thick able to slide along the lacking vision plastics attributes that mimesis had assured them earlier. The time, the place alternately empty or full caesura between the governing artistic vision from the mid nineteenth century, became the seat of the body and subjectivity, part of a surface organized by rhythms and divisions that can accommodate the individual or oust him.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.