Louis Meneghello
Introduction-epilogue through the text: a magma to speak again experience
When the writer Gianni Celati says that in our time the word has more experience, word for word means meaningless advertising, television, billboards, I imagine, have seen turning on all sides when he's like dispatriato Meneghello and crossed American continent.
The prospect of reading of contemporary American highlighted by Hidden here is useful because it reminds us of the regression aspect of individual, precisely by means of a certain kind of speech that is characterized by being devoid of physical content, a word that is not Is more to gestures and sounds and is treasure trove of personal experience and common, but unlike the first that makes us far apart and then strangers to ourselves. "The way we go there looking like one another, you can still see what were once strong constraints. This phrase reminds us Meneghello then, in addition to the physicality of language that emerges very rich in examples and in all its facets work the body of the reality of things linked to the same language and how to laugh and suffer with them, and also to have fun when in particular points out the deep bond between friends that is established by means of a common feeling that the large field of language (like listening to all the same music and we always understood the fly) or great intelligence when he points out that the entertainment in his day was not different from the life of the country. Here then is the language that wheel a reality and vice versa.
said that, at the same time one of the first things to say, happens to notice that what more could make an impression to a reader of my generation starting to review the work of Louis Meneghello is the correspondence that is established by comparing the page with that of today's bloggers. The comparison is not so random if you think the author's approach: his texts reveal more attention to his intention not to a form that suggests something symbolic, even if - and here lies the difference - the intention is made in turn dependent on a particular aesthetic. Moreover, the short cut, but not too cynical or too passionately on the other hand, is the core, or a substantial part of the art of Meneghello. Since what seems to lead to any warping always and in any event is experienced, but here we resume after the speech.
Now there are two crucial elements that the discourse on Meneghello imposes on us. We depart from his approach. In the sixties there is much talk of Italian and dialect, and how to use the second and place in literary texts. Above all this talk is linked to the problem of how to give authenticity to the word, since the Italian company was becoming an industrialized country and that the Italian consequently became more bureaucratized and artifact. This was followed by several experiments: those like Gadda brings literary multilingualism on the page, those who emphasize the consequences of this rift as Pasolini, who completely deconstructs the language because it says that everything is false or tamper-proof as the exponents of neoavanguardia. Not to mention the poetry and its breakout from the traditional opera with the appearance of works by authors such as Sereni - Zanzotto wanting to stay close geographically to Malo - introducing the spoken words of daily use and the theme of loss of centrality of the subject . The same procedure is different: the genius of the author is bound to the comparison with different models and a suspension of action for a reflection on the modes of representation.
Meneghello fits into this context as a fluctuation unique. We talked of the writer's intent. The page it moves, but moves down (almost) in a climate already strong experimental. Yet it is never down, because any problem in this text calls the other, as well pointed out Fernando Bandini. Here is the problem of returning the word, then that of memory and therefore it is society, the reality. It 's a unique voice to Meneghello within that climate, nevertheless already started the banner of personal solutions. Unique because it focuses on how one would say the experience, the only thing that can make him come out of a poetic side, opposite or didactic-scientific. The text is short, almost creates itself and creates itself the aura around it. This is a strong element of novelty and centrality.
Which leads to contact with the great question of the innocence of language. In Meneghello we find that the speech is mixed with the childhood experience of the land: to what extent it is meeting children and the extent to which contact with the ground that his going back into the language? Here the value of the word has a psychological background essential, because he and those of his generation have had almost two lives with two languages. The meeting is an almost schizophrenic for one born in those years, another element of difference from my generation. A psychic side of hermeneutics the word is not even psychological. The list divides today's chaotic, as opposed to the meneghelliana, and effort to make differences on the level of discourse between mental and psychological, because the medium is the mental side for wanting to put it MacLuan. Thus we see that our mix of real and artificial language comes along later, American way. But this is more of a risk to be assessed case by case basis that a matter of fact, since the highly scientific relativism that we see emerging as another ugly aspect of those early sixties of division and fractures tend to make too prone to dogma, this result nevertheless very punctual.
Finally Meneghello is among the first to discover the hidden relationship of the sounds of the words with the things designated by them and ride in a carriage in the literary discourse - wanting it as easy as possible - from a previous field which we call the "sculpture" that is characterized by ipercostruttività of content, the "painting" one that is constructive that comes from a liquid phase of the centrality of logic always lived in an increasingly artificial that can no longer base its values \u200b\u200bon a scale human trial unilaterally (his second news item). In fact Meneghello not interested in defining the field in which he acts, or dig the reasons (not want to show or letters, or scientist) because they mainly focused on - repeating it does not do badly in this case, given its importance - the experience. So then we can say his will with one sentence: the body of the word is lost also lived.
Nor is the rest of his attempt to put order in categories such as prose and poetry, which is more reason to think the definition given just before painting.
It 's interesting to note in this area is the focus of Meneghello for glosses and anecdotes minimum, and to the realization of a mixed language and dialect of Italian macaroni and latin traditional theater Vicenza lost, hence its non-disclosure and its peculiarities as a writer after this loss. Because it is in the same mixture back to life instead of Gianni Hidden in the revival of the language of its Po Valley, the language of chivalric representations dating back to the large Boiardo and his "love Orlando", and then to a totally different kind of literary tradition, but also literature in a narrow sense, a sense of continuity between past and present and there is no division between public high or low, because it never disconnected from contact with the public and especially by oral communication.
In conclusion we can thus claim to be faced within the panorama of the late twentieth century, a writer who is likely to be if not the most amazing, probably the most extraordinarily relevant, and if Meneghello this feast did not like yet, as it probably would be, it remains the fact that it faces a challenging subject of study. And we hope that at least this statement is never granted.
The prospect of reading of contemporary American highlighted by Hidden here is useful because it reminds us of the regression aspect of individual, precisely by means of a certain kind of speech that is characterized by being devoid of physical content, a word that is not Is more to gestures and sounds and is treasure trove of personal experience and common, but unlike the first that makes us far apart and then strangers to ourselves. "The way we go there looking like one another, you can still see what were once strong constraints. This phrase reminds us Meneghello then, in addition to the physicality of language that emerges very rich in examples and in all its facets work the body of the reality of things linked to the same language and how to laugh and suffer with them, and also to have fun when in particular points out the deep bond between friends that is established by means of a common feeling that the large field of language (like listening to all the same music and we always understood the fly) or great intelligence when he points out that the entertainment in his day was not different from the life of the country. Here then is the language that wheel a reality and vice versa.
said that, at the same time one of the first things to say, happens to notice that what more could make an impression to a reader of my generation starting to review the work of Louis Meneghello is the correspondence that is established by comparing the page with that of today's bloggers. The comparison is not so random if you think the author's approach: his texts reveal more attention to his intention not to a form that suggests something symbolic, even if - and here lies the difference - the intention is made in turn dependent on a particular aesthetic. Moreover, the short cut, but not too cynical or too passionately on the other hand, is the core, or a substantial part of the art of Meneghello. Since what seems to lead to any warping always and in any event is experienced, but here we resume after the speech.
Now there are two crucial elements that the discourse on Meneghello imposes on us. We depart from his approach. In the sixties there is much talk of Italian and dialect, and how to use the second and place in literary texts. Above all this talk is linked to the problem of how to give authenticity to the word, since the Italian company was becoming an industrialized country and that the Italian consequently became more bureaucratized and artifact. This was followed by several experiments: those like Gadda brings literary multilingualism on the page, those who emphasize the consequences of this rift as Pasolini, who completely deconstructs the language because it says that everything is false or tamper-proof as the exponents of neoavanguardia. Not to mention the poetry and its breakout from the traditional opera with the appearance of works by authors such as Sereni - Zanzotto wanting to stay close geographically to Malo - introducing the spoken words of daily use and the theme of loss of centrality of the subject . The same procedure is different: the genius of the author is bound to the comparison with different models and a suspension of action for a reflection on the modes of representation.
Meneghello fits into this context as a fluctuation unique. We talked of the writer's intent. The page it moves, but moves down (almost) in a climate already strong experimental. Yet it is never down, because any problem in this text calls the other, as well pointed out Fernando Bandini. Here is the problem of returning the word, then that of memory and therefore it is society, the reality. It 's a unique voice to Meneghello within that climate, nevertheless already started the banner of personal solutions. Unique because it focuses on how one would say the experience, the only thing that can make him come out of a poetic side, opposite or didactic-scientific. The text is short, almost creates itself and creates itself the aura around it. This is a strong element of novelty and centrality.
Which leads to contact with the great question of the innocence of language. In Meneghello we find that the speech is mixed with the childhood experience of the land: to what extent it is meeting children and the extent to which contact with the ground that his going back into the language? Here the value of the word has a psychological background essential, because he and those of his generation have had almost two lives with two languages. The meeting is an almost schizophrenic for one born in those years, another element of difference from my generation. A psychic side of hermeneutics the word is not even psychological. The list divides today's chaotic, as opposed to the meneghelliana, and effort to make differences on the level of discourse between mental and psychological, because the medium is the mental side for wanting to put it MacLuan. Thus we see that our mix of real and artificial language comes along later, American way. But this is more of a risk to be assessed case by case basis that a matter of fact, since the highly scientific relativism that we see emerging as another ugly aspect of those early sixties of division and fractures tend to make too prone to dogma, this result nevertheless very punctual.
Finally Meneghello is among the first to discover the hidden relationship of the sounds of the words with the things designated by them and ride in a carriage in the literary discourse - wanting it as easy as possible - from a previous field which we call the "sculpture" that is characterized by ipercostruttività of content, the "painting" one that is constructive that comes from a liquid phase of the centrality of logic always lived in an increasingly artificial that can no longer base its values \u200b\u200bon a scale human trial unilaterally (his second news item). In fact Meneghello not interested in defining the field in which he acts, or dig the reasons (not want to show or letters, or scientist) because they mainly focused on - repeating it does not do badly in this case, given its importance - the experience. So then we can say his will with one sentence: the body of the word is lost also lived.
Nor is the rest of his attempt to put order in categories such as prose and poetry, which is more reason to think the definition given just before painting.
It 's interesting to note in this area is the focus of Meneghello for glosses and anecdotes minimum, and to the realization of a mixed language and dialect of Italian macaroni and latin traditional theater Vicenza lost, hence its non-disclosure and its peculiarities as a writer after this loss. Because it is in the same mixture back to life instead of Gianni Hidden in the revival of the language of its Po Valley, the language of chivalric representations dating back to the large Boiardo and his "love Orlando", and then to a totally different kind of literary tradition, but also literature in a narrow sense, a sense of continuity between past and present and there is no division between public high or low, because it never disconnected from contact with the public and especially by oral communication.
In conclusion we can thus claim to be faced within the panorama of the late twentieth century, a writer who is likely to be if not the most amazing, probably the most extraordinarily relevant, and if Meneghello this feast did not like yet, as it probably would be, it remains the fact that it faces a challenging subject of study. And we hope that at least this statement is never granted.
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