It seems interesting to end this diary-survey Meneghello talking about the report Gigliola Sulis.
Gigliola Sulis's speech puts the accent - for once we find an identical response from another opinion in this matter meneghelliana transit - the importance of glosses. In glosses s'individua an important core of the work of Meneghello: it is the immediacy of each language used to explain a concept, even if what emerges then is a joint outside of many languages. And it's interesting because we understand so once again as currency Meneghello the literary value of his work (Said in the introduction: "her lyrics reveal more attention to his intention not to a form that suggests something symbolic, even if - and here lies the difference - it is the intention, in turn, load aesthetically in a particular way ").
In this regard it is useful to allow hours of talk right Meneghello Down here in the biosphere:
is a sense of urgency expressed in the form at times extreme, almost pathological. The effect of a language is bound to upset the writer's presence in the heart of a matter that boils below. There is a perception of hot magma that overlap and are crowded, and the mind can not conceive that the usual way to expose them, do not have the time - it creates a traffic jam in the expressive cues and retching, as an effect of stuttering ... The details of the actual structure of language, such raids in English - quell'inglese of sui generis - do not seem crucial.
Factor field - Biondo said simply, but with a grimness ominous. "The last three words are not Italian or English. The article makes a sentence almost Italian, but what follows is not quite English (normally one would say with ominous grimness). The interlocking of the two languages \u200b\u200bis sometimes given to a procedure that is familiar to those who have used both: "The valleys and gorges were as bleak as above." It happened to me even to write, by way of example and self-justification: "I am speaking as Italian as the next man."
The use of English should be matched with that of "irregularities" language, neologisms, and so the tumors., Giving the text its exceptional power of alienation. Why write such "vivid" instead of "vividness"? And 'as if the writer look up words in themselves - not in current use. What differs, "a figure nearly the same invisibilizzata intensity of moonlight "from" a figure made almost invisible? Examples of the effects of this alienating way of writing, in line with the alienating experience of guerrilla warfare. "" Just the
eperienza partisan allows us to return to the report Gigliola Sulis. We can conclude by saying that after the war refuse Meneghello monolingualism limit notified to him with the load in her schooling and substrate of an ethics and aesthetics are profoundly linked - then that would lead - to the period of the scheme, but will proceed to adopt the multilingualism with a profound ethical conviction.
His writing is therefore the result in the sense of immediacy that was said on one side and just above the inlet of the ethical conscience of another.
Here are just switching to another type of account.
This way, when the English and explains the Italian vice versa, and thus also for the dialect,
discover the body of the signifier (concept very timely and very useful to understand the relevance and discourse among the most important things curdled outlined in the roadmap / approach which emerged so far).
discover that the word, beyond the meanings it contains, contains a reference to the sense that we feel if our sensitivity is a bit 'trained to hear if the words sound good or bad, or how they sound in general. This is significant, but why is it important? Back
the question we began with the report of Frank Caputo.
What language do for us today to say, tell the truth or just saying in general?
Not having to retrieve the dialect but probably his way, but at the same time the burden of living behind the meaning more or less artificial, and in particular to those words meaningless, but emotionally loaded experience in the call that sends the same meaning , which is an important parallel here is precisely the meaning along with the best legacy of the review and return of confidence in us as we seen to emerge from all the literature of the sixties. And probably, indeed certainly even more communication - I would say even more about the networking - among all this diversity.
We see that say things with old literary language but referred to in this sense for our generation. (See comparison to the crisis of realism in the 50s in Italy and the use of an artificial language, however, to say the truth because the concept that underlies it, however, that written language is artificial, Zanzotto behind the scenery).
Here also we find the speech on the importance to take this romance not only for literary Article Laura Peters on.
generally takes place today, as a phenomenon more than in the past, an extrapolation of the body of the signifier, though perhaps this is not even recall how mentally and manifests itself only through the experience , though always lived more personal and unfathomable (hence the importance of external communication with the author).
This type of physicality of the signifier is profoundly different from his other types of performance, such as those who are in the so-called generation of "Cannibals," because here is evident under some type of emotional appeal rather than as we do not find provocation. Question of uses and different intentions.
But we also see the destructive consequences of this: loss of space-time reference because it refers to a particular side of physicality. This happens in general and always as difference from the past, which therefore does not totally rule to find something very body (see Qsl from web or principle that is contrary to removal of bodily Textmeldg.blue, both cd Andrea Rossi Andrea just to stay in theme with the calls have emerged so far and that can support and remain as a support going forward, as many "Virgilio" when crossing the contemporary hell). Some consequences are the loss, the inability to channel the energies which eventually dissipate, regression, and the closure and positive even without the possibility of being translated into real action.
Always keeping us here now, but let us pause a moment and turn our gaze to the report Ernestina Pellegrini and the joints that remain sketchy at the end of our own - about crossing - meneghelliana promenade. (Notes for an update of the rhetoric: what is "Promenade meneghelliana?" It is perhaps a form of rhetoric metaretorica entrusted to the senses. The risk here is to put it all together even if it should be split to maintain a specific individual sensory. Shifting the focus to the senses today to continue to maintain a sense of history, we risk losing sight of the specific sensory object in question, which may end up going to this mixed discourse on the senses. Here, too, as the case may be).
Regarding the discourse of the accent falls Ernestina Pellegrini - a little 'case for a bit' but not always with great intelligence, then select a case by case basis and reflect together on these tracks and can be found here, in my opinion the size of Meneghello - blacks on the holes of the mind, nothing on that, that space between the two types of fantasy within which falls during the associations psychic. Let's see how
writing creeps more and more chips, and the fragment of involuntary memory as you try to reorder this inadvertence. We also see how important is the legacy of the experience of Andrea Zanzotto, once more.
It 'also interesting to see how the English will double the issue of the excavation of the language. Dialect-Italian / Italian-English (+ all other combinations). We note in this regard, the contrast is created between the pragmatism of English and Italian fund indeterminacy. (Meneghello is even closer to us in this global sense of mingling of languages).
Here is that "the machine is rebooted narrative" in the words of Frank Caputo, right through the physicality of which we have discussed so far and that in the previous report was touched with the theme of sport. Here is how
Meneghello helps us today to look at this reboot: at a time when you are running low on psychological side of language signifiers are related to each other through the experience , not to fall into the psychological and continue to work for inclusiveness rather than organic, as is well noted Bruno Pischedda , that is a phenomenon which takes account of all individuals and allow to tell yet, because there is more to tell.
So recently by the transformations that we talked about we can see how this "debridement of significant" risk from one part to each castle on his positions, and conversely in this we have the impression that everything is homologous is flat. This is because it can be made unconditionally, unless it abides by the intent of preserving a part of the intention with which one approaches to artistic creation. That intention, which is still the only thing worth even really talk to me (speaking in terms of preservation), not to force the true religion of the moment in which things emerge by themselves without intention and that is a mirror of selfless love for the things that surround us, yet the only sign of authenticity and sharing in a world ever more inclined to feign even in its most intact and genuine. But this, it is also known, is a field in which the accounts are made speeches and most of all with yourself.
Gigliola Sulis's speech puts the accent - for once we find an identical response from another opinion in this matter meneghelliana transit - the importance of glosses. In glosses s'individua an important core of the work of Meneghello: it is the immediacy of each language used to explain a concept, even if what emerges then is a joint outside of many languages. And it's interesting because we understand so once again as currency Meneghello the literary value of his work (Said in the introduction: "her lyrics reveal more attention to his intention not to a form that suggests something symbolic, even if - and here lies the difference - it is the intention, in turn, load aesthetically in a particular way ").
In this regard it is useful to allow hours of talk right Meneghello Down here in the biosphere:
is a sense of urgency expressed in the form at times extreme, almost pathological. The effect of a language is bound to upset the writer's presence in the heart of a matter that boils below. There is a perception of hot magma that overlap and are crowded, and the mind can not conceive that the usual way to expose them, do not have the time - it creates a traffic jam in the expressive cues and retching, as an effect of stuttering ... The details of the actual structure of language, such raids in English - quell'inglese of sui generis - do not seem crucial.
Factor field - Biondo said simply, but with a grimness ominous. "The last three words are not Italian or English. The article makes a sentence almost Italian, but what follows is not quite English (normally one would say with ominous grimness). The interlocking of the two languages \u200b\u200bis sometimes given to a procedure that is familiar to those who have used both: "The valleys and gorges were as bleak as above." It happened to me even to write, by way of example and self-justification: "I am speaking as Italian as the next man."
The use of English should be matched with that of "irregularities" language, neologisms, and so the tumors., Giving the text its exceptional power of alienation. Why write such "vivid" instead of "vividness"? And 'as if the writer look up words in themselves - not in current use. What differs, "a figure nearly the same invisibilizzata intensity of moonlight "from" a figure made almost invisible? Examples of the effects of this alienating way of writing, in line with the alienating experience of guerrilla warfare. "" Just the
eperienza partisan allows us to return to the report Gigliola Sulis. We can conclude by saying that after the war refuse Meneghello monolingualism limit notified to him with the load in her schooling and substrate of an ethics and aesthetics are profoundly linked - then that would lead - to the period of the scheme, but will proceed to adopt the multilingualism with a profound ethical conviction.
His writing is therefore the result in the sense of immediacy that was said on one side and just above the inlet of the ethical conscience of another.
Here are just switching to another type of account.
This way, when the English and explains the Italian vice versa, and thus also for the dialect,
discover the body of the signifier (concept very timely and very useful to understand the relevance and discourse among the most important things curdled outlined in the roadmap / approach which emerged so far).
discover that the word, beyond the meanings it contains, contains a reference to the sense that we feel if our sensitivity is a bit 'trained to hear if the words sound good or bad, or how they sound in general. This is significant, but why is it important? Back
the question we began with the report of Frank Caputo.
What language do for us today to say, tell the truth or just saying in general?
Not having to retrieve the dialect but probably his way, but at the same time the burden of living behind the meaning more or less artificial, and in particular to those words meaningless, but emotionally loaded experience in the call that sends the same meaning , which is an important parallel here is precisely the meaning along with the best legacy of the review and return of confidence in us as we seen to emerge from all the literature of the sixties. And probably, indeed certainly even more communication - I would say even more about the networking - among all this diversity.
We see that say things with old literary language but referred to in this sense for our generation. (See comparison to the crisis of realism in the 50s in Italy and the use of an artificial language, however, to say the truth because the concept that underlies it, however, that written language is artificial, Zanzotto behind the scenery).
Here also we find the speech on the importance to take this romance not only for literary Article Laura Peters on.
generally takes place today, as a phenomenon more than in the past, an extrapolation of the body of the signifier, though perhaps this is not even recall how mentally and manifests itself only through the experience , though always lived more personal and unfathomable (hence the importance of external communication with the author).
This type of physicality of the signifier is profoundly different from his other types of performance, such as those who are in the so-called generation of "Cannibals," because here is evident under some type of emotional appeal rather than as we do not find provocation. Question of uses and different intentions.
But we also see the destructive consequences of this: loss of space-time reference because it refers to a particular side of physicality. This happens in general and always as difference from the past, which therefore does not totally rule to find something very body (see Qsl from web or principle that is contrary to removal of bodily Textmeldg.blue, both cd Andrea Rossi Andrea just to stay in theme with the calls have emerged so far and that can support and remain as a support going forward, as many "Virgilio" when crossing the contemporary hell). Some consequences are the loss, the inability to channel the energies which eventually dissipate, regression, and the closure and positive even without the possibility of being translated into real action.
Always keeping us here now, but let us pause a moment and turn our gaze to the report Ernestina Pellegrini and the joints that remain sketchy at the end of our own - about crossing - meneghelliana promenade. (Notes for an update of the rhetoric: what is "Promenade meneghelliana?" It is perhaps a form of rhetoric metaretorica entrusted to the senses. The risk here is to put it all together even if it should be split to maintain a specific individual sensory. Shifting the focus to the senses today to continue to maintain a sense of history, we risk losing sight of the specific sensory object in question, which may end up going to this mixed discourse on the senses. Here, too, as the case may be).
Regarding the discourse of the accent falls Ernestina Pellegrini - a little 'case for a bit' but not always with great intelligence, then select a case by case basis and reflect together on these tracks and can be found here, in my opinion the size of Meneghello - blacks on the holes of the mind, nothing on that, that space between the two types of fantasy within which falls during the associations psychic. Let's see how
writing creeps more and more chips, and the fragment of involuntary memory as you try to reorder this inadvertence. We also see how important is the legacy of the experience of Andrea Zanzotto, once more.
It 'also interesting to see how the English will double the issue of the excavation of the language. Dialect-Italian / Italian-English (+ all other combinations). We note in this regard, the contrast is created between the pragmatism of English and Italian fund indeterminacy. (Meneghello is even closer to us in this global sense of mingling of languages).
Here is that "the machine is rebooted narrative" in the words of Frank Caputo, right through the physicality of which we have discussed so far and that in the previous report was touched with the theme of sport. Here is how
Meneghello helps us today to look at this reboot: at a time when you are running low on psychological side of language signifiers are related to each other through the experience , not to fall into the psychological and continue to work for inclusiveness rather than organic, as is well noted Bruno Pischedda , that is a phenomenon which takes account of all individuals and allow to tell yet, because there is more to tell.
So recently by the transformations that we talked about we can see how this "debridement of significant" risk from one part to each castle on his positions, and conversely in this we have the impression that everything is homologous is flat. This is because it can be made unconditionally, unless it abides by the intent of preserving a part of the intention with which one approaches to artistic creation. That intention, which is still the only thing worth even really talk to me (speaking in terms of preservation), not to force the true religion of the moment in which things emerge by themselves without intention and that is a mirror of selfless love for the things that surround us, yet the only sign of authenticity and sharing in a world ever more inclined to feign even in its most intact and genuine. But this, it is also known, is a field in which the accounts are made speeches and most of all with yourself.
G. Righele
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