By Alessia Ricciardi
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Extra resources for After la dolce vita : a cultural prehistory of Berlusconi's Italy
55 It should be further noted, however, that this fascination coexists with an anxious sense of Sweetness alienation, a deeply Baudelairean melancholy that arises from witnessing the rapidly changing physiognomy of the modern city: Paris change! mais rien dans ma mélancolie N’a bougé! palais neufs, échafaudages, blocs, Vieux faubourgs, tout pour moi devient allégorie, Et mes chers souvenirs sont plus lourds que des rocs. [Paris changes . . ]56 Like Baudelaire, Fellini reads allegorical significance into the historical transformation of his surroundings in order to counteract the horror vacui of modernist urban planning.
Morandi’s career might be said to recapitulate that of high modernism in painting generally. From an initial devotion to Cézanne and Cubism, the Italian painter developed his own, original variant of de Chirico’s pittura metafisica by insisting on an abstract figura- Sweetness tiveness that was akin in spirit to minimalism and conceptual art. 45 We could say that in this sense Morandi is the painter par excellence of aura. The picture in Steiner’s apartment represents the type of art that for a night even Marcello can embrace without qualms.
28 Although Vattimo published Ecce comu in a bid to draw attention to his triumphal return to leftist engagement, he astoundingly tries to position this return in philosophical continuity with the principles of weak thought, as I show in my analysis of his argument. 29 Although a somewhat bleak picture of the landscape may emerge from these pages, my desire is not at all to suggest that in Italy we have had no critical minds who might be counted on to elaborate an alternative cultural vision. Pasolini might almost suffice on his own to equalize the field of battle.
After la dolce vita : a cultural prehistory of Berlusconi's Italy by Alessia Ricciardi