Theorem and the science of strangeness

Detalhes bibliográficos
Autor(a) principal: Fonseca, João Barreto da
Data de Publicação: 2018
Outros Autores: Morais, José Elenito Teixeira
Tipo de documento: Artigo
Idioma: por
Título da fonte: Crítica Cultural (Online)
Texto Completo: https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/6317
Resumo: Pier Paolo Pasolini believed that cinema was such a revolutionary art that it could illuminate the dark historical moments, unite ethics and aesthetics in the creation of a new kind of science that could free man from his tragic oppressions and, demolish the buildings of oppressive systems. In Theorem, in the residence of the aristocratic elite of Milan, Italy, the writer inserts his Horse of Troy: the foreigner. But before generating death and destruction, Pasolini is interested in the demolition of habits and memories, in the intention to trace new paths, other compositions, forcing the perception to the total loss of “efficiency”, disallowing clichés, throwing their characters into a universe of a brutal novelty. As a critic of modernity, in Theorem, book and film released in 1968, Pasolini sees no more novelty in the vanguards and points to destruction as a path.
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spelling Theorem and the science of strangenessTeorema ou a ciência da estranhezaForeignLifestyleBourgeoisieHabitEstrangeiroModo de vidaBurguesiaHábitoPier Paolo Pasolini believed that cinema was such a revolutionary art that it could illuminate the dark historical moments, unite ethics and aesthetics in the creation of a new kind of science that could free man from his tragic oppressions and, demolish the buildings of oppressive systems. In Theorem, in the residence of the aristocratic elite of Milan, Italy, the writer inserts his Horse of Troy: the foreigner. But before generating death and destruction, Pasolini is interested in the demolition of habits and memories, in the intention to trace new paths, other compositions, forcing the perception to the total loss of “efficiency”, disallowing clichés, throwing their characters into a universe of a brutal novelty. As a critic of modernity, in Theorem, book and film released in 1968, Pasolini sees no more novelty in the vanguards and points to destruction as a path.Pier Paolo Pasolini acreditava que o cinema era uma arte tão revolucionária que poderia com ela iluminar os momentos históricos obscuros, unir ética e estética na criação de um tipo de ciência nova, que pudesse libertar o homem de suas trágicas opressões, e, de quebra, demolir metaforicamente as edificações de sistemas opressores. Em Teorema, na residência da elite aristocrática de Milão, Itália, o escritor insere seu Cavalo de Troia: o estrangeiro. Mas, antes de gerar morte e destruição, Pasolini está interessado na demolição de hábitos e memórias, na intenção de traçar novos caminhos, outras composições, forçando a percepção à total perda de “eficiência”, desautorizando clichês, lançando os seus personagens num universo de uma brutal novidade. Como crítico da modernidade, em Teorema, livro e filme lançados em 1968, Pasolini não vê mais novidade nas vanguardas e aponta a destruição como um caminho. Universidade do Sul de Santa Catarina2018-06-29info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/631710.19177/rcc.v13e1201871-83Revista Crítica Cultural; v. 13 n. 1 (2018); 71-831980-64931980-6493reponame:Crítica Cultural (Online)instname:Universidade do Sul de Santa Catarina (UNISUL)instacron:UNISULporhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/6317/pdfCopyright (c) 2018 Revista Crítica Culturalinfo:eu-repo/semantics/openAccessFonseca, João Barreto daMorais, José Elenito Teixeira2018-06-29T17:41:19Zoai:portaldeperiodicos.animaeducacao.com.br:article/6317Revistahttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_CulturalPRIhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/oairamayana.lira@gmail.com1980-64931980-6493opendoar:2018-06-29T17:41:19Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)false
dc.title.none.fl_str_mv Theorem and the science of strangeness
Teorema ou a ciência da estranheza
title Theorem and the science of strangeness
spellingShingle Theorem and the science of strangeness
Fonseca, João Barreto da
Foreign
Lifestyle
Bourgeoisie
Habit
Estrangeiro
Modo de vida
Burguesia
Hábito
title_short Theorem and the science of strangeness
title_full Theorem and the science of strangeness
title_fullStr Theorem and the science of strangeness
title_full_unstemmed Theorem and the science of strangeness
title_sort Theorem and the science of strangeness
author Fonseca, João Barreto da
author_facet Fonseca, João Barreto da
Morais, José Elenito Teixeira
author_role author
author2 Morais, José Elenito Teixeira
author2_role author
dc.contributor.author.fl_str_mv Fonseca, João Barreto da
Morais, José Elenito Teixeira
dc.subject.por.fl_str_mv Foreign
Lifestyle
Bourgeoisie
Habit
Estrangeiro
Modo de vida
Burguesia
Hábito
topic Foreign
Lifestyle
Bourgeoisie
Habit
Estrangeiro
Modo de vida
Burguesia
Hábito
description Pier Paolo Pasolini believed that cinema was such a revolutionary art that it could illuminate the dark historical moments, unite ethics and aesthetics in the creation of a new kind of science that could free man from his tragic oppressions and, demolish the buildings of oppressive systems. In Theorem, in the residence of the aristocratic elite of Milan, Italy, the writer inserts his Horse of Troy: the foreigner. But before generating death and destruction, Pasolini is interested in the demolition of habits and memories, in the intention to trace new paths, other compositions, forcing the perception to the total loss of “efficiency”, disallowing clichés, throwing their characters into a universe of a brutal novelty. As a critic of modernity, in Theorem, book and film released in 1968, Pasolini sees no more novelty in the vanguards and points to destruction as a path.
publishDate 2018
dc.date.none.fl_str_mv 2018-06-29
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/6317
10.19177/rcc.v13e1201871-83
url https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/6317
identifier_str_mv 10.19177/rcc.v13e1201871-83
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/6317/pdf
dc.rights.driver.fl_str_mv Copyright (c) 2018 Revista Crítica Cultural
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2018 Revista Crítica Cultural
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Sul de Santa Catarina
publisher.none.fl_str_mv Universidade do Sul de Santa Catarina
dc.source.none.fl_str_mv Revista Crítica Cultural; v. 13 n. 1 (2018); 71-83
1980-6493
1980-6493
reponame:Crítica Cultural (Online)
instname:Universidade do Sul de Santa Catarina (UNISUL)
instacron:UNISUL
instname_str Universidade do Sul de Santa Catarina (UNISUL)
instacron_str UNISUL
institution UNISUL
reponame_str Crítica Cultural (Online)
collection Crítica Cultural (Online)
repository.name.fl_str_mv Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)
repository.mail.fl_str_mv ramayana.lira@gmail.com
_version_ 1800220553198436352

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