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Early in his life Pasolini showed interest in Dante: in a letter sent to Luciano Serra in 1945, he declared that 'la questione di Dante è importantissima'. He later reaffirmed his interest in Dante in two attempts to rewrite the "Commedia": "La Mortaccia" and "La Divina Mimesis". [...] In 1963 he mentioned "La Divina Mimesis" for the first time. [...] Critics have mostly focused on the work's unfinished condition as a sign of the poetic crisis which Pasolini experienced at the end of his life. Scholarly interpretations of "La Divina Mimesis" can be divided into three main groups: the first strain can be primarily attributed to a 1979 essay by Giorgio Bàrberi Squarotti, four years after the publication of La Divina Mimesis. Bàrberi Squarotti attributes Pasolini's difficulty in completing his rewriting of the "Divine Comedy" to the author's ideology. The work's intermittent irony and its unfinished state are good indicators of the impossibility of recreating Dante's achievement, in particular the Dantean ideology. [...] The second strain of interpretation stresses the work's linguistic dimensions. The period when Pasolini conceives of the project of "La Divina Mimesis" corresponds, according to his repeated declarations, to a time of dramatic change in the Italian linguistic context. [...] Finally, the third type of interpretation locates "La Divina Mimesis" in the theoretical context of Pasolini's final conception of poetry. Here critics stress in particular the difference between the poet's intentions and the final result.[...] These three interpretative strains share the conviction that, in comparison with its model, Pasolini's project ends in failure. It is a failure in at least three senses: on the level of its ideology (not as strong as Dante's), on the level of reality (because of the linguistic standardization of Italian society), and on the level of aesthetics (even though the author pretends that his failure possesses an aesthetic value). This paper would like to question this conclusion: by redefining the object of mimesis and its conditions Davide Luglio tries to understand the reason why the author decided to print his work in a form that at first sight appears ill-defined and fragmentary.
Locating authenticity in artworks that are remade (all or in part) or re-performed over time presents a unique challenge for art conservators, whose activities have traditionally been oriented toward caring for the material aspects of art objects. The paper offers a brief overview of perspectives on authenticity and discusses various theoretical models that have been developed to conceptualize how media, installation, and performance artworks are displayed and cared for over time. These include the score/performance model, the concepts of autographicity and allographicity, the concept of iteration, and authenticity as a practice. The author proposes a theoretical model based on the ritual aspects of presenting artworks, arguing that authenticity, repetition, and community participation can be reconciled within a ritual context.
In the age of mechanical reproducibility, the 'aura' surrounding works of art undergoes a crisis. The contemporary relevance of Walter Benjamin's thesis - in its societal, aesthetic, and media-theoretical significance - is illustrated by former U.S. president Donald Trump's purported ownership of "Les deux soeurs" ("Two Sisters"), also known as "Sur la terrasse" ("On the Terrace"), by Pierre-Auguste Renoir. Journalist Mark Bowden, who caught a glimpse of the painting when he was invited to Trump's jet in 1997, describes the event in an article for Vanity Fair: "He showed off the gilded interior of his plane - calling me over to inspect a Renoir on its walls, beckoning me to lean in closely to see … what? The luminosity of the brush strokes? The masterly use of color? No. The signature. 'Worth $10 million,' he told me." Of course, this is the attitude that one might expect from a real-estate mogul turned art collector (although not from a future president). In ignorance of both form and content - to say nothing of their unity - the painting is reduced to its sheer exchange value, concentrated in the signature guaranteeing its authenticity.