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Bruno Besana's article 'Badiou's Pasolini: The Problem of Subtractive Universalism' also deals with Pasolini's script about Saint Paul, but from the perspective of Alain Badiou's theoretical essay "Saint Paul and the Foundation of Universalism" and of Badiou's different thoughts on Pasolini, on the logic of emergence of novelty, and on its thwarted relation with universalism. Two main points appear in Besana's comparative reading. First, the idea that radical novelty or change can only be built in a 'subtractive manner', i.e. via the appearance of something that, by its sole presence, erodes the consistency upon which the present is structured. This is developed through Pasolini's ideas of 'inactuality' and 'forza del passato' and by Badiou's concept of 'event'. Second, a fundamental paradox inherent to the logic of change: change is only possible if it is organized in a set of coherent consequences, but the organized mode (for instance, the party) of such consequences inevitably reduces change to a constant compromise with the present.
Der Aufsatz vergleicht das barocke Trauerspiel 'Catharina von Georgien' mit der spanischen comédia 'El principe constante' in Hinblick auf ihren Anspruch universaler Geltung und setzt beide von der antiken Tragödie 'Antigone' ab. Besonderes Augenmerk wird dabei der Rolle sprachlicher Ambivalenz sowie der Figur des Gespenstes gewidmet.