000			01978nam a22002177i 4500
001			IT\ICCU\UBO\4524032
003			ItRI
005			20260115232000.0
008			210504s2020 xxu|||||| ||||| |||||c
020			_a9780226655277
040			_bita _cimportazione bologna sebina
041		7	_aeng _2ISO-639-2
100	1		_aMerjian, Ara H. _0IT\ICCU\UBOV\408098 _4aut
240	1	0	_aAgainst the avant-garde _3IT\ICCU\UBO\4524035 _9Merjian, Ara H.
245	1	0	_aAgainst the avant-garde : _bPier Paolo Pasolini, contemporary art, and neocapitalism / _cAra H. Merjian.
260			_aChicago: The University of Chicago, _c2020
300			_a274 p. : _bill. ; _c26 cm
520			_aRecognized in America chiefly for his films, Pier Paolo Pasolini (1922-1975) in fact reinvented interdisciplinarity in post-war Europe. Pasolini self-confessedly approached the cinematic image through painting, and the numerous allusions to early modern frescoes and altarpieces in his films have been extensively documented. Far less understood, however, is Pasolini's fraught relationship to the aesthetic experiments of his own age. In Against the Avant-Garde, Ara H. Merjian demonstrates how Pasolini's campaign against neocapitalist culture fueled his hostility to the avant-garde. An atheist indebted to Catholic ritual; a revolutionary Communist inimical to the creed of 1968; a homosexual hostile to the project of gay liberation: Pasolini refused the politics of identity in favor of a scandalously paradoxical practice, one vital to any understanding of his legacy. Against the Avant-Garde examines these paradoxes through case studies from the 1960s and 70s, concluding with a reflection on Pasolini's far-reaching influence on post-1970s art. Merjian not only reconsiders the multifaceted work of Italy's most prominent post-war intellectual, but also the fraught politics of a European neo-avant-garde grappling with a new capitalist hegemony.
752			_axxu _dChicago
942			_2ddc _cBK _n0
999			_c15623 _d15623