Maria Emmarosa Pigatto | Università degli Studi di Milano - State University of Milan (Italy) (original) (raw)
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Papers by Maria Emmarosa Pigatto
After moving at the age of 2 to the heart of the Argentinian countryside, Alessandra Sanguinetti ... more After moving at the age of 2 to the heart of the Argentinian countryside, Alessandra Sanguinetti begins to develop her own and well identifiable poetic which will lead her to immortalize starting from 1999 the life of two cousins, Guille and Belinda. A. Sanguinetti met both cousins for the first time in the meantime of the realization of another project, The sixth day, which she decided to develop not far from her father's farm, located in the suburb of the Argentinian capital. Nevertheless, as she was trying to ignore the two cousins, she noticed the peculiarity of the way in which they both made themselves appear in front of her lens. Her photographic language, which consists of several and intimate shots, emerges in all its own surreal and, at times, poignant potential, accompanying the highlights of the two girls' life: from the first role-playing games in the middle of the wide fields
The Twentieth Century is, on several counts, the century which focuses more upon human body. If, ... more The Twentieth Century is, on several counts, the century which focuses more upon human body. If, since the midnineteenth century, poets of the caliber of Baudelaire, Rimbaud, Verlaine and Mallarmè, and, in wider terms, the entire Symbolism and Decadentism, had released body from the silence to which it had been confined in two thousand years of Christian culture, the Twentieth Century, on balance, gives really the body the literary dignity that it deserves. The roots of the attention to body and to the organic symptoms of certain feelings date back to Classical period: the ravaging effects of love on Saffo's body are wellknown to everyone. Nonetheless, the twentieth century strips the body of the residual ennobling factors hailing from the earlier epochs, so much so its physicality, or better still its metaphysicalness, bursts out, even though with no reference to religion or ethics. This process does not involve only literature, but more broadly the dreamlike optical unconsciousness of photography, to which the chronicles have accustomed us. The publication in the mid40's of the photos of the naked dead bodies in Auschwitz has accustomed the twentiethcentury man to a depersonalizing conception of body. The two World Wars have constituted a corporeal and bloody orgy into which two generations have fallen and against which they have fought; the war reports delivered the photos of the daily bloodbath at the battle's front to the entire world. The growing habit at seeing the body portrayed in its concreteness is what, most of all, had modified the conception of body: no more Junoesque Renaissance Venuses, no more idealized icons, relics of the classical period, no more the quest for the perfect proportions and the harmony between the parts, but the body, the skin and the organs in their unarmed nudity, in their thinness and in their defenseless exposure to external and existential factors. Therefore, the interaction between mental representation and somatic relapse is more and more frequent, according to the ideas which, starting from the Viennese Freudian and Jungian School, spread all over Europe, involving even laymen and barkers in an amateurish passion. The nearly obsessive research into the potential psychological or psychiatric causes of every physical disorder has seen that the body has been considered as the mirror of the mind. The latter takes soul's place and is almost integrated to an organic conception of individual. As a matter of fact, in the early 1900's lots of scholars made studies with the specific purpose to find the anatomical location of
The canguilhemian epistemological investigation and its focus upon the life plan of every living ... more The canguilhemian epistemological investigation and its focus upon the life plan of every living being, including the definition of monstrosity. The life of every single living being is configured as an activity of polarization in continuous metamorphosis and always ready to lay down norms; this means that the difference between the normal and the pathological state is the difference between the vital needs of the subject and the norms, and therefore not the absence or the presence of such norms.
The conception of aesthesiological estrangement as main instrument in the construction of human i... more The conception of aesthesiological estrangement as main instrument in the construction of human identity (and the way in which human identity never coincides with itself and is defined by the presence of others), through the eyes of Helmuth Plessner, Hannah Arendt and Erving Goffman.
Il Novecento è per molti aspetti il secolo più corporeo. Se già della metà dell'Ottocento poeti c... more Il Novecento è per molti aspetti il secolo più corporeo. Se già della metà dell'Ottocento poeti come Baudelaire, Rimbaud, Verlaine e Mallarmè, e più in generale l'intero simbolismo/decadentismo, avevano riscattato il corpo dal silenzio in cui era stato confinato da circa due millenni di cultura cristiana, tuttavia è con il Novecento che esso assume piena dignità letteraria. Le radici di un attenzione agli elementi corporei e alla sintomatologia organica di determinati sentimenti è sicuramente di matrice classica: noti a tutti sono i devastanti effetti corporei dell'amore in Saffo. Tuttavia il Ventesimo secolo spoglia il corpo dei residui elementi nobilitanti delle epoche precedenti: esso emerge in tutta la sua fisicità o meglio metafisicità, sebbene privo di ogni riferimento alla religione o alla morale. Tale processo non investe soltanto la letteratura ma più in generale un immaginario visivo, onirico e " fotografico " a cui la cronaca storica ci ha abituato. La pubblicazione alla metà degli anni quaranta degli scatti fotografici ritraenti i corpi morti e nudi ammassati ad
After moving at the age of 2 to the heart of the Argentinian countryside, Alessandra Sanguinetti ... more After moving at the age of 2 to the heart of the Argentinian countryside, Alessandra Sanguinetti begins to develop her own and well identifiable poetic which will lead her to immortalize starting from 1999 the life of two cousins, Guille and Belinda. A. Sanguinetti met both cousins for the first time in the meantime of the realization of another project, The sixth day, which she decided to develop not far from her father's farm, located in the suburb of the Argentinian capital. Nevertheless, as she was trying to ignore the two cousins, she noticed the peculiarity of the way in which they both made themselves appear in front of her lens. Her photographic language, which consists of several and intimate shots, emerges in all its own surreal and, at times, poignant potential, accompanying the highlights of the two girls' life: from the first role-playing games in the middle of the wide fields
The Twentieth Century is, on several counts, the century which focuses more upon human body. If, ... more The Twentieth Century is, on several counts, the century which focuses more upon human body. If, since the midnineteenth century, poets of the caliber of Baudelaire, Rimbaud, Verlaine and Mallarmè, and, in wider terms, the entire Symbolism and Decadentism, had released body from the silence to which it had been confined in two thousand years of Christian culture, the Twentieth Century, on balance, gives really the body the literary dignity that it deserves. The roots of the attention to body and to the organic symptoms of certain feelings date back to Classical period: the ravaging effects of love on Saffo's body are wellknown to everyone. Nonetheless, the twentieth century strips the body of the residual ennobling factors hailing from the earlier epochs, so much so its physicality, or better still its metaphysicalness, bursts out, even though with no reference to religion or ethics. This process does not involve only literature, but more broadly the dreamlike optical unconsciousness of photography, to which the chronicles have accustomed us. The publication in the mid40's of the photos of the naked dead bodies in Auschwitz has accustomed the twentiethcentury man to a depersonalizing conception of body. The two World Wars have constituted a corporeal and bloody orgy into which two generations have fallen and against which they have fought; the war reports delivered the photos of the daily bloodbath at the battle's front to the entire world. The growing habit at seeing the body portrayed in its concreteness is what, most of all, had modified the conception of body: no more Junoesque Renaissance Venuses, no more idealized icons, relics of the classical period, no more the quest for the perfect proportions and the harmony between the parts, but the body, the skin and the organs in their unarmed nudity, in their thinness and in their defenseless exposure to external and existential factors. Therefore, the interaction between mental representation and somatic relapse is more and more frequent, according to the ideas which, starting from the Viennese Freudian and Jungian School, spread all over Europe, involving even laymen and barkers in an amateurish passion. The nearly obsessive research into the potential psychological or psychiatric causes of every physical disorder has seen that the body has been considered as the mirror of the mind. The latter takes soul's place and is almost integrated to an organic conception of individual. As a matter of fact, in the early 1900's lots of scholars made studies with the specific purpose to find the anatomical location of
The canguilhemian epistemological investigation and its focus upon the life plan of every living ... more The canguilhemian epistemological investigation and its focus upon the life plan of every living being, including the definition of monstrosity. The life of every single living being is configured as an activity of polarization in continuous metamorphosis and always ready to lay down norms; this means that the difference between the normal and the pathological state is the difference between the vital needs of the subject and the norms, and therefore not the absence or the presence of such norms.
The conception of aesthesiological estrangement as main instrument in the construction of human i... more The conception of aesthesiological estrangement as main instrument in the construction of human identity (and the way in which human identity never coincides with itself and is defined by the presence of others), through the eyes of Helmuth Plessner, Hannah Arendt and Erving Goffman.
Il Novecento è per molti aspetti il secolo più corporeo. Se già della metà dell'Ottocento poeti c... more Il Novecento è per molti aspetti il secolo più corporeo. Se già della metà dell'Ottocento poeti come Baudelaire, Rimbaud, Verlaine e Mallarmè, e più in generale l'intero simbolismo/decadentismo, avevano riscattato il corpo dal silenzio in cui era stato confinato da circa due millenni di cultura cristiana, tuttavia è con il Novecento che esso assume piena dignità letteraria. Le radici di un attenzione agli elementi corporei e alla sintomatologia organica di determinati sentimenti è sicuramente di matrice classica: noti a tutti sono i devastanti effetti corporei dell'amore in Saffo. Tuttavia il Ventesimo secolo spoglia il corpo dei residui elementi nobilitanti delle epoche precedenti: esso emerge in tutta la sua fisicità o meglio metafisicità, sebbene privo di ogni riferimento alla religione o alla morale. Tale processo non investe soltanto la letteratura ma più in generale un immaginario visivo, onirico e " fotografico " a cui la cronaca storica ci ha abituato. La pubblicazione alla metà degli anni quaranta degli scatti fotografici ritraenti i corpi morti e nudi ammassati ad