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Recensione di Mariella Bettarini

Dal Blog: poesia3002
27/06/2021

Roberto carissimo,

eccomi finalmente a te, dopo l’emozionante lettura del tuo “Promethéus. Il dono del fuoco”. Un libro davvero straordinario, di cui ho apprezzato pagina dopo pagina, nelle sue varie sezioni e relativi Movimenti e Tempi.

Come fare a “sintetizzare” questa così intensa tua scrittura, densa di Mito greco. Scienza, Arti Visive, e così via? Ha perfettamente ragione Giuliano Ladolfi quando parla di “una ricchezza di ispirazione, un vasto bagaglio culturale e una opportuna gamma di strumenti poetici”.

Non si poteva dire meglio di così per sintetizzare questo tuo lavoro.

Amico carissimo, i miei più vivi complimenti per questo tuo “dono del fuoco” e non solo: Dono di poesia, di scienza, di dipinti murali, di speranza, e così via.

A presto, ...

 

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Que de textes graves, mélancoliques, tristes et tragiques ! De l'Est évoqué par les « barbelés » de l'histoire, les « bouleaux » de Wajda et les références à la poétesse russe Marina Tsvetaiëva, Emorine nous conduit au plus intime de la violence subie. Sans s'appesantir, il nous donne à lire les séparations, les blessures, les violences de la guerre, à l'Est et ailleurs.

Dans des poèmes assez brefs, en deux sections « Détours » et « Insomnies », le poète grave sa poésie dans le terreau des victimes et les souvenirs âpres.

On sent une proximité avec ces noms qui courent les pages, autant de deuils, on le pressent : Nora, Jacques, d'autres anonymes.

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By Davide Morelli

Certainly, today, in contemporary Italian poetry 'maps are no longer possible', as Giulio Ferroni has written. Moreover, perhaps today the relationship between commitment and poetry, between religion and poetry, is unlikely. However, it can be said that the link between philosophy and poetry is strong.

Sanguineti maintained, however, that poetry is a virgin's gaze on the world. So it would be the human soul that makes the world poetic. But we could also think that poetry is found both in the mind and in reality, or that it is born from an interaction between the two. If we consider poetry as mimesis, then the poetic is in the world. If we consider poetry as revelation, then the merit lies in the artist or in God. If we see poetry as transfiguration or as a set of 'correspondences' (as Baudelaire understood them, thus creating 'a forest of symbols'), then the poetic lies both in the world and in the self.

 

 

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Cristina Campo is a cult figure, misunderstood and elected, in our twentieth century. She is cyclically rediscovered and relaunched, but in the end she is consigned to a small niche, however prestigious. But this is the dimension that Vittoria Guerrini herself (this is, in fact, her birth name) had arranged, leaving us only a discrete number of poetic texts or essays - she who loved to frequent literature in a direct, intimate way, particularly through translation or the exchange of letters with many interlocutors. On the contrary, she felt the need to protect this sacred enclosure with extreme rigour, and when she had to break it, she used various pseudonyms, in order to preserve the solitude and concentration that were essential to her.

Giorgio Anelli would have done anything to be included among Cristina's interlocutors. And, in fact, he tried to cheat time and dialogue with her, in particular through a slim and intense little book published by Ladolfi editore: Cristina Campo. Catabasis in destiny.

Anelli is not a critic nor does he claim to wield the weapons of philology. Anelli converses with his favourite authors like a faithful lover, he lives devoted to his literary ghosts in a naive and absolute way, shameless and in love.

Cristina's crystalline beauty, who had already bewitched so many in her lifetime, would have liked this timeless declaration of love.

    Who is the poet? He who has style. And style has the perfection of a flower; as if to say that this Orphic brother who is the poet possesses an unattainable gaze. The gaze of one who knows how to penetrate the beauty of a falling star, or to observe unashamedly and uninterruptedly clouds or lakes, in all their overwhelming presence in the indefinite arc of time.

    Who can claim to have really seen the face of a poet? He himself is invisible. It is that of a ghost, as unforgivable as every line of his most intimate book.

 

(Giorgio Anelli, Cristina Campo. Catabasi nel destino, Ladolfi editore 2021, p. 54

 

https://www.andreatemporelli.com/2021/04/28/cristina-campo/

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 THE WORD BLUE DEFINES WONDER

"If and when / only the stars know".

 

Titiwai. The Maori term that titles the poetry collection is a name for nature and wonder, a metaphor for living and the living, enchanting poetry.

Like those larvae that from the caves of the Waitomo district "emit glimmers on the scales of blue", transfiguring the naked stone into an astral vault, a black arch studded with luminous embedded gems, Sandro Angelucci's poems are blue light emerging from silence - "hunted voice / of a silence / that reveals itself while it hides" -, a stellar flash that overcomes darkness and the word to sink into joy and become the world, colouring rainbows en route. And it is in the subdued and grandiose refraction of light that sound, sense defines the place, reorders the true, the space of small stillness, is charged with wonder, illuminates hope, transmits superabundance. From a larva-thing, the infinitesimal minimum in the boundless - "the little (so much) that we have" -, sense assembles identity, awareness the flash, amplitude the sparkle: man, the poet, far from noise and commerce, reaches himself in the excavation of his own heart, communicates from there the natural language, sense the universal good.

"He asks you to eclipse yourself, to get out of the way, not to be intrusive with your ego, which is ashamed to be itself, and plays the fool, and never misses an opportunity to deem true, which on the contrary is false. He asks you for freedom, the space of silence, where everything speaks, everything is heard, and you do not live in vain.

Titiwai. Literally, in the Polynesian language, "projected onto the water".

 

 

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Reflections on argumentation theory and logic
Stefano Cazzato, La quasi logica. Pratiche del consenso e del dissenso, Giuliano Ladolfi Editore, Borgomanero (NO) 2020.

Nicola Cotrone

Stefano Cazzato's book, in carrying out an interesting and precise historical and philosophical journey on argumentation and logic theory, aims to highlight, also with empirical cases, how necessary and urgent it is today, even in the political sphere, to return to reflecting and rethinking the rules that underpin logic, rhetoric and reasoning.

The art of dialectics (from Gr. dialektikòs, der. of dialègomai "to converse" and, with a broader meaning, oratorical skill and technique aimed at persuading an interlocutor) together with "science - of which it was the weak relative - and with rhetoric - of which it was the strong relative -" (pp. 57-58) is the "art of reasoning". (pp. 57-58) was, according to the ancient Greek philosophers, at the origin of Western thought because it is the basis of correct reasoning both from a moral and a syntactic-grammatical point of view.

The history of ideas from Plato to Wittgenstein, via Austin, Perelman, Toulmin, Heidegger and Gadamer, is characterised by a continuous evolution and "semantic transformation of concepts" that is often closely linked to the historical horizon, society, the values shared - or not shared - at that time, traditions, the type of political power, majorities or minorities. The interdependencies between all these variables contribute, the author explains, to continuously transforming the meanings of the terms that underlie the ideas and that, apparently universal and unchangeable, are instead slowly changing.

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  1. Quasi una scorciatoia - review by Pietro Civitareale
  2. Né padri né madri - review by Roberto Carlo Delconte
  3. LA QUASI LOGICA on Zona di Disagio
  4. L'istinto altrove reviews

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