Put politics, ethics and aesthetics in crisis
This work psychoanalytically analyzes Pasolini’s posthumous film, inspired by the novel The 120 Days of Sodom, by the Marquis de Sade. Theplot presents the increscendo of violence, which the Italian filmmaker sets in a completely different framework from the original. It is the end ofthe Second Worl...
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Centro de Investigaciones y Estudios sobre Cultura y Sociedad
2020
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I10-R10-article-292082020-07-08T15:31:29Z Put politics, ethics and aesthetics in crisis Poner en crisis a la política, la ética y la estética Bernateau, Isée Politics Ethics Aesthetics Política Ética Estética This work psychoanalytically analyzes Pasolini’s posthumous film, inspired by the novel The 120 Days of Sodom, by the Marquis de Sade. Theplot presents the increscendo of violence, which the Italian filmmaker sets in a completely different framework from the original. It is the end ofthe Second World War in Italy, during the Salo Republic, created by Mussolini in northern Italy between September 1943 and April 1945. From thisscenario, the category of the unrepresentable Real is approached as Nazi death camps metaphor. Este trabajo analiza psicoanalíticamente el film póstumo de Pasolini, inspirado en la novela Los 120 días de Sodoma, del Marqués de Sade. La trama presenta el increscendo de violencia, que el cineasta italiano ambienta en un marco completamente diferente al del original. Se trata del final de la Segunda Guerra Mundial en Italia, durante la república de Salo, creada por Mussolini en el norte de Italia entre septiembre de 1943 y abril de 1945. A partir de ese escenario, se aborda la categoría de lo Real irrepresentable como metáfora de los campos de exterminio nazis. Centro de Investigaciones y Estudios sobre Cultura y Sociedad 2020-07-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29208 Ética y Cine Journal; Vol. 10 Núm. 1 (2020): Ética, Estética y Política; 29-35 2250-5415 2250-5660 10.31056/2250.5415.v10.n1 spa https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29208/30023 Derechos de autor 2020 Ética y Cine https://creativecommons.org/licenses/by-sa/4.0/ |
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Universidad Nacional de Córdoba |
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Revistas de la UNC |
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Español |
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Artículo revista |
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Politics Ethics Aesthetics Política Ética Estética |
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Politics Ethics Aesthetics Política Ética Estética Bernateau, Isée Put politics, ethics and aesthetics in crisis |
topic_facet |
Politics Ethics Aesthetics Política Ética Estética |
author |
Bernateau, Isée |
author_facet |
Bernateau, Isée |
author_sort |
Bernateau, Isée |
title |
Put politics, ethics and aesthetics in crisis |
title_short |
Put politics, ethics and aesthetics in crisis |
title_full |
Put politics, ethics and aesthetics in crisis |
title_fullStr |
Put politics, ethics and aesthetics in crisis |
title_full_unstemmed |
Put politics, ethics and aesthetics in crisis |
title_sort |
put politics, ethics and aesthetics in crisis |
description |
This work psychoanalytically analyzes Pasolini’s posthumous film, inspired by the novel The 120 Days of Sodom, by the Marquis de Sade. Theplot presents the increscendo of violence, which the Italian filmmaker sets in a completely different framework from the original. It is the end ofthe Second World War in Italy, during the Salo Republic, created by Mussolini in northern Italy between September 1943 and April 1945. From thisscenario, the category of the unrepresentable Real is approached as Nazi death camps metaphor. |
publisher |
Centro de Investigaciones y Estudios sobre Cultura y Sociedad |
publishDate |
2020 |
url |
https://revistas.unc.edu.ar/index.php/eticaycine/article/view/29208 |
work_keys_str_mv |
AT bernateauisee putpoliticsethicsandaestheticsincrisis AT bernateauisee ponerencrisisalapoliticalaeticaylaestetica |
first_indexed |
2022-08-20T01:04:48Z |
last_indexed |
2022-08-20T01:04:48Z |
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1770717295619866624 |