The only truly alien planet is Earth. - UniCA Eprints - Università degli ...

More documents

Recommendations

Info

cerchio 409 . Un altro dipinto riconducibile a William Blake e al surrealismo, sempre in termini di ipotetica anticipazione, è L’annunciazione con Sant’Emidio (1486) del pittore quattrocentesco Carlo Crivelli. In un’intervista concessa al critico William Feaver per The Art Newspaper a Ballard viene chiesto di scegliere sette quadri. Tra questi Ballard inserisce quello di Crivelli, con questa motivazione: This is the only Old Master here. Anyone who knows my work will be mystified as to why I've chosen Crivelli's Annunciation from the National Gallery. One might wonder how this Renaissance painting, with its explicit religious subject, could have any bearing on my fiction. I first saw it when I was eighteen in 1948, a couple of years after I came to England. I was born in Shanghai and I was completely unaware of the existence of twentieth-century art, or the art of the Renaissance. Shanghai was a complete cultural wilderness then. But within a couple of years, I absolutely tuned into the art of the twentieth century. It gave me a powerful charge, one that has not left me to this day. Surrealism was my instinctive first love. But it was very difficult to see Surrealist paintings in those days. There were very few works on view, and even a major museum like the Tate displayed only a handful. The critical establishment absolutely disdained Surrealists and World War II seemed to confirm their hostility. I completely embraced Modernism. It seemed so enormously exciting, so new, so powerful an engine of novelty-seeking. Picasso was still painting, Matisse, Braque, Leger. But I spent a lot of time in the National Gallery and I went to see these Renaissance paintings, such as Crivelli's Annunciation. […] I used to look at all the Renaissance paintings in the National Gallery, and I still do to this day. […] Not being able to see any surrealist paintings in London, halfconsciously I had created a sort of virtual Surrealist museum in the National Gallery. If you have no Christian belief and know nothing about the Christian faith, what is going on in this painting is surreal. […] I think my ambivalent reading of this and other Renaissance paintings reflected my personal uncertainty at that time in my life. I'd spent two years reading medicine, given it up, wanted to be a writer, but wasn't sure which way to go. This painting and lots of others like it in the National Gallery, the Louvre and all the other galleries that I visited in Europe in the late Forties and Fifties, were saying to me, “Surrealism. This is the way to go.” 410 Al di là della dicotomia figurativo/non figurativo, possiamo riscontrare in un dipinto come questo una tendenza al misticismo che si riflette anche nell’arte moderna 411 . La pittura, come il 409 «Dr. M.-L. von Franz [in this book] has explained the circle (or sphere) as a symbol of the Self. It expresses the totality of the psyche in all its aspects, including the relationship between man and the whole of nature. Whether the symbol of the circle appears in primitive sun worship or modern religion, in myths or dreams, in the mandalas drawn by Tibetan monks, in the ground plans of cities, or in the spherical concepts of early astronomers, it always points to the single most vital aspect of life – its ultimate wholeness.» A. Jaffé, ivi, p. 240. 410 William Feaver, “The film of Kennedy's assassination is the Sistine Chapel of our era”, 01/07/1999 (http://www.jgballard.ca/media/1999_art_newspaper.html) [Ultima visita 23/07/2012]. 411 «[…] [W]hat these artists [Kandinsky, Marc, Klee, Mondrian] were concerned with was something far greater than a problem of form and the distinction between ‘concrete’ and ‘abstract’, figurative and non-figurative. Their goal was the center of life and things, their changeless background, and an inward certitude. Art had become mysticism. The spirit in whose mystery art was submerged was an earthly spirit, which the medieval alchemists had called Mercurius. He is a symbol of the spirit that these artists divined or sought behind nature and things, “behind the appearance of nature.” Their mysticism was alien to Christianity, for that ‘Mercurial’ spirit is alien to a ‘heavenly’ spirit. Indeed, it was Christianity’s dark adversary that was forging its way in art. Here we begin to see the real historical and symbolic significance of ‘modern art’. Like the hermetic movements in the Middle Ages, it must be understood as a mysticism of the spirit of earth, and therefore as an expression of our time compensatory to Christianity. No artist sensed this mystic background of art more clearly or spoke of it with greater passion than Kandinsky. The importance of the great works of art of all time did not lie, in his eyes, on “the surface, in externals, but in the root of all roots – in the mystical content of art.” Therefore he says: “The artist’s eye should always be turned in upon his inner life, and his ear should be always alert for the voice of inward necessity. This is the only way of giving expression to what the mystic vision commands.” Kandinsky called his pictures a spiritual expression of the cosmos, a music of the spheres, a harmony of colors and - 125 -
cinema e tutte le arti visive, ha nell’immagine il suo elemento fondante, e Ballard, pittore in sedicesimo, utilizza la parola scritta a partire dall’immagine. Si potrebbe dire che in questo caso il processo alchemico della scrittura tramuta non il metallo vile in oro ma l’elemento iconico in elemento linguistico. forms. “Form, even if it is quite abstract and geometrical, has an inward clang; it is a spiritual being with effects that coincide absolutely with that form.” “The impact of the acute angle of a triangle on a circle is actually as overwhelming in effect as the finger of God touching the finger of Adam in Michelangelo.» A. Jaffe, in C. G. Jung, op. cit., pp. 262- 263. - 126 -
Page 1:
Università degli Studi di Cagliari
Page 4:
Un ringraziamento particolare alla
Page 8 and 9:
INTRODUZIONE L’unico pianeta vera
Page 10 and 11:
The mainstream post-war novelist of
Page 12 and 13:
«Ballard … seems to me to write
Page 14 and 15:
Capitolo I SURREALISMO, ATROCITA’
Page 16 and 17:
testi originariamente pubblicati se
Page 18 and 19:
Nathan, il cui atteggiamento distac
Page 20 and 21:
dissimile, in questo caso finalizza
Page 22 and 23:
muore più volte, secondo una logic
Page 24 and 25:
months later. Other traces of his
Page 26 and 27:
The Angle Between Two Walls è il t
Page 28 and 29:
lineare, con l’evoluzione poetica
Page 30 and 31:
2. Violenza e morte dell’affetto
Page 32 and 33:
compare spesso nella narrativa ball
Page 34 and 35:
nell’immaginario popolare cattoli
Page 36 and 37:
scientifica all’interno dei quali
Page 38 and 39:
3. Baudrillard legge Crash La lettu
Page 40 and 41:
with nowhere to take its girlfriend
Page 42 and 43:
Capitolo II SURREALISMO, CONTROCULT
Page 44 and 45:
in questo caso 107 . A partire dall
Page 46 and 47:
General Motors. La nota industria a
Page 48 and 49:
imando al terzo occhio delle filoso
Page 50 and 51:
surrealismo come nella cultura lise
Page 52 and 53:
spazio vengono percepiti in maniera
Page 54 and 55:
comune della fine dello stesso seco
Page 56 and 57:
3. Immagini e pubblicità The first
Page 58 and 59:
My original idea for The Atrocity E
Page 60 and 61:
esidents can once again enjoy an ol
Page 62 and 63:
delle tecnologie sofisticate del fu
Page 64 and 65:
La narrativa della catastrofe fa pa
Page 66 and 67:
2. Surrealismo e pittura nella cosi
Page 68 and 69:
inseguono 185 . Essa è funzionale
Page 70 and 71:
Anche in questo caso, come altrove
Page 72 and 73:
verso la morte piuttosto che verso
Page 74 and 75:
In questo romanzo i punti di riferi
Page 76 and 77:
apporti dei personaggi con l’ambi
Page 78 and 79:
spazio-temporale 228 . Si tratta di
Page 80 and 81:
tematiche post-coloniali è innegab
Page 82 and 83: The beauty of the spectacle had tur
Page 84 and 85: 3. Il sogno Il sogno, anche in sens
Page 86 and 87: approcci. Jung è l’allievo più
Page 88 and 89: all’esperienza del protagonista d
Page 90 and 91: Non sempre ciò che l’autore dice
Page 92 and 93: similitudine, nel senso che il “c
Page 94 and 95: si può pertanto riconoscere una co
Page 96 and 97: tempo in direzione di una forma di
Page 98 and 99: Capitolo IV ROMANTICISMO, PSICHE, A
Page 100 and 101: asis of the novel transferred from
Page 102 and 103: dell'inconscio avviene qui, nella l
Page 104 and 105: ivista Documents n. 7 (1930), Georg
Page 106 and 107: del doppio in questo romanzo così
Page 108 and 109: 2. The Man-Machine In un registro n
Page 110 and 111: Sull’asse delle ascisse è rappre
Page 112 and 113: elementi restano separati. O meglio
Page 114 and 115: the Coral Deep” (1964) compare un
Page 116 and 117: psichico, che in Crash si manifesta
Page 118 and 119: “Zone of Terror” (1959) troviam
Page 120 and 121: 4. Moderno e postmoderno La parabol
Page 122 and 123: Reagan, la principessa Margaret, Ma
Page 124 and 125: 5. Ballard al cinema Da sempre Ball
Page 126 and 127: umano, particolarmente simili all
Page 128 and 129: Aparelho Voador a Baixa Altitude (2
Page 130 and 131: infatti, non ci si poteva più affi
Page 134 and 135: 2. Il pilota fantasma L’inconscio
Page 136 and 137: di Hiroshima e Nagasaki che pose fi
Page 138 and 139: 3. La compagnia del sogno illimitat
Page 140 and 141: In The Drowned World assistiamo a u
Page 142 and 143: La scena successiva al primo incont
Page 144 and 145: endendosi conto di come la sua nuov
Page 146 and 147: direzione opposta, ripristinandone
Page 148 and 149: Capitolo VI THE UNLIMITED DREAM COM
Page 150 and 151: “Low-Flying Aircraft” (1975) ha
Page 152 and 153: I stood in the doorway and looked d
Page 154 and 155: omantiche del surrealismo attravers
Page 156 and 157: In un libro di poco posteriore (Sim
Page 158 and 159: vita a un autentico festival del si
Page 160 and 161: significa tanto raggiungere il disv
Page 162 and 163: A conflict between life-and death-i
Page 164 and 165: The Unlimited Dream Company, mano a
Page 166 and 167: CONCLUSIONE L’unico pianeta veram
Page 168 and 169: - 161 -
Page 170 and 171: ) Letteratura critica - AA. VV., In
Page 172 and 173: c) Miscellanea 1. Narrativa - PUNTE
Page 174 and 175: 3. Sitografia web - JGB mailing lis
Page 176: - PETLEY, Julian, “L’uomo con l
show all

The only truly alien planet is Earth. - UniCA Eprints - Università degli ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?