Loan of Carrefour Denied

Sometimes they deny Carrefour’s loans, when one of these financial services of loans is denied, it is due to diverse reasons, of which we will speak here. We will also talk about the possible solutions you can carry out.

What do I do if I have a Carrefour denied loan?

If you are already a Carrefour Pass customer and have a loan denied, it is recommended that you call customer service . The customer service is good and they will try to help you as much as possible, even if you live in a big city, they also have offices to assist you. It is possible that a loan has been denied due to an error, when calculating the economic viability of the applicant.

How do I get Carrefour to approve my financing?

When a financial company denies a loan it is because the client does not meet the requirements. It is very important that you prove to Carrefour Pass, that you are receiving a monthly income, with which to return the debt without any type of mishap.

  • If you have other loans : if for example you are paying a TV that has been financed, a mobile phone or a vehicle, it is recommended that you pay all monthly payments and end up with that debt, if you really want a loan approved in another financial Having open loans applied for in the past is a risk factor that financial companies take into account when giving money to their clients. They will always prefer to finance a user without debts, who also complies with the other requirements.
  • If you are like a defaulter : if you are a defaulter and need a good loan from Carrefour, the best thing you can do is leave the list of defaulters. If for example you want a loan of € 3,000 and you are in default for € 50 of the mobile, you rent more out of defaulters and get an approved loan .
  • Interesting : Discounts on Travel with Carrefour, eDreams and Halcón viajes .

What are the advantages of Carrefour services?

Carrefour is a great company that has many advantages, especially when it comes to advantages in its service oriented to finance. Below you have a good list of advantages and reasons why you trust this company.

  1. Discounts at the supermarket . If you are in Carrefour Pass and you do your shopping in the Carrefour supermarket, you will get discounts. Maybe in the short term you do not think much, however, at the end of the year if you do the accounts, you see how you have managed to save a good amount, which can be destined to some whim or to continue saving to improve the domestic economy. Pensioners are one of the profiles most cared for by this company and have greater discounts in the shopping cart . See discounts for Carrefour pensioners .
  2. Discounts when you want to go on a trip . The good thing about Carrefour is that they have a lot of services and among them, the travel agency. Carrefour has an online website and offices, where they have holiday discounts for their clients, for example, travel packages to go on a cruise, with which you can save up to 50% of the price, which would be paid by someone who does not use Carrefour and who he is not a client of his services.
  3. Have all services unified . Enter a large area of ​​Carrefour, enjoy your discounts and go out with everything ready, without having to go through another business, get home before and rest quietly, knowing that you have your money safe.
  4. Receive an exclusive treatment . Carrefour is a company and knows that you have to take care of your clients so that they do not leave, when they see that you make the shopping basket with them, that you pay in all the places with your card and that you take advantage of the trips they offer, they treat you like a king

To the poetry of Celan and to a reading of kitsch

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Paul Celan’s poems are now available from Suhrkamp in a new one-volume and annotated complete edition. Dietmar Dath took this occasion for a sighting and refers to the lyricism of Celan on the concept of kitsch, which resonates in one or the other line of his texts – and one can argue about this diagnosis with justification and right, because the same could be for some time lost concept of pathos here insert. But if you take a closer look at Derrida’s thesis, take it and think it through, it seems aesthetically interesting to me. Dath writes in the FAZ :

“Celan has written not only art but also kitsch. Not always, not often, but inevitably: Kitsch here was collateral damage of the impossibility to hit the desired high tone, which is necessary to save the magical thinking of the past in the poetic play of modern times, if that is to happen in one language which one must solve first from their everyday life, because in this what should distinguish the modern era from the past, the reason, was disgraced as in no other: in this language, crimes have been justified, ordered, coordinated, the every thought of History of reason, of progress in the consciousness of freedom, the finding of truth and art education in their bloody dirt.

Kitsch arises in the arts whenever a work of art has a fundamental aesthetic problem, but can not or will not solve it. Kitsch is the cream that people throw into the food that can not cook, but believe they could cheat the taste over it with the help of cream. Celan’s kitsch happens to him, where he is afraid the words could burn him to tell the greatest imaginable horror. This makes Celan’s kitsch a new, not a traditional one. Because in the traditional kitsch mood is made or conjured a pathetic orthodoxy, there is in this spell of artistic stupidity sentimental, patriotic, religious kitsch and so on. They all have an affect on art that is meant to distract from poverty, an unresolved relationship between matter, subject and form. For Celan, kitsch is neither humor nor sentiment, but a torment that the lyricist can not spare because he is too clever to believe what modernism had believed before Hitler: that the Hermetic and the esoteric in itself is an infallible assurance that art is against kitsch. “

Dath’s Celan critique of kitsch is interesting because it provides an expanded and aesthetically relevant definition of a term that is often used in late modern art, especially since the 1980s, in a pejorative or affirmative way and with an ironic wink which in turn means defusing kitsch as a provocative power as soon as such ‘subversion’ becomes institutionalized. For the higher consecrations, which in the act of affirmation or irony are given to kitsch (also as a camp), in the end only show the measure of the ordinary in kitsch. Any innovation is lost as soon as it is a well-rehearsed system. Incidentally, Adorno’s strangely lenient definition of kitsch – only incidentally – can be found in the Minima Moralia :

“In the end, the outrage at the kitsch is the rage that he bashes shamelessly in the happiness of imitation, which has now been overtaken by taboo, while the power of the works of art is still secretly fed by imitation.”

402px-Celan_passphoto_1938 In contrast, the explanation that Darth provides with regard to Celan. At the same time – and Dath ‘s critique is dialectical – this conceptual problematization is aimed at a fundamental aesthetic problem, namely that which terminates under the rubric “Writing after Auschwitz” – we also have here Adorno‘ s (dialectic) dictum on poetry in Auschwitz impossible – the complex reflections, which are in this sentence, I do not want to thematize here, they give a very own text over the question of the experience of suffering and their representation. Dath fixes this question of aesthetic form on the ever-sensitive concept of kitsch. This is interesting inasmuch as the term “kitsch” refers to a crisis phenomenon that also sediments in the compositional attitude of the artist, in his struggle for a successful word.

At the same time, this touches on the central question of how art can act or write about horror and horror, without either defusing it in its aesthetic form or aestheticizing it in kitsch and in the art or merely trivializing it. Kitsch and arts and crafts are often close to each other, some of Rilke’s lines, hand-crafted, but sometimes too beautiful to even grasp the sombre gullet of modernity, and some of the works of Jeff Koons , For the time after the horror of Auschwitz and Hiroshima Celan delivered the partly hermetic, partly open-to-read lyric text.

Every angel is terrible – in the Duino Elegies Rilke brought this experience between the exaltation of existence, lyrical meditation on the conditions of such humanity, black metaphysics, no fear of heights, and the mute existence of things wonderful in the poem. Pathos but no kitsch. Speech, poetry, writing on the border of the word – on which, of course, the lyric usually moves to say it in a different mode than the merely discursive and above all: to sing. Celan’s lyrics answer that elegy. Often in ambiguous pictures. Consider his poem Cello Use . It can be read as the singable or playable remnant where no more language can reach, because expression transforms into pure sound and lyric returns to the lyre, the play of sounds – not necessarily in the sense of the beautiful, the fast -to-beautiful. But one can take this cello as well as the accompanying music, which plays when the camp commander feels like mind and German key.

In this dialectical-poetic sense, Dath’s reflections on Celan seem interesting to me, opening a new, different dimension to Celan’s work, and to the aesthetic category of kitsch in general.

 

Source: Wikipedia, from: http://www.oliverwieters.de/artikel-73.html

 

 

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Poetry Programme preview: Sarah Crossan & Natalya O’Flaherty

In The Poetry Programme on Sunday 2nd December at 7:30 pm on RTÉ Radio 1, Olivia O’Leary meets Laureate na nÓg Sarah Crossan and performance poet Natalya O’Flaherty.

Poet and novelist Sarah Crossan lived in Dublin until she was six years old, when her family emigrated to the UK. She writes YA (young adult) fiction: her books The Weight of Water and Apple and Rain were both shortlisted for the CILIP Carnegie Medal. In 2016, Sarah won the CILIP Carnegie Medal as well as the YA Book Prize, the CBI Book of the Year award and the CLiPPA Poetry Award for her novel One.

During the programme, Sarah reads from her most recent YA book, Moonrise, which is written in free verse, and we also hear from some enthusiastic readers from Coláiste Éanna in Rathfarnham in Dublin.

In May 2018, Sarah became Ireland’s fifth Laureate na nÓg and will hold the title until 2020. Her theme as Laureate is #WeAreThePoets, a two-year project inspiring young people to express themselves through poetry and verse.

Also on this week’s Poetry Programme: Natalya O’Flaherty is a young poet from Clondalkin in Dublin. She joins Olivia and Sarah to talk about her experience of poetry at school and how she got involved in first writing, and then performing, her own work.

The cunning of art. Patrick Eiden-Offe: The Poetry of the Class

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The fact that here in the Grand Hotel Abgrund Marx is once again the theme and thus critically connected with Critical Theory is likely to be familiar to the readers who have been here longer in the Salon. And as a correspondence to the 200th birthday of Marx, this year, the reading of Patrick Eiden-Offe’s The Poetry of the Class is a good idea. Eiden-Offe continues and analyzes some of the themes discussed at Marx: they are about the class situation and the class question, namely the proletariat that emerged in the nineteenth century and what it looked like before Apparently homogenous working masses were, but the industrial revolution in Germany slowly formed and released a completely new social structure – the effects that can be attributed to the so-called saddle time. And then later, the central moment that crystallized in the organization of the political as a class struggle: the only way to fight against the capitals, united against owners of factories and not isolated as workers and riot. A factory only stands still when everyone is at work. In French La lutte des classes, which sounded a lot more erotic-poetic than a class struggle – for some leftists there is even a poetry of violence, think Surrealism and the SI – and thus the French phrase also appeals to the aesthetic theoretician, who purely sensual effects as theory into the theory or the essay brings. But that is another topic – although the history of the labor movement is also an aesthetic project. Eiden-Offe’s book tries to beat some of the tracks.

Anyone who hears the word “working class” usually thinks of a homogeneous entity that is subject to a certain statics. But that is, historically speaking, and if you let the gaze wander into the early and mid-19th century, not quite right, as this book shows. Eiden-Offe, who teaches at the Center for Literary and Cultural Research in Berlin (ZfL), undertakes a relaxation exercise with regard to the class concept. The historical study, according to Eiden-Offe, is intended to show that “the category of class has always been contradictory from the start.” Class and proletariat did not call for a seamless identity of workers.

A cultural and literary-scientific approach, peppered with social history, is intended to help the class concept to become abundant, lost under abstraction. In this regard, one must note to Eiden-Offe that Marx’s concept of class in the context of his time and in the condensation, as he did programmatically in the manifesto of the Communist Party together with Engels, made perfect sense in bundling heterogeneous forces for joint action , Different interests and particulars, that is, what one can describe philosophically and sociologically as a multiplicity, are much more difficult to organize into a class struggle than a politically unified entity. This is what the concept of the proletariat stands for, which is not meant by Marx as an undialectical, static unity. Nevertheless, it is good to look at the various positions as well – that is, what historically preceded that homogeneous entity of the class. Eiden-Offe uses the social protests of the Vormärz, ie the period between 1830 and 1848, as a foil to his history as a reference to show a plural and multifaceted social movement. Precisely this Vormärz was a time shaken by crises and an epoch of upheaval.

“If, as in the pre-March era, proletarianization does not require a clearly defined and ‘visible’ identity-without worker class identity-then it will be necessary to note in retrospect that the reality of class relations need not necessarily be tied to a clearly defined class identity.”

Eiden-Offe critically questions the notion of identity, although it must be pointed out to him at this juncture that the formation of multiplicity presupposes identity at the same time – and whether it is the internal identities that constitute themselves in the various milieus: the beggar, all the pauperised and released, the craftsman and the early factory worker, the journeyman journeyman and the journeyman movement in general, with their rituals and songs that are still present today, show such mechanisms: to form an identity and even a closed circle like that of the journeymen, to which not everyone has access. And so we are with this historical recourse at the same time in very recent political events, which also touches on Eiden-Offe and for him partly the unspoken background of his study: namely the question of political protest of groups no longer homogeneous, for the so also the term of the class is only conditionally suitable. (More on that later.) Crucial for Eiden-Offe is that in this time of the Vormärz the course will be set for what we today call the “modern age”.

Why this recourse, well before the phase in which a uniformly structured class appeared or was conceived by the Marxian theory as a unit and what is Eiden-Offe in his work now? (Even though one can already argue here, whether this was really so conceived in Marx and that he did not see the multiplicity in unity just as much.) Dialectics does not stand still – especially not with Marx.)

“The poetry of the class to recover from the spills of history and for the first time to put them up for debate again, that is the aim of the following study.”

That sounds nice, even poetic, and one hopes for a socio-historical study on diversity. And since it says in the subtitle “Romantic anti-capitalism and the invention of the proletariat,” one hopes even for an excursion into the (literary) romanticism – of course, there are only limited, about the prose of Ludwick Tieck, but otherwise it is conceivable non-romantic: no novalis, no flail, no fragment, and blue flowers are rarely found in the misery of social situations. But those who are interested in the development of discourses, and that in a differential-theoretical way, are in the right place, and the terms discourse and difference already point out that oath-offe is not obstructed in the orthodox Marxist reading, but also in the field opens on French Theory. This is clearly shown in the way Eiden-Offe tackles the matter in terms of historical concepts – here, in turn, has been completely trained on Reinhart Koselleck. One must think along with this theorieback reason, because after all it concerns a Habilitationsschrift, just as well one can read the book as layman. In this respect, fear of contact is superfluous.

The “poetry of the class” semantically opposes the “prose of relations” – a phrase coined by Hegel in his lectures on aesthetics , with which Hegel called the new socio-economic reality. It can be summarized under the heading of alienation and division, which for Hegel form the sign of both social and aesthetic modernity. A thinking which found its expression first with the Enlightenment, which stated the rift that went through the world, then with the storm and urge and the literary romanticism that sought to close that wound with counter-images and aesthetic mediation. Romanticism, in particular, sought strategies and possibilities to reconstruct these fractions into a structure, or to make this fraction visible as a fraction in literature, without, however, covering it up. It was not the spear that struck the wound that was supposed to heal it, but a concept of poetics, poetry, and reflection, a “qualitative potentiation,” as Novalis describes it in his famous dictum on romanticizing. But of all these philosophical movements, we are far away. Rather, we are in the “prose of circumstances” with Hegel. But where does this trope come from the poetry of the class?

Of course, “poetry of the class” is a cynical term taken from its origin. Eduard Gans, a lawyer at the University of Berlin and a friend of Heinrich Heine, coined him in 1830 in his confrontation with the utopian-socialist Saint-Simonists who set the “order and hierarchy” against the competition of bourgeois society and their free play of the forces. Goose appeared to be organizing and hiding as a terrible utopia. Who wants to abolish the competition, create “another Sklaverey of supervision,” so quoted Eiden-Offen the lawyer. To deprive people of their decisions and to remove the success or failure of a person’s decision would be to “deprive her today of the only poetry she is capable of,” according to Gans.

The misery of the time under the rivalry, the goose as a welcome pluralization, if not democratization understood, but strengthened because among the social and economic, and thus under the industrial changes at the beginning of the 19th century, a large number of people from their classical activities was released , (The analysis of these processes gives Eiden-Offe an afterthought, if this is enough, social historians will be better able to judge than the reviewer here.) Prussia dissolved the old guild order, led with the Stein-Hardenberg reforms that resulted from the defeat Napoleon resulted in the freedom of trade and the right to free choice of profession. This meant significant transformations for society and a high release of people who were previously in tradition and in bondage. Workers now had to sell their labor in other ways – namely on the “free” market. The industrialization and the introduction of powerful machines did the rest to release people. In England, the Luddites came on the scene, so-called mechanical striker. Romantic and anti-capitalist in that they “voted” that they wanted an old order back – and sometimes to create another order first.

“La class de plus pauvre”, the poorest of the classes, often appears in the Vormärz in the form of absolute impoverishment. Pauperism will not let go of the political-theoretical imagination until the 1850s; Remedy against the impoverishment of ever more circles of the population becomes the field of probation of every social policy. “

The situation is class struggle, the poetry of life is grounded in the precarious relationship of release. There, according to Eiden-Offe, it developed its own language, the “poetry of the class”, which was reflected in literature, but also in the rituals and songs of the organized journeying and working-class movement.

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In this sphere of the social is to be looked with Eiden-Offes book and the language of this class to be traced. Eiden-Offe takes up the social context of these years between 1830 and 1848 and examines it from a socio-historical and literary-scientific point of view. Methodically, this double perspective between social and literary studies for Eiden-Offe means that he treats both theory and literature as theory. Engels Letter Descriptions of the Social Situation in Wuppertal or Marx’s Against Proudhon-directed Scripture He reads the misery of philosophy as a piece of social literature, Ludwig Tieck’s novel The Young Master Carpenter or the fairy tale novella The Scarecrow as a theory in which the spirit of that time condensed in poetic language. He calls this an undisciplined reading attitude, which in this sense should cling to the complex, unstructured and heterogeneous class. Oh well. (Otherwise, however, the book remains pleasantly sober.) If Eiden-Offe speaks of the concept of class identity being both imaginary and “the proletariat as class-conscious an invention,” the influence of French text theory as well as of cultural studies becomes apparent. But this is at the same time solved by a very material moment, which provides the reason for the work:

“The proletarian identity is as precarious as the mode of existence expressed in it; as precarious as their political and economic conditions. Proletarian class identity has, from the outset, a transitory character: it is suitable for self-abolition. All drafts of proletarian identity in the Vormarz aim in the final analysis to make this identity disappear again: be it ‘social-political’ by a bourgeoisification and ‘enclosure’ of the proletariat, or ‘communistic’ in the classless society. “

In order for such a revolutionary self-abolition to occur, however, identity first has to be generated from the disparate. One of the central authors of these movements and the presentation of social shifts is for Eiden-Offe Ludwig Tieck. In his literature, the processes of the time manifest themselves, without, however, that Tieck wrote socially engaged literature, such as Georg Weerth:

“Tieck shows us a society that no longer consists of integral parts and therefore can not develop integrity, wholeness or more in its totality; Tieck gives us an outline of a collapsed society, a society that is already made up of decay products. Every assertion of integrity, be it of the whole, or of the parts, has thus become ideology; aesthetically: kitsch. “

However, Eiden-Offe’s study does not remain an end in itself for the Germanist who travels in the past. When he writes about the manifold manifestations of the workers at the time of the Vormärz and how social misery appears in the literature of those years, he also aims at the present: The crises of capitalism since the 1970s solved the old ones homogeneous structures. “Legitimation Problems in Late Capitalism”. The old working class, which in the meantime has been politically hushed up by the social democratic model of participation, is once again adapting to plural structures after labor market reforms. “The steady erosion of the ‘normal working conditions’ produces class configurations that are increasingly similar to those of Vormärz.” This is also acute with regard to current identity politics – think of Didier Eribon’s return to Reims , where the demolished French working class is shown The Front National, on the other hand, chooses a culturalist left that embraces diversity and minority rights, but does not know how to do much with the old workers. Social shifts also here. And sometimes a kind of receding behind your own time and looking into history can help you better understand the present. This – unspoken – consideration also carries the study of Eiden-Offe.

Above all, the book invites you to read Marx again. Not only because of the class question, but also because Eiden-Offe uses the arguments of Marx to show us that supposedly natural needs and human nature, such as eating and drinking, celebrating and living, or even social coexistence, are socially produced. What seems objective and settled to us is a thing that has been shaped socially. We often forget that.

The dissolution of class diversity, however, is less related to an idealist construct, or is the invention of Marx in favor of the unity of theory and practice, but this tendency is grounded in the very real social conditions. Or as Marx writes: the “mass of people resulting from the dissolution of the middle class forms the proletariat.”

But how to give misery a form in representation? For the prose of literary realism, on the one hand, it is an answer that seems to be simple to deliver, but still has some implications and restrictions on aesthetic form when moralizing literature. Art is still suffering from this and is not progressing well – perhaps because one interchanges the form of presentation, medium of reflection and morality. This results in aesthetic aporia, into which one of course maneuvered himself, if one considers it from the present point of view and in the sense of an aesthetics of autonomy.

“The poetic question of how social misery can be portrayed without its depiction of misery and humiliating the poor in depiction itself, is a widely discussed question in the Vormärz. What is always negotiated in these debates is the possibility of a political-theoretical critique of social misery. Who can avoid miserabilism – the mere continuation of misery in its poetic or theoretical presentation. “

But why, despite all the misery, despite the misery, the rebellion of the impoverished did not start much more often, why only often eruptive? This is one of the interesting questions Eiden-Offe asks. Although there were many local rebellions in England in particular, which stirred up entire regions, this was not enough to bring about any appreciable improvement nationwide and collectively. Tide Story Tide Novelty The scarecrow is recognizable: A scenario of poverty in London, people are so hungry that they slaughter each other for a bite of bread, but the shop window that separates the exhibited jewel from the passers-by, do not touch it. A small thing to smash the glass, concludes the narrator in Tieck’s scarecrow : “What is the invisible ghost wall, which protects these jewels?” Something inhibits the people, it stops. Echte-Offen interprets and reads Tieck’s literature as a theory:

“In the scenario of the shop window, Tieck makes it clear that the ‘subordination’ to the fully implemented commodity form as a general mode of transport and thinking that causes ‘miracles’ is that people prefer to starve rather than the ‘sacred laws of property’ hurt.”

The glass remains intact. She will not be smashed despite hunger. Whether it is of course only the commodity form is to blame, is an open question. The situation is different in terms of revolt with the people in the Foot Riots of 1811/1812 in Midlands and Northern England. Not only were the planes stormed, but also looted, so that the military had to be called on to quell the ever-rising uprisings.

All these are finely compiled finds: the fetish property, Marx’s confrontation with his opponents from his own camp, remarks on Wilhelm Weitling, or a brief excursus on journeyman songs and the journeyman movement of the early 19th century: from the League of Outlaws to the League of the Just the tailor journeyman and socialist Weitling, later a bitter opponent of Marx, to the Communist League, so renamed in 1847 under the influence of Marx and Engels; the possibilities of literature to show the misery on the example of Engels social reportage The situation of the working class in England , in addition a look at literature, which today only specialists should be well-known, from the canon of the general knowledge however meanwhile disappeared. But what exactly the poetry of the class is supposed to consist of remains a mystery and strangely indefinite at the end of the book, and a formulation like this at the end of the book unfortunately remains wooden:

“The poetry of an object is to be developed individually out of its function, but no longer by individual artists, but from the work-sharing combination of design specialist and executive workers.”

In this sense, the title does not quite hold what it promises – at least it has not become clear to me. And last but not least, it is about the beautiful literature where poetry is based, it is about autonomous art, which is rarely imaginable in the collective, certainly not in prose, and less so for a poetry of the class or even the class struggle , This is where the aporia is founded to this day. Even if Eiden-Offe again and again takes theory and social history as literature and in turn feeds them with descriptions of Engels on the situation in Wuppertal and England and wants to distil something like a class poetry from the tales of Ludwig Tieck. The social can only be read conditionally as literature. The factum brutum remains an indissoluble remainder. In the end it appears as the cool prose of the circumstances. List of Reason, List of History, or the Cunning of Art.

Hours poetry

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One year and 561 posts after startup, the Instagram account @renpoesi has 17,000 followers. The account is used to share poems by various authors, including unutilized. The writer Ellen Wisløff tells in an interview with the NRKbook that she started @renpoesi because she even appreciated the lyrikk who gave her joy and comfort for a busy day.

Soon, it will be published by @renpoesi, something that enters into a trend; Twitter accounts of the Oslo police , Frode Grytten and the profile @Kongendin have already been books. The publisher writes the following about the @ renpoesi book, which is scheduled for October 1st: “Here is the book that brings together the most popular poems from the success. This is a unique collection of famous and sweet poetry, as well as gold grains from some of the most important new voices in Norwegian poetry. 100 poems about love, poems for consolation, inspiration and reflection – a nice and meaningful gift to someone you love. “

An author who goes back to @renpoesi, and probably has gotten a much larger audience using the account, is Trygve Skaug. Trygve Skaug is a songwriter and artist, perhaps most known from the band StMorritz, but he also writes poems as he calls micropoesy. Trygve Skaug writes sweet, subtle and striking, mostly about relationships. A good example is this:

“Is not it too early to say you love me,” she said.
“Is not it too late to ask me to leave,” he said.

The majority of the poems @ renpoesi parts are touched, touching, charming strokes in Trygve Skaug style. Admittedly, humourous and small-minded poetry appears (for example, from the above mentioned Waiting for the bird of Frode Grytten and small pornographic classics from the pseudonym Ella Utøy ), but it is the warm and cozy that dominates the mood.

As a combination of a tribute to and protest against @renpoesi, I have found some of my slightly less pure poetry favorites. Poems that are not striking “for comfort, inspiration and reflection”, but that hit a nerve anyway.

Enjoy yourself! Feel free to share your favorites with us, clean or unclean!

 

1967-1977. The new company of popular song and the decade of Roberto De Simone

The first ten years of activity of the Nuova Compagnia di Canto Popolare are decisive for the construction of the identity of this which is now an institution of the Italian culture of the twentieth century, and beyond. The decade that goes from the foundation – 1967 – to the debut of Gatta Cinderella at the Festival dei Due Mondi of Spoleto -1976 – is marked by the presence and the artistic project of Roberto De Simone . And it is precisely at this stage of the group that the study of Anita Pesce is concentrated, aimed at highlighting how and how much De Simone’s choices have been innovative, if not even revolutionary. In the rediscovery of folk music that took place in Italy in the second half of the Sixties, Roberto De Simone, instead of resting on the original, chose another way, moving towards the stylistic reworking of the materials, updated thanks to the interpreters (voices / characters) that they composed the musical group and that with him they experimented and re-proposed the Campania repertoires. In the incessant comparison between literature and orality, De Simone impressed a decisive and modern impulse to the evolution of the Neapolitan musical culture, creating a close relationship between the NCCP and the Neapolitan avant-garde theater; in this sense, the influence that the young De Simone drew from the meeting with Dario Fo and then with Julian Beck of the Living Theater was decisive. Between music and theater, between history and politics, between low culture and high culture, this book is a suggestive and timely investigation into the formation of Roberto De Simone and the events that will merge to outline the characteristics of one of the most interesting, original and imitated phenomena Italian music of the second half of the twentieth century.

Anita Pesce (Naples, 1961)
Graduated in piano and graduated in Ethnomusicology, she combines classical music competences with those concerning popular music. Musicologist and historian of the album, specialized on Neapolitan interpreters and repertoires of the early twentieth century, he collaborated with Roberto De Simone for the volume La canzone napolitana (Einaudi, 2017).

Fabrizio Fantoni on “Birth, only birth”

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I receive and publish for this blog, the review by Fabrizio Fantoni for L’almanacco del Ramo d’oro on “The birth, only the birth” by Luigia Sorrentino (in the photo by Dino Ignani ). In the video – produced by Romapoesia PoEtiche edited by Franca Rovigatti and Maria Teresa Carbone – Luigia Sorrentino reads the poem “The impulse of the rose” contained in the book.

by Fabrizio Fantoni
«” It has the shape of a shield the wing / that pushes externally on each / side to millimeters, in that vertebra / looks for a recess to its margin / recurrent the gesture that tightens / up to remove the breath / flares up like a scissor / it is spreading producing the necessary / vibration / but cutting is not reduced / the penalty in coming, / the stay here in the middle / as a grain / infinitely or dust / confusedly, in the cold “.

With this poem, taken from the poem “In that vertebra”, opens the collection of Luigia Sorrentino, “Birth, only birth” (Manni 2009, € 10.00). These few introductory verses are enough to realize that we are faced with a qualitatively high work that immediately leads the reader to a border territory – the labile margin that separates life from death – in which the being seems suspended in a dramatic condition between being there and not being there anymore.

The poetic discourse of all Sorrentine opera flows through an uninterrupted succession of images, situations, figures that seem to re-emerge from the bottom of a dream. The result is an expressively strong verse, in which the plot of a narrative fabric – well present and recognizable in the author’s work – finds its shape in a scan of sounds and symbols in which the truth of a human experience is established. Thus, the contingent becomes a screen on which the concerns and tensions of an “I” project that, page after page, in an inexhaustible flow of verses, abandons the limitative conditions that oblige it to an existence emptied of meaning – “Life that does not” – to find a primal essence, a lost integrity.

It seems clear that these texts are related to the time in which they were written, a time when (as the author states in an interview with Rita Pacifici) “the being has gradually lost its deeper meaning of existence . A time when it was written mainly a history of death and destruction, a time when the weight of death prevailed over that of life “.

“Birth, only birth” represents a reversal of this situation, a revival of life that takes place through the slippery of a birth placed in continuous relationship with the death “always lurking”, “that death”, as Sorrentino writes in one of his poems, “I look and it hurts me with every syllable”. The whole collection is dominated by a profound link between life and death, reflecting, in this sense, the desire and the need, felt by the author, of a birth, or rather of a rebirth, which takes place through the experimentation of death, of a light that breaks out of the darkness, of a beginning that is generated from an end. Paul Celan writes: “For death one relives, the one who says shadows says the truth”. It is clear, in fact, that only by giving voice to death is it possible to re-emerge the maximum of truth.

The link between birth and death also permeates the space in which poetry moves: an environment that, as Maurizio Cucchi says in the preface to the book, is characterized by “a material presence at the same time dense and fiercely restless”. The one described by Sorrentino is a world in continuous becoming caught in its making and undoing itself, an insidious and attractive, destructive and life-giving land, capable of submerging the man under a “rain of ash and lapilli” but also to give him “the joy of the blade of grass / when everything has passed “.

See some verses taken from the section entitled “The weight of the earth” (a poem in which the story of a people driven out of his land is evoked) in which we read: “We came from a path / from the darkness that man generates / the darkness of the father / we came before you to see / after the first death / the much loved cry “. Here is the land – “the beloved” – to cry for the pain of its people, becoming itself, the bearer of a desire for reparation, an instance of rebirth.

The work of Sorrentino is therefore the result of a flow of life all in poetry, of a coincidence of poetry with the sense of existing as a great and indifferent unity that everything tightens in its flow. The instance of birth – or rather of rebirth – that animates the entire collection is found in the last section of the book, entitled “La Cattedrale”, a definition of it.

The Cathedral, which is etymologically the place of the chair from which the law is imparted, becomes in these compositions the place where there is the ferment of a creation, in which the germ of a change is deposited: “like a bad lying / in sores of the world / dream of going out with the day / and meeting those simple / when we were / that wind that I can not pronounce / when the morning is rarefied, / in a thread of dawn comes and the trees / take the color that they want / the day in a sign of moon / to excess s’inclina on us / and look, here in its cold / the liquid, the colors, the crystals “. The long existential journey made by the author thus qualifies in what the Greeks called nostos-ritorno: a backward journey in which being, through poetry, regains a more human and more conscious dimension of existence.

In this sense, the birth of which Sorrentino speaks acquires the connotations of a process of artistic creation. What then is “the punishment in coming” if not the poem itself which, when born, re-establishes the balance between the self and the world? This vision is expressed, in particular, in the poem that closes the collection: “to you that you have the task of naming / flowers, trees, animals and things all / to you that declare our name / there where everything seems to hide / to us that we go out of the space / in the language of the sky like / split clouds and in earth magnolias / we who do not turn back / we will return, we who will be / here where we are now “. It is poetry itself that names the missing word, which shapes human experience by defining it and determining the return to a human condition of existence, of being together in return.

The close link between birth and artistic creation finds an additional representation in the image chosen by the author for the cover of the book. It is a detail of the painting “Kings killed at the decline of force”, created by Mimmo Paladino in 1981 for the exhibition “TerraeMotus” in Villa Campolieto and now kept in the Royal Palace of Caserta in the Lucio Amelio collection. The filiform figure, reproduced on the cover, shows “l’artifex”, the artist, who, emerging from the gray background of the canvas in a game of fading, appears floating on a land torn by a tragic event. With the geometric forms of his body “l’artifex” harmonizes the space he occupies, thus symbolizing the regenerating force of artistic expression, the artist’s ability to bring order to chaos, to bring about a rebirth. »

Film “The little pan of Anatole” the handicap in poetry

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In the field of animated films, Anatole’s film La petite casserole , created by the Breton company JPL Films, is a small nugget. For 20 years, JPL Films has been making short and feature-length films, magazines, television series … With this film adapted from the eponymous book by Isabelle Carrier, director Éric Montchaud tells the story of a little boy with poetry and hope. The pitch: “Anatole still trailing behind him his little pan, very embarrassing. She fell on him one day … We do not really know why. Since then, she gets stuck everywhere and prevents her from moving forward. One day, Anatole has enough. He decides to hide, to no longer see and no longer be seen. Unfortunately, things are not so simple … “

Try to say the essentials

Symbol of the handicap, the little pan drags behind Anatole, tied by a string. For Isabelle Carrier, herself a mother of a Down syndrome child, this story is universal. “I wanted this story to talk about everyone, and everyone , ” she says. Eric Montchaud, seduced by the scenario, did not want to make the subject too heavy. Today, the film is a real success and has more than 140,000 admissions in theaters. On June 29, 2017, this innovative project was awarded at the 10th edition of the Ocirp Handicap Award, receiving the “Jury’s Coup de Coeur”.

Raising the awareness of the youngest

“I go to classrooms with this film to educate youth about disability, even if it’s never named, ” Carrier said at the awards ceremony. From the mother’s point of view, I feel that life is a struggle . For Axel Kahn, geneticist and jury member, “this favorite was obvious. This little book and this little film tell the essence of what I always try to say about disability.

Olimpia, by Luigia Sorrentino

There are many peculiarities that make ” Olimpia ” by Luigia Sorrentino a particularly interesting and stimulating book from an intellectual point of view. The collection of poems, published in the first edition in 2013 with the Edizioni Interlinea by Roberto Cicala and, then, in 2015, in the French translation by Angele Paoli (with text on the front)   with the publishing house Recours au Poème Éditeurs, presents undeniable linguistic and stylistic features that make this text one of a kind.

The first element that strikes the reader is the certainty that the lyrical units, imbued with a refined classic, transport to a dimension where the author’s rich personality, after decomposing into fragments traversed by a vertical tension, reassembles itself in a corpus endowed with a secular romantic Sehnsucht , drunk on earthly life and sensitivity that admits contact with the higher stages of being. Shakespeare, Blake and, more generally, the German romantics and Dino Campana seem to be the Masters of this itinerant writer who seeks and, in my opinion, finds, at least temporarily, a ubi consistam in a space and in a time dilated by the soul of ‘Author up to include experiences and thoughts that the reader feels their own.

The author’s poetic discourse consists of contemplative and allusive phrases with respect to a mystery that, by its nature, is only partly explicable and is, at the same time, constantly fleeing towards a poetic infinity that does not surpass reality but annuls it. , endowing it with a credible key for interpreting the personal and community human story. The word seems to be considered by Luigia Sorrentino an arrow that must strike the reader’s soul through a use of terms that are linguistically accessible and that, at the same time, refer to a truth of life and poetry that is expected and then experienced with respect, dignity and, poetically, with the awareness of having touched, even if only for a moment, the tops of thought and feeling.

Another noteworthy element is represented by the operation, wisely conducted by the author, of revitalization and re-foundation of the woman’s archetype through convincing images full of majestic sweetness.

Finally, the icastic strength with which Luigia Sorrentino’s poetry portrays the restless disorientation of humanity is found, which finds a possible peace in the eternal and supreme cult of Beauty, understood as the casket containing a salvation within reach of those who can correctly understand and rework the real.

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EXCERPT

the walls touched were
in such distance
she was the highest form
against the wall
it was the white complexion,
the face that awaited him was there
his new deep face

in the darkness the flapping of wings
the light covered, and everything
he was on her and she was
finally understandable

*****

The lake

In an ellipse closed by the wind he swallowed the light, turning it into the muddy matter that boiled on the surface. What would have happened shortly afterwards would have been remembered as a transit, a passage without weight, without any material support. Few times that improper and overflowing proximity would have approached us: “We have come down here to see the shadow and the goal of the shadow.” Human destiny called and added, exposing and withdrawing.

The lac

Dans une ellipse fermée par le vent the engloutissait la lumière, la renvoyant dans la matière fangeuse qui bouillonnait en surface. Ce qui d’ici peu allait advenus nous nous en souviendrions comme d’une traversee, a passage sans poids, privés que nous étions du moindre soutien matériel. De rares fois ce voisinage incongru et débordant nous accosterait: “Nous sommes descendus ici pour voir l’ombre et la ligne d’arrivée de l’ombre”. L’appelait l’homme et son destin, et s’y joignait, s’exposant et se retirant.

*****

in its substance of silences
performed, she was still and armed
underground presence of all things
center
conjunction between space and time,
colossal inside the surface,
similar to a rocky spire,
incarnated

in force
holds or separates
grab from the depth
the subsoil joins the sky
it goes up again among bushes
up to the highest peak of the mountain

below pushes creatures of the moment

Luigia Sorrentino, “Birth, only birth”

Related image

“The poems of ‘Birth, only birth’ are born of a cry of pain and rebellion and above all, from the urgency and the need to give back to the human the sacred self, which is, for me, the most ancient and mysterious bond between men. The texts were ordered and put together following a continuous and direct poematic structure. The historical events to which they are inspired are indicated in the notes of the book – earthquakes, tsunamis, attacks, wars and massacres – far and near facts, embrace the whole of humanity in a common feeling, pietas. The collective feeling goes beyond the episode of news, the drama of individual events, which are, in the end, only evoked. It is probable that these elements have contributed to give organic unity to the whole collection, supported by a unitary, narrative structure. The recitabilità comes from the fact that they are verses ‘from the tragic terribleness’ and therefore therefore same, cantabili. And, in a work that continually reveals the irreducibility and the transience of being, words can only be hard, hurled like stones. ‘In that vertebra’, the poem that opens the collection, refers to a tragic event that took place in a certain time, the time of the beginnings , while ‘The cathedral’, the poem placed at the end of the book – which does not close completely the discourse – reintroduces, through another birth, the Institution – the place of the chair – the fragment of a new creation, of something that begins to be”.