Pasolini: Forms of Subjectivity

PASOLINI Forms of Subjectivity

ROBERT

s.

C. GORDON

CLARENDONPRESS OXFORD 1996

)

Oxford Univers#v Press, Walton Street, Oxford OX2 60p Ox/i"d Nem York Athens Am'k/and Bangkok Bombay Calcutta Cape TOllm Dar es Salaam Delhi Florence Hong Kong htanbul Karachi Kual" Lumpu,. Madras Madrid Melhourne Mexico City Nairobi Paris Singapore ]'"ipei ]i,!?yo ]immto and associated CIImpatlies in Berlin Ihadatl Ox/iml is a tmde mark ~rOl/ilYd University Press Published in the United St"tes hy Ol/i"d University Press Inc., Nfn> York (\:) Rohert S. C. Gortllm J other activities. The implications of this extraordinary move into film tilr the work of subjectivity will be examined in detail in Part Ill, but here three broad points can usefully be made. First, Pasolini had relatively little difficulty in adjusting to the 10 LL was however (1ublisheu by Garzanti, and Schwartz, tended to return to Garzanli with Pe/mlio.

Irl.:e and struggle is applied to metaphysical ends, to what he calls the 'duro mestiere, di conoscerci, e conquistarci [ ... J Fatica, estrema autoconoscenza, travaglio interiore individuale e eolleuivo' (harsh business of knowing and conquering ourselves I ... 1Toil, extreme self-knowledge, inner individual and 4 As already noted, imagery of victory recurs throughout Pasolini's poetry. There is a remarkably similar image of unknowing victory ('quando sarcmo vittoriosi, non 10 sapremo', when we arc victorious we shall not know it) in an article of revolutionary politics in Tempo illl/strato,7 Dec. 1l)68, now in I dia./of!,hi, 537.

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collective pain, 50). As was in many ways typical of intellectuals' responses to fascism, he is building an elusive position out of its vocabulary and rhetoric which is sublimated into a semi-poetic, confessional discourse. In this case, fascist rhetoric ofthe body and of youthful physical force is used as a means of intellectual posturing. Both his later realism and his phenomenological semiology offilm derive from just such a substitution of the bodily for intellectual praxis. Furthermore, the association sketched out here between a privileged materiality and a present, caught between nostalgia for the past amI despair for the future, develops into a recurrent pattern of self-inscription in his work. An indication of the ambivalent, but crucial role of the self, and its echoing of typical strategies of the time, in this putative youth manifesto is its forceful use of the first person plural to assert both a collective subjectivity of the young, speaking with onc voice, and an autonomy for the single subjective voice within the group. Such a strategy is not yet motivated by any traumatic imperative to shelter from a hostile 'other' in a stable group identity. On the contrary, here it is a declaration of infallibility in so t;lr as it confidently reconciles two apparently exclusive conditions, the individual and the collective. Nevertheless, it will be little altered by later trauma, when the group will become the marginalized (the poor) or the persecuted (homosexuals, Jews, blacks), and when the autonomy achieved will be precarious, to say the least. Here, the synthesis between the seH~ the group and vital reality is perfect: 'noi non vogliamo avere un nome: 0 meglio, ciascuno di noi vuole avere il proprio nome' (wc do not want a name: or rather, each of us wants his own name, 5 I). Pseudo-collectives, such as movements, arc superseded by rhetorical absolutes such as youth, or 'real life' , as shown in this typically cryptic analogy with ideological and national identity: Come nun siamo faseisli, se senza llIutare il senso della parola, possiamo ehiamarci italiani, cosi non vo~liamo chiamarci, ~enerica11lente, ne Illoderni ne tradizionalisti, se modernitn e Iradizione non significano altro che viva aderenza alia vita vera. (51 ) Oust as we an: not fascists, ifwithuut chan~ing the sense of the word, we can call ourselves Italians, so we do not want to call ourselves, generically, either modems or traditionalists, if modernity and tradition mean nothing other than vital adherence to true li fe)

By allying generational identity to such apparent absolutes as real life or nation, ambivalence is ironed out, as intermediary, contingent ideologies or cultural imperatives are diminished. Hence, the writer can

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coherently represent a first person plural whilst working in isolation: 'noi sentiamo che la nostra ricerca ulteriore dovra svolgersi in solitudine' (we feel that our further research must be undertaken in solitude). As a final indicator of the untraumatic stasis brought about by a lack of agonistic division betwcen internal and external discourse, the article concludes with this statement of passive f()rbearance: non abbiamo proprio niente contro cui batterci I ... 1Non chiediamo altro, a noi stessi, che di esse re dolorosamente eoerenti alia nostra sofferta attesa, c, agli altri, di non ul11iliarci nei nostri altissimi impeg·ni. (52) (we have absolutely nothing to light against I ... 1 We ask nothing more of ourselves than to be painfully faithful to our grim wait, and of others not to humiliate us in our immense undertaking) The themes and strategies exemplified in '1 giovani, l'attesa' recur in and inform all Paso\ini's articles /()r fI Settlccio and /lrrhitrave. The idea of hiatus reappears in the poem-dialogue 'Consolazionl:' (66-8), in Ungarettian imagery of dawn reawakenings in '( :ultura italiana e eultura europea a Weimar' (68--7 I )'-' ·'I'incerta IlIce del\'alha che tllttavia una cerlezza del giorl1o' (the uncertain light of dawn that is still a surc herald of dayt ime), and in the dialogue 'I ,e piag'he illuminate':

c

1I Sun/o, IIIcdil 11 III/f), diu: '('ulli gli uomini dormono. Nel pallore mortale che precede il risveglio, anehc I'adulto cinerme, ma il sonno 10 prote{','ge. (77)

(The Saiut SlI)lS, lIIer/itlltiug: J\llmen are sleeping. In the mort',ll pallor that precedes reawakening, even the adult is ullarllll:d, hut sleep protects him) Chino il capo e obhedisco. '('ulta la mia esistenza si c ineencrita, poichc io credevo ilmio intnminato silcnzio IHe{','hiera, ma lul/>lrwllgdlll dici che era attesa. J\ndn') dove t II mi guidcrai, nei luoJ!,'hi dovc la Icnchra si alterna al sole luminosissimo, {','elando le lacrime ne! pai'.icnle riso degli uomini. (79) (I bow my head and ohcy. J\l1my existence has hurnt to ;Ish, sinec I helicved my endless silence to he prayer, hul' youllhc ."nhtll/g-dl say Ihat it was waiting_ I'll go where you (','uide mc, in I he places where Ihe dark alternates with the hrighl'est sunlight, freczin{',' men's tears in their p;llienllau~h.)

Imagery of transition and waiting is here again associated poetically with solitude. Although much of Pasolini's poctry of this periou is intensely aestheticizing,S there arc also instances of repeated imagery in certain Italian dialogue poems of [(.142-3 and the discursive language ofthese 5 Porsir {{ Casal'Sa, prerared in precisely this period (I,ellm:, i. '27-43; /1 Sl'laaio, S(" IJI, 172-3), is largely immune from politics.

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articles. To give one powerful example, 'Ultimo discorso sugli intellettuali' (79-81) ends its argument on the role of the intellectuals with a long parenthetical 'prose poem' on the ineffable personal pain of war, which begins: '10 e mia madre sediamo dentro la stanza che ha protetto prima la sua infanzia e poi la mia [.. .]' (I and my mother are sitting in the room that once protected her as a child and now protects me [ ... l, 81). The stark juxtaposition of registers extends and elaborates the political case through the aesthetic. His articles of literary and artistic criticism, by contrast, adopt a moral rather than political language, exploring the notion of 'pure' poctry (52-5), again echoing current literary debates. This symbiosis facilitates Pasolini's man(cuvering between a humanist and darkly private view ofthe intellectual and a veiled anti-fascism, which increasingly became the norm in GUF and GIL activities in 1942-3.6 Towards the end of' I giovani, l'attesa' Pasolini had explicitly expressed his support for Bottai: 'ci sentiamo perfettamente sicuri dell'opera illuminata del Ministro Bottai' (we have complete confidence in the enlig·htened work of Minister Bottai, 51). The brief for Primato, 13ottai's studiedly open-minded review, was to promote a new sense of civic responsihility in the Italian intellectual community, and to dehate its mission t()[ thc nation (Bottai, HJ40). It presented oppositional views in often polemical counterpoint to official positions-Giaime Pintor was among the wide range of contrihutors-and thereby attracted the attention of many of the radical members of GUF It is no surprise, then, to sec such praise from Pasolini togcther with statements toying with anti-fascism ('come non siamo hlscisti I... j'), or implicitly criticizing it-'ora da molte parti-e ancora privatamcnte-si avverte una mancanza di una matura c alta civiitft che ci raccolga' (now on several sides-still privatcly--one notices the lad of a mature and high civilization that unites liS, 'Filologia c morale', 170 )--or indeed staking claims against it: I'odierna cultura emopea si cvenuta automaticamente maturando, al di fuori di qualsiasi li.nalid politica, quasi a dimostrazione dell'l liherta della creazione poctica c dcll'amorc alia poesia, non legata a nessuna 'lncora propagandistica. ('Cultura italiana e cultura cmopea a Weimar', 6il)1 6 Archilrave and 11 Selaail! both ceased publication "fter the tall of Mussolini inJuly [943. A sixth issue of /1 Se/aail! appeared (n. 6, May [943), and a seventh was prepared, hut left unpublished. 7 Pasolini's attitude to fascism at this stage is unclear. Whilst in 'Allettore nuovo' (Poesie, 1970, 7) he claims to have been turned against fascism on being introduced to Rimbaud in 1937 (corrected to H)3H-, cannot survive sHch a trauma intact. N(;verthcless, the patterns and strategies of sclfinseripl ion tilll11d there do not disappear. Indeed the extent to which they retain their eflicacy is rcmarkable, until, shot throug'h with loss and 25 It was published as 'Un inlervcnl" ril11a"dalo' in the con[:ress reporl, f'er III P"ce c per if lavoro, and latcr in Nil/llIrila, n. 43, 4 Nov. [977, 4!! ( :adioli, H)HS, 107-10). 26 On P"IiICmi((), scc Valentc, fin!!. Pasolini disliked Viuorini inlcnsciy: scc I.ellerc, ii. 35[,

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agonistic instability, they evolve into ever more dynamic and strident forms, which, certainly after T9Sil, render the possibility of an unchallenged 'completely free' subjectivity nothing more than a phantasm.

2·3· Officina, 1955-9 The four years of OfJi(ina 27 represent both the apotheosis and the nascent disintegration of the model of public self-inscription encountered in Pasolini's work thus far: that is, the identification with an in-gToup or category which extends the suhjective into a puhlic arena with minimal risk of a loss of autonomy. The periodical hcgan as the resuscitation of the Hredi project, with T.eonelti and Roversi as co-editors,2H and it is no coincidence that the group reformed as the dominant cultural debate of the intervening years-over nco-realism and 'impegno'-was dying out. ]t marks a period of retrenchment of post-war cultural ideals and a hiatus bctl)re the rapid transtl)J·matiol1 in culture and society effected hy economic expansiol1 in lhe late 19Sos. Its pluralistic, rescarchoriented and text-based approach madc it an apt vessel for such a transitional mOlllcnt. ~'I Its project was litcrary, but born of an acknowIcdg·cmellt of the need fill· a materialist socio-politieal reinterpretation of culture, and it saw the means to that cnd in historical stylistic analysis. Indeed, its systemat ic dual assault on hoth nco-realism and 'novecentismo' (a label fi,r the f(lI·malist, hermeticist aesthetic that had characterized the century), on both 'impegno' and 'l'autosufficienza dcll'illlellettuale' (the sclf-suniciency of the intellectual), found its most fertile moments in the rc-evaluation of the nineteenth-century canon, in the section of the journal called 'La nostra storia': Pasolini's 27 Rclcrences are to Ihe ori!:inal isslles of Ol.7i{illa, now reprinted in t'lCsimilc (sce llibliography , ..\). The jo"rnal has heen amply anlhologized in Ferreni, 11. 28 For the shorl-lived second series in 1ran.Jstaller, 1972; Romano, 1977,

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47

(the ingenuous ami almost illiterate (and also bureaucratic) theoretical imposition [of PCI critics such as Salinari and others] derived from the conviction that a realistic literature should be fuunded on that 'prospectivism': whilst in a society such as ours, it is not tenable simply to suppress, in the name of prospective good health, the present state of crisis, (If pain, of division.)

A literary style is bound up with the traumatic subjective perception of a historical condition. OJ/i(ina collapsed filr certain practical and financial reasons. Most notorious was the withdrawal of the backing of Valentino Uompiani, who had been refused mcmbership of the aristocratic 'Circolo Romano dell a Caccia' hecause ofPasolini's epigram on the death of Pi us XII CA un papa', NS 11. I, March-April 1959, 37-(): HI, 536). But the increasing strain on its intellectual projcct (and particularly Pasolini's) was also clear: its centre could not hold and would not coalesce into any filcused programme of cultural ideology, which it had aspired 10 filrmulate, hut never to realize. This and the historical moment dictated that a method of working through eclectic, suhjective plurality towards ideology could not be sustained. The conditions (iH· a ret urn to ami development ofPasolini's implicit str~ltq;y in Of/hina will he Iillll1d in thc linOS, but for now, thc desire tiH· renewal has overllown the very vessel of renewal, and the moment of closure is all too evident: 'una fi)r:/.a confusa mi dice che un nuovo tempo / comincia per tuui e ci obbliga a essere nuovi' (a confused (illTe tells me that a new time / is hCf:~inning li)J· all and is forcin!!," us to be new, 'Ai redattori di "OHicina" " NS n. I, March-April 1959, 36; ReligiOIl£', B I, 534). ] n (1)60, Pasolini looked back gloomily over the live years of Of/irillll and how it had been mislInderstood. l-Ie concluded, simply, 'Of/int/tI Cstata inutiic' (Of/itinll achieved nothing, II portiw delllf.lIlortc, 174).

2.4. Vie nuove,

1 salvare la tradizione: solo i marxisti amano il passato' (Only revolution can save tradition: only Marxists love the past, I S Oct. J 962, 310). Similarly, he describes his own status within literary history as a 'scontro-fusione' (clash-fusion) between a politics of revolution (Marxist and prospective), and a 'modified' aesthetics of decadentism (retrospective).47 Poetry is located beyond the present-in his misused terminology, it is 'diachronic' (11) March 1965, 389-{)0). These parallel modes of insertion of the subject into time cach point to a by now familiar dynamic or permanent transition. The writer, commodified by the culture industry (6 Dec. 1962,3 J 8-H», is no longer a sacred oracle, but is potentially still bound up with the prophetic in his/her relationship with time. Furthermore, the culture industry itself artificially reconstructs the 'aura' (Benjamin, J(73) of art, encouraging the traditional role of the artist as an instrument tilr the manipulation of consumer desire, within limits. Pasolini, however, did not fit the limits. His creation as a public 'personaggio', as a victim on a public stage, brought a profoundly suffered loss of subjective autonomy which informs and precedes the dialogues in Vie nuove. A scries of tortured confessions reveals the true penetration of hostility, which cuts offthe strategy of shifting absorption as the guarantor of the stability of the subject. The key word he uses to describe his bound subjectivity is 'mistificazione' (mystification): 46 The theorization of a 'new fascism' in the polemics of I<J7]-5 is already to be fOllnd ill nuce in 20 Aug. 1960,35-7. 47 His relationship to decadentism is most often deeply hostile: he denies vehemently having anything in common with a series of decadent 'poctes maudits' from Villon to Rimbaud (28 Dec. 1961,219), and he strongly rejects the 'esaltazione dell'io' (exaltation of the self) typical ofD'Annunzio (22 July 1961, 1.13-7). Indeed there is an extended series of antiD'Annunzian articles in 1960-1 (19 Nov. 1960,59-62; 30 Sept. 1961, 175-8; 14,21 and 2H Oct. 1961, 182-8).

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Mettiti un po' nei miei panni, e cerca di capire esistenzialmente I'esperienza di uno che viene sistematicamente, regolarmente, atrocemente mistificato. (16 Nov. 1961,199) (Put yourselffor a moment in my shoes, and try to understand existentially the experience of someone who is a victim of systematic, regular, atrocious mystification.) la mistificazione dclla mia opera leJ una mistifieazione totale, eompleta, irrimediabile. (10 May I (lI2, 255) (the mystification of my work lis.! total, complete, irremediahle.)

The agent of that 'mistificazione' is industrial power and its corollary, state and political conformism. And power entraps through the desire for success, which is now scen as always prof()Undly alienating: Ecco che cos'': il successo: lIna vita mistificata dagli altri, che torna mistificata a te, e finisce col Irasf(lrmarti veramente. I ... 1So cosa signitica essere guardati come heslie rare, essere dali in pastil senza discriminazione aJl'odio (e assai piu raramente alia simpatia), esse re continuamente, sistematicamente falsificati. (15 Oct. I ()60, So . I ) (This is what sllccess i~: a life mystified hy others, that comes back \0 you in ils myslified form, and el1(.\s up actually changing you. I ... 11 know whal it means to he stared 011 like rare heasls, \0 he ted indiscriminately to halTed (ami, much less freqllenlly, 10 sympathy), \0 he continuously and systematically falsified.) 1I successo':, pcr IIna vila morale e senlimcntaie, qualcosa di orrendo, c hasta. (6 Sept. \1)62, zHI) (For a moral ,lilt! cmotionallite, success is appalling, and that's thal.)

The degmdal ion of the t(lrmeriy creative, harmonious drive fill" success is the result ofa loss of control over his work, attacked not only by an invisible oligarchy, but also by a (manipulated) public: 10 non posso pcnnellermi di shagliarc un'opera; sono ridotto a questo I· .. J. J.c masse I.. ·1 sonocol1le dei re. E io di fronte a questi re, ormai, sono un po' come un giullarc che se shaglia un motto viene condannato a morte. (J 2 July 1962, 270 )

(1 cannot allow mysclfto get a single work wrong; it has come to this [ ... 1. The masses l ... Jare like kings. And I am now, hefore these kings, rather like a court jester who has only to put a word out of place to be condemned to death.)

But, more seriously still, the subject becomes alienated from its very self: 'io cereo di lottare, donchisciottescamente, contro questa fatalita che mi toglie a me stesso' (I endeavour to struggle, like Don Quixote,

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against this fatal destiny that removes/steals me from myself, 6 Sept. 1962,289). It is a grim panorama, but onc containing seeds of a future strategy of resistance: here, the image of the 'jester' and of Don ~ixote creates a mock-heroic, tragicomic circle of sympathy for his struggle, and works to preclude rational dissent from his position at the margins. The mock authority which is acquired and cultivated as it is denied in these articles actually enhances his condemnation of power. In defiance of the increasing negativity ofthe governing ideology of the site, and the consequent weakened autonomy of a subjective voice, thc latter begins to learn how to resist and undermine the t()rmer by rhetoricizing itself, its instability and its potential interlocutors. The atmosphere of crisis is at its most acute in the dialogues from Il)60 to 1962, and particularly the period of the trial for attempted armed robbery at Circeo of 1961.11ut it remains in some form throughout, as each new film brings further controversy and publicity. The final article (30 Sept. H)65, 450-3) expresses regret at the lack of a role for a Marxist intellectual outside the party, hut more importantly, perceivcs a historical fracture which simply leaves Pasolini at a loss as to how to sustain the subjectivity-with in-history, which is his defining state, when history has turned in on itself (what he calls 'la nuova preistoria', the new prehistoric age, in his poetry) and will tolerate only the inscription of com11lodified, reitied, subjugated subjects.

2·S. Nuovi argo11lenti, 1966-75 The cnd ofPasolini's collaboration with Vie nuove coincided with, and was partly caused by, his decision to co-edit a new series of Nu(}vi argmnenti. FounJed in 1!)53 hy Alberto Moravia and Alberto Carocci, Nuovi argomenti had been a cultural-political review broadly similar in outlook anti many of its aims to Otlhillll, seeking a left-wing cult ural and ideological renewal to salvage the by now worn optimism and vigour of post-war debate. It was centred on the Roman intellectual milieu of whieh Moravia was the dominant figure, and, like Ollicinll, it looked to ask fundamental questions and open debates----()ften through its hallmark, the questionnaire or enquiry-rather than make dogmatic prescriptions. Unlike qflicitla, it did not normally accept poetry, but a major exception to this rule was the publication in nn. 17-18 (November 1955-February 1956) of ' Le ccneri di Gramsci', after the strong insistence of first Eisa Morante and then Moravia (sec Siciliano, 1981a, 252).

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In the early 19605, the impetus of the review had been dented somewhat by the success and high-profile of the Gruppo '63 and its own journals, such as Il Verri, Quademi Piacentini and even, although not strictly adherent to the 'neo-avanguardia', Il menab(l, and hence the launch in I96S ofa new series. Siciliano (i98Ia, 363-4) describes how Pasolini was initially even more keen to realize the project than Moravia himselt~ arranging for backing first from Editori Riuniti, and then from his own long-term publisher J jvio Garzanti. The new series was more literary than the old, and more intent on the promotion of new writing. For Pasolini, the experience of mass-communication through Vie nuove, even if the 'mass' was of a focused, orthodox kind, was suspended, and Nu()vi argomcllti represented a return to some of his unacknowledged roles in Officina; [hat of pat ron, ami of eclectic co-ordinator of ideas and responses. If the rejection of his' Piccola antologia sperimentale' by Sanguineti had marked a point of rupture with an emergent g·eneration of poets, Nllllvi argrnnC1lli saw Pasolini discovering a third generation in poets such as I hrio Bcllczza, Giorgio Manacorda, Silvana Mangini and Renzo Paris, and promoting other established voices such as Attilio Bcrtolucci and Amelia Rosselli. Another onc of t he third g-clleration, Enzo Siciliano, was editorial assistant, and would later become a /"ull editor after the death of( :arocci in [()7z.+H Pasolini's opt imismii)J· the new series is evident in a letter to l.eoneHi fromiale I()('S: 'comincia dllnque una nuova epoca. Ell c 4uinili necessaria ulla nuova rivisLI' (so a new era is beginning. And so a new journal is needed).+'l But his most extelllle<J expression o/" intent is to be fimnd in t wo letters wriuen to Franco Fortini in November 1()6S and January H)6(" in which he implores Fortini to hecome a re!!,"ular contrihutor, to little clfect.so In the iirst, he describes the review in terms even more open anil provisional than Officina's ilirected eclecticism: it is to he a 'trihuna lihera' (opcn platti,,·m), 'sede delle autonomc ricerche di 1111 gruppo di amici-l1emici' (site of the indepcndel1t research ofa group of friends-cum-encmies): {H Several of these tiPIITS (Siciliano, M:m:lconla, llellez4a) laler hecame important critics amI cha11lpions ofl'asolini's work, as did olher conll'ihlllors (Zanzollo) ano members of the Roman circle (Belli). (ii,\Il Carlo FelTelli :mo Watter Siti, although not involved in Nllm,i argommli, were lirst in touch with I'asolini in this period (I,,'lIere, ii. S50, 655, 674, 70S). 4') I,ellar, ii. S91l. The sense of a new era is a strong underlying motif of lfacllaai e 1I{celli,,;, completed inJan. 1966. 50 I,ct/ert', ii. 600-[, 60S· 6. The exch,mge was continued in a third letter oflan. 1966 (609), and Fortini's name did appc,1f in l'asolini's list ofeollahorators in the call li)T comributions in the first issuc. On the remarkahle relationship hctwe~n Fortini and Pasolini, scc Fortini, 1993, passim; J.upcrini, 1'l1l!; Thiine, 1990, 157-86.

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I nuovi 'Nuovi argomenti' non sono dunque una rivista, come noi l'abbiamo concepita finora: sono la sede per la costituzione di una futura rivista possibile. Percio cominciamo non da zero, ma dai punti in cui ognuno di noi si trova: [ ... ] illavoro in comune-svolto 'a puntate' neIla stessa sede-in ricerche parallele-finiriJ. forse con 10 stabilire un reale equilibrio: 0 la convergenza su certi problemi e certe soluzioni, 0 la definitiva divergenza. Lascieremo insomma tutto aperto, in questa 'costituente'. (So the new 'Nuovi Argomenti' is not a journal in the sense we have conceived of them previously: it is the site for the constitution of a future, potential journal. So we are not starting from scratch, but from wherever each of us finds ourselves: l ... J the work undertaken together--carried out 'in instalments' in the same place--in parallel-will perhaps result in a real equilibrium: either a convergence on certain problems and certain solutions, or definitive divergence. In short we are leaving everything open in this new 'constituent assembly'.)

His enthusiasm f()r the project is based on its tentative and pluralistic openness, and this is reaffirmed in his call for contributions, placed in an appendix to the first issue, where he repeats his formulation of the journal as a collaboration of autonomous voices who have in common only the perception of a crisis and the site at which to resolve it. There is no programme apart from 'la necessita di ricominciare tutto daccapo' (the need to begin all over again). There is no journal as such: 'la nostra e anzitutto "una rivista che serve a preparare una rivista" , (ours is above all 'a journal to help to prepare f()r a journal')Y Even the decision to place these pseudo-manifestos at the cnd ofthe journal displays a desire for continuity and unclamorous renewal, rather than anything more forceful. The trajectory ofPasolini's involvement with Nuovi argomenti seems to fall into two distinct periods, before and after 1970. From 1966 until 1970, he contributed a steady stream of articles, poems and plays to the journal, and his hand is clearly behind several of the unsigned editorials which often adapt his theoretical, aesthetic thoughts to political issuesY 51 See 'Appendice: uue note per I'invito alia collaborazione', Nu()v; "'KIIII1Wti, NS n. I, Jan.-March 1(j66, 231-6. The first ofthese two notes is by Moravia, who claims that liule has changed between the old and the new series. Roth are dominated by 'una eflcniva presa sui reale, comunque e con '1ualun'lue mezzo ottcnuta' (an effective grasp of reality, achieved in whatever way and by whatever means). In the past that 'impcgno' had qlincidcd with Marxism, but now that coincidence was in crisis and required renewal. Pasolini felt uneasy about Moravia's attitude, as his second lctter to Fortini shows: 'tieni conlO, ti prego, piu del mio prcamboletto che di Ijuello di Moravia' (please pay more attcntion 10 my short preamble than to Moravia's, Lettere, ii. 605). The formula 'una rivista per preparare una rivista' had first been used by Pasolini in his last Vie nuove 'Dialogo'. 52 Sec e.g. 'Il presidentcJohnson sogna', n. 2, Apr.-June 1966,3-7, or 'Napalm LTD', n. 9,Jan.-March 1968: 3-6.

PROJECTS IN JOURNALISM

57

A series of often controversial essays-'Appunti en poete [sic] per una linguistica marxista', 'La sceneggiatura come "struttura che vuole essere altra struttura" , (n. I), 'La lingua scritta dell'azione' (n. 2),53 'La fine dcll'avanguardia' (nn. 3-4), which provokcd fiercc debatc, 'La paura del naturalismo' (n. 6),54 'Ci() chc cneo-zdanovismo c cia che non 10 C' (n. 12), '11 cincma impopolare' (n. 20)-and the pocm '11 PCI ai giovani!!' (n. IO), were all later included in FE. Indeed, a Icttcr ofJune 1966 to Livio Garzanti suggests that HE, originally entitled Laboratorio,55 was first conceived of as an anthology of his Nuovi argomenti pieces: 'per questa primavera, io penserei I... 1a "Laboratorio" (volume di saggi e poesie sag-g-istiche-Ia questione linguistica e tutte le altre cose che ho scritto e amlro scrivendo pcr N uovi argomenti), (fix this Spring, I'd look to I. _.1 'I,aboratorio' (a volume of essays and essay-pocms-the debate on language and all the other things I've written and am writing fi,r Nuovi argomenti), Ll'llm:, ii_ 617)'l'he letter to Garzanti is onc of ten horn January 1 quella pagina di romanzo, l'unica della mia vita: per il resto, son visslIto dcntro una lirica, come ogni ossesso. 4 (20(11) (I lived < ... > that page of a novel, the only onc of my lite: / otherwise, <what can 1 say,> / I have lived inside a lyrie poem, like every obsessive)

The structure of the poem is governed by implicit or explicit ljuestions from a journalist, and by a chronological seljuence of sorts, but also by a progression along channels of the f(llInding motifs ofPasolini's work where autohiogTaphy, metaphor and myth combine. It opens with his birth 'in una eitt.l piena di portici' (in a city full of porticos)-image replacing inf()J·mation, as Bologna is never named-and moves swiftly 10 descrihe his mother, Ett her, bml her, his first poems ,\I1d I·'riuli which dilate \0 lill the first section of the poem. Other events arc similarly dilated fUrlher on: the trial filr armed rohbery in Circeo, onc of the prosecutions around I,a ri(olla, and his fulllre works, from Tcorcrna to .1f/itlmli/ :::.io1l1'. There is also a striking conI raction of other events which produces a lapidary tone, more memorial Ihan memory. J lis 'conversion' 10 Marx ism is a case in poinl. J\ n extended description of the Friulan peasanls ends 1hus: Fu cosi che io seppi eh'er:lIlo hraeciallti, c chc t1ullquc e'erallo padrolli. Fui dall.1 parte dei hraceianti, e lessi Man. (.w6.!) (It was thus I fi)lllld out they were lahourers, / and that therciilre there wen: hosses. / I look thc part orlhc lahourers, and I rcad Marx.)

The incisive preterile verbs, which indicate an almost heroic stahility, bUI also become markers ofloss and ahsence, arc a recurrent fCature of Pasolini's selr·cn:ation in poelry.' The poem is also marked hy a fluid and organic rclalionship hctwecn the autohiogTaphical pasl, in its Iyricized and provisionallilrm, and the considerat ion of the presenl and the fut ure, as hoth an extension ofthe project orseW·dclinition and as ~l generalizing- expansion beyond the life of the individual: ... P~II"Cnlhcscs in .his qllolalion ;lIT as lIsed in 112: scc Bz, 2oS61(uO an explanation of.heir implicalioll', and g;ellerally H" 1'. "viii. [11 all subsequCllI ver,e qUIII.llillns, unless olhcrwisl· ~Iatcd, square brackets contain my own pOlnts of OI11isslon Of explanation, i.UHj other P;IrCIl-

thesc, IIr ,u'pcn,ionmarks .IIT a, used hy Paslllini himselfor Ihc edilor, ofB, and Ih_ 5 er Pcrmli", '.10: 'I pa"ali rcmoli, cioc i lempi (inili ,i addiconll ag-li emi' (Preterite" thal is linilc len,es/tinished times arc hecoming III herocs).

92

POETRY: A MOVEMENT OF FORMS

in quanto poeta saro pacta di cose. Lc azioni della vita saranna solo comunicate, e saranno esse, la poesia. (2083)6 (as a poet I shall be a poet of things. / Life's actions will only be communicated, / and they will be poetry.)

The unfinished patchwork of 'Poeta delle ceneri' is, like much of Pasolini's poctry after 1964, deliberately diffuse and unpoetic. He repeats three times within three pages (2070-2) variations on the refrain 'ho raccontato queste co se / in uno stile non poctico / pcrchc tu non mi leggesfii come si legge un poeta' (I have told thefie things / in an unpoctic style / to stop you reading me as a poet is read). But the open combination of autobiographical effects workfi as a guidc to the often latent and even involuntary (Bellocchio, 1ion, b"llhell idcolo!,:y') . .1 0 I n ~Pasolini n:censiscl' Pas(llini' hl' notes 1h;\l pari 'li'oSII1I1Utlllr is 'UIl diari() privalo, in cui l'a,olini p,I,.1a ddle sue giornate, per to pii(, nere, mc,mlando allc angosce--ma anehe ai piaccri, andiamo!----i prohlclni umctalinguistici" c sociali del brc pOCSi,l' (;1 private diary, in which "asolini talks o("his !nOSily hlack days, mix in!,: in wilh an!,:uish··-buI also pleasures, why nOI!-the social and 'mctalinguistic' problems oi"making poclry, 1/ "orlito tld/Il!llorit', 2111). Rinatdi damns thc hook ,IS 'non-poctry', 'Ihal pillorics, onc ahcr anolhcr, all his previous ercdos, or rathcr lhc possibility of making poetry o[lhem' (I!J!lz, 3+3, .1+7-11). I

I

or

IIa

POETRY: A MOVEMENT OF FORMS

Ero rolemaico (essendo un ragazzo) e contavo I'eternita per I'appunto in secoli. Consideravo la terra il centro del mondo; la pocsia il centro delIa terra. l.. ·1 Ora [... Jla vocazione cvacante. (837)

(I was Ptolemaic (since I was a boy) / and I counted eternity precisely in centuries. / I thought the Earth was the centre of the world; / poetry the centre of" the Earth. /

l.. ·1 Now l· .. J my vocation is vacant.)

This is the cnd point of a parabola which began with the youthful ambition for literary success of a highly traditional kind, as evinced in his early letters and journalism, and which developed into the ambivalent imagery of success and victory after 1 asolini's most e1ahorate cxploration of his suhjective anti-naturalism, La ricoua. The sequence of the throw-away comic refrain, 'la corona' (the crown), f(lllowing the Director's call t(lr the crown of thorns, is onc ofthe film's most ironic and potentially blasphemous moments, one Pasolini had to defend in court against the accusation of 'contempt for the State Religion': Il grido di 'Corona, corona' cla prima avvisaglia della superlicialitii incrcdula, scettica, plebea, del mondo che circonda Stracci c sanl testimonc del suo martirio. 11 tono noncurante, 0 pow inerente, non si riferisce penl, qui, tanto alia 'corona', quanta all'andamento tipico Jellavoro del set; e, se vuo\c sfouerc qualcuno, sfotte la spocchia del regista, monosillabico, paratattico e annoiato [... ]. (Guadagni, 19% 47) 7 'Interview with Pasolini hy J. B1uc', Film Comment, Falll96s, cited in Bcrtini, 1979,40. 8 See also 1 Jia/IIKhi, 6!l5----8. 6 'In ((mdo fare cinema c una questione di sole' (At heart creating cincm,) is a question of sun[light], Mamma Roma, 150). Scc Siti, 1989.

STYLE AND TECHNIQUE

20 9

wheeling asymmetry and diversity of camera-angles, lenses and movements, creating a 'nuovo caos stilistico' (new stylistic chaos, 47) which he found wholly concordant with his dual desire to create a Gospel laden with two millennia of cultural interpretations, and to adopt 'sincerely' (49) the alien mind-set of a true believer in representing it. In other words, the new technique inaugurates a genuine free indirect speech, a 'soggettiva libera indiretta' to (self-)express otherness. The equivalent of the counterpoint in Aaattone is between that magmatic dispersal and the pure unity of the text of Matthew's Gospel, especially the voice of Christ (Enrico Maria Salerno) recited in all its sacred rhetorical glory, often as a voice-over to disturbingly discontinuous sequences of shots, frames, locations, movements and lighting effects. The contrast is, significantly, used to most powerful effect in the climactic and most politicized moments of the text: the Sermons on the Mount and to the Pharisees. In the gap opened by that counterpoint, Pasolini heeomes a reader of the Gospel text, not a simple copyist, and the tilm becomes onc of sclf-expression.7 The scope f()r analysing film technique, or ways of seeing, as vehicles f(H· suhjectivity is all hut endless, given the persistent foregrounding of (tlawed) technique, and its anchoring in subjective looks. Pasolini's own phrase might be adapted to deserihe its workings: it offers a sort of free, indirect subjectivity. Two further, related aspects illustrate particularly well its 'freedom' from a single, unitary voice, and its oblique 'indirect' channelling through secondary articulations of filmic language: shotcomposition and editing. I'asolini's cinematic practice is t()llllded on a poetics of the gaze or look. It drastically reduces dialogue and promotes, often to excess, the visual and the static. H The tendency of his camera to remain fixed and/ or distant in diegctical scenes of action or dialogue has already heen mentioned with reference to Aaattonc. And although Pasolini's Hexihility with the camera increased with each film, and particularly after Van/ic!o, later work still assigns an important function to the static camera-eye. Thus, f()r example, in Pun·ile, during the long dialogue betwecnJulian and his girlfriend Ida as they walk along the symmetrical lakeside framing the monumental Palladian villa in the background, the

7 On Pasolini's not wholly faithful adherence lo the Gospel, sec Baranski, 1985"; Stack, 1969,91; Viano, 1993,33]-3, who lists the film's sequences alongside the relevant chapters of Matthew. 8 Scc 'La "gag" in Chaplin' (EE 260) and '11 cinema e la lingua orale' (EE 270-2).

210

CINEMA: TRACKING THE SUBJECT

camera is fixed at a distanced perspectival centre throughout; and this is echoed by the contrapuntal lingering over the desolate volcanic landscape in the cannibalistic episode of the film. Similar distancing is found in Teorema, where it has the ironic effect of diluting the specificity of each sexual conquest by the Guest, and of creating symbolic topographies, such as the enigmatic receding tramlines outside the family's house. In Met/ea, we follow at a crawl the progress of Jason and/ or Medea across the desert, and from the town to the temple in Medea's homeland. The distanced camera reaches its apotheosis in the final scene ofPasolini's final film, Said, when two guards spy from the villa on the horrific torture of the young prisoners below, and embrace in a dance of perverse indifference. Again, this aspect ofPasolini's style runs counter to the raw techniques of the nco-realists, who, for expanded in history or 4 In fact, with familiar literary bias, he refers to rhe reader, and lalcr of 'writing·' a film (Accallone, 19). On juxtaposition as a means to filmic metaphor, sce Whiltock, 11)1)0,57-1). 5 These includcJean Mitry, RudolfArnheim and early Melz: cr Whittock'sdisclIssioll of these and others (1990, 20-]6).

METAPHOR

23 I

in time. Because of the infinite number of units available to an audiovisual medium, cinema must first set up a morphological potential by making a meaningful image ('im-segno', im[age]-sign) from the chaos of undifferentiated reality, and this must be repeated for each film. In other words, the process of metaphorization is doubled. Narrative (prose) cinema, however, has reduced that operation to a single one by literalizing or 'deadening' the primary metaphorical movement from chaos to 'im-segno' through adherence to a conventional stylistic lexicon. To instigate a 'cinema di poesia' is thus to redouble the 'metaphoricity' ofthe filmic process. However, Pasolini points out, the objects of reality which make up each 'im-segno' abvays retain their intense 'storia pre-grammaticale' (pre-grammatical history), so they can never be anything other than initially concrete (EE 175).6 Hence, in order to express concepts, or abstractions, the cinema requires a process which imbricates thc abstract into the concrete-that is, metaphor:

1il cinema 1PU(', esscre parahola, mai esprcssione concettuale diretta l· .. ] llIallcando di lessico concettuale e astratto, C potentemente metaforico, anzi parte suhito, a f()rtio!"i, allivello delJa metal()!",l. (W:' '76, 179) (I ci Ilemal can he parahle, never direct expression of a concept I... .1 in the ahsence of a conceptual, abstract lexicon it is powerfully metaphorical, indeed it sets out from the start, u/iJrliori, at the level of metaphor.)

In essence, little has actually changed since his earlier hlanket denial of the possibility of film metaphor. Since cinema is always presence, he now says, to be discursive and not purely reproductive there must needs be met'lphor. The equation 'cinema-realta' is outlined in detail in the essay 'La lingua scrilta della realta' (h'E 202-30), where, as was seen above, cinema is described as a language of latent pre-articulate presence within actual reality-'il momcnto "scritto" di una lingua naturale e totale, che c I'agire nella reaId' (the 'written' moment of a natural and total language that is action-within-reality, EE 210). In other words, cinema repeats, at a level more immediately permeable to reality, the relation between the symbolic languages in which we communicate. That relation was based on the never-realized ur-language or 'langue', articulated into the oral on the onc hand, which is natural or existential, and, on the other, into the conventional or written. The written derives from 6 This is clearly a residue of those initial reservations on the possibility of the figurative in cinema. See Wagstan; 1985, 112, on the term 'pre-grammaticalc'.

23 2

CINEMA: TRACKING THE SUBJECT

both the oral and the 'langue'. The new relation sees the abstract 'langue' of cinema as having a written articulation in actual films, and, most radically, an 'oral' articulation in life itself, or 'l'intera vita nel complesso delle sue azioni' (the whole oflife in the sum of its actions, EE 210). The 'written' language moves beyond the 'oral' and thcreby delimits it and brings it to consciousness of itself Films similarly raise our consciousness of reality (cf. EE 236). Thus meaning is cxpressed through action or 'pragma' (EE 21 1), or the material, and semiology over spills into phenomenology. This is apparent in Pasolini's use of the term 'oggettuale' (objectual), as opposed to objcctive, to indicate a sort of concreteness ('un'imprescendibile concretezza, diciamo, oggettuale', a nccessary, say, objectual, concreteness, ':"1:" 173) which allows itself to be a vehicle tClr the oneiric, and thus to imply a subject. The connotative range and intensity of metaphor is thus strongly extended, so that fClr example Pasolini's faces-already notcd as a motif of his films---can powerfully connote thcir specificity, their 'face-ness'. The analogue between symbolic Ianguag'es and the language of cinema implies, for Pasolini, that whilst the former arc in a parallel, but never intersecting, relationship with n:;llity and have their own self-suHicient syntactical systems, the latter is 'perpendicular' to reality, constantly achieving ,letual contact, but requiring a double and external synt,lctic construction to achieve meaning, This helps to explain an apparently confused sequence of statements in the essay 'Battute sui cinema' (1:'F 231-4°) where he comments on an assertion by Barthes, in line with Pasolini's own earlier views, that cinema is a metonymic art. J le hrst agrees with Barthes, bur then rct(H'mulates t'he assertion: 'non c il cinema un'arte metonimica, ma cIa realta che c mctonimica' (it is not cinema that is a metonymic art, but it is reality that is metonymic, Fh' 237). Where does this leavc metaphor? Pasolini admits that the fClrmula does not take into account the metaphorical nature of a 'cinema di poesia', but there is an important implicit role for metaphor nevertheless, as a hermeneutic instrument. It becomes that part of cinema which transgresses the norm of simple metonymy, and in so doing allows the nature of cinema and of reality as metonymic to be consciously elucidated, In other words, the statement acts as a corrective to any overblown view of the function of metaphor in film, which at most creates the conditions for a perception of the mechanisms of a language, which mayor may not be metaphorical, by violating its codes.7 7 Scc Whiltock, 11)1)0,38-40, on Cullers distinction bet ween first- and second-order systems and violations of both,

METAPHOR

233

In a later essay, Pasolini is keen to play down the total identification of cinema and reality, preferring to see the codes of cinema and reality as analogous, each with different space-time co-ordinates, and each incomplete with respect to the other. 8 The idea of analogy is reiterated in another essay, '11 rema' (EE 293-6), where the first of three modes of 'cinematographic decoding' is a 'coscienza dell'analogia col codice fisico-psicologico della realti' (awareness of the analogy with the physical-psychological code of reality). As the term 'cod ice' implies,9 Pasolini is not talking of empirical use of analogy in films, but of structural analogies to the language of cinema. Although both are of significance in discussing his use of metaphor, they are not to be confused. The development of Pasolini's concept of filmic metaphor in his theory indicates a desire on his part to fill its initially perceived lack as part of his project to reclaim cinema for poetic discourse. The fact that its expression is never wholly clear nor central would seem to be significant in itself: confirming the role of metaphor as that of the poetic, as irrational, barharic, oneiric and held at a subconscious level in narrative cinema (I:F f76). Thc raising of the poetic or mctaphorical to an open level of 'consciowmess' would seem of itself to undermine its very essence as always latent and transgressive, never literalized or 'true' in a Nietzschcan sense. The paradox of this position need not, however, prevent an appreciation of the profound importance of the delimiting or defining cflCct of such tr;tnsgressiveness on the nature of l'asolini's cinematic voice, nor undermine his complex empirical uses oCmetaphor. Bcf()re examining specific films for evidence of Pasolini's use of metaphor, a final but crucial area of theory needs to be considered. Above, it was argued that there is a suhstantial overlap between his conception of poetry as deployed in the phrase 'il cinema di poesia', and that of metaphor, based on functional parallels between the two. In another direction, amI much more explicitly, the theory of the 'cinema di poesia' relics on the status of poetry as the medium of self-expression, of the subjective. As was noted in the discussion of technique above, an extensive investigation of the role of the 'soggettiva', or point-of-view shot, and free indirect subjectivity dominates '11 "cinema di poesia" '. His identification of dreams as a sequence of 'im-segni' (EE 1]2) is 8 'Rc> sun! nomina', RE 261-(). ~ Scc also '11 codiec dei codiei' (E1:" 281-8) and 'Tahclla' (EE 297-301).

234

CINEMA: TRACKING THE SUBJECT

based on the nature of archetypal 'im-segni' as 'una base diretta di soggettivita' (a direct base of subjectivity, EE 177). A syllogistic argument would suggest that metaphor is also intimately related to the subjective, and this possibility is reinforced by a number of other associations. The problem of 'style indirecte libre' and inner monologue in cinema, resolved by recourse to the concept of'soggettiva indiretta libera' which ushers into existence the notion of 'cinema di poesia', is stated in the same terms as the problem of abstraction: the inner monologue transcends the immediate and concrete, as does abstraction and, like the latter, the former can only be possible in cinema via metaphor. The characterization of the poetic and metaphoric as equivalent to a repressed subconscious of a prose narrative discourse contains strong inferences, via its psychoanalytic vocabulary and even the use of the oneiric, that what is termed subconscious is also a figure of latent subjectivity. Just as reality is mctonymic, and the metaphoric transgresses and delimits the metonymy, so subjectivity can be said to be that which interrupts the diegetic or the (posited) simply referential or objecive, located where syntagm dissolvcs into, or is implied by paradigm, metonymy into metaphor. 10 Even in Pasolini's first articulation of the problem of metaphor a hmiliar marker of the work of subjectivity was prominent-'I'unica grave diffico\d chc uno scrittore deve affrontare per esprimersi ':~irand()" c che nel cinema non csiste la metafora' (the only serious difficulty that a writer must confront in order to express himself" 'behind the wmera ' is that in cinema there is no such thing as metaphor, MagrelIi, 1977,20; emphasis added). Pasolini's solutions to the problems of self-expression show him adjusting his view of metaphor to the demands of the medium, reconstructing the trope as a dynamic of transition and transgression which not only allows it a powerful defining role in the filmic discourse, but also figures the transience and alterity of the subject in crisis. A large number of his essays on the semiology of cinema duster around the mid-I96os, products of the semiologically pioneering Mostra del nuovo cint'ma or Pesaro Film Festival after 1964.11 Even 10 On the dangers of confusing syntagm/paradigm on the level of discourse with metonymy I metaphor on the level of reference, sce Mctz, I fascists is annihilated in their extreme perversions, which in turn, as already noted, become a Iiteralized metaphor fi.)r neocapitalist consumption. Both films, and particularly SaIl;, are more sophisticated and conventional in their editing than is usual for Pasolini, and both modify the synthetic critique with a more analytical representation of the /()rms of modernity. The revolutionary power of the primitive, all but absent in Sail;, is retained in POrcill' by Julian 's 'natural' perversion, and its metaphorical c1ahoration in the cannihal episode. The further dimension apparent in these instances, seen in the light of the consistent split! ing; of film-time and the thcorcfical e1ahoration of a dual dynamic of metacinematic immanence, is /(HlI1d in the mode of synthesis (or suture) between past and present, and I hus history and reality. Analytical, ideological crit ique is a secondary and sporadic, hut none the less import·ant, product of this synthesis which, Elr li·om hcing materialist in orig·in, is governed by the work of subjectivity. The ohject of nostalgia, then, is less the past as such than the uncensored plenitlJ(\c of'l'agire nella realt,'t', or cincma, which can only ever surface as a trace of the imaginary, or oneiric, in a mediated, symholic actuality. It is pcrceived and represented as a vessel of'rcvollltion' hecause of its dynamic of erupting into and disturbing the present formally and, hy a loose analogy, politically. The living sllhjective desire I(u· inscription into material reality, for being, thus aspires to be contlatetl with the concurrent lived desire or the subject in timc to be inserted along a synthetic historical axis. The integration of these two orders o/" desire points to a powerful aspiration to grasp and in some sense to express what might be termed the subject's full heing in time.

14

Spectatorship To anyone J";uuiliar with the recent history of IlIm theory, the analysis undertaken in the previous five chapters might well have seemed somewhat perverse, since it has been more or less obsessed with the origins of the work of subjectivity in Pasolini himself~ or at the very least with the impression his work gives of having an expressive and constitutive origin of some kind. By contrast, subjectivity has become a fundamen tal and much deba ted area oflilm theory not in reference to an original self 'hidden behind' a film---'che si esprime "girando" '-but rather as an aspect of film spectatorship. There arc, however, good reasons f()lO having suppressed discussion of spectatorship in Pasolini until now, and good reasons f(JI' dedicating the final chapter of our analysis to it. The first and most compelling rea SOil derives fi'om the nature of the work o("subjectivity in Pasolini. As in his journalism and poetry, so in his cinema the history of the work of subjectivity has been read as a history of the negotiation hefween seIthood and t()I'm; that is, between conscious or unconscious manifestations of the need to express a self, and the restraints and filters of the languages, arenas, media, and genres of that seW-expression. In ot her words, his work has been read not only as a sympfol1l (Valesio, I !)XO-'l) of universal patterns of subjectivity, but also as a site JiJr the active confrontation and transf()rmation of those patterns. And the starting··point (()I' that conJi-ontation in Pasolini is invariably a loud, often over-anxious declaration of the presence and the importance ofthe speaking' subject in every act ofenullciatioll. 'Bisogna esporsi' (you must display I expose yourself), he wrote in 'La crocilissione' (B I, 376), and the same image recurs in one of several deeply personal interludes in l:'F, in the essay 'Il cinema impopolare': Vorrei accentuare la parola esihizione. J,a vocazione alle piaghe del martirio che l'autore b a se stesso I ... 1 non ha senso se non c resa csplicita al massimo: se non c appunto csihiLa I ... 1. Egli nc\l'atto invcntivo, neeessariamente seandaloso, si cspone-e proprio alia lcttera-agli altri. (EE 274)

25 2

CINEMA: TRACKING THE SUBJECT

(I'd like to stress the word exhibition. The author's vocation for the selfinflicted wounds of martyrdom t... ] makes no sense unless it is made as explicit as possible: unless it is, precisely, exhibited t... J. In the act of invention, which is necessarily scandalous, he exposes himself--literally-to others.)

The figure of the author's self-exposure, of his strident attempts to wrench the medium to himselt~ is an obstacle which resists and distorts any attempt to read around it. Pasolini creates tc.)l·ms of discourse which write themselves as having an origin, precisely in compensation f(lr the anxious intuition of its lack or fragmentation. The vocation to martyrdom in '11 cinema impopolare' acknowledges as much in its imagery of pain and splitting ('le piaghe del martirio'). In this context, then, it makes sense to follow the trajectory of th,1t anxiety from aut hor to suhjects (speaking or of speech) to subjectivity, and only t hen to consider the reagent or spoken suhject, the spectator. Having reached that stage, it soon becomes clear that large parts of the task havc already heen figured in earlier stages. The attempt to separate out and promote the 'author' is a rhetoric, cven an ideolog'y that. disguises its own f;Jisity. To turn now to the issue of spectatorship is to transgress the limits of the pro-filmic, pre-filmic and lilmic manifestatiolls or subjectivity SCCIl already, in ortil'1' III /1C((l1/U: lIlI'Ilre (!/'them as rhetoric, just as (1)1' Pasolini, writing or cinema go beyond speech or reality respect ivcly ami create them as conscious t(lrms. Besides the organic sympathy needed lill' a reading' of subjectivity in Pasolini's work, there arc also autonomous t heoret ical reasons why the spectator as subject is integrating to ot her modes or suhjectivit y. 'I'hcse revolve around the notion or suture. At several points ahove t his term was used to descrihe the sti tchi ng together of visions or past and presen t through narrative structure and macro- and Illicro-editin~. In hct, (illll theorists have tended to use the term in a narrower sense, derived from I,acan, to refer to cinema's function as discourse, bindin~, ensnaring or interpellating the spectator in his/her status as a suhject, defined hy lack and aspiring to (an illusion) of unity and integrity (J ,apsley and Westiake, I 9SS, i:l6--t)O; SaCl'l1, 1I)77-S; Silverman, I(jS], H)4-236). As the concept was first proposed, hy Oudart and others, it referred specifically to the workings of the conventional shot-reverse-shot sequence which established the spectator's point of view and thus his/her strong identification as speaking subject, only to reint(lrce the sense of a lack upon perception of the frame. It was then extended by some to encompass several, if not every aspect of film form and narrative, both audio-visual and spatio-temporal, as they intersect the spectator's

SPECTATORSHIP

253

subjectivity, creating momentary bonding (see, for example, Heath, 1976). The suture of filmic elements of past and present described in Chapter IJ follows a pattern analogous to Oudart's or Heath's suture: they all entail the binding of fractured elements (past/ present; prehistory/history; author/film/spectator) to create a unit that contains, essential and immanent to it, a residue of the original fracture. The nature and meaning of that fracture fi)r the spectator ofPasolini's films depend on the L1urahility and penetration of that residue. As so often, his own essay~ in theory provide a useful starting-point. Pasolini only aLldre~sed the issue of spectatorship directly in his later theoretical essays, written in H)70 and 1971, and even then only briefly. The essay which contains the impassioned plea fi)r scandalous selfexposure quoted above, 'Il cinema impopolare' (EE 273-XO), explains the shift in Pasolini's film style after 1967 from the aspiration to a Gramscian national-popular cinema to an 'aristocratic' or 'unpopular cinema', in response to the disappearance of the popular world as Gramsci had known il. lis main concern is stateLl as 'la liherta dell'autore e liherazione dq?;ii spellatori' (the freedom of the author and the liberation of the spect;lIors, J~'/~' 273), and each of the terms in this phrase arc f!,"lossed: 'ti-cedom' is, al hearl, always the freedom to choose death (273); the 'author' is one who stands outside, is hated, knows transgression and death intimately and thus loves lite (274); the 'spectator' is imagined by the author as another author, as 'altrettanto scandaloso' (equally scandalous), who cedes an element of freedom in heeoming an actual spectator, but in return can be freed to 'godere della liherl;' all rui' (enjoy the freedom of others, 275), either empathetically-by identifyinf!," with the sado-masochistic freedom of the author· --or critically--by being scandalized by the author's transgressions (276). Pasolini also makes it clear that the nature of these transg-ressions is semiological, that is, a breaking' down of codes of representation. Thus the spectator's perceptions are determined by their relation to the author, on the onc hand, and to the audio-visual and spatio-temporal codes of cinematographic representation on the other (sce aIso' Il rcma', EE 293-6). Several points arc worth noting: first, the parallel between author and codes as factors in spectatorial perceptions confirms and expands the premise behind Chapter 10, that style and technique are intimately caught up in subjective processes. Also, the figure of the ideal author and ideal spectator identifying on the level of scandal links this aspect of Pasolini's work to one of the defining concerns of his poetry and his public interventionism, as well as his cinema

254

CINEMA: TRACKING THE SUBJECT

(San Paolo), rooted in his homosexuality (Ch. 3). The scandalous transgression here is made both ideolugical, and explicitly erotic: 'gOt/ere della libertialtrui' (275, emphasis added); 'io stesso provo [ ... ] l'effetto quasi sessuale dell'infrazione del codice' (I myself feci [ ... ] the almost sexual effect of breaking the code, 278). It also extends the impact of the trope of scandal, here and elsewhere, by placing it in ambivalent tension with the notion of freedom and liberation: the freeing of the spectator to transgress and cause scandal with the author is a freedom to be destabilized as subjects, to experience oneself the author's marginality and intimacy with death, to be thrown into a vertiginous fall from comfortable self-recognition. The etymology of scandal-from the Latin 'scandalum', snare, or tripping obstacle-neatly captures its dangers, and prov ides at least an echo of our starting point, suture, also an ambivalent metaphor of both healing and entrapment. Suture hinds, cauterizes, but does not heal the 'self-intlicted wounds 0(" martyrdom' of the author: instead it allows tilr them to be captured in f(lrm ami potentially to capture the spectator in their /ilrm. Onc other aspect ofthe ima~ery offrcedom in 'J\ cinema impopolare' is pertincnt. The potential to 'enjoy the freedom of others' recalls the filrmula in '11 cinema di poesia' of free, indirect subjectivity as a response to the limitations of bourgeois literary filrms such as free, indirect discourse and inner monologue, which cannot represent the authentic voice of the other. The spectator, or at least the ideal spectator, seems to be offered the chance of experiencing otherness, ofliving' another's vision. The subversive implications of this possibility take us back to an earlier phase ofPasolini's theory, and to an implicit role there tin' specl"atorial suhjecl"ivity in definin~ cinema's relation to reality. Dc LllIret is (11)84, 40-53 148-531), offers a compelling reading between the lines ofPasolini's major theoretical essays of the mid-H)6os as {()reshadowing' the moves of post-semiological theory towards cinema as a social, discursive practice. I lis emphasis on living reality, on action, on pragma as that which cinema 'writes' is, lilr Dc Lauretis, an emphasis on 'cinema as the conscious representation of social practice I ... ] "signifying practices", wc would say; he said "the written language of pragma" , (SI). Similarly, his notion of life heing a continuous, unarticulated cinema-an infinite 'piano sequenza' (EE 210, 234)-and film being all hut devoid of the continuity of such an ontological 'piano sequeT'n' (such sequences in actual films are purely naturalistic), suggests that we can only ever know life, as actors and spectators (EE 209-10), and films, but never cinema:

SPECTATORSHlP

255

Cono8ciamo i 'films' (come conosciamo gli uomini 0 le poe8ie), ma non con08-' ciamo il cinema (come non conosciamo l'umanita 0 la poesia). (,Battute sui cinema', El.' 23 [: see De Laureris, [984,44,49-50) (We know 'films' (just as we know men or poems) but wc cannot know cinema (just as wc cannot know humanity or poetry).)

Life ami films exist, then, as social ami signifying practices and the grail ofEE, a 'Semiologia del!.. Rea\t;)' (232), would be a codification ofthose practices. It would also be profilUndly historical and ideological, as Pasolini's example on ,enin's life as a great 'poem obction' (210) indicates. The axis of film-time discussed in Chapter 13 is immediately relevant here, since life ami films, like discourse or signifying practices, exist in time and frame the tilrms of subjectivity for the spectator as a temporal sequence. Theorists of subjectivity in language such as Benveniste and Jakobson have often used the notion of 'shifters', elements of language which can only signify in concrete, diseursive situations (I, you, here, there, now, then, ctc). These elements distinguish 'parole' from 'langue' by the bindingofsubjectivity into temporal presence (see Silverman, 1 and ot her editorial marks, sce PcLrolio pp. v-vi) (The stylistic systelll of t his hook of mine prevents me < ... > from creating a character whose definirive leaving or whose deat h might· he moving [ ... J)

In I'he lisl ofPasolini's literary and philosophical sources reproduced in facsimile on p. ii, the only nineteenth-century novelists present are I )ostoyevsky (particularly The Demons) and Gogol, both of whom are important models, but deviant fi"om the realist norm in significant ways. The rest of the lisl ranges fi"om classical (Plato, Aristotle, Apollonius Rodius) to eighteenth-century (Dc Sade, Steroe, Swift) to modernist and fi)rmalist (SITindberg, Joyce, Pound; Propp, Shklovsky) texts. In the body orlhc work, Balzac is reg'ularly adduced as a model of what the text cannot be (e.g. Iq, I H6). As in his cinema, Pasolini is attempting to undo the naturalist illusion, and to {()und an essential, 'sacred' form of representing reality. Eschewing the dominant narrative f()rm, we note instead a concerted efti)rt to find other forms and genres-the 'nonliterary' lang'uages of essays, journalism, or screenplays (544); the lyric, in the book's heady exploration of sclthood and sensuality; or the epic 'poema' (HR, I HI, 247), evident in the USe of the Ar/{onautica as the model f()r Carlo I's journeys and in the 'moderna epicita' (105) of the Troya ENI empire.

UNFINISHED ENDINGS

The epic quality of Petrolio is also more generally apparent in vital aspects of its narrative technique. De Angelis, 1993, sees its prime manifestation in the uses of repetition, 'a stylistic device much loved by the epic', and also a key device for the recasting of the parameters of space and time in the text. Endless, driven repetition of sexual acts is the pleasure and neurosis of Carlo 11, and when he disappears, the impossible mirage of Carlo I's searching. The first epic set-piece of the text is the 'poema del ritorno' of Carlo 11 (40-84) to Turin (echoed later by Carlo I's return in the last part of the book, 476-533), during which he restlessly and indifferently seduces or exposes himselfto his family and dozens of others in the city. At several points, however, it is hinted that repetition expresses in essence a desire for a single, solitary, totalizing act, for a 'sentimento di totalitii' (a tceling of totality, 42) that renders the pleasures of so many sex acts 'ogni volta unici, sublimi e inesprimibili' (each time unique, sublime and inexpressihle, 55). The shadow ofa singularity behind all the repetition is also suggested by the analogies between the two other 'epic scenes' of intercourse in the book: Carlo I1's pleasuring of twenty boys in '11 pratone della Casilina' (201-2(» and Carlo I's later vertiginous encounter with onc man, Carmclo, the incarnation of Salvato['e Dulcimasc% (26(). Both episodes arc expressions of an epiphany for their protagonists, of'il miracolo' (the miracle, 208, 288), revealing through their degradation, whether with onc or with many, a cosmic dimension: 'tllltO il cosmo era 11, in qllel pratone' (the whole cosmos was there, in that field, 202). The miracle at times seems embodied in the phallus: 'era sotto f()rma di miracolo che si presentava il cazzo' (it was in the form of a miracle that his prick was offered, 208). Rut the nature of this cosmic revelation, a prefigurement of the cosmic crisis that was to have ended the novel, only begins with the phallus. It is elsewhere related to both dcath and creativity of fl)rm through the figure of the mother. As Carlo II moves to rape his mother, the narrative notes 'cominciava la manovra, I'attesa manovra, in cui era in gioco il cosmo' (this was the start of the move, the long-awaited move, in which the cosmos was at stake, 55). To return to the mother is to return to wholeness and also to death, as the narrator of'Storia di mille e un personaggio' intuits: 'morire, come in effetti si muore, eiaculando nel ventre materno' (to die, as indeed onc does die, ejaculating into the maternal womb, 419). To repeat the act of conception or birth and the act of death, at one and the same time, is to fracture any cohesion of time and to dissolve any discrete completeness of being, and this profound unreality can only be dreamed outside of reality, in an autonomous

PETROLlO: SELF AND FORM

created form. 'Storia di mille e un personaggio', the richest and most elosely self-referential of all the secondary stories, makes this comment in the context of the projection of the self into otherness in narrative: Nello stesso tempo in eui progettavo e serivevo il mio romanzo I...1proprio ncll'atto ereativo ehe tutto ljucsto implicava, io dcsidcravo anche di Iibcrarmi di me stcsso, eioe di morirc. Morire nclla mia crcazione: morire come in effetti si mllore, di parto (419) (At the same time as I was planning and writing my novel I... J precisely in the creat ive act that all this implied, I was also desiring to free myself from myself, that is to die. To die in my own creation: to die, as indeed onc does die, in giving birth)

The real, cosmic miraele-'la vera ripetizione' (true repetition, 188), not 'mera iterazione' (mere iteration, 50(J)·-is in this originary and bodily death and birth, that the simple iteration of actions at different hisforical moments or creation of forms can only ape miserahly. Another story 'Storia di due padri e di due figli' (42{)-35), addresses precisely the grotesque inadequacy of male creativity in these terms, telling of the hirth 10 two men of living excrement (the source of 'Jl Menla' perhaps). And finally, another Appunto, entitled '11 fascino del fascismo' (2(J2-4), gives a historical-ideological gloss on the impossihility oftrlle hodily repetition, in the body and the absolute necessity of simlllacra for our sense of scltll0od: Ci(') ehe c stalo visslIto dal eorpo dei padri, non PlHl essere visslIto dal nostro. Noi eerehiamo di rieostruirio, di immaginarlo e di interpretarlo: eioc ne seriviamo la sIOI·ia. Ma la sroria ei appassiona tanto I... 1perchi: ci() ehe c'l'; di piu importanle in essa ei stugge irreparabilmel1te. I ... 1 Se noi non ei illudessimo di TiClre le stesse csperienze esistenziali dei padri, saremmo presi da un'angoscia intollerabile, perderelllmo il senso di noi, ride;! di noi; e il Jisorientamento sarebbe assolul.o. (262--3) (That which has been lived by the hody of our tathers ca1lnot be lived by OUT own. We atrempt to reconstruct it, to imagine it and to interpret it: that is we write its history. But history is so compelling to us I ... 1 becallse what is most important in it eludes us irreparably. [... J If we did not delude ourselves that we were repeating the same existential experiences as our fathers, wc would be overcome with intolerable anxiety, we would lose our sense of self, our idea of ourselves; and the disorientation would be absolute.)

The rape of the mother was, of course, precisely a doomed attempt to repeat and create the aet of the father. Another figure for this flawed repetition of the past in the present is 'Anachronism' (250), recalling

UNFINISHED ENDINGS

Pasolini's own presentation of himself, in La divina mimesis and elsewhere (e.g. BI, 655, 752) as a man whose time has passed, as posthumous. Repetition of sexual acts is only onc of myriad displays of repeated, listed, reflected, or schematically patterned actions, events, narratives or places that run throughout the novel, all interwoven as the autonomy of the form demands. Two broad and apparently opposing trends characterize this range of repetitive katures, and their synthesis indicates another fundamental ambition of the project of Pe/rolio. The first trend is repetition as accumulation or excess-'il Pllro e sempliee accumularsi della materia' (pure and simple accumulation of material, 39)-and much ofthe sexual repetition f;ll1s into this category, as is selfevident in 'I1 pratone della Casilina'. But it is also to be found in I"he prolikration of redundant Jetails in the history of ENl, in the eclectic list of books from the intellectual's library (Xli; er p. ii), amI in the proliferation of secondary stories and Jigressions lhat erupt 'alia Sterile' (I 17) into the main narrative. AnJ repetition as excess, as with death anJ the mother above, is linked to sexual and narralive creativity in their tOl"alizing aspirations:

I.. ·1 il

piacere di raecolltarc, che, come si sa, pecca sempre per eceesso (chi tlecide di raeconlare lIualeosa ha suhito la !lossihilit;\ di raccontare I'intero univcrso). (1('0)

(J .. ·llhe pleasure of narralive, thaI, as is well known, always cOlllmits the sin ofcxeess (whoever decides 10 narrate sOlllelhinf!," immediately has Ih(; possibilily ofnarral.inf!," the enlire universe).) '11 scme deve esse re seminalo con sprcco: csso se non l: troppo nonc ahhasl.anza' (533) ('The seeu must he sown with ahandon: jf it is nol loo much il is not ellouf!,"h ')

Excess anJ accumulation breed ranJomness, disorder and dispersal, and can thus be e10sely related to the t(lrmal, fragmentary disorder of the text. The planned use of Greek anJ Japanese text is excessive, as 'Appunto 13 I' (534) admits; the aping of The Demon.! and the Argonautica and any number of other intertextual echoes are Jeliberately laboured and hyperdetermined; the prolikration of many stories, where the text itself acknowledges that onc would drIll. Thus the quotation from I.eopardi in 'Appunto 72e' could stand as an epigraph to the entire hook, the premise ofhoth its formal and historical aspects: ' "je ne fais pas d'ouvrage, je fais seulement des essais en comptant toujours prClllllcr... " , (377).

It is all too tempting to read Petfolio as an ending, not only because Pasolini's death made it his last work but ~llso becaust~ the text envisages ilself as such, 'il preambolo di un testamento'. But the driving force behind it, and what makes it perhaps the most fertile of all Pasolini's experiments in the work of subjectivity, is its resistance to teleology. Whilst restating and reimagining the material and insights ofSa/tJ and Nuolla (and much of se and LL), Petrolio draws away from the annihilation and aphasia that the latter enact anu opens up prospects of new tc)rms, new registers and new histories. That is not to say that Petro/io rediscovers an optimism of outlook, but rather the grinding elimination of extant forms and histories is here turned inside out, in an explosive history of that elimination and a prophetic lunge into the dark of what

UNFINISHED ENDINGS

might follow it. It hardly needs stating, then, that here too, the entire project can and in part should be read as a sublimely inflated autobiography. But there is more to its exploration of subjectivity than that. Petrolio contains a self-conscious medley-'ogni grande scrittore ama prima di tutto i Centoni' (every great writer loves centos above all else, 87)---of the mechanisms of the work of subjectivity that characterize Pasolini's a:uvre. The spectrum goes from the voice of the author, who talks directly to the reader and ruminates on his text, its meanings and motivations; to the archetypal figures ofthe self, in Carlo but also every other minor protagonist and antagonist who populate the book; to the grand, mythical or epic movements of history that themselves rdlect and inform different forms of consciousness; to the elusive vessels of selfhood or subjectivity, imbricated into I.tnguage, {ilnn, its genesis and its means of representation of reality, all triumphantly and ambiguously brought together in the notion of 'il gioco'. Its most compelling achievement, even in the fragment wc have, is to have woven around the figure of Carlo so many of these lines that from it emcrges a powerfully subtle and complex portrait of how subjectivity in history intersects and conditions the history of the subject. Fortini writes of Pasolini's encyclopedic folly ill his conception of Petrofio, 'he had gradually persuaded himself that he could encompass everything and anything ['tutto di tutto'I' (translated trOI11 Fortini, IlJlJ], 240-1). But Fortini takes this vein as an abjuration of his self-obsessed writings of the twenty preceding years ('to hide himself from himselfl ... 1to cut himself off from his first twenty years' work'). Instead, Petro!io's grandest, Platonic ambition is to collapse the barrier between suhjectivity and 'tutto di tutto', to contain all in a movemcnt of (ilrlns, not so as to dissolve the text's presence inl'O a postl11odern panoply of metaliterary feints, but to dream ,tn impossible alchemy that transforms the material reality of thc text-that-eontains-All into t he material presence of the self.

Bibliography I. WORKS llY PASOLINI

l.

r. Poetr)'

Poesie a Ca.l"arsa, Bologna: Libereria Antiquaria Mario Landi, 1942. Poesie, S. Vito al Tagliamento: Stamperia Primon, 1945. Diarii, Casarsa in Friuli: Edizioni dell'Academiuta, 1945. I pian/i, Casarsa in Friuli: Pubblicazioni dell'Acadcmiuta, 1946. Dov'c la mia patria, with thirteen drawings by G. Zigaina, Casarsa in Friuli: Edizioni dell' Academiuta, 1949. 1{t! {(JUT di un/rut, Triccsimo: Edizioni di lingua friulana, 1953. Dal DiaJ-io (19451947), Caltanisetta: Sciascia, 1954. La mef(lio Kioventu, Florence: Sansoni, 1954. 11 ("{Into popolare, Mibn: Edizioni della Meridiana, 1954. /.e eeneri tli Gramsci, Milan: Garzanti, 1957. CUJiKnolo del/a clliesll (lIt/o/im, Milan: J.ongancsi, 1958 .\'onello primaverile ([(63), Milan: Scheiwiller, 1960. Roma 19.')0. Diario, Milan: Scheiwiller, 1960. I.a rclif(ione del mio tempo, Milan: Garzanti; 1961. P/II!sia injilTma di rosa, Milan: Garzanti, 1964. Ponie, Milan: Garzanti, 1970 [paperback anthology]. TraJuma.nar e orKanizzar, Milan: Garzanti, 1971. /.c pocsie, Milan: Garzanti, 1975 [collection of Ceneri, ReliKilme, Rosa and Trasumanar J. I.a nUOVll Kiovcntu, Turin: Einaudi, 1975. /Jcslemmia. TUlle le poesie, edited by G. Chiarcossi and W. Siti, 2 vols., Milan: Garzanti, 11)1)3.

1.2.

Narrative

'I parlanti', (1948), in Raf(llZzi di vita, Turin: Einaudi, 1979,215-38. Rllf(llZzi di vita, Milan: Garzanti, 1955. Unll villl vio/mtll, Milan: Garzanti, 1959. Donne tli Roma, Milan: 11 Saggiatore, 1960. Il sogllo di ulla WSll, Milan: Garzanti, 1962. AN dagli occhi llzzuni, Milan: Garzanti, 1965. Teorema, Milan: Garzanti, 1968.

294

BIBLIOGRAPHY

La divina mimesis, Turin: Einaudi, 1975. !lmad" mio preceduro da At/I impuri, edited by C. I)' AngC\i, Milan: Garzanti, ":l H2 . Petrolio, edited by A. Roneaglia, M,. Careri and G. Chiarcossi, Turin: Einaudi, 1992.

Romans, edited by N. Naldini, Parrna: c..;uanda, 1994. 1,3. Lssa:),s, Journa./J', JoumalisrI/, and nchale,~ (a) Collections

Passillm' e idenlll/flil, '\lilan: Garzanti, 1960. L'odore dell 'India , Milan: Longal1l;si, Iailli 19S7 It)H4, supplement to RitJa.H"ila, n. 42 (I) Novemher (985). CAESAR, M. ([985), 'Outside the Palace: l'asolini's Journalism', in The

c:.

italiamsl,ly XS,-1-&·-66. CAESAR, M. and P. HAINSWORTH (lyH4), eds., Writers arlll Socil'l}, 111 COlltemporar), Itall' (Leamington Spa: Berg). Cahiers du cirll:ma (1colo, U. '52 n. hanl.rurt School 71 Frc"crick II oil! Freeman, B. 242 n. Frcud, S. 4,51, C)J n., 12'(!/U/lhe /'Ieasllre Principle 2K4 Frieurich, P. In n. Friuli 6,13-15,16,30,33-40,77,73 55,274 !a'a also nco-;l\,anv;ullrdiil Guadagni, E. 11)4, 195, z57 n.

Guagnini, E, 35

Guanda 14 GUF 12,23, zR

INDEX guilt, imagcry of 50,81, 9H-!.ussolini, D. 24 n., 225 myth lilms, .,(,,' Pasolini, I:"rilpo PI)rrih', and 1~ol't'1Ild

\iarcusc, H. (1+

Ill~lh 7,24,50,65,c'{',75-7,HX,91, 115--16,

/"l',

,Het/ea,

I~DFX

121,124-5,140-1,146-7,150-1,153, 158, IStl, 171, 177, lilo, 200, 202, 208, 240,244, ;!4S-