파졸리니의 시학, 『장미 모양으로의 시』를 중심으로

Abstract

Pasolini is mostly known as a film director, and yet his work ranges from the movies to poetry and linguistic theory. Starting from the premise that Pasolini's many fields of expression (from the films to the poems) are supported by a same coherent vision, we have tried to look into the book of poems Poesia in forma di rosa (Poem in form of a rose) in an attempt to see how it interacts with other forms of expression used by Pasolini. Poesia in forma di rosa (1964) is contemporaneous with his first major films, including the Gospel according to Matthew for which he was awarded the Special Jury Prize at the Venice Film Festival. In other words, it is the time when Pasolini diversified systematically his forms of expression, parting from the classical poetic tradition that so influenced him in his youth. In this particular book, Pasolini moves away from the tercets traditional to Italian poetry and gives to his poems various forms from the day-by-day account of his trial (as he was charged of offense against the state religion for his film La Ricotta), an interview with a journalist or even the notes for a future work. By transforming his approach to Poetry, Pasolini deals with the search of a way out of this Neo-Capitalist system (in which he has been attacked, sued and criticized many times throughout his career). It is a time when Pasolini realizes that the dogmatism of the Communist Party and the Marxist intelligentsia leads to a dead end, and that moreover the Italian sub-proletariat is incapable of dreaming its own emancipation. Pasolini therefore turns to the Third World in which he sees a way out of the system by exiting the dialectical course of History. To this History, Pasolini opposes a New Prehistory. This New Prehistory leads him to reassess his position as a poet and his approach to write poetry. He defines his work as prophesizing, using the myths as a breaking apart from the rational language of the Neo-Capitalist world. The myth being etymologically something that exceeds the common language, Pasolini can then conceive a poetic beyond the poem. A poem is seen as an act upon the world, in the very same way as a film or a stand in the newspaper. Accordingly, all expressions (be it aesthetical or ideological) is perceived by Pasolini as an act of Poetry, as a "practical poem".