Written in 1949, La Scoperta di Marx was first published in 1958 in Pier Paolo Pasolini, L'usignolo della Chiesa Cattolica (Editore Longanesi). It is published here, along the first English translation of the poem, with the permission of Garzanti Libri.

O presente artigo deseja entender como a lógica diegética de Salò, último filme de Pier Paolo Pasolini, engendra um fascismo pulsional. Isso é demonstrado a partir da lógica lacaniana do desejo centrado na figura conceitual do fantasma. Com a leitura sexual do conceito feita por Contardo Calligaris, o artigo mostra que o fascismo que Pasolini critica não precisa ser apenas o político, mas também pode ser posto em uma situação econômica tal como aquela que o capitalismo midiatizado coloca (...) em movimento. -/- . (shrink)

The article explores the place of women and migrants in Italian Neorealist and New Migrant cinema, arguing that New Migrant cinema continues and reworks key Neorealist tropes and tendencies. It intends to render explicit how an ensemble of films challenge the stereotypes concerning gender, national and cultural identities. Among the figures that are scrutinized are the borgatari, extracomunitari, popolane and terrone. Its main objective is to demonstrate how the cinematic expression of these figures in Italian Neorealist and New Migrant cinema (...) enhanced the reinvention of italianità and the generalised understanding of gender. It also aims to explain why the cross-fertilisation between migration studies, urban studies and gender studies is indispensable for comprehending this reinvention. Particular emphasis is placed on the shared interest of Roberto Rossellini’s Roma città aperta and Vittorio De Sica’s Il tetto in the plight over housing and the special character of the urban landscape of Rome. The article also sheds light on certain common concerns of Italian Neorealist and New Migrant cinema, especially as far as national and gender narratives are concerned. Pivotal for the reflections developed here are the roles of Anna Magnani in Roberto Rossellini’s Roma città aperta, Luchino Visconti’s Bellissima and Pier Paolo Pasolini’s Mamma Roma. (shrink)

Dieser Band stellt die erste Fortsetzung der 2013 begonnenen Publikation zur „Wirtlichen Ökonomie“ dar. Er dient der sich fortsetzenden Frage nach der Wirtlichkeit. Zu dieser Frage gehört es, das Ökonomische aus einer notwendig gewordenen Zurückhaltung gegenüber dem methodischen Vorgriff der modernen Wirtschaftswissenschaften zu denken. Die Zurückhaltung verleiht, indem sie den Fragebereich der Wirtlichkeit eröffnet, den hier versammelten Beiträgen ihren wahren Zusammenhang.