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Variazioni sull'apocalisse

Un percorso nella cultura occidentale dal Novecento ai giorni nostri

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Edited By Alessandro Baldacci, Anna Małgorzata Brysiak and Tomasz Skocki

L’apocalisse, nelle sue innumerevoli forme e interpretazioni, costituisce uno dei temi cardine della cultura e dell’immaginario collettivo dell’ultimo secolo, in cui ritorna costantemente l’idea della fine e del «dopo la fine». Il volume si propone di indagare, in ottica comparata e interdisciplinare, le più diverse narrazioni e rappresentazioni apocalittiche del XX e XXI secolo, spaziando dalla letteratura al cinema, dall’arte alla filosofia, fino alle serie televisive contemporanee.

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La fine che non c’è più: le apocalissi al tempo del nichilismo. Personaggi ossessionati dall’Apocalisse in Beckett, Moravia, Fukunaga e Foer (Darwine Delvecchio)

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Darwine Delvecchio

La fine che non c’è più: le apocalissi al tempo del nichilismo. Personaggi ossessionati dall’Apocalisse in Beckett, Moravia, Fukunaga e Foer

La noia è il più nobile dei sentimenti umani, in quanto ci mostra l’insufficienza delle cose esistenti di fronte alla grandezza del desiderio nostro. (G. Leopardi)

Abstract: The relationship between man and time – the time available for his life and the time to come, which exceeds the duration of his stay in the world – is one of the central problems around which the concept of Apocalypse revolves. The main objective of our paper is to show that there are different ‘versions’ of the Apocalypse, recognizable in the attitudes of the protagonists of a number of works written by authors who inaugurated the contemporary, such as Italo Svevo, Samuel Beckett and Alberto Moravia. The analysis of the relationship that the characters of Zeno Cosini, Krapp and Edoardo maintain with their own time, and in particular with the ‘sense of the end’ of their lives and the world, allows to articulate the concept of Apocalypse in new directions with respect to what was done up to the dawn of the 20th century, recognizing its dialectical versions and those mainly nihilistic, together with versions that feed on the never pacified tension of the two aspects. Furthermore, if in order to interpret we must always place ourselves in a ‘posthumous’ perspective – which does not mean placing the ultimate meaning of the works in the only ending...

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