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BEGIN:VEVENT
DTSTAMP:20260503T090153Z
DTSTART;VALUE=DATE-TIME:20231129T171500
DTEND;VALUE=DATE-TIME:20231129T183000
SUMMARY:Italian Studies Research Seminar: Playing with Artworks: Interart
 istic Experimentation in the Works of Leonardo Sciascia
TZID:Europe/London
UID:20231129-8a17841b8bf6adda018bfb7c86141a3d@warwick.ac.uk
CREATED:20231123T092731Z
DESCRIPTION:Italian Studies Research Seminar Series Wednesday 29th Novemb
 er\, 5:15-18:30 in room FAB4.52. Sara Parisi (ÌÇÐÄTV SMLC) will give a 
 talk on Playing with Artworks: Interartistic Experimentation in the Work
 s of Leonardo Sciascia. Leonardo Sciascia (1921-1989) was an Italian wri
 ter\, intellectual and man of letters\, whose interest in the visual art
 s is attested by the numerous contributions that he wrote on art and pho
 tography\, by the frequent use of images in his novels and short stories
 \, and by his private activity as an art collector. Although much has be
 en written about Sciascia’s non-fiction and narrative production\, the i
 nfluence that his passion for the visual arts and his considerations on 
 the physiognomy of art criticism exercised on his work has often been ov
 erlooked\, with his contributions on art and photography rarely being pu
 blished in anthologies. The aim of this paper is to investigate the rela
 tion between interartistic practice and experimental creativity in Scias
 cia’s works\, proposing a textual analysis of his writings\, as well as 
 offering an exegesis of the ekphrastic strategies he used\, of the bonds
  established with contemporary artists and of his considerations on art.
  After a contextualisation of the writer’s relationship with the visual 
 arts\, this paper will answer the following questions: are Sciascia’s re
 flections on the ontological nature of art a confirmation of his experti
 se in the intricacies of the visual code? Does the familiarity with the 
 visual arts provide him with alternative models for his fiction? Moreove
 r\, did the acquaintanceship with artists and photographers\, as well as
  the collaboration he created with them\, help him to understand their a
 rtworks and influence the experimentation in his novels\, such as in Tod
 o modo? My analysis will show how\, in Sciascia’s works\, art ultimately
  serves the purpose of disclosing truth by spurring the protagonists to 
 read the images\, to look beyond appearances and make connections with r
 eality. Ekphrasis is indeed ‘designed to produce a viewing subject’ (Gol
 dhill\, 2007)\, because it guides the readers’ eye and teaches them to b
 ecome active observers\, without passively submitting to the description
  of an artwork. Starting from Sciascia’s peculiar use of sight as a mean
 s to discern reality\, I will explore the writer’s deeper subjectivity a
 nd ideology which come out from his use of ekphrasis\, focusing in parti
 cular on his adoption of an intermedial perspective to understand the in
 visible – political corruption and the figure of God – through the visib
 le pieces of art created by the artists he loved.
LOCATION:FAB4.52
CATEGORIES:Italian Studies,Italian Research,Italian Studies Events
LAST-MODIFIED:20231123T092731Z
ORGANIZER;CN=Paul Savva-Andreou:
END:VEVENT
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