The Scandal of Self-ContradictionPasolini’s Multistable Subjectivities, Geographies, TraditionsVienna: Turia + Kant, 2012
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Cite as: Bernhard Gross, ‘Reconciliation and Stark Incompatibility: Pasolini’s ‘Africa’ and Greek Tragedy’, in The Scandal of Self-Contradiction: Pasolini’s Multistable Subjectivities, Geographies, Traditions, ed. by Luca Di Blasi, Manuele Gragnolati, and Christoph F. E. Holzhey, Cultural Inquiry, 6 (Vienna: Turia + Kant, 2012), pp. 167–86 <https://doi.org/10.25620/ci-06_10>

Reconciliation and Stark IncompatibilityPasolini’s ‘Africa’ and Greek TragedyBernhard Gross

Keywords: Pasolini, Pier Paolo; motion pictures; tragedy; classical antiquity; aesthetics; classical tragedy; Italy – History; bourgeoisie

Medea from 1969 is the completion and culmination of a series of Pasolini’s films that engage with Greek tragedy. This series includes his film version of the Oedipus myth from 1967 and his reworking of Aeschylus’s Oresteia into an African Oresteia from 1968. This film, Appunti per un’Orestiade africana, contains a sequence that is odd in a double sense.

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