The Scandal of Self-ContradictionPasolini’s Multistable Subjectivities, Geographies, TraditionsVienna: Turia + Kant, 2012
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Cite as: Christoph F. E. Holzhey, ‘​“La vera Diversità”: Multistability, Circularity, and Abjection in Pasolini’s Pilade’, 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. 19–35 <>
Earlier citation: Identical except for DOI prefix 10.25620

‘La vera Diversità’Multistability, Circularity, and Abjection in Pasolini’s PiladeChristoph F. E. HolzheyORCID

Keywords: Pasolini, Pier Paolo – Pilade; Aeschylus – Oresteia; multistable figures; contradictory thinking; paradoxes in literature

Before completing his uncharacteristically hopeful filmic vision of an African Oresteia, Pier Paolo Pasolini invented a theatrical continuation of Aeschylus’s trilogy. Pilade (1966/70) imagines what happens after Orestes, having being absolved by the Aeropagos in Athens, goes back to Argos. With its clear allusions to political developments in the last century – fascism, the Resistance, and Communist revolutions – the play reads as a mythical allegory for the situation of engaged intellectuals in the twentieth century.


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