Differenze tra le versioni di "Sandbox"

Da EU wiki.
(496 versioni intermedie di 2 utenti non mostrate)
Riga 1: Riga 1:
−
<div style="text-align:center;">[[File:Wilkinson_Pikett_Disuguaglianze.jpg|200px|thumb|left|Copertina]]</div>
+
= Contemplating the Rondanini Pietà =
  
−
<div style="text-align:center;">Richard Wilkinson, Kate Pickett</div>
+
'''''Maria Angela Padoa Schioppa''''' -- Sunday, June 11th 2006
  
−
<div style="text-align:center;">'''La misura dell'anima. Perché le diseguaglianze rendono le società più infelici'''</div>
+
Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.
  
−
<div style="text-align:center;">Feltrinelli - ISBN 9788807723933 - Milano, 2012 - 300 pagine - Libro 8,50€</div>
+
If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.
 +
----
 +
{| style="border-spacing:0;"
 +
|- style="vertical-align:top;border:none;padding-top:0cm;padding-bottom:0cm;"
 +
||
 +
Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.
  
−
<div style="text-align:center;">http://www.feltrinellieditore.it/opera/opera/la-misura-dellanima-1/</div>
+
I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.
  
−
''Kate Pickett'' è fellow all’University of York e lavora presso il National Institute for Health Research. Ha studiato Antropologia a Cambridge, Scienze nutrizionali alla Cornell ed Epidemiologia a Berkeley, prima di lavorare per quattro anni come assistant professor alla University of Chicago.<br/>
+
It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.
−
''Richard Wilkinson'' ha studiato Storia economica alla London School of Economics, prima di specializzarsi in Epidemiologia. È professore emerito alla University of Nottingham Medical School e professore onorario allo University College di Londra.
+
| align=center| [[File:pieta-rondanini_1b.jpg|border|right|thumb|200px|link=pieta-rondanini_1b.jpg]]
 +
|-
 +
|}
 +
----
 +
{| style="border-spacing:0;"
 +
|- style="vertical-align:top;border:none;padding-top:0cm;padding-bottom:0cm;"
 +
||
 +
If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.
  
−
'''Alcuni pensano che la lotta per l'esistenza e quindi le disuguaglianze economiche e sociali siano indispensabili alla società per progredire. Pensano cioè che chi è meno dotato è giusto che resti indietro. Altri trovano invece che tutti dovremmo avere alla nascita pari opportunità. In modo che tutti possano far fruttare al massimo le proprie doti di intelligenza e di carattere. Wilkinson e Pikett dimostrano con le loro ricerche che le società sviluppate più egualitarie sono appunto quelle che funzionano meglio. Notano che molti Stati hanno raggiunto oramai un limite massimo del benessere economico complessivo. Ma quelli che mantengono una forte disuguaglianza nella ripartizione di questo benessere, soffrono maggiori disagi sociali: malattie, criminalità, tossicodipendenza ecc. Gli autori fanno quindi alcune proposte per ridurre la disuguaglianza.'''
+
This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.
 +
| align=center| [[File:pieta-rondanini_2b.jpg|border|right|thumb|200px|link=pieta-rondanini_2b.jpg]]
 +
|-
 +
|}
 +
----
 +
{| style="border-spacing:0;"
 +
|- style="vertical-align:top;border:none;padding-top:0cm;padding-bottom:0cm;"
 +
||
 +
The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.
  
−
<div style="text-align:center;">'''Estratto - Ipotesi di lavoro, poi verificate'''</div>
+
The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.
  
−
[[File:Tasso_di_mortalita_in_USA.jpg|border|right|thumb|400px|Fig. 1.4 - Tasso di mortalità negli USA/Livello di reddito.]]
+
This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.
 +
| align=center| [[File:pieta-rondanini_3b.jpg|border|right|thumb|200px|link=pieta-rondanini_3b.jpg]]
 +
|-
 +
|}
 +
----
 +
{| style="border-spacing:0;"
 +
|- style="vertical-align:top;border:none;padding-top:0cm;padding-bottom:0cm;"
 +
||
 +
If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.
  
−
(pag. 27) Nella figura 1.4 i tassi di mortalità si riferiscono a individui che vivono in distretti postali classificati in base al reddito medio dei nuclei familiari che vi abitano. A destra si trovano i distretti postali più ricchi, con tassi di mortalità più bassi, e a sinistra i distretti più poveri, con tassi di mortalità più elevati. Anche se abbiamo illustrato il fenomeno utilizzando dati statunitensi, gradienti di salute simili, più o meno ripidi, si riscontrano in quasi tutte le realtà sociali.
+
This position of Mary reminded me of the gesture of giving birth.
  
−
Redditi più alti sono associati a tassi di mortalità più bassi a tutti i livelli della società. La questione non è soltanto che i poveri versano in condizioni di salute peggiori di chiunque altro; ciò che colpisce è il carattere regolare del gradiente di salute che attraversa l’intera società. È un gradiente che ci riguarda tutti.
+
A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.
  
−
All’interno di ciascun paese, la salute e la felicità individuali sono correlate al reddito: i ricchi tendono, in media, a essere più sani e più felici delle persone meno abbienti nella stessa società. Ma se si mettono a confronto i paesi benestanti, è ininfluente che, in media, i membri di una società siano quasi due volte più ricchi di quelli di un’altra.
+
The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.
−
 
+
| align=center| [[File:pieta-rondanini_4b.jpg|border|right|thumb|200px|link=pieta-rondanini_4b.jpg]]
−
Come possiamo interpretare questo paradosso, cioè che le differenze di reddito medio o di tenore di vita di intere popolazioni o interi paesi sono del tutto irrilevanti, mentre le disparità dei redditi all’interno di questi stessi contesti sociali hanno una notevolissima influenza? Due sono le spiegazioni plausibili. La prima è che il fattore rilevante nei paesi ricchi non sia tanto il livello di reddito o il tenore di vita dell’individuo in senso assoluto, quanto la condizione del singolo rispetto ad altri membri della società. Forse ciò che conta non è tanto il tenore di vita medio, quanto unicamente il fatto di trovarsi in una situazione migliore o peggiore di quella di altri: in altre parole, l’aspetto importante è il posto occupato nella scala sociale.
+
|-
−
 
+
|}
−
L’altra possibilità è che il gradiente sociale della salute, illustrato nella figura 1.4, sia determinato non tanto dagli effetti del reddito relativo o dello status sociale sul benessere psicofisico, quanto piuttosto dalla mobilità sociale, che discrimina tra le persone con condizioni di salute differenti. Forse le persone sane tendono a salire la scala sociale, mentre quelle non sane rimangono ai gradini più bassi.
+
----
−
 
+
{| style="border-spacing:0;"
−
Questo dilemma verrà risolto nel prossimi capitoli, dove esamineremo gli effetti di una riduzione o di un ampliamento delle disparità dei redditi all’interno di una società, per stabilire se le società caratterizzate da maggiore o minore diseguaglianza siano gravate dal medesimo carico di problemi sanitari e sociali.
+
|- style="vertical-align:top;border:none;padding-top:0cm;padding-bottom:0cm;"
 +
||
 +
It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.
 +
| align=center| [[File:pieta-rondanini_5b.jpg|border|right|thumb|200px|link=pieta-rondanini_5b.jpg]]
 +
|-
 +
|}

Versione delle 19:51, 20 giu 2023

Contemplating the Rondanini Pietà[modifica]

Maria Angela Padoa Schioppa -- Sunday, June 11th 2006

Today I went to visit the Pietà Rondanini at the Castello Sforzesco. I've tried to write down the thoughts and feelings it aroused in me.

If you observe the whole statue from various perspectives, you are led in a movement that from the curve of Christ's feet to the right continues climbing with a curve to the left up to Mary's head, and then descends along Mary's entire back until it rejoins the feet of the Son.

Seen from the right side, a curved line stands out that runs through the whole statue as in a single large well-characterized movement: as if to express, in my opinion, the mental attitude of someone who - in the face of severe pain experienced - does not stiffen in a straight position and petrified, but instead "moves" with a multiplicity of inner attitudes (concentration, gentleness, strength, acceptance...) surrounded and supported by a large curved gesture of protection that contains them all in itself.

I was particularly struck by the deep curve of Mary's back, which can be observed from the rear: it is imposing and seems to physically express how strong the experience of total commitment and dedication to support the other can be at certain moments, when at the moment of loss of vital forces and exhaustion.

It makes one think of the ability in man to take charge of the other, or to the strength of com-passion.

Pieta-rondanini 1b.jpg

If you look at the statue from the front, it can almost seem that it is the Son who is supporting Mary, while seen from the back it is seen that it is Mary who is holding the lifeless Christ in her arms.

This made me think that of a "therapeutic" experience of participation and support; for example, of a doctor towards a patient or a parent towards a child in difficulty, or in many other cases, the inner enrichment that arises is always reciprocal and, at least potentially, it's never in just one direction.

Pieta-rondanini 2b.jpg

The two faces of Christ and Mary, in some respects very similar but also very different, seem to express a multiplicity of feelings and moods: concentration, commitment, seriousness, pain but not despair, calm? serenity... and they almost seem to lead those contemplating them to see how the human being can transform himself on his journey of disembodiment towards the spiritual world, when he approaches the threshold of death. Death on earth and birth to the spirit world.

The two figures express a profound union between them that almost borders on the fusion of the two bodies, so much so that in some parts it is not easy to distinguish the body of Christ from that of Mary. But on the other hand, the two individualities clearly stand out.

This can be a symbol of those life experiences in which symbiosis and otherness are experienced at the same time.

Pieta-rondanini 3b.jpg

If you look at the statue from the left side, you can see the broad and strong gesture with which Mary supports the inert body of Christ: it seems that she is resting him on her lap, between her legs, to better support him with all her strength.

This position of Mary reminded me of the gesture of giving birth.

A circle closes for Mary between the birth and death of her Son, in two similar and polar gestures: "giving birth" and "supporting in dying out", the alpha and omega of a journey.

The statue evidently bears the contrast and the coexistence in the same work between the perfectly smooth, completed parts and the chiseled and scratched, incomplete parts, between harmonious and plastic bodily forms, and other only sketched, almost disembodied forms.

Pieta-rondanini 4b.jpg

It seems to me that the sketched part makes this Pietà particularly special and evocative, almost as if Michelangelo wanted to offer anyone who contemplates it the possibility of "continuing the work" - with his own thought and heart - finding within himself so many possible messages and impulses, aroused precisely by the fact that the work is only sketched and not completed.

Pieta-rondanini 5b.jpg
Estratto da "http://www.euwiki.it/index.php?title=Sandbox&oldid=2391"