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What sort of imaginary urban life does Pasolini outline in his films? What are the forms of the cities pictured in his work, first Rome and then other cities, in the “Third World”? This article attempts to answer these questions by starting from two hypotheses: first, that Pasolini approached depiction of the city with the intact urbs in mind, whose pure and almost mythical identity was still maintained within its ancient walls (like the lock which ensures the inviolability of the image of the city in the famous View of Florence “with the Chain”); and second, that he saw any attempt to open this kind of city up to contemporary life as a deep wound. This led him to take up the defence of the entire city, even its most ordinary and least monumental aspects, in the same way that he championed popular literature and poetry in dialect, which in his eyes were as important as the work of Dante or Petrarch.
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Jules Verne's L'île mystérieuse rewrites some of the main episodes of Defoe's Robinson Crusoe, with the difference that Verne's castaways are more numerous and cultured than Defoe's only hero. In Verne's novel, the transformation ofAyrton, who is abandoned on an island and turned into an animal, also sounds like a parody of one of Robinson Crusoe's scenes. So L'Ile mystérieuse may be the novel where, as he tries ironically to equal the literary model, Verne reflects upon his own creative power.
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