A methodological proposal, in corsair style, for studying the dynamics of the Classical Tradition, crossing the Philological field and Art History's. This proposal takes its cue from the exhibitions Serial / Portable Classic (Fondazione Prada, Milan-Venice, Spring-Summer 2015). Original vs copy, model vs exemplars, archetype vs reproductions, uniqueness vs seriality, multiples and prototypes. Since its beginnings, the Classical Tradition progresses on by discarding the binaries of the repetition of an auratic, abstract and absolute exemplarity of the Antique. In the process of the Classical Tradition, the idea of a sole uniqueness, unrivaled and not reproducible, is continuously and always belied. Serial / Portable Classic: since the Antiquity, the Classics are reproducible in series and are also suitable to be reduced in scale, to become 'portable'. The theoretical principles and technical procedures that lead to imitate the original, and then to reproduce it, are: recensio, collatio, emendatio, editio, i.e.: recognition, evaluation and confrontation of existing models, and then selection and production of a new manufact. As already indicated in my Introduction of the book L'originale assente (An Introduction to the Classical Tradition, Milan 2005), the vocabulary and the procedures for the reproduction, and generally for the production of artworks, recall the moves of philological methodology. The prospect highlighted by the exhibitions Serial / Portable Classic throughout their outstanding scenaries (which clearly reflect the imprint of the studies and method of Salvatore Settis) gives me the opportunity to sum up the rules of the philological paradigm, depending on the setting – as of today unsurpassed – proposed by Giorgio Pasquali in his book Storia della tradizione e critica del testo (1934), and to verify the applicability to the artworks of the critical analysis of copies of manuscripts. Given from my philological institutio turned also towards the study of the Classical Tradition and Iconology, this particular point of view influences my squint of eyes, and what is more a squint unbalanced on the side of Philology. In my opinion, the comparison of different hermeneutical instances, and the use of different disciplinary techniques as imprope weapons, may be a not completely useless exercise, if not only in order to provoke both philologists and art historians to enter my game and play in the way I try to propose with this raid. The aim of my game is to intersect the respective squintings, change in positions, exchange the eye-glasses with each other, and succeed in seeing similarities and differences of approach between Philology and Art Criticism.
Originale Assente: il paradigma filologico : Una proposta di metodo in stile corsaro. Riproposizione del "decalogo di dodici articoli" di Giorgio Pasquali
CENTANNI, MONICA
2015-01-01
Abstract
A methodological proposal, in corsair style, for studying the dynamics of the Classical Tradition, crossing the Philological field and Art History's. This proposal takes its cue from the exhibitions Serial / Portable Classic (Fondazione Prada, Milan-Venice, Spring-Summer 2015). Original vs copy, model vs exemplars, archetype vs reproductions, uniqueness vs seriality, multiples and prototypes. Since its beginnings, the Classical Tradition progresses on by discarding the binaries of the repetition of an auratic, abstract and absolute exemplarity of the Antique. In the process of the Classical Tradition, the idea of a sole uniqueness, unrivaled and not reproducible, is continuously and always belied. Serial / Portable Classic: since the Antiquity, the Classics are reproducible in series and are also suitable to be reduced in scale, to become 'portable'. The theoretical principles and technical procedures that lead to imitate the original, and then to reproduce it, are: recensio, collatio, emendatio, editio, i.e.: recognition, evaluation and confrontation of existing models, and then selection and production of a new manufact. As already indicated in my Introduction of the book L'originale assente (An Introduction to the Classical Tradition, Milan 2005), the vocabulary and the procedures for the reproduction, and generally for the production of artworks, recall the moves of philological methodology. The prospect highlighted by the exhibitions Serial / Portable Classic throughout their outstanding scenaries (which clearly reflect the imprint of the studies and method of Salvatore Settis) gives me the opportunity to sum up the rules of the philological paradigm, depending on the setting – as of today unsurpassed – proposed by Giorgio Pasquali in his book Storia della tradizione e critica del testo (1934), and to verify the applicability to the artworks of the critical analysis of copies of manuscripts. Given from my philological institutio turned also towards the study of the Classical Tradition and Iconology, this particular point of view influences my squint of eyes, and what is more a squint unbalanced on the side of Philology. In my opinion, the comparison of different hermeneutical instances, and the use of different disciplinary techniques as imprope weapons, may be a not completely useless exercise, if not only in order to provoke both philologists and art historians to enter my game and play in the way I try to propose with this raid. The aim of my game is to intersect the respective squintings, change in positions, exchange the eye-glasses with each other, and succeed in seeing similarities and differences of approach between Philology and Art Criticism.
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