La pubblicazione di questo volume risponde a diverse esigenze. Prima fra tutto di stimolare un dibattito interdisciplinare intorno a uno fra gli argomenti che maggiormente suscitarono l'interesse di Francesco Iengo: il concetto di metropoli, o meglio la macroarea concettuale, a cui si collega la riflessione sulla società e sulla civiltà moderna e sull'idea stessa di modernità. Ulteriore preoccupazione è stata quella di di evitare il classico omaggio "alla memoria" confrontandoci con lavori scientifici di Iengo in modo interlocutorio, eludendo malinconiche rimembrwnze (...) e sterili piaggerie accademiche. Il risultato è un quadro collettivo movimentato e ampio che spazia storicamente e geograficamente, in una varietà di approcci e di spunti, tra estetica, filosofia, letteratura, antropologia, cinema. (shrink)

Agalmato-eroticism is usually shown in the ancient world as a literary myth; it had lasted in the works of those poets such as Ovid and those writers of varia variorum like Pseudo Luciano in his Amores, who devoted to it their analyses and reflections. The best known example of Agalmato-eroticism is certainly the one which refers to Pygmalion’s story, who carved an ivory statue of a maiden and fell in love with it, then asked the ancient Greek goddess of love (...) and beauty Aphrodite, to change it into a woman. What appears emblematic in this story — that we might call of Metamorphosis — is its collocation: that is, between the prior event in the story of the Propetidi, and the conclusion referring to the story of Adonis, after a series of events deriving from the transformation of the statue in human being. Every event of agalmato-eroticism is a disruption of the natural order of things which cannot be without consequences. Through the illustration of Agalmato-eroticism the authors provided a very strong account of what it meant for a man to love a statue: to loose himself; and suicide and oblivion were the fundamental aspects of the defeated subject who remained confined in his own solispism. (shrink)