The education of "young" and adolescents: on the archetypes and against the "youth culture" di Raffaele Iannuzzi Smonto subito, preliminarmente, un paio di ideologie morte e mortifere, segni oggettivi di una cultura della morte del pensiero.
Prima ideologia: i “Giovani”, con la maiuscola, una bella invenzione sociologica, buona a costruire carriere e montare l’industria culturale, ma niente più. Non esistono i “giovani”, There are periods throughout life, I call on the basis of an educational tradition and archetypal-mythical-religious initiations: therefore, the critical stage of 'initiation into adulthood, so that this problem is, that has become problematic. Problem is something that lies before us, as indicated by the 'etymology. But teenagers are a side issue, specific, concrete, that can not be subsumed to the sociological macro category of "young". Therefore, we find the paths of initiation, and then attach this to the archetypes defined and concrete reality.
Second ideology: the "youth culture". Even worse. This is a mindset imposto dalla subcultura dominante e nichilistica. Cos’è la “cultura giovanile”? Nessuno sa spiegarlo. Solo gli schemi – appunto – possono ricomprenderla in un vissuto che, poi, è ritradotto in altri schemi. La spirale del pensiero senza più accesso alla verità e sconfitto di fronte alla realtà concreta dei singoli, degli in-dividui, delle persone, nella loro trama relazionale.
Tutto ciò smontato, veniamo all’oggetto del mio intervento. Il mio intento è leggere l’esperienza degli adolescenti, in primo luogo, e dei giovani – nel senso meramente cronologico -, in termini di iniziazione e di archetipi. Ovvero, di structures and "generative imprinting (Roye Fraser) (1).
To do this, I use the power of cinema, images brutally compelling, capable of breaking the "inside" of schematization and reopen a new course of reading and vision of things.
Development theme
first film to be analyzed, to extract video from YouTube (2): "Fight Club".
The board and the film's plot, in brief. Fight Club is a 1999 film directed by David Fincher, based on the novel by Chuck Palahniuk. The film offers a highly critical vision of consumerism and alienation of modern man.
The protagonist (Edward Norton), consultant of the insurance business of a major car manufacturer, is the prototypical yuppie frustrated by modern life: sleepless, anxious, dazed by jet lag . You know well that the jet lag (often referred to as "bad time") or dysrhythmia , discronia or even disincronosi circadian, is a disorder that occurs when crossing time zones, as in the case of a long flight. In these cases - at their destination - you are drowsy, tired, or confused. The phenomenon occurs because of alteration of the normal circadian rhythms. It 'been a high symbolic value: the man stunned the postmodern world, free of internal and external orientation and stabilization, with no physical basis ("grounding") and interior. The man on the run but with no way out, far beyond man poised descrittoda other American novelists such as Scott Fitzgerald or, later, Saul Bellow. We are well: here the ego is disintegrated and no longer responds to stimuli and emotional body, dead alive. So is the protagonist. He is attending only an apparent calm listening groups for people with incurable diseases. Because the terminal state to be the best in its existence of zombies, the dead man walking of dead-than-walking. In this way also meets Marla Singer, who pretends to like him to have serious problems even to meet people and enjoy a free cup of coffee. A world of parasites and freeloaders out of the social life and all liability in respect of themselves and others. Finished all, there is only the ego that survives as it may, those who support the terminally ill, and others to other people's money. The in-social nature of collective nihilism has become the lifestyle of mass.
During his business trips, the main character gets to know Tyler Durden (Brad Pitt a formidable), an original and unconventional producer and marketer of soap. One day he returned from work, the protagonist discovers that his house was destroyed in an explosion caused by a gas leak. Another Symbol: everything explodes, waiting for the big explosion, the Great Crash. In desperation, he recalled the bizarre and Tyler decided to meet him again. Thus was born a great friendship, so that Durden lo ospiterà nella sua casa fatiscente. Un’amicizia dai toni gotici, dominata dalla personalità di guru nietzschiano di Tyler, con l’altro a recitare il copione del discepolo da iniziare. A questo punto, Durden lo coinvolge nella nascita del Fight Club , un circolo segreto i cui appartenenti prendono parte a violenti combattimenti tra loro. I due, pian piano, entrano in simbiosi e radunano nuovi e numerosi adepti. In breve tempo, quello che era un circolo di combattimenti clandestini si trasforma in un ritrovo di uomini alienati e insoddisfatti, pronti a combattere fino alla morte pur di rovesciare ciò che considerano il loro nemico giurato: l'attuale disumana società, che trova la its highest expression in the 'American way of life. " Not only that ready to do anything to "re-identify" as individuals, to refocus as a conscious individual, after the pounding that produced the darkening of mind and will. Resurfaces the warrior spirit, with its dark ancestral inspiration, to bring awareness to the home of the self: through war, brutal fight, with tribal rituals, one begins to esseres and themselves, they struggle for survival and for this, for something thin and adherent to the carnal life, or abstract and distant from the self. Such a project to address clear-Nietzsche-heroic warrior, culminating in the creation of a group subversive and in the conception of an imaginary Project Mayhem -style eco-terrorist. The Madness of Tyler, but at this point, it becomes uncontrollable, and so the main character in an attempt to stop him, he discovers the great mystery that lurks in the life of Tyler.
takes these elements to immediately grasp that it is not vulgar nihilism and the Vulgate. There is very much in this film. It has to do with the positive and active nihilism of Nietzsche (The Antichrist See and compassionate God vs. weak). In this film, is, therefore, concerned the life and death, survival and acceptance of pain and suffering as cathartic rite of initiation into life as a legend and myth-making-mythography (the symbolic existence as an adventure and journey of the hero, even in the darkness, hero) without honors the life of Superman, nor glory, here conceived as the self that comes into awareness. In short: the Self, in Jungian and post-Jungians. Life is a flow, not fluid, rites of initiation, a complex and shapeless magma of initiation rites. We are born, we grow, we move from-to, childhood-adolescence-youth-maturity. The fathers had, at one time, the task of initiating the "man cub" to life, but there are still fathers in this society? E 'to read carefully the production of Claudio Rise and loot the site www.maschiselvatici.it . not enough. Violence is to violate something, a sacred reality, then face the violence is part of initiation, of the clash with the holy, to escape the scontatezza and make them his friends, fellow traveler. In violence, there is the sacred embedded (See René Girard, Violence and the Sacred (1972), tr. Com. Adelphi, Milan, 1992).
confrontation, defense, individuals: they are plain sacral, religious.
But - here is the crux, scrapped, the turning point - Jesus is the Great Initiator: "I am the VIA , the Truth and the Life . And the life there, because there is an EIA, he is, to form the passage, the "Bridge", as we read in Dialogue of Divine Providence of St. Catherine of Siena).
pinpoint some key questions. Take the violence of teenagers, well, because it starts so young, sempre più giovani? Non sarà l’ansia, bruciante e sradicante, di avere una vera iniziazione? Fight Club è un film pugno nello stomaco, ma non un capolavoro: allora, perché è diventato un cult?
Ancora: la lingua nuda, scarna, del film e del nichilismo attivo, in questo caso, dice il re è nudo, senza avverbialità, non ha bisogno di rafforzativi, è se stessa, come dovremmo essere noi: il rischio di essere noi stessi fino in fondo, di porci per opporci, come diceva Maritain. Allora, se ci pensiamo bene, l’ individuazione in senso pieno è la cifra religiosa; Gesù ha costituito la dinamica, anzi created it, the dynamics of the individual (test: because we are afraid of the word "in-ecutions?). Some personality traits of Jesus, the language of bare, dry, rocky, like the Semitic jew blasphemer and subversive to the rabbis of the time, "Rabbi," the guardians of the dead time, living without religion and faith in God
Again, the constant sparigliamento cards from Jesus: "Only God is good," when the rich young man calls him "Good Teacher." As if to say: Look, here there is no goodness, no kindness in this world dominated by Satan, is the atmosphere of Fight Club to dominate without God, without faith in Him
reflect on Jesus' words to the great perfectionist and hypocritical (from UPO-Krino , think low, not has self-awareness, the hypocrite is a "low-thought, a thinker, bass, mediocre, without high horizons, an" a-theoretical "in an objective sense, because only with God and think you can fly high, who denies that he thinks and fly low), the rich young man: "Why call me good? Only God is good. "
According film Matrix .
Matrix is \u200b\u200ba 1999 film written and directed by brothers Andy and Larry Wachowski. Oscar winner who has four. A cult and a must, as they say in the pop-postmodern newspeak.
The title derives from the Latin word matrix, matricis (literally translated into Italian as "mother" or "nurse", "matrix", "womb", "frame" and, broadly speaking, even with a "channel"). Arrays are also elements of type table from strutture matematiche, molto utilizzate nell'informatica per associare dati tra loro. Cos’è Matrix? Lo spiega Morpheus a Neo, nel famoso dialogo-clou del film: “Matrix è ovunque. E’ intorno a noi. Anche adesso, nella stanza in cui siamo. E’ quello che vedi quando ti affacci alla finestra, o quando accendi il televisore. L’avverti quando vai a lavoro, quando vai in chiesa, quando paghi le tasse. E’ il mondo che ti è stato messo davanti agli occhi per nasconderti la verità”. Qui c’è una buona dose di gnosticismo e di misticismo panteistico, un sincretismo suggestivo e affascinante per l’homo technologicus del nostro tempo, per noi, dunque.
At the dawn of the twenty-first century, the man gives birth IA : artificial intelligence, which enables you to design machines that can think. However, in an indeterminate future, the machines turn against the human species, and groped to combat them, men shall hide the sun (as it was by him that the machines drew their energy). The robots are able to find a alternative energy source: the man who could act as a battery because it produces many millions of calories. So it was that humanity was imprisoned by the engines in order to absorb the energy of life. That machine is a prison for the mind through brain impulses and a world built on the computer, people think they live freely in the world of the twentieth century. In reality what is in front of their eyes is the program - called Matrix - ie the virtual reality created by machines and housed in the same Source , a sort of server from the world of the Matrix begins. Only a few thousand people were released from the yoke of the Matrix, the control system of the brain that imprisons individuals: a system of electrical impulses sent to the human brain, creating the illusion of living in a world that now no longer exists by centinaia di anni. All'interno di Matrix la gente vive senza accorgersi minimamente della propria condizione di schiavitù. Soltanto pochissime persone si rendono conto che "qualcosa non va", percependo una sensazione di stranezza ed estraneità che non riescono a descrivere. Una di queste "imperfezioni del sistema" è Thomas Henderson (Keanu Reeves), conosciuto nell'ambiente degli hacker come "Neo". Gli hacker sono gli indisciplinati libertari per eccellenza, ergo i soggetti adatti a rovesciare il sistema inglobante di Matrix, almeno quando sono dotati della forza degli eletti gnostici, i Sapienti, secondo lo schema gnostico di Valentino, il grande sistematizzatore teologico dell’eresia gnostica. Convinti che Neo sia "l'Eletto" - who will be able to restore freedom to the human species - a group of humans belonging to the Resistance, among which the figure of Morpheus , the captain of the warship Nebuchadnezzar , contacted him, convincing him to exit the Matrix and to be reported - after a kind of awakening from the state of larva in which the sensations were projected only in his mind - in the true reality. Here, Neo discovers that, in the real world, the man is literally "grown" by machines. The reality, as Wilde, beyond imagination. Neo will become gradually aware of their exceptional qualities, becoming increasingly able to contravene the rules of the Matrix, acquiring powers equal to or even higher than those of a program of the Matrix. Neo meets a lot of software. In each Matrix program, as such, has its own purpose and, when not fulfilled, it is destroyed. For example, the Oracle, a software with the features of a woman who's goal is to unbalance the equation and its opposite, "the architect" (the creator of the Matrix), attempts to balance. Through a virtual death at the hands of Agent Smith, one of the programs that have the task of eliminating the "imperfections", and his subsequent "resurrection" thanks love blossomed with Trinity (Trinità!), also a membro della Nabucodonosor, Neo prende finalmente coscienza di essere stato scelto per liberare l'umanità dal giogo delle macchine, sconfiggendo gli agenti e riportando la speranza. Nel dialogo tra l'agente Smith e Morpheus, che è stato sequestrato e drogato perché riveli con la forza i codici di accesso al mainframe di Zion, chiari riferimenti vengono fatti anche al tema dell'evoluzione, della lotta fra specie differenti (Darwinismo sia in senso naturalistico che sociale) e della creazione di un equilibrio naturale fra le specie all'interno di un ecosistema. Preponderante è poi il concetto di singolarità tecnologica. Quest'ultimo è un punto critico di accelerazione dell'iter nella scala dell'evoluzione tecnologica della razza umana in which machines they gain awareness of themselves and become self-sufficient, independent, breaking away from their owners and can self-program, to repair themselves and to govern themselves, deciding for themselves their own destiny and their lives, in contrast with those of humans who created them. The concept of freedom, choice, self-determination and the fight against the established power that stifles free will and personal creativity in the film are then displayed in a strictly complies with the hacker ethic, in which the film itself is a valuable contribution. Finally, there are also references to transhumanism , aimed at capacity building umane sia a livello fisico che mentale e cognitivo.
Qui ci troviamo – dialogo Morpheus/Neo – nel cuore della scelta: la verità. Pillola rossa-pillola blu. Neo sceglierà la rossa e rischierà. Quanto facciamo rischiare, mettendoci la faccia e il corpo, i nostri ragazzi? Il rischio: cos’è mai una società, una comunità il mondo, senza rischio? Senza intraprendenza votata alla scelta della verità, delle cose autentiche, vere, appunto: rischiose.
I due sono, alla fine, sapienti gnostici, si rispecchiano (il volto di Neo sugli occhiali a specchio di Morpheus), ma proprio allora comincia il Viaggio. Un’altra Once again: The Hero's Journey, the Hero's Journey, by Joseph Campbell. It 'important to read and meditate upon his great work The Hero With a Thousand Faces (3), published in Italy by Bloomsbury Publishing. Campbell was a consultant for Lucas, the director of "Star Wars". Another hook to examine these crucial issues for e-ducere, the tear out out of our guys the best. What they choose to give themselves and the world. To give to the world, to others. Without inner strength and awareness, the gift is false, hypo-crit, in the sense described above. By force, witnesses and construction in contact with others. The con-tact dono.
Seguiamo i ragazzi tenendoli per mano e, insieme, abbracciandoli, senza trascurare di rilanciare la questione della scelta e della responsabilità (respondeo, rispondere: alla vita, dire sì alla vita(3) ).
In entrambi i film, emergono gli archetipi costitutivi, strutturali della vita come tale. I “giovani” sono uomini, dunque sentono e vivono questi archetipi: il Guerriero; il Sapiente; l’Uomo che sceglie: legati ai grandi temi della guerra, del combattimento, per sopravvivere ed affermarsi come individualità; della sapienza da eleggere come guida; della libertà da conquistare, in the life and history.
close with the "balconing Hero." The "balconing" is a gesture that leads to crazy people, even adults, to throw down, to assert a quid dark and gloomy heroism. Well, I reverse this delusion in affirmation of inner strength and power: for-Jaguar-Paw in "Apocalypto" is launched from the top of a mountain, to escape his enemies, who chase him. They are also the enemies of his people, his tribe, defeated and subdued. Everything is against him alone, on the run, hunted by armed men, and hateful. But he jumps, is the last chance to get safe, that is its home, its forest, its forest, the home of the original archetype. Breathe deeply from the abdomen, as you do when you meditate, it is his meditation, his "yes" to life, its strength in the game ... and jump! A jump crazy, you would not believe the plaintiff did not stunt-man, an unparalleled heroism, too, in direct: right first time, of course. Here, the "balòconing Hero." Coupling to another part of the falls, there is a new world and old, is new, that world, rediscovered in the drama of the struggle for survival, but it is his world. Jaguar Paw-of-the cries of his enemies: "I Jaguar Paw-to-be, this is my forest. My Father and the Father of my Father have hunted here. I have hunted here, and here they will drive out the children and my children's children, as long as I am alive. I have Jaguar Paw-di-.... " Say no more, here is everything. We pray to God and work to ensure that our youth, our students and our daughter have the courage: "I am Jaguar Paw-di-."
A quote by Knut Hamsun, the great Norwegian writer, Nobel Prize in 1920: "The place you come from is always sweet, is patriotism on a small scale, is the feeling of Home."
