No. 30 (2023)

Among the current dilemmas of integration and differentiation within the field of the arts, three axes of critical and theoretical questioning about the status of the artistic work stand out: the transformation of aesthetic judgment towards a comparative naming of individual works (by Duve, Aira); the instability of artistic autonomy, acting on the boundaries between the space of the artistic work and the common world (Tassinari); the redefinition of the problem of artistic medias, in new confrontations of the tension between specificity and non-specificity (Krauss, Rancière). In literature, such a set of issues is presented in certain modes of theatricality, which explore intricacies of the scenography of enunciation (Maingueneau), porosities between the space of the text and its other spaces, tensions between situations of enunciation, enunciative acts and materialities of the medias, where antitheatrical strategies also work (Puchner, Fried). At the same time, there is a tendency towards prosification, whether in conflict with the reconstitution of specific practices – “prose as a matter of poetry” (Siscar, Gleize, Deguy) – or expansions, such as “spectacles of reality” (Laddaga), the prose as a medium and a matter of the expanded field. Such “ventriloquas”, “chorals” (Süssekind) and hybrid enunciative dynamics point to a crisis of scales related to the destabilizing sociocultural effects arising from the financialization and globalization of local economies, unfolding more recently in the debate on the ecological and Anthropocene crisis, that radicalizes the instability of scales and constituent measures of social and artistic experience.