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Dissolution of power creates identity through repetition

Pire Paolo Pasolini was an Italian artist who plied the domains of poetry, intellectualism and film and literature. Pasolini was notably distinguishable as a journalist, linguist and philosopher among a host other art domains that he pursued in the long yet drastically ended course of his art career. Pasolini was also a newspaper and magazine columnist as well as painter and renowned political figure. Eloit Audrene (2004) notes that Pasolini illustrated a unique and uncommon cultural dynamism in his course towards turning into a highly controversial figure evident through a closer assessment of his works of art. Pasolini was marked by outright disdain for the Bourgeoisie culture and social system. His ideologies tended towards the conceptual tenets and thrust of communism. On the 26th of 1947, the author wrote a contentious declaration published on the front page of newspaper entitled Liberta, "In our opinion, we think that currently only Communism is able to provide a new culture".

What heightened the controversy with regard to his political ideological inclinations is that whilst it was evident in his art works that he disdained Feudalism Pasolini was still not a member the Country's Community Party (PCI) which embraced ideas akin to his. This was contrary to common expectations given his public denouncements of the Bourgeoisie and the entirety of the feudalist social and societal conventions. Petrolio by Pier Paolo Pasolini is text loaded with literary meaning and import; the text saddled with dissolution, dissociation and identity thematic concerns has been appropriately conferred the monumental tag.

There is a pervading use of the figurative use of the body that is intertwined with a consistent correlation between sexual imagery and politics. The denigrated state of the society presented through the portrayal of extreme sexual indulgencies archives the literary effect through a persistent correlation between the sexual imagery to the economy. The bodily blockages are used as a metaphor to represent the accumulation of wealth in the capital, causing destruction whilst the depletion of human body resources is analogous to the rich needless spending of the country's resources. The pervading societal decadence is presented as a significant form of implicating heavenly punishment as a result of overindulgence in sex. The novel is marked at the end by the inevitable demise of the working class.

The author has employed a repetition of key terms that are central denotations and connotation to the articulation of thematic substance. The juxtapositions of the uses of the words cannibalism and carnival are used to drive in the messages on the ills of consumer society that have culminated in the death of the working class. The death of the working class is further elucidated but the repetitions of the death and consumption lexical items that add to the authorial persuasion substance. In all his works the author has maintained protracted denouncements of the bourgeois typical consumer society. Pasolini represented his celebration of the diminishing part of the society which in his term was a world of ferocity, instinctive goodness and an entire linguistic context full of vitality proper to the working as well as rural classes". He mourned that, "The society had transgressed from the innate cycle of the seasons to the sequence of industrial production and consumption". (Green, Martin, 2006) The presentation of main character with a split personality is used together with various form of repetition to illuminate themes of identify through dissolution, the presentation of fragmenting society which is effective in portraying a society at a historic and crucial turning point. The disintegration I presented through various repetitive forms as a process of mutation in the society and individual's creation and establishment of identity.

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