Donata Chirico
Poetry is like bread: simple and sacred.
is an electric wire that can connect with the infinite,
with nature, with the soul of the world.
It's like a prayer mystics, no longer the language of belonging,
no marks higher religions, no borders
Fuad Rifka, The last word on the bread , 2007
Tommaso Russo Cardona was a friend and colleague. He taught at the University of Calabria, but this is no longer with us. Cancer, this disease as "symbolic" and elusive, we took him away. Determined and frail as he struggled he could do: loving and learning. And so he left us two books with the specific desire that his friends will get their hands literally. He knew that not going to make it to see them edited. But he also knew that those who knew him and loved him, would not let his work do not see the light. They are books about what makes the most of all language that form of life so special that it is. The first describes and analyzes the particular cognitive and linguistic phenomenon that is the irony and the "overthrow of discourse" that characterizes it. It will come out tomorrow just for Meltemi. He has edited the Grace Basile. The second book is about poetry. It will be released later this year. Tell us how poems are made of verbal language. Above all, however, tells how they are made and how they work the poems in sign language and, in particular, in Italian Sign Language (LIS). Moreover it is precisely in the course of an analysis and a glossary of the poems of the poet who was born deaf Rosaria Giuranna the title: "Foolish rattling of jaws."
E 'notice that the poem has fewer visitors and readers of novels. Imagine how many people can have a poem in sign language, or in a language commonly used by deaf people (and not by all the deaf), historically considered one language and not, therefore, always been outraged and boycotted. Yet there is poetry in sign language, deaf as there are poets and poets who give it life. It 's a piece of culture "oral" and, therefore, carnal, in a world of so-called global communication, or disembodied, voiceless. We must admit that there is something primitive and button in the poem, perhaps even naive. And this is true, of course, for poetry in sign language. Each poet, the working hands and eyes (as happens in languages \u200b\u200bmarked) working as the voice and the ear (as, in contrast, occurs in verbal languages) uses language in a special way and as the uses and transforms the "perform" something that holds together body and soul, instinct and mind, the viscera and brain. This explains, or at least suggests that poetry is always in and out of the language in which it is born. Daughter of the daughters of Babel, it happen often to free itself from its own origins and become a shared language, pure sound, rhythm, universally recognizable. Tommaso Russo Cardona studied sign languages \u200b\u200bfor years and I was fascinated because it seemed that they had a vantage point from which to explore themes that were dear as, for example, the relationship between the origin of language and activities manipulative and instrumental. When at one point impacts in poetry (he knows Giuranna Rosaria and Joseph in 1995) seeks to understand what that art is made of signs differed from that of words. Carefully exploring the dance of hands that is in every poem in signs, Tommaso Russo Cardona has taught us that there is a root Common signs and words and that the register of poetry is "the place where the similarities between languages \u200b\u200bspoken are more evident and marked." More precisely, he showed that in both cases "the poetic text brings into play its own internal rule, one (anti) standard that builds on innovations for its deviations from the norm and typical of other registers and, more generally, records in common use. This (anti) standard in his work and reconstruction of a contrasting fabric is based sull'accentuazione creative language of some fundamental properties of language (...): the balance between arbitrariness and iconicity, redundancy, the contrast between vocabulary and grammar, indeterminacy. " The book closes with a call to Vico and the assumption that poetic language can be regarded as the common source of our language faculty. Imagine that will not mind if the great Neapolitan philosopher Maria Zambrano with him remember when he writes that "poetry is the best friend of mercy."
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