Rischia di passare alla storia per via di quei croissant; portati a bordo di uno scooter alla sua amante; in un appartamento a due passi dallEliseo; dove lui egrave; il padrone di casa. Franccedil;ois Hollande egrave; stato definito in tanti modi; gli indici di gradimento sono i piugrave; bassi di sempre fra tutti i presidenti francesi. Eppure il suo percorso politico non egrave; casuale; le sua capacitagrave; e ndash; soprattutto ndash; la sua passione per la politica; vengono da lontano. Questo breve e prezioso ritratto scritto da Patrick Deville ci fa conoscere piugrave; da vicino e fuori dalle definizioni didascaliche lattuale presidente francese. Un reportage pubblicato da Libeacute;ration il 15 marzo 2012; nel numero speciale che ogni anno il quotidiano affida agli scrittori. Per un giorno Libeacute;ration egrave; interamente redatto da loro. Un reportage sulla tappa di Valence e Marsiglia della campagna elettorale; dove il tratto da ritrattista di Deville sembra uscito da uno dei suoi "romanzi senza finzione"; dove sia il personaggio (Hollande) e lambiente (Marsiglia) vengono abilmente definiti attraverso la forza e il racconto di poche; pochissime; essenziali parole.Patrick Deville egrave; uno degli scrittori piugrave; noti oggi in Francia. Il suo romanzo Peste Choleacute;ra ha vinto nel 2012 il Prix Feacute;mina e ha venduto oltre 300.000 copie. In Italia egrave; stato pubblicato da e/o.Traduzione di Roberto Ferrucci
#2997866 in eBooks 2001-06-01 2014-06-07File Name: B00KVFRB8S
Review
1 of 1 people found the following review helpful. The artsy-fartsy emperor has no clothes!By Book WormGreat language; especially in comparison to the gibberish of the artsy folks talk the author is quoting to make his point. Modern art has lost meaning for him; he sees no beauty. Art; and the ex-bourgeois artists and their sycophants have become messengers or even missionaries for the improvement of the marginalized (real or imagined). The art objects; so the author; are full of message; and bare of beauty; worse than under the socialistic governments art industry.Some 20 years ago I overheard a museum tour guide pointing at a completely white; about two by three meter size painting by Cy Twombly to alert the spectators to the "Potentialis" in this image. I thought this was about the widest stretch for your imagination possible.After reading Ahmari I have to rethink that. In comparison to the observations the author describes; Twomblys picture feels more like a painters reflection on Michelangelo.The essay is entertaining to read; even if you do not agree with the authors strong views. (I tend to agree with his view that Shakespeare does not really need to be ultra-modernized; but I would be more tolerant with modern visual arts; after all they are modern and generic; even if they lack ingenuity or talent).There is a potential for a major trans-Atlantic misunderstanding though.The author calls the artists (and their fans) he criticises "identitarians". In Europe Identitarians represent an (ultra-)right wing political movement; I am sure the author would not wish them confused with those rather left leaning artists. I believe; the term has a somewhat different use in the US.0 of 0 people found the following review helpful. A peak behind the curtains of politicsBy David MorganI appreciate the conviction in Ahmaris writing. This book exposes the politics of identity for what it is: a dead end. He helps those of us who arent experts in art to understand the broader impact the art world has on everyday life. (Perhaps not as well as Francis Schaeffer; but this book has a narrower scope;it seems.) He shows how "identitarian politics" has engulfed the art world to its hurt; and led to the rising of nationalist reactions like Trump; Le Pen; and others.Thoroughly enjoyable and well paced; I heartily recommend "The New Philistines."2 of 2 people found the following review helpful. Important readBy S L HWonderful writing on an important subject. Wish it had been longer. I hope to share and discuss with artist friends.
