Paul Scheerbart

Данная публикация посвящена материалам архива немецкого
писателя-анархиста Эриха Мюзама (1878–1934) из фондов отдела рукописей
ИМЛИ РАН. Мы публикуем три письма немецкого фантаста Пауля Шеербар-
та (1863–1915) Мюзаму и одно письмо Шеербарта, адресованное немецкому
писателю Хансу Хайнцу Эверсу. В письмах Мюзаму речь идет о переговорах
с издательствами Мюнхена и Берлина в 1909 г. о публикации произведений
Шеербарта. В письме Эверсу Шеербарт рассказывает о ходе работ по кон-
струированию вечного двигателя, над созданием которого он работал в тече-
ние 1908–1909 гг. Текст писем приводится на немецком языке и в переводе на
русский язык. Каждое письмо снабжено комментарием. Публикация предва-
ряется вступительной статьей, в которой обсуждаются основные этапы жизни
и творчества П. Шеербарта, особенности проблематики и поэтики его произ-
ведений. Особое внимание уделено специфике эпистолярного наследия не-
мецкого фантаста. Письма к Мюзаму свидетельствуют о дружбе и творческом
сотрудничестве обоих писателей. В этой связи мы останавливаемся на исто-
рии их совместной работы над проектом сатирической газеты «Фатерланд».
Материалы, связанные с этим неосуществленным проектом, также находятся
в фонде Мюзама. Отдельно в статье обсуждается структура и история архива
Мюзама. Судьба архива в полной мере отражает трагизм истории ХХ в. Супру-
ги Мюзам стали жертвами тоталитарных режимов: Эрих — нацизма, его супру-
га Ценцль — сталинизма. История архивных документов неразрывно связана с
судьбой этих людей. Во вступительной статье мы специально останавливаемся
на биографии вдовы Мюзама Ценцль. Это позволяет ответить на ряд вопро-
сов, связанных с архивом Мюзама. Как рукописи попали в Советский Союз?
Сохранил ли архив целостность? В статье также уделено внимание истории
публикации писем Шеербарта из архива Мюзама.
The archive of a German writer and anarchist Erich Mühsam (1878–
1934) is a significant but “unexplored” part of the manuscript collection of the
A. M. Gorky Institute of World Literature of the Russian Academy of Sciences.
I publish three letters of a German science fiction writer Paul Scheerbart (1863–
1915) to Mühsam and a postcard that Scheerbart sent to a German writer Hans
Heinz Ewers. The letters to Mühsam record negotiations with publishing houses
in Munich and Berlin about the publication of Scheerbart’s manuscripts (1909).
In the postcard to Ewers, Sheerbart writes about the progress in his work on the
perpetual motion machine that he tried to construct in 1908–1909. The letters are
published in German with Russian translation and commentary. The introductory
article gives an overview of Scheerbart’s life and career, the specificity of his works,
their problematics and poetics and especially focuses on Scheerbart’s epistolary
heritage. These letters are the token of friendship and professional collaboration
of the two writers that is reflected in their mutual work on the unrealized project
of publishing a satirical newspaper “Vaterland.” The IWL archives contain the
unpublished manuscripts of Scheerbart and Mühsam related to this project as well.
The history and the structure of the Mühsam archive is another aspect covered in
the introductory article. Both Erich and Zenzl Mühsam were victims of totalitarian
regimes. Erich was killed by the Nazis and his spouse Zenzl spent many years in
Soviet labor camps. The history of the Mühsam manuscripts became intertwined
with Zenzl’s life. That is why the article devotes space to Zenzl’s biography and
attempts to answer the following questions connected to the archive: how did the
manuscripts get to the Soviet Union? Why is the archive uncomplete? Finally,
I discuss the publication history of Scheerbart letters from the IWL collection.

A dissertation submitted in partial fulfillment of the requirements for the Degree of Bachelor of Engineering and Architecture (Honours)

Department of Architecture and Urban Design
Faculty of Architecture and Civil Engineering
University of Malta
June 2002

The interest in the various architectural properties of glass within the continuing modern tradition appears as a significant part of the evolution of world architecture as it enters the twenty-first century. Explorations of the current and past trends in the use of glass in architecture, form but a part of the age-old quest for transparency and immateriality as design tools without overlooking their powerful symbolism.

This dissertation is concerned with the physical and meta-physical properties of the use (and the non-use) of glass in architecture, in order to produce the desired attribute to the space, be it an environmental solution or a symbolic metaphor.

In 1913 writer and architectural critic Paul Scheerbart published Lesabéndio, a work of fiction from another galaxy. A quick glance at the plot of this ‘asteroid novel’-- wherein the eponymous suction-footed hero, a visionary ecologist with dreams of architectural harmony and grandeur, decides to build an enormous glass tower to connect his planet Pallas’ double star-- suggests it might not be difficult to dismiss this wild piece of prose as a curious, if innovative, historical pit-stop in the early development of German science fiction. Yet the novel’s overwhelming utopian force, at once naïve and daring, certainly caught the attention of Walter Benjamin, who had devoted the concluding section of his now-lost final manuscript to it, and it deserves some renewed critical attention.

My paper reads Scheerbart’s post-human ecological fantasy as well as a few of his poetic epigrams along the lines of its positive and lighthearted style. A work like Lesabéndio perfectly exemplifies the utopian function of literature “intentionally to test human possibilities, to conserve human demands for happiness and playfully to anticipate what in reality has not at all been produced” (Bloch). Furthermore, since Lesabéndio’s tower looks and feels eerily similar to Eiffel’s, I also turn to examine two works of visionary glass architecture contemporaneous with Scheerbart: Bruno Taut’s Glass Pavillion at the Köln Werkbund Exhibition (1914) and Vladimir Tatlin’s design for a Monument to the Third International (1920). In so doing, I call attention to Benjamin’s thesis, at work in all three structures, “that technology, by liberating human beings, would fraternally liberate the whole of creation.” This utopian impulse of the unification of nature and technology, I would submit, can still speak to the ecological-political problems that face us today.

Tarih boyunca mimarlık ile ilgili birçok söyleme ve yazıma rastlansa da, manifestolar farklı stilleri ile diğerlerinden açıkça ayrışmaktadır. Mimaride oldukça önemli bir yere sahip olan manifestolar, dönem dönem kitleleri etkilemek ve yönlendirmek için kullanılmışlardır. Okuyucuya ünlemlerle, hatta zaman zaman rahatsız edici şekilde seslenen manifestolar, bu anlamda harekete geçirici yapıları ile dikkat çekmektedir. 20. yüzyıldan sonra sanat ve mimarlık camiası tarafından da benimsenmeye başlanmaları ile birbirine benzer veya farklı özelliklerde birçok mimari manifesto yazılmıştır. Bu çalışma kapsamında ise, Antonio Sant’Elia’nın Fütürist Mimarlık Manifestosu ve Paul Scheerbart’ın Cam Mimarlığı manifestoları incelenmiştir. Bu iki manifesto, içerik, yazım stili, dili, yazıldıkları dönem, yazarlarının hayatı ve görüşleri bakımından değerlendirilmişlerdir. Özellikle kendi dönemlerinden itibaren gelecek mimarlık nesilleri üzerindeki etkileri tartışılmış, yazarların kendi düşüncelerinde ve çalışmalarında ne gibi bir yere oturdukları düşünülmüş ve iç çelişkileri olup olmadığı incelenmiştir. Yarattıkları geçmiş ve gelecek kavramları üzerinden ele alınan metinler bu bağlamda geçmişe karşı aldıkları tavır ve gelecekle ilgili akıllarda oluşturdukları imgeler açısından karşılaştırılmışlardır.

Глава посвящена творчеству немецкого фантаста Пауля Шеербарта(1863-1915). В главе приводятся важнейшие биографические сведения об авторе, круге его чтения, единомышленниках. Предпринят обзор основных тем, лейтмотивов и этапов его творчества. Глава написана в соавторстве с В.Д.Седельником.

“When it comes to atoms, language can be used only as in poetry.” —Niels Bohr

In 1913, the forgotten writer Paul Scheerbart published Lesabéndio, a work of fiction from another galaxy. A quick glance at the plot of this hallucinogenic ‘asteroid novel’— wherein the eponymous suction-footed hero, an imaginative ecologist with dreams of architectural harmony and grandeur, decides to build an enormous glass tower to connect his planet Pallas’ double star— accounts for why it was one of Walter Benjamin’s favorite books, and why he would devote the concluding section of his now-lost final manuscript to it. In Scheerbart’s phantasmagorical vision of technological, biological, and cosmological recycling, dying entities are blended into healthy ones, souls become stars, and planets become buildings. The Expressionist correlate to Niels Bohr’s statement that “isolated material particles are abstractions,” Scheerbart's novel is an early exploration of the quantum theoretical and ecological concept of “interconnectedness” (Tim Morton), the “sly solidarity between things” (Sartre), in which subjectivity is recognized as merely another form of ecological object-hood.

Recycling, then, is no mere voluntary enviro-friendly subjective act, but is an inherent operational mode of objects, wherein atoms, elements, and bodies slip into and out of one another in a viscous mesh that quantum theory is at immense pains to grasp. The politics of recycling, I hope to then show, is of an ineluctably geological and cosmological mode, recognizant of the fact that humanity has become a legitimate agent of geo-physical change. Finally, in terms of aesthetics, earlier interventionist materialist practices such as montage and gleaning offer cursory blueprints for what might one day be better known as a “recyclo-poetics.”

In this essay, I propose an interpretation of Benjamin's Politik, a philosophical project of the 1920s that was later abandoned and of which a few essays and fragments remain, through Paul Scheerbart's science-fiction novel Lesabéndio, published in 1913. Benjamin believed that the novel's protagonist, Lesabéndio, represented the 'true politician'. Through an in-depth analysis of Scheerbart's novel, it is indeed possible to address crucial questions such as the relationship between technique and politics, the temporality of political action and happiness. At the end of the article, critical insights into Benjamin's political philosophy are offered.

The work of the German polymath Paul Scheerbart is attracting a renewed attention in recent years. During his prolific career, his unconventional fiction, art and poetry influenced a range of intellects, from architect Bruno Taut to Walter Benjamin, who even quoted his ideas on glass in his Arcades Project. Scheerbart wrote dozens of outer-space novels and utopian stories, plus articles and reviews, always about things like glass architecture, perfect outer-worlds and realities, reflecting extreme dreams, ambitions and fears. In this essay I will revisit Scheerbart's various writings with an emphasis on the book Glass Architecture (1972) and the novel The Gray Cloth and Ten Percent White: A Ladies' Novel (2001), in order to understand the metaphor of glass and colour that shaped the fantastic dimension of his work while, at the same time, reveal a myriad of ambivalent, and often opposed, meanings.

Работа посвящена творчеству немецкого писателя-фантаста Пауля Шеербарта (1863-1915). Основным сюжетом, который писатель разрабатывал в своих произведениях, было приобщение разумных существ к жизни бесконечного космоса. Для достижения этой цели героям Шеербарта необходимо переосмыслить границы искусства, языка, личности и тела. Именно образы и  мотивы, связанные с символикой границы, находятся в центре данного исследования. Образы пограничного рассматриваются в контексте проблематики фантастического искусства (экфрасис и граница), поисков универсального языка (границы языка), конструирования фантастического тела (границы тела), обретения планетарного сознания. Книга содержит обширный материал по биографии, истории рецепции и изучения творчества Шеербарта. Работа является первой монографией на русском языке, посвященной творчеству данного автора. Книга предназначена для филологов-германистов, специалистов по истории фантастической литературы, специалистов по истории европейского авангарда.

In 1914, the passionate young architect Bruno Taut (1880-1938) and the bohemian poet Paul Scheerbart (1863-1915) drew a parallel between the two imaginative disciplines of building and narrative and committed themselves to a shared vision of Utopia. Both sought to represent an archetype of “glass architecture”; one by narrating, the other by building. Highly critical of existing architecture and social conditions, they were in search of an inspiring alternative, as were many of their more progressive contemporaries. Yet, what made Taut and Scheerbart’s shared approach more sophisticated than that of their contemporaries also left it open to criticism. In particular, their choice of glass as the idiosyncratic constituent of their imaginary world, because of its utopian character, far exceeded its more limited role as the rising icon of industrialization and bourgeois culture. For them however, glass was much more than an emergent modern building material; rather, it was the concrete substance of transcendence; permitting the consciousness access to another, better, world. And where the consciousness goes, the body will follow, until it too is transcended.

Theoretical. Alien Capital is borrowed capital (Fremdkapital)— and it is borrowed from the outside. Speculative Realism, aka Object-Oriented Ontology, aka Triple-O, challenges us to similarly think in terms beyond the post-Kantian strictures of relationality.   How can we think an object to which it is categorically impossible to relate? Quentin Meillassoux’s “ancestrality” (After Finitude): a statement such as “the sun was formed 4.6 billion years ago” refers to a state of affairs that predates the formation of organic life and the possibility of relational experience. This is also the force of alien capital, its “dark trajectory,” its seeming xenotopic incompatibility with human economy. Other relevant figures: Ian Bogost (Alien Phenomenology), Graham Harman (Guerrilla Metaphysics), Ray Brassier (Alien Theory).

Economic. On the relation of alien capital to human capital. How can an outside economy be brought to bear on a familiar one? How is alien capital already implicated within capital? Extraterrestrial origins of capital: gold, oil, tantalum— “Xeno-Economics and Capital Unbound” (Alex Williams) — Geo-cosmic capital (Ben Woodard) — Exogenesis — Solar capital: the sun as a provider of a “superabundance of biochemical energy” (Bataille) — Lunar capital — Looking for Headless (K.D.): off-shore finance and Xenotopia.

Literary. Chief problem: the narratological matter of articulating alien objects in the familiarizing medium of language. Can speculative realism wake us from our deconstructive slumber? Paul Scheerbart, Lesabéndio — Francis Ponge, “Le soleil placé en abyme” — Alexander Kluge’s Kosmosfilme — Supernormality (H.P. Lovecraft) — “weird fiction” (China Miéville) —Theory-fiction (Reza Negarestani, Cyclonopedia: Complicity with Anonymous Materials) — the ongoing Xenotext Experiment (Christian Bök) — towards a speculative poetics (Armen Avanessian).

В 1908-1909 гг. Шеербарт работает над созданием вечного двигателя. Эрих Мюзам писал в своей "Шеербартиане": "Шеербарт и Медведь [шуточное прозвище жены писателя] были твердо убеждены в том, что проблема может быть решена, и каждая копейка, которую удавалось наскрести,  отправлялась в патентное бюро.  С колесами и грузами, со всей производимой с утра до вечера конструкторской работой у Шеербарта складывались глубоко личные  отношения.  Свое произведение он называл "Перпе", и я получал в  Мюнхене открытки с постскриптумом: "Перпе передает тебе большой привет". Однажды Шеербарт  сообщил  мне: "Перпе готов, только он еще не работает", - существенный недостаток для Perpetuum mobile. Драгоценный дневник, в котором он сам воспроизвел историю этого изобретения, -"Perpetuum mobile"- стал  результатом этих усилий и совсем неплохим."
"Schließlich entschloß sich Scheerbart dazu, ein Buch über seine Erfindungen zu schreiben, über das ich begeistert  mit ihm einen Vertrag schloß. Dies Buch über das Perpetuum mobile ist heute schon eine Seltenheit auf dem Büchermarkt geworden. Ottomar Starke mußte den Umschlag für das Buch zeichnen. Dem Buch selbst wurden unerhört komplizierte Konstruktionszeichnungen für das "Perpeh" beigeheftet, die - ich weiß, daß ich mich über die ungeheuren Buchbinderkosten schon damals aufregte- sehr umständlich auf Falz geklebt, dem Buche beigegeben wurden" (Ernst Rowohlt: "Von Paul Scheerbart zu H.K.Knickerbocker").

Die wilde Jagd, Paul Scheerbart (Traducción del Cap. 7 de La caza/carrera salvaje, de Paul Scheerbart, por Sonia Arribas) Los espíritus, que se deslizan por un techo de vidrio inclinado y sienten el gran miedo a lo desconocido en la oscuridad, ven puntos blancos que se iluminan en la distancia. Los puntos blancos se hacen más grandes y los espíritus ven que se acercan pájaros blancos-pájaros luminosos. Los pájaros son muy grandes y en sus grandes garras tienen tijeras grandes y brillantes. Los pájaros tienen cabeza de tritón y les dicen a los espíritus con una voz risueña: "Si quieres, ahora puedes independizarte; con nuestras tijeras desnudas podemos cortar los hilos de telaraña que te atan a tus estrellas". Los espíritus por supuesto gritan: "¡Vamos! ¡Venga! ¡Cortadlos!" Entonces los pájaros se vuelven tan brillantemente radiantes que los hilos relucientes se pueden ver de nuevo-y luego los pájaros los cortan en dos inmediata y ansiosamente. Las tijeras suenan como en una gran peluquería; ciertamente hay unos cientos de tijeras en movimiento. ¡Y los espíritus son libres! Y disfrutan y flotan hacia arriba en el aire y hacia el próximo mundo estelar. El peso de la estrella ha se ha desvanecido y los espíritus se alejan como cometas rápidos, solo que más ágiles. Todo lo molesto ha desaparecido. Y disparan desde ahí, tan rápido como trillones de huracanes combinados. Las estrellas chispean rápido para que los espíritus ya no vean más qué tipo de estrellas están persiguiendo en la carrera. Los espíritus no tienen tiempo para mirar la apariencia de las estrellas-ya sean angulares, redondas o tubulares, en forma de disco o como embudos-no les importa un gran pepino a los corredores del mundo, y solo quieren sentir lo libres que son-y cómo pueden disparar por doquier, donde más les convenga. Y quieren ir al mundo más libre de todos, donde no hay más mundos estelares.

Dieser Artikel diskutiert Walter Benjamins kritische Auseinandersetzung mit dem Verhältnis von Mensch, Natur und Technik anhand seiner Rezeption der fantastischen Literatur Paul Scheerbarts, der frühen Mickey-Maus-Filme sowie der Revolutionsfilme Sergej Eisensteins.

Статья посвящена тематике "космического зрения" в прозе немецкого фантаста Пауля Шеербарта (1863-1915). В данной работе проанализирован мотив превращения человека или обитателя иной планеты в парящий глаз. Эта метаморфоза рассмотрена во взаимосвязи с мотивом  превращения живого существа в небесное тело на примере ключевых текстов немецкого фантаста. В статье предложены два варианта интерпретации цепочки образов "тело"- "небесное тело"- " космический глаз": метонимический и метафорический.
Die vorliegende Arbeit ist dem Thema des "kosmischen Sehens" in den  Schriften des Phantasten Paul Scheerbart (1863-1915) gewidmet. Es wird hier das Motiv der Verwandlung eines Menschen oder eines Planetenbewohners ins fliegende Auge untersucht.  Diese Metamorphose wird mit dem Motiv der Verwandlung eines vernunftbegabten Wesens  in einen Stern oder Planeten in Verbindung  gebracht.  Es werden in dieser Arbeit zwei Interpretationsmöglichkeiten der Kette: "der Körper"- "der Himmelskörper"-"das kosmische Auge" - eine metaphorische und eine metonymische- vorgeschlagen.

paul scheerbart var i sin samtid mest känd som författare till vad som idag skulle kallas science fiction, fantastiska romaner och berättelser från andra världar och planeter; hans postuma berömmelse vilar dock i huvudsak på det visionära manifestet Glasarkitektur, publicerat året före hans död. Att han själv också såg sig som uppfinnare är inte förvånande, lika lite som att han under en tid i Berlin, efter att ha avslutat sina studier i filosofi och konsthistoria, arbetade med att konstruera maskiner som skulle lösa perpetuum mobile-problemet: ett centralt element i hans fantasi är föreställningen om en rörelse som tar oss mot det oändliga, inte som en förflyttning från en punkt till en annan, utan som ett fördjupande av de rum där vi redan är, samtidigt som detta bara kan gestaltas i form av konkreta tekniska lösningar, Hans litterära bana var ingalunda någon framgångssaga. Tryckningen av debutromanen Das Paradies: Die Heimat der Kunst (1889) finansierades av modern, och hans kortlivade äventyr i förlagsbranschen, Verlag deutscher Phantasten spädde endast på de ekonomiska problem som förföljde honom livet ut. Det var först med romanen Die grosse Revolution: Ein Mondroman, vilken som undertiteln anger utspelas på månen, och diktsamlingen Kater-Poesie (båda 1902), som han uppnådde en viss ryktbarhet, dock utan att hans finansiella situation nämnvärt förändrades. Vid sin död 1915 -enligt vissa förorsakad av den hungerstrejk som han i egenskap av deciderad antimilitarist och pacifist inledde i protest mot första världskriget -var han i princip bortglömd. Under de senaste decennierna har dock framför allt hans idéer om arkitektur återupptäckts, och deras komplexa relationer till tidens avantgarde har blivit föremål för flera undersökningar, men också förbindelsen mellan hans arkitektoniska fantasi och hans romaner. 1 glasarkitekturen Scheerbarts lilla skrift om glasarkitekturen placerar sig i en utopisk tradition som syftar till en moralisk förbättring av människan, ytterst till en helt ny civilisation: att »ta bort det slutna i våra rum« (I) är ett program som snabbt expanderar från enskilda byggnadsdetaljer till jorden i dess helhet, i enlighet med en närmast cartesiansk logik som leder från det enkla till det sammansatta. Men i all sin prosaiska nykterhet öppnar texten också mot andra dimensioner, och formar sig till ett poetiskt utkast som motstår entydiga programmatiska läsningar -de 111 numrerade korta Scheerbart och glaset

In his 1914 utopian treatise Glasarchitektur, the speculative writer Paul Scheerbart claims that we need to transform our culture by introducing “glass architecture, which lets in the light of the sun, the moon, and the stars, not merely through a few windows, but through every possible wall, which will be made entirely of glass.” Scheerbart’s visionary reveries here and in his large body of fictional work uncompromisingly call for the widespread use of (colored) glass in architecture and in human culture at large. For him, the removal of opacity in human relations and architectural space will lead to the rapid liberating evolution of human civilization. Curiously, only five years later, the Russian writer Evgeny Zamyatin published his great dystopian novel WE, in which a “Great Benefactor” rules over the remains of humankind in OneState. In Zamyatin’s proto-Orwellian world, humans are known only by their numbers, such as the protagonist D-503, the schedules of their lives are strictly regulated, and they live in (clear) glass houses under a constant state of police surveillance. While glass for Scheerbart is rich with utopian possibilities, for Zamyatin it only fosters severe control. This ambivalence of glass continues to the present day: Delphic institutions such as the National Security Agency in Fort Meade, Maryland and the National Geo-Spatial Intelligence Agency in Springfield, Virginia house their headquarters behind bureaucratic fortresses of glass. Furthermore, as Ilija Trojanow and Juli Zeh have forcefully shown, transparency today has been transferred from the building material in architecture to the basic social life of the gläserne Mensch, so that the individual is a D-503 nearly become real. How did this transformation take place? How can we transfer the transparency back from the private sphere to the public one? And how can the ambivalence of glass, as a material, but also as a relation and as a culture, be used in this overturning? I turn in closing to examine several instances of counter-surveillance art, principally the Transparency Grenade (2013) by Julien Oliver, to suggest a Scheerbartian politics of re-appropriation whose motto might be to “take back the glass.”

En este trabajo, procuramos mostrar que el concepto de lo no-humano [Unmensch] constituye uno de los pilares fundamentales de la perspectiva política de Walter Benjamin y en especial de su materialismo antropológico. Partiendo de los fragmentos “Hacia la teoría de lo no-humano” en sus notas sobre Karl Kraus, nos adentramos en el estudio de las criaturas de la novela Lesabéndio de Paul Scheerbart. Nuestra hipótesis es que en esos seres con forma indeterminada y en los que prevalece lo voluntariamente constructivo y por tanto la técnica sobre lo orgánico, es posible delinear una forma de existencia no-humana en las que se reconsideren radicalmente nuestras prácticas y costumbres cotidianas, en lo que se refiere a la reproducción, la alimentación, el matrimonio y la muerte.

In this paper, I try to show that the concept of the non-human [Unmensch] constitutes one of the fundamental bases of Walter Benjamin´s political perspective and especially of his anthropological materialism. Starting from the fragments “Toward the Theory of the Nonhuman” in his notes on Karl Kraus, I go deep in the study of the novel´s creatures Lesabendio by Paul Scheerbart. In these beings with an indeterminate form prevails the willingly constructive, and therefore the technique, over the organic. The hypothesis is that these special creatures offer the possibility to delineate a non-human existence in which are radically reconsidered our daily practices and customs, for example, reproduction, feeding, marriage and death.

Prefazione di Paolo Savarese.
Una cartografia dei luoghi in cui il concetto di trasparenza si manifesta e allo stesso tempo subisce le sue più drammatiche torsioni: dall’analisi del mito fondativo della casa di vetro, alla descrizione del contesto concettuale all’interno del quale si incardina metafisicamente ed esteticamente l’ideologia della trasparenza, sino a fornire uno spaccato del fronteggiarsi dello Stato (e della sua ragione pubblica) e dell’uomo.