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“Myth and Fraternity” at LoppianoLab 2012

“Myth and Fraternity” at LoppianoLab 2012

Music and Poetry as Guests of Honour
 

Auditorium

 

On the evening of Sept. 21, with the collaboration of the IUS, LoppianoLab 2012 hosted a cultural moment of great interest entitled: ‘Myth and Fraternity. Guest of Honour; poetry.’  The idea came from the last publication of the collections on IDEAS/politics by Città Nuova: Cain and his brothers. Relational Foundation in Politics and Law, edited by Antonio M. Baggio. 

 

The event drew people from various areas of interest, presented by the moderator of the evening, Donato Falmi from the editorial group of Città Nuova.  He recalled how the category of fraternity has always been present in the history of humanity, connected with the myth and narration of our origins, constituting not an abstract point of observation, but rather, a real and existential truth. Between happy realizations and dramatic denials, it can represent one of the criteria for evaluating an era’s civilization; therefore, it isn’t strange to see it as a central reflection by a group of scholars who have been exchanging research on this topic for years.

 

If in order to document the distant roots of fraternity, we have had resort to the literary genre of mythology, we have not however abandoned the desire that the experience of fraternity, which is available to all and is a source of common experimentation, should stay within an accessible and sharable space, availing itself of literature and music as languages of mediation suitable for this purpose.  The theatre actress, Adonella Monaco, has interpreted the reading of classic authors (Zambrano and Raynal) and modern authors (Neruda and Dostoevskij), offering an effective sounding box to questions posed to the book’s authors present that evening: the philosopher Antonio M. Baggio and lawyer, Adriana Cosseddu, initiating a stimulating in-depth conversation on various topics.

 

Baggio has underlined how fraternity is a dynamic reality, signifying a co-belonging to the other (see the story of Antigone relived in the piece by Zambrano), and constitutes the beginning of a reality to be reckoned with, in which liberty and equality represent the other poles of confrontational differences.  Another passage: fraternity is all that remains when everything else is compromised.  The paradigm of Cain, who contradicts the definition of man as given by God, has brought us to the reconstitution of a people who must be governed by law within a community. God marks the fratricidal person and the city founded by Cain, Enoch, which represents the archetype underlining the passage of law to politics, a new possibility for fraternity to be lived.

 

Adriana Cosseddu has deepened the connection between penal law and fraternity, two worlds which seem to be at the antipodes but which can nevertheless be in dialogue.  When the threat of sanctions does not work and is treated with indifference, (mine and yours, fault and sentence, the essence of separation), a true relational dimension in law can unearth a reality hidden by rules: every rule brings about relational life; a bridge for man is another man, and there where sanctions are not possible, the principle of fraternity may be used.  Collectively, at the apex of painful and lacerating experiences, fraternity within law can reach people, and a sentence can hold concrete possibilities for rehabilitation to communitarian participation, enabling people to relate to one another. 

 

Following this conversation, the performance by M. Thérèse Henderson reproposed the ‘musical miracle’ tied to the inspired execution of Oliver Messiaen, of the masterpiece ‘Quatuor pour la fin du Temps’ (Quartet for the end of Times), which transformed the inhumanity of the concentration camp of Goerliez into a great experience of artistic fraternal friendship.

 

Text: Marco Luppi

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