14 April 2019
Wednesday 17 April at 17.00 at the Historical Archaeological Museum of Nola will be presented the book The Tales of Time published by PrinartEdizioni intervene: the Director of the Museum Dott. Giacomo Franzese, Prof. Giovanni Cardone Art Historian and Art Critic will be present the author is Prof. Rosario Pinto Art Historian and Art Critic. In this volume, entitled I Tales of Time, Rosario Pinto develops a subject that outlines facts and characters that the author has created, elaborating, with his own creative freedom, human events in which the historical data is intertwined with the fantasy, to give substance to a narrative that does not find support in the autobiographical data, but only in the fact of that human experience that can mature, with the passing of time. This explains why the title of the collection is from I racconti del Tempo, since the author is profoundly convinced of the value of time - understood both as a measure and as an ontic direction - in the course of universal and human events. This volume, which has an underground geometric structure, is composed of sixteen stories written over fifty years, recently taken up in order to formulate an organic collection.
There is a common thread that runs through all the stories: and it is the link, which everyone shares, of the reference - each story in its own way - to the figurative arts, which are the phantasmatic protagonist of the whole collection. Events unfold in the first eight stories, which are variously set in the course of the history of men: from the Paleolithic age up to the Eighteenth-century Enlightenment, passing through the Athens of the Panathenaic and then for the years of the Frideric Kingdom and those of the Spanish Viceroyalty. The second group of eight stories, on the other hand, proposes events all set in the second half of the 1900s, with some projections of a glance also towards a near future of which a possible profiling is suggested.
Human affairs: adventure, love, betrayal, generosity of spirit, heroism, sensuality, joy, pain, these are the substantial components that intertwine in a narrative process that aims to be urgent, written according to the parameters that the medieval people called the 'four senses of writing'. In short, the author's intention is to produce a narrative that can be used at various levels, from the simplest of a carefree and relaxing reading, to that of a committed reading, in which Rosario Pinto suggests, together with a perspective of Weltanschauung, the involvement of the reader in a broader fruition contribution, where the reader can feel protagonist, almost supporting the author in imagining different epilogues and premises for these stories that they always try to propose, together with the conclusion suggested by the writer, also others possible development opportunities.
There is a common thread that runs through all the stories: and it is the link, which everyone shares, of the reference - each story in its own way - to the figurative arts, which are the phantasmatic protagonist of the whole collection. Events unfold in the first eight stories, which are variously set in the course of the history of men: from the Paleolithic age up to the Eighteenth-century Enlightenment, passing through the Athens of the Panathenaic and then for the years of the Frideric Kingdom and those of the Spanish Viceroyalty. The second group of eight stories, on the other hand, proposes events all set in the second half of the 1900s, with some projections of a glance also towards a near future of which a possible profiling is suggested.
Human affairs: adventure, love, betrayal, generosity of spirit, heroism, sensuality, joy, pain, these are the substantial components that intertwine in a narrative process that aims to be urgent, written according to the parameters that the medieval people called the 'four senses of writing'. In short, the author's intention is to produce a narrative that can be used at various levels, from the simplest of a carefree and relaxing reading, to that of a committed reading, in which Rosario Pinto suggests, together with a perspective of Weltanschauung, the involvement of the reader in a broader fruition contribution, where the reader can feel protagonist, almost supporting the author in imagining different epilogues and premises for these stories that they always try to propose, together with the conclusion suggested by the writer, also others possible development opportunities.
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