Abstract: Running counter to a degraded present, Pasolini diversifies his activity as a writer, polemicist and director to an even greater extent than before, making a series of targeted choices in the channels of the cultural industry and, at the same time, giving the new works an even more intransigent provocative charge. He accentuates the visionary character of his work and the temporal dimension becomes ambiguous: Pasolini often resorts to the past not only as a negation of the present but also as its dissimulation, with frequent Dantesque echoes. Dante’s Inferno recurs in almost all of Pasolini’s last works as a great metaphorical architecture adopted to transfigure a reality that can no longer be represented in its concreteness.
Keywords: vision, present, past, Inferno, degradation.
