Abstract: This essay explores Pasolini’s relationship with the avantgarde of the 1960’s through his writing projects regarding Paradiso in a “lingua del futuro [a language of the future].” The primary hypothesis is that these projects are an attempt to integrate the Dantean poetics of mimesis with a pop-art-oriented linguistic critique, as it is a “pre-lived” discourse of post-industrial society. The hypothesis is developed at the intersection of two thematic lines. First, the identification of the linguistic perspectives of the future with “il progetto e la costruzione (in corso) dei Due Paradisi–quello neocapitalistico e quello comunista [the project and the construction (in progress) of the Due Paradisi–both the neocapitalist one and the communist one]”, as we read in the Divina Mimesis (1975). Second, the identification of the factory as the center of the social homologation of technological language, according to the conclusions of Intervento sul discorso libero indiretto (1965). In the final part, there is a comparison with the film of Elio Petri, La class operaia va in Paradiso (1971), that suggests the assembly line is the metaphor of critical impossibility for a new mimetic realism, that can “far parlare la fabbrica, usufruire della usa lingua, reperirvi un margine di libert’, riveverla [make the factory speak, use its language, and find there a margin of freedom and relive it”.
Keywords: Pasolini, Paradiso, discorso indiretto libero, pop art, fabbrica, Elio Petri, catena di montaggio.
