http://www.scribd.com/doc/57150285/Pour-une-semiologie-de-la-trouille
What could be anti-religious in La Ricotta, a short film by Italian filmmaker Pier Paolo Pasolini? This film, such as a lot of other works of art and act of thinking, is in the realm of the a-historical conflict between the "Religious" on the one hand and the freedom of Artisitc expression and thinking on the other hand.
I form the plan to consider this a-historical conflict between Religion and Art, as a question of semiotics and I situate it in the frame of the theory of interpretation applied to one theme: the wholly figure of three monotheist religions. At the center of this debate stands the opposition between tow semiotic demarches that Umberto Eco formulates in two terms: "in verbis" and "in in factis".
This is how the Italian semiologist points at what he considers the two phenomenons of the semantics of the conditions of the “Truth”. The former covers statements that are true under a set of postulates of meanings; the latter those which are true in virtue of what it is being. (The Limits of interpretation, p.292)
I will analyze the two demarches focusing on the connection they have with the notion of "L'oeuvre ouvere" or “The open work” . My purpose is therefore to demonstrate that the conflict comes from the fact that the debate shifts from aesthetics and even theology in stricto senso to politics and turns around a certain margin of tolerance given (or not) to different kinds of alterities.
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