WORD-MAGIC AND OTHER TYPES OF AGENCY

I have come to the point of having a panoramic view of human (conscious/voluntary) AGENCIES (ways of acting) in the three historical Ages, which, for short, we may call the Divinist(ic) Age, the Heroist(ic) Age and the Humanist(ic) Age.

In the Divinist Age, humans typically perform praeternatural deeds, or act praeternaturally. Acting naturally means physically  connecting with or projecting to physical things, with impetus [drive, force], so that a physical effect is produced. In praeternatural acting, no force is applied on physical things.

 Looking at a physical (tangible) object involves a physical connection, but it does not produce an effect on it, as there is no impetus in the looking. (It is the object that is the driving force of the connection, as it emits or reflects electromagnetic waves. Looking, or becoming attentive to, is not a transitive act. A praeternatural act is an intransitive act that is conceived or believed to be transitive. For instance, in ancient times and in Plato's dialogues, the seeing eyes were thought to be emitting some kind of rays [like the sun's "rays" they observed in the clouds] so that the eyes established a contact with the thing that is seen. As seeing was supposed to be a transitive action, looking at someone in a certain way was imagined to be productive of  adverse effects. However, if one was under the influence of the evil eye, he had no medical antidote and was likely to go to a magician for a cure. The magician performed some praeternatural act, that is, physically intransive act, that was supposed to be able to remove the patient's physical malaise.

To be sure, this magician's act was a transitive act, for he or she uttered, emitted, words which are heard. The atterances physically affect someone else. However, the magician's efficacy was believed to be due to what he said. A magician orders -- by words and the tone of his voice -- the illness to go away. Implicitly there is a personification of the illness so that it is treated in the same way that a person treats another. In other cases of human sickness or of plant plight or of animal sickness, the cause of the malaise is deemed to be an evil spirit that moved into the sick body. So, once again, the magician performs a verbal scongiuro [order to dissociate] or exorcism in order to expel the evil spirit. Jesus verbally ordered evil spirits to get out of a person and even send them into a herd of pigs [in the land where eating pork is forbidden], which caused the pigs to commit suicide. In some countries, after the harvest, some farmers performed a verbal purification ceremony, an anticipatory scongiuro, which involved cursing the spirits and scaring them with words and threatening gestures. Sometimes a magician summoned a spirit to appear, but he drew a circle around himself  in order to prevent the spirit from entering his body. Of course the circle was itself a symbolic or metaphorical barrier, since a physical barrier is no obstacle for a spirit.

I have always thought and spoken of the "personification" that humans used to make of things, whether the archaic gods or the corporeal things on earth. But in so thinking, I was assuming that human bodies are different in nature from other bodies: a human body perceives, understands, speaks, and acts either on his own intentions or in response to requests, commands, cajolings,  and so forth. The distinctive  nature of man is obvious to us in the Humanistic Age and has even been reified as the "psyche". On the other hand, a human of the Divinistic Age did not differentiate the human nature from the canine nature or the lithic nature. They, or infants for that matter,  knew differences of shape, size, weight, and mobility -- all perceptual qualities -- but the differences in these qualities did not imply for them (did not make them understand) that certain bodies can hear and others don't, can speak and other don't, can respond to implorations, requests, commands, and so forth. The intellectual differentiations that we make were not made by primitive man. Thus, the performance of word-magic is bases not on personifications they made, but on their not making  intellectual distinctions between the natures of things. What they understood about  "man" (human nature in a community of humans  interactive in their family and tribe)  was also the understanding of other things. For instance, as a mother provides milk, so the Sky provides rain. When Ulysses' ship is being tossed and destroyed by the Sea, the Sea is attacking Ulysses. (The knowledge is of interrelated individuals, not of the occult constitution of individuals.)  The Sky and the Sea are subjects of actions, persons (in our language) who act in relation to other persons. To divorce the emission of rain from a providential act, or the great quivering of the waters from a punishing act is to make an intellectual leap that results into a "loving or hating action" on the one hand, and a "physical actvity" on the other.  The Sky and the Sea had been unwittingly humanized and now they are dishumanized: they have lost what is the distinctive nature of humans. Word-magic is performed only when all things are man-like in nature, anthropomorphic. {When we say that a human being takes on a different nature, we find the hypostasis a contradiction, because we think of a nature as a substance rather than as the known character of a substance. By the same token, we find it irrational to suppose that man is the synthesis of a body and a non-bodily psyche, since "psyche" is conceived as a substance rather than the sum of a body's faculties which are apprehended from within rather than from without [by means of the sense organs], and since "body" is usually conceived as insensitive or unconscious matter. The substantives of our language reflect the way the ancients interpreted or integrated their experiences. Indeed Kant came to see "substance" as a category of the Understanding; that is, we necessarily think of  the experiences we have of an individual in terms of a substance, even though substance is not something experienced. Well, it is our "substantializations" of experiences that lead us to a false, not a true, knowledge of things, for now we can see beyond the substances the primitive mind invented.}

It is obvious that word-magic is not simply speaking to someone (or to a man-like thing) or saying something. What the speaking magician does is to request or to command or to chide, or to threaten, etc. -- which are done verbally and by tone-of-voice. This is "aggressive" or "invehing, goading, prodding" speaking, not declarative or exclamative speaking. It does not cause any "said, named" effect, as no physical effect is attained; it is an inducing verbal action. People use inducing speaking on people in any historical Age, but in the Humanistic Age, inducive speaking may be not so much aggressive as cajoling, persuading, and the like. In this case, emphasis is placed on what is being SAID, for it is the conceptual discourse that goads people into taking a course or action that the magician/rhetorician desires. (Forensic speaking is usually deceptive (sophistic, not philosophical), for the rhetorician must formulate his speech in a way that a course of action be desirable to the listener rather than seem to be desired by the speaker. The presented arguments are geared to this purpose rather than made logical and epistemically sound. / It was the Athenian philosophers that distinguished between ophistry and philosophy in their Political/Civic Philosophy, which includes Rhetoric.)

Now, for example, the Sky can be addressed in two ways: by inductive verbal action and by offering gifts along with the request for it to rain. In a more crass way, a trade is made, such as the sacrifice of an animal in exchange for rain, or a semi-castration in exchage for protection from enemies, for in the Heroist Age, the Sky became a fulminating lord and can actually be taken into battle on a horse or a carried container. [This is the "horse" of certain coded writings which led me to detecively discover the whereabout of the Ark of the Covenant -- as you can read in my other xanga weblog. But no one has yet made the suggested excavation under the Calvary in Rennes-le-Chateau, in former Templar country. Excavation in that town is forbidden.] In the case of sacrifices and trades, the actions can be called "liturgical" (rather than magical); they and adorations and praisings  are liturgies, "religious rites."

Verbal Magic is parallelled by Silent Magic, of which we have seen one great example, the Eleusinian or Demetric Mysteries, and I have mentioned its parallel, the Dionysiac Mysteries (which inclides the omophagia etc.) Of course, silence is not an action nor that whereby a supposedly real event occurs. The nature of either Kore or Dionysus is taken on by re-eacting the salient occurrences in the life of either deity (immortal being). The communion of either the bread (body) or the blood/life  (wine) marks the beginning, conception/birth, of the new deity by means of the assimilation of the old deity. Understandably,  the realistic death of Kore or Dionysys is not re-enacted literally; it is acted out, as it is done in the theater. Yet, the very motions that resemble the real events are supposed to be effective. One becomes what he does; here we are in the world of visual images anyway, and death is but the observable immobility and inactivity of a human body in the world. (That's why death was said to be like sleep.) This kind of death can surely be re-enacted.  Thus one really becomes an Other Kore or an Other Dionysys, who, like them, shall be born again... or wake up, in the real world. (Once I said that I  resurrect every morning, though no one knows how often.)

Silent magic, which induces occurrences in oneself by re-eanctment, can also induce occurrences in others by showing activities to them. Instead of speaking aggressively to another, one exposes a deed or a picture to another. This is an attempt to induce others to imitate what is being exposed.  So, both kinds of silent magic can be called "sympathetic magic." It is one thing to tell or ask the Sky to rain, it is another to offer the Sky something in exchange for rain, and it is still another to prod the Sky to rain by showing him what to do. So, people who have some special magic power can go outside a temple to urinate while looking up to heaven and pointing to the emission of water. On the other hand, since the Sky's rain fecundates the Earth thus making plants grow, a male magician may show the sky another process of fluid-emission fecundation, namely copulation with a female. This has been improperly called temple prostitution,  for the copulation has to be profane, outside the temple, and the female does not prostitute herself; she impersonates the Earth and is thus sacred. The copulation in question is a Sacred Marriage, Hieros Gamos. The mystics in the process of re-eacting the life of Kore, like actors in general, IMPERSONATE Kore. So, while trying to induce the Sky to rain, the partners of the sacred marriage re-enact the "marriage" of Ouranos and Gaia by these or other names, and mystically or praeternaturally become Sky and Earth, the great Immortals.

Now, let us go back to Verbal Magic, for what I discussed earlier was only healing and preventive magical speakings, scongiuri (commands to dissociate, exorcisms). There can be commanding or imposing speakings for the opposite purpose, for binding (tying, conjoining), intended for positive effects, for inflicting pain,  changes, malaises, diasters, or other destructive influences. Hence "binding spells" or "charms" (incantations) [Long.: "jettature", "majie;" It.:incantesimi,  fatture, wherefore a "fattucchiere" or "fattucchiera" is the magician or sorcerer, the maker of spells.] In a while I will be reposting an article about Sardinian spells, which gave me the occasion to mention some Greek words which have to do with offensive verbal magic.

A man of the Humanistic Age performs natural/physical acts that produce physical effects, necessarily by means of  physical connection or by the propulsion of a physical thing. (An effect may be indirect or by transduction, as by means of a machine or a servo-mechanism, or by operating a wave-producing mechanism, but the machines and mechanisms in question are directly affected physically by a human.) The man of this Age is the Homo Faber (Making/Constructive Man), who causes effects in the physical world. {I operate = Gr. Prasso^ or Pratto^. I make or produce or directly cause = Gr. Poieo^. So, if we wish to be pedants, we can speak of the Pragmatics and the Poetics of Homo Faber -- or humanistic agency. There! But humanistic agency includes also excogitation, an immanent activity. Shall we add Phronetics? Of course! A human maker or operator or doer or caretaker/cultivator is named REKTE^R  (or is said to be Rekte^s) in Greek, which covers just about all the different kinds of his actions and is translatable as "Man the Worker" or "Man the Producer."}

Magical induction is one type of agency, causing is another. The types of actions that are typically performed in the Heroist Age are physically causative of destruction (by killing and vandalizing) and socially inductive, as productive people are induced to make or do things by the threat of force. (This means that in a pure Age of Men, there are no "heroes". Most humans in a Heroist Age operate either as  humanists or as divinists [performers of rituals], while the minority consists of  greedy destructive/oppressive lords, properly called barbarians.)

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I have already dealt with the etymologies of the Longobardese "majia" and "jettatura." The Italian "fattura is a hard nut to crack. I am not at all satisfied with given etymologies, which derive the term from "fatt-" or "fact-", from the Latin verb "facere" (= to make or do). A magic spell is not a making or doing; it it a speaking of some sort, a speaking that "enchants." Thus, it is synonymous with "incantesimo" (= an enchantment or an enchanting, a charm), but the latter word does not connote or suggest how the enchanting is done.

The ending of "fattura" is the same as in "scrittura" (scriptURE), namely "writing" as a noun. So "fattura is the verbal noun of the verb "fatt-" which has the meaning of "saying" or "motto" or "dicitura" -- a term that is attested in some dialects with the meaning of "inscription" or "the way in which it is said." Obviously "fatt-" is not from the Latin verb "dicere." I find that it is from the Greek  verb for "to say":

It. Fatt- < Gr. Phatos (the verbal adjective) or Phasis (the verbal noun of Phe^mi = To Say), which means "(a) saying; motto; sentence." So,  FATT-ura = PHAT-ura = a speaking or sentence... which is projected to subject someone; the sentence specifies the kind of harm that the person must suffer. A Fattura = a Spell, which is  a verbal Jettatura (missile).

Long. Majia (= It. Magia; Gr. Maghia/Magheia) is used in the sense of a magic action or of an object that has magic virtues, not as "the magic art". Thus it can mean a Jinx, a curse or a judgement "pinned" on a person that foreshadows bad things for him. The English word Jinx < Gr. Iygx, a certain bird, the Wryneck or Torcicollo or Torqilla that was believed to bring bad luck.

Actually the Iygx [pronounced 'younks' or 'yinks'] was used for fortune telling. It seems that it was tied to a small wheel and made to spin around fortune formulations. [That was the fortune-wheel."] Once I saw that a fortune-teller carried a parrot in a cage and, in the ancient Roman way,  the bird was asked to pick any of the tickets from a file. The writing on the ticket stated the customer's luck or bad luck in his future.

The art of divination, which is not a magic art, in ancient times had many methods. One is "reading tea leaves," which belongs to the sphere of geomantics (throwing small sticks and interpreting the resulting configurations of the sticks). Another used to be the  interpreting natural  signs, such as the shape of a flight of birds, done by an haruspex in Etruria; another was the occult consultation of a god, done by a sibyl. In Magna Graecia there was the great oracle of Cuma [Kyme^], and the Cuman Sibyl, along the Delphic and two other Greek Sibyls, was painted by Michelangelo on the ceiling of the Sistine Chapel in the Vatican [the place of the Vates or Soothsayer]. In the Humanist Age, the methods to acquire new knowledge and foreknowledge are called methods of scientific investigation, Galileo's to begin with; they exclude taking somebody else's word or opinion, as he himself stated. Once again, Vico has expounded on the different ways of getting knowledge in the different historical Ages.

History, says Vico, is the history of the modifications of the mind in the course of time.

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Some other longobardese terms pertaining to the firld of magic: on p. 77

La Settimana Santa a Cagliari

Vangeli, rituale e tradizione stanno infatti alla base di questo momento del ciclo dell'anno così solenne e così grave di significato. Da "La città del sole" di Francesco Alziator

...Vangeli, rituale e tradizione stanno infatti alla base di questo momento del ciclo dell'anno così solenne e così grave di significato. Il rituale domina sin dalla cerimonia del mercoledì delle ceneri (mercuris de cinixius), che ha nella chiesa il suo unico centro e svolgimento. La drammatica interpretazione popolare dei Vangeli, concepita originalmente, con spirito e fantasia medioevale, è alla base delle processioni e le millenarie tradizioni del culto di Adone si rinnovano, con pietà cristiana, nei nenniris (giardini di Adone) che fioriscono sul sepolcro del Salvatore...

...Abbiamo, d'altra parte, numerose testimonianze di drammatica religiosa che confermano una tradizione letteraria in questo senso; ma ciò che è più interessante al riguardo è il fatto che possa trattarsi non di una tradizione che discenda dalla letteratura aulica, ma di una tradizione che dal popolo abbia invece raggiunto quella con moto ascendente.

Attualmente le processioni sono: quella che parte, il venerdì avanti la Settimana santa, dall'Oratorio dell'Arciconfraternita del Santissimo Crocefisso, in piazza San Giacomo e, traversando le più antiche vie del quartiere di Villanova e Stampace, sosta nelle chiese di San Mauro, Sant'Anna, San Michele, San Domenico e San Giacomo per la predicazione dei momenti culminanti della Passione di Gesù.

Nel giorno di martedì santo esce quella organizzata dai confratelli della Confraternita degli Artisti che, partendo dalla chiesa di San Michele, raggiunge la Cattedrale, quindi la chiesa delle Cappuccine, successivamente quelle di San Giacomo, di Santa Rosalia, del Santo Sepolcro e di Sant'Anna, per la rievocazione della Via Crucis, ed infine rientra nella chiesa di San Michele.

Terza processione è quella della Confraternita della Solitudine che, dalla chiesa di San Giovanni, porta in Duomo un grande, ligneo Crocefisso.

Il Giovedì Santo culmina nella visita dei Sepolcri. In questo giorno le campane tacciono in segno di lutto per la morte di Gesù ed il popolo afferma che: «si accapiant is campanas», cioè che si legano le campane. In luogo delle campane si usano le matraccas. Con questa parola si indicano le cosiddette raganelle, cioè le tabelle di legno usate dovunque nel mondo cattolico per sostituire, nei segnali rituali, le campane durante i tre giorni del lutto della Chiesa.

Connessi ai monumentus sono i nenniris. Sono questi la stupefacente presenza di un avanzo di culto di Adone. La voce nenneru, che secondo il Wagner potrebbe essere di etimologia preromana, indica gli steli di cereali, di grano soprattutto, che vengono fatti germogliare all'oscuro e che, privi quindi della funzione clorofilliana, crescono pallidi ed esili.

Se l'ipotesi dell'etimologia preromana prospettata dal Wagner fosse vera, essa potrebbe avvalorare una seriorità della tradizione sarda, ricollegabile al clima semitico della Sardegna cartaginese o forse anche ad un più antico ciclo agrario. Ad un substrato assai remoto si collegano anche gli allichirongius de Pasca, le eccezionali ripuliture e rassettature che ogni famiglia fa in vista della Pasqua, specialmente caratterizzate dalla imbiancatura delle pareti delle cucine, nei quartieri popolari. Esse sono un non equivoco sussistere di avanzi di riti di eliminazione e di purificazione, connessi un tempo col risveglio del ciclo vegetativo.

La Settimana Santa cagliaritana si conclude dopo il festoso riprendere dello scampanio che, avanti le innovazioni del rituale decretate dal Pontefice il 16 novembre 1955, aveva luogo nel mattino del Sabato santo, con la processione detta dell'Incontro...

Il ricordo dei riti sacrificali è legato all'espressione popolare «s'arrisu de is angionis de Pasca», alla quale si ricollegano, probabilmente, anche più remoti contatti con il sacrificio umano. Fa parte della liturgia l’angiamò o mangiamò. Il misterioso appellativo indica il sacerdote che benedice le case. Secondo l'etimologia popolare cagliaritana, mangiamò significherebbe mangia dimonius, etimologia quanto mai speciosa, poiché contiene, fra l'altro, una parola come «mangia», che non è del vernacolo campidanese, che tuttavia registra parole derivate da un radicale mang, come mangeria e mangiuccu. È perciò probabile che la forma originale sia proprio angiamò, per quanto la forma più diffusa, probabilmente proprio per l'attrazione esercitata dalla presunta etimologia, sia mangiamò.

Una strofetta popolare cagliaritana dice:

« Angiamò, chilissò, chifané

un anguli a su piccioccu

tres arrialis a sa carcira ».

(Angiamò, chilissò, chifané, una focaccia al ragazzo e tre reali al secchiello).

Val proprio la pena di esaminare con attenzione questa strofetta che trova riscontro nella seguente di area iglesiente:

Mangiamò, chilissò

unu soddu a sa pingiara

un arriali a su piccioccu

(Mangiamo, chilissò, un soldo alla pentola, un reale al ragazzo).

Mangiamò, chilissò e chifané potrebbero far pensare ad onomatopee e a parole infantili, ma il Wagner pone l'interrogativo se esse non siano reminiscenze bizantine, e noi propendiamo per il sì, con tutta la prudenza che una simile ipotesi comporta, perché mangiamò e chilissò si ritrovano su aree diverse e poco in contatto tra loro, la qual cosa potrebbe deporre a favore di parole bizantine, mantenute per fatto conservativo. La parola chifané, poi, ha tutta l'aria di essere, pur attraverso lo sfiguramento popolare, un chiaro vocabolo bizantino connesso in qualche modo con il greco...

...L'anguli da regalare al chierichetto della strofetta cagliaritana riporta ad angui, parola dell'arabo maghrebino ed indica il tipico pane dolce della Pasqua nei Campidani, fatto a giro di bitta o ad otto, sul quale son inseriti un uovo o un paio d'uova. Il Wagner ritiene che anguli sia parola importata in Sardegna dai Tabarchini di Carloforte o dai Sardi residenti in Tunisia. Non è però del tutto da escludere che anguli possa riportare ad un più antico strato bizantino al quale avrebbe potuto attingere anche l'arabo. Forse una ricerca orientata in questo senso potrebbe portare ad importanti risultati, sia in campo folkloristico sia in campo linguistico...

I link correlati all'argomento

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Credo che queste strofette ci rammentino di antichissimi scongiuri, o siano parodie di scongiuri,  che si riallacciano ai sardi provenienti da Sardis in Anatolia. (Degli studi sono stati gia` fatti sull'anteriore cultura greca in Sardegna e la cultura posteriore in Toscana. Cf. Massimo Pittau: La Lingua dei Sardi Nuragici e degli Etruschi.)

I vocaboli Angiamo`, Mangiamo`, Chilisso`, e Chifane` dovranno essere esaminati  in vista di queste voci greche:

Aghiazo^ = sacrifico, consacro; offro un sacrifizio.

Magheuo^ = esercito l'arte magica. / Magganeuo^ [manganeuo^] = uso incantesimi.

Ke^leo^ = incanto, affascino. / Ke^le^sis = fascino, incanto.

-- Kupsele^ = cavita` (quale quella dell'orecchio); cassa, cesta [profonda]. (Cf., Kuphellon) > Long. Cofanu (= cofano).

Kupho^n = costretto a tenere la testa bassa: sforcato, birbone; < Kupto^ (= mi piego innanzi, ecc.)

Khutikos (= adatto per versare, per fare le libazioni).

Goe^teuo^ (= faccio gl'incantesimi {malie, scongiuri?} [proferiti con voce gemebonda, somigliante al lamento, Goe^s]).

Artista: BEATRICE FEO (Palermo, 1968)
"pop baroque" paiting
[symbolist painter]

letto di clochard

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Agnello di Dio (2006)

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NYC-New York-News- painting- Artist--Beatrice Feo -Italian Artist

Naufrago (2007)

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Ulisse - Il canto delle sirene (2007)

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ANTONELLO MATARAZZO (Avellino, 1962)
[metaphysical painter]

{Early modern metaphysical painting, which has different styles,  is exemplified by De Chirico's "Solitude of a Street" and "Disquieting Muse,"  Dali`'s "The Persitance of M emory" and "The Last Supper,"  and Picasso's Minotaur works.}

Camera con vista : Room with a View

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Comment relative to the subjects of these works:

Ci sono gli adagianti (acquienti) e poi gli altri, gl'inquietanti (le povere anime, i deformi,  i terroni).
There are the pacifying (the quieting) and then the others, the disquieting (the lowly).

http://www.adolgiso.it/nadir/antonello_matarazzo.asp 

Antonello Matarazzo, artista multimediale.

Nato ad Avellino nel 1962.

Nel 1982, costumista e aiuto-regista al Teatro Bellini di Catania. Pittore dal 1986.

Dal 1990 al 2000 mi sono impegnato soprattutto nella ricerca nel campo delle arti visive, con soggiorni di studio negli Stati Uniti. La mia pittura si colloca nella più recente ricerca (Medialismo) tesa ad annullare le distanze tra i vari media (fotografia, pittura, video, ecc.)

Nel gennaio del 2000 il mio primo cortometraggio, "The Fable", viene selezionato al festival "AnteprimaAnnozero" di Bellaria dello stesso anno, successivamente acquistato da RAI 3 e programmato nel palinsesto di Fuori Orario.

Nel 2002 realizzo il primo mediometraggio, "Astrolìte" - in collaborazione con Carlo M. Schirinzi e interpretato da Enrico Grezzi - che viene selezionato alla 20° edizione del Torino Film Festival.

Con "La Camera Chiara" e "WARH" riprendo il lavoro, avviato con "The Fable", di integrare arte, fotografia e video, avvalendomi della tecnica del morphing.

Sito web: www.antonellomatarazzo.it

Mi piacciono i metafisici come Holbein il giovane o Masolino da Panicale, i concettuali come Paolo Uccello o Leonardo, la incantata durezza di Dürer, di Lukas Cranach padre e dei Fiamminghi, piuttosto che il teatro di Michelangelo. Il mistero contro la compiaciuta sapienza, la mano contratta e  esitante di chi in ogni linea, in ogni punto cerca una rivelazione piuttosto che quella gioconda e sportiva dei virtuosi.
...Sono miope per libera scelta

Le immagini qui esposte appartengono a tre serie di lavori - più estesamente visionabili sul mio sito web - due fanno parte di un installazione del Trevi Flash Art Museum e sono disegni a matita su carta della serie Innocenti .

I lavori delle serie intitolate Freaks e Meridionali sono invece pitture ad aerografo su tela.

INNOCENTI Senza Titolo (particolare) Installazione Flash Art Museum (Trevi) 1997 cm.45x30 (collezione privata)

INNOCENTI Senza Titolo (particolare) Installazione Flash Art Museum (Trevi) 1997 cm.45x30 (collezione privata)

FREAKS Pete Robinson 1997 cm. 130x66

FREAKS Francisco (Frank) Lentini 1997 cm. 100x68

FREAKS Il generale Tom Thumb e Lavinia Warren sposi 1997 cm. 100x65

MERIDIONALI Chianchier' 1999 cm. 120x90 (courtesy Studio Vigato, Alessandria)

MERIDIONALI Br'hantiegghj' 1998 cm.120x90 (courtesy Studio Vigato, Alessandria)

MERIDIONALI Stammo tutt' bbuono 1999 cm. 115x140 (courtesy Studio Vigato, Alessandria)

MERIDIONALI Hallò Marì 1999 cm. 130x170 (collezione privata)

MELITA ROTONDO (Napoli, 1950) (ambientalist)
Melita Rotondo La verità è sempre un'altra, Castel Sant'Elmo 2007	Melita Rotondo La verità è sempre un'altra, Castel Sant'Elmo 2007	Melita Rotondo La verità è sempre un'altra, Castel Sant'Elmo 2007

GIUSEPPE D'ELIA (Brindisi, 1946)

[metamorphosizing painter]

COSIMO LAMANNA (Bari)
[realist/metaphorizing and abstracting painter]