<?xml version="1.0" encoding="UTF-8"?>
<collection xmlns="http://www.loc.gov/MARC21/slim">
 <record>
  <leader>     caa a22        4500</leader>
  <controlfield tag="001">386362491</controlfield>
  <controlfield tag="003">CHVBK</controlfield>
  <controlfield tag="005">20180307111920.0</controlfield>
  <controlfield tag="007">cr unu---uuuuu</controlfield>
  <controlfield tag="008">161130e198911  xx      s     000 0 eng  </controlfield>
  <datafield tag="024" ind1="7" ind2="0">
   <subfield code="a">10.1017/S0266464X00003705</subfield>
   <subfield code="2">doi</subfield>
  </datafield>
  <datafield tag="024" ind1="7" ind2="0">
   <subfield code="a">S0266464X00003705</subfield>
   <subfield code="2">pii</subfield>
  </datafield>
  <datafield tag="035" ind1=" " ind2=" ">
   <subfield code="a">(NATIONALLICENCE)cambridge-10.1017/S0266464X00003705</subfield>
  </datafield>
  <datafield tag="100" ind1="1" ind2=" ">
   <subfield code="a">Williams</subfield>
   <subfield code="D">Russell</subfield>
  </datafield>
  <datafield tag="245" ind1="1" ind2="0">
   <subfield code="a">NTQ Checklist No. 5: Pier Paolo Pasolini</subfield>
   <subfield code="h">[Elektronische Daten]</subfield>
   <subfield code="c">[Russell Williams]</subfield>
  </datafield>
  <datafield tag="520" ind1="3" ind2=" ">
   <subfield code="a">Pasolini was an extremely unorthodox dramatist. A cult figure in the ‘sixties for his controversial art films, he cultivated notoriety as a rebel who challenged (and was persistently persecuted by) Italy's cultural and political establishment. ‘This hid the fact that, as well as being a successful film-maker, he was an innovative novelist and consummate poet, a tireless essayist, and a provocateur in cultural and social matters, as well as an expert critic and compiler of dialect poetry - a cultural entrepreneur in the fullest sense. The year he wrote the bulk of his theatre, 1966, marked the beginning of his last phase: self-consciously, he assumed both cultural and sexual heterodoxy as an act of defiance against the ‘horrendous universe' of neo-capitalist Italy and the intolerance of its consumerist values. In Britain, he has been almost entirely neglected except as a film-maker, and much of his work - the entire corpus of theatre and most of his essays - has still to be translated into English. This checklist by Russell Williams will thus hopefully serve as an introduction to the work of an entirely original and provocative playwright. It is followed by a more extended study by Paolo Puppa of perhaps Pasolini's best-known piece for the theatre, Affabulazione.</subfield>
  </datafield>
  <datafield tag="540" ind1=" " ind2=" ">
   <subfield code="a">Copyright © Cambridge University Press 1989</subfield>
  </datafield>
  <datafield tag="773" ind1="0" ind2=" ">
   <subfield code="t">New Theatre Quarterly</subfield>
   <subfield code="d">Cambridge University Press</subfield>
   <subfield code="g">5/20(1989-11), 384-391</subfield>
   <subfield code="x">0266-464X</subfield>
   <subfield code="q">5:20&lt;384</subfield>
   <subfield code="1">1989</subfield>
   <subfield code="2">5</subfield>
   <subfield code="o">NTQ</subfield>
  </datafield>
  <datafield tag="856" ind1="4" ind2="0">
   <subfield code="u">https://doi.org/10.1017/S0266464X00003705</subfield>
   <subfield code="q">text/html</subfield>
   <subfield code="z">Onlinezugriff via DOI</subfield>
  </datafield>
  <datafield tag="908" ind1=" " ind2=" ">
   <subfield code="D">1</subfield>
   <subfield code="a">research-article</subfield>
   <subfield code="2">jats</subfield>
  </datafield>
  <datafield tag="950" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="P">856</subfield>
   <subfield code="E">40</subfield>
   <subfield code="u">https://doi.org/10.1017/S0266464X00003705</subfield>
   <subfield code="q">text/html</subfield>
   <subfield code="z">Onlinezugriff via DOI</subfield>
  </datafield>
  <datafield tag="950" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="P">100</subfield>
   <subfield code="E">1-</subfield>
   <subfield code="a">Williams</subfield>
   <subfield code="D">Russell</subfield>
  </datafield>
  <datafield tag="950" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="P">773</subfield>
   <subfield code="E">0-</subfield>
   <subfield code="t">New Theatre Quarterly</subfield>
   <subfield code="d">Cambridge University Press</subfield>
   <subfield code="g">5/20(1989-11), 384-391</subfield>
   <subfield code="x">0266-464X</subfield>
   <subfield code="q">5:20&lt;384</subfield>
   <subfield code="1">1989</subfield>
   <subfield code="2">5</subfield>
   <subfield code="o">NTQ</subfield>
  </datafield>
  <datafield tag="900" ind1=" " ind2="7">
   <subfield code="b">CC0</subfield>
   <subfield code="u">http://creativecommons.org/publicdomain/zero/1.0</subfield>
   <subfield code="2">nationallicence</subfield>
  </datafield>
  <datafield tag="898" ind1=" " ind2=" ">
   <subfield code="a">BK010053</subfield>
   <subfield code="b">XK010053</subfield>
   <subfield code="c">XK010000</subfield>
  </datafield>
  <datafield tag="949" ind1=" " ind2=" ">
   <subfield code="B">NATIONALLICENCE</subfield>
   <subfield code="F">NATIONALLICENCE</subfield>
   <subfield code="b">NL-cambridge</subfield>
  </datafield>
 </record>
</collection>
