SUMMARY STORIES SECTIONS EDITORIAL
FROM HEINRICH HEINE TO FRANZ SCHUBERT
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RORSCHACH HOROSCOPE
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LIGHTS OFF
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US AND GUESTS
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FOUR DOPPELGÄNGERS
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FRANKLIN COURT
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TEXTS DOPPELGÄNGER
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SOME STORIES ABOUT THE DOUBLE WAYFARER
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THE UNCANNY
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WRITING ABOUT THE DOUBLE
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ARTS
THE SEVENTH ART
DOPPELGÄNGER 2.0
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DOPPELGÄNGER
D
oppelgänger “is a term taken from the German language composed of Doppel, double, and Gänger, who goes, who passes (from gehen, “to go”). Literally, it means “double wayfarer,” simi-
lar to “bilocate”. It refers to any double or look-alike of a person, and in the common imagination is identified with the “evil twin”. Also linked to Doppelgänger is the phenomenon of seeing one’s own
image out of the corner of one’s eye. The Doppelgänger is also our evil double reflected in the mirror. The bilocation does not match with what in some doctrines is called “astral splitting” nor with the
so-called out-of-body experiences. While the astral body is immaterial and ethereal, the bilocated one
is described as solid and material. In legends and romances, it is a spectral or real duplicate of a living
person; in folklore, it is also described as a spirit unable to disappear. In some mythologies seeing one’s
own Doppelgänger is an omen of death, while seen by a person’s friends or relatives can also bring bad luck or announce the onset of an illness. The term was used for the first time in 1796 by the writer
Jean Paul in the novel Siebenkas. The novel is a kind of oneiric journey in which dream and reality are
mixed. The first character, unhappy for his married life, is convinced by his alter-ego to stage his death and start a new life.
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What does it mean? “A man stands there also and looks to the sky, And wrings his hands, overwhelmed by pain”
DA
STEHT AUCH EIN
MENSCH
UND STARRT IN DIE HÖHE
UND RINGT DIE HÄNDE VOR
SCHMERZENSGEWALT
WRITING ABOUT THE DOUBLE As we have already mentioned, the notion of alter-ego has developed since ancient times, fomenting stories, legends, and tales, raising philosophical questions. Inside the classical literature, we can cite for example Ovid’s Metamorphoses. The experience of duality is taken into the emblematic figure of Narcissus, a story that had feedback and notoriety both in the arts and in scientific studies such as psychoanalysis. Narcissus turns out to be decisive as the bearer of a plurality of dual images, thanks to the ecstasy of the vision of himself. In a passage of the fifth book of the Iliad, Homer tells that Aeneas, attacked by Diomedes, is rescued by Apollo, who then creates a double similar to Aeneas. The double created by the god is in concrete and physical form, and Diomedes does not realize that he is continuing the fight with a clone. The theme of the double returns stronger in the Baroque period, thanks to the rich fictional literature, and then continue in the period of Romanticism, in which it investigates different aspects of men, even more hidden, up to reach madness, delusions, and mental pathologies, the attitude to the world of the stage and the vision of life as a fiction born in these years, too. The Doppelgänger is the spectral counterpart that hides, sleeping, in the human soul. It is sinister and evil, but with a lot of glamour. This kind of glamour surrounds the famous character of the writer Oscar Wilde in 1890, in The Picture of Dorian Grey. Dorian is a young and handsome narcissist who sees his portrait, his double,
aging in his place. In Mary Shelley’s Frankenstein, Dr. Frankenstein can hardly control the violent soul of his creature and alter-ego, the Monster. The masterpiece that best represents the phenomenon in literary terms, is The Strange Case of Dr. Jekyll and Mr. Hyde, by R.L. Stevenson. The main character of the novel, the lawyer Gabriel John Utterson, investigates the strange events involving his friend Dr. Jekyll and the evil Mr. Hyde. The story had a universal impact, the two characters have entered, in the common imagination, as a metaphor of the ambivalence of human behavior, the good but uncertain nature of some human souls, and, in a psychological sense, the dilemma of the mind divided by the ego and irrational drives. Ernst Theodor Amadeus Hoffmann, in The Devil’s Elixir (Die Elixiere des Teufels, 1815), is one of the first to introduce the figure of the doppelgänger as a disturbing projection of the ego and a metaphor of the Evil. He was a lover of occultism and kabbalah, and was considered by Freud the “unrivaled master of The Uncanny in literature”. In his work, he combined mysterious and supernatural effects with a psychological analysis of the human soul. Henrich Heine, the poet of Der Doppelgänger, attributed to the novel a collection of the most terrible images, an ante litteram horror, in which the worst monster is in the soul of the main character, Medardus. He is a Capuchin monk who is seduced by the effects of a fabulous elixir kept in the convent, which brings him to live in damnation, and then gradually in catharsis. He often
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MARIANNA PERDINCI
OCTOBER 2021
FRANKLIN COURT*
by Rosa Sessa
I enter the atrium. It’s already dark. Light layers of ice crunch under my winter boots. The sound of my timid steps resonates in the lonely courtyard. It is me – me? – at the center of the ghost architecture. This cold, silent void used to be surrounded by red bricks. If I close my eyes – I shut them now – I can almost feel that space. That warm atmosphere. The cracking sound of the fire. The wooden shelves warped by good books and revolutionary thoughts. The voices discussing that independence signed in a gentle building just a few blocks away. A stream of gelid wind reaches my neck. I adjust my scarf. My eyes still closed.
-Who am I? I’m trying to draw the trajectory of my identity Through light lines traced on a geographical map –
She said to me that this white tubular iron structure serves as an architectural doppelganger. This is not an actual building, and yet it is reminiscent of the real one. Its shape is the “doppel” of what we remember through our memory, of what we suppose through our imagination. Through these lines drawn up in the air, the architects are playing with us, amplifying and contradicting the original object, our expectations, and our certainties. – Where am I? We lost our reality And replaced it with a ghost – I pull out a glove and touch the white metal. While my fingertips get cool, I try to imagine my own doppelganger. How would it be? Would it follow me as my relentless shadow, inspired by my steps and bewitched by my words? Or, on the contrary, well aware of my fears and doubts, would it abandon me as an empty vessel smashed on the rocks by an oceanic storm? I can see it – poor thing – willing to pursue a new life away from me, calmly sipping hot chocolate in front of its fireplace, reading aloud in Greek or Latin to forget my teeth, singing religious songs to erase my voice, trying to forget as much as possible the shape of my eyes and the painful role that my presence played in its existence.
-I beg your pardon, my wise doppelganger. Wherever you are now I wish you well –
I’m whispering now, my lips imperceptibly moving in the middle of the ruthless Pennsylvanian winter. Smiling.
* Franklin Court is a project by Robert Venturi, John Rauch and Denise ScottBrown, built in Philadelphia in 1976
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PAOLA PEDRIZZI
Alter ego of Marianna Pedrizzi, her medium of chiuce varies from illustration to painting and graphics, she works between Salerno and Naples.
Painter and illustrator based between Salerno and Bologna, bachelor of Fine Arts and Illustration - 2D animation degrees.
mariannaperdinci@gmail.com www.behance.net/mariannaperdinci
paola.pedrizzi@gmail.com www.behance.net/paolapedrizzi
RAMONA BRUNO SERENA GIAMÉ
Visual artist, architecture master degree plus four years degree in illustration. She mostly focuses on illustration and
Based in Naples, she studied illustration at the Italian School of Comix. Her studies focus on
graphic design.
digital illustration and graphic.
ramonabrunoillustratrice@gmail.com www.ramonabruno.com
serenagiameillustratrice@gmail.com www.behance.net/serenagiame
TEXTS SUPERVISOR MARY SALEMME Born in Bologna, grown in naples, currently living in London. She used to translate and proofread video games, now busy writing code and drinking coffee. marysalemme1@gmail.com www.marysalemme.com
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GUEST(S) ROSA SESSA
RICCARDO LABELLA
Born in Salerno and based in Naples, she is an architect and a post-doc researcher in the History of Architecture, with a focus on the transatlantic exchange between Italy and the US in the architectural culture of the Twentieth century.
illustrator, coffee addicted, reader. riccardolabella.illustrator@gmail.com www.behance.net/jollyroger58dd
rosa.sessa@gmail.com www.quodlibet.it/libro/9788822905963
PAOLINA DI COSTANZO
ROBERTO AMATO
Born on the Island of Ischia, from the sea foam of ferries. The studies at the Academy of Fine Arts in Naples and Scuola Italiana di Comix made her understand her true vocation:
Graduated in Master Architecture at Federico II University, he lives in Naples where he deals with architecture, illustration and music, always trying to combine these three disciplines in the wake of imagination and utopia.
procrastination.
ro.amato@outlook.com www.instagram.com/signa_in_somnia
pollydicostanzo@gmail.com www.behance.net/pollydicostanzo
ANEMONE
DAVIDE VINCENTI
Annalisa Tannoia, alias Anemone, is a painter and illustrator, originally from Basilicata, but currently living and working in Naples.
Studying Cinema at the Roma3 University, his articles appearead on Italian magazines such as Segnocinema and Blow-Up.
annalisatannoia.illustrator@gmail.com www.behance.net/annalistannoia ilbelcinema.com/tag/davide-vincenti
STEFANIA IANNIELLO After classical studies, she graduates first in Graphic Art for the Illustration and later in Painting at the Academy of Fine Arts of Naples. After attending some courses about illustration, she fell in love with street art and did a series of personal exhibitions around Naples.
DANIELA MONTELLA Writer, Feminist, Neapolitan, Troublemaker. Princess in disguise. Probably a superhero. danimontella@gmail.com
https://stefaniaianniello.altervista.org/
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Notes