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From La dolce vita to La grande bellezza: Secularization, Profanation, and Nostalgia for the Sacred
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Abstract
This article comparatively examines Federico Fellini's La dolce vita (1960) and Paolo Sorrentino's La grande bellezza (2011), focusing on their contrasting trajectories in relation to the sociosymbolic processes of secularization. While La dolce vita addresses the transmigration of religious forces and symbols from the transcendental to the mundane, La grande bellezza explores how the state of profanation depicted in La dolce vita leads to a recuperation of the sacred through forms of symbolic density as immanent transcendence. This concept aligns with one of the elements that, according to Charles Taylor, characterizes contemporary individualistic postsecular spirituality.
Title: From La dolce vita to La grande bellezza: Secularization, Profanation, and Nostalgia for the Sacred
Description:
Abstract
This article comparatively examines Federico Fellini's La dolce vita (1960) and Paolo Sorrentino's La grande bellezza (2011), focusing on their contrasting trajectories in relation to the sociosymbolic processes of secularization.
While La dolce vita addresses the transmigration of religious forces and symbols from the transcendental to the mundane, La grande bellezza explores how the state of profanation depicted in La dolce vita leads to a recuperation of the sacred through forms of symbolic density as immanent transcendence.
This concept aligns with one of the elements that, according to Charles Taylor, characterizes contemporary individualistic postsecular spirituality.
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