Newsgroup: it.politica
Titolo: OT: Quando uno ha la fortuna di avere un figlio accademico....

JGCinema.com
http://www.jgcinema.com/single.php?sl=humour-western
 
 
Cinema and globalization
 
Dossier » Reflections Upon Contemporary Italian Cinema: The Role of
Humor in Western Italian Style
the Cinema of Tonino Valerii  - by Sciltian Gastaldi
 
Oddly enough, there have been few studies on Tonino Valerii’s oeuvre.
The Catalogo centrale delle biblioteche italiane (Central Catalog of
Italian Libraries) has only two monographic records dedicated to the
Abruzzan film maker, who nevertheless has been one of the most
relevant “Spaghetti Western” or “Western Italian Style” genre
directors.
 
Reflections Upon Contemporary Italian Cinema - The Role of Humor in
Western Italian Style - the Cinema of Tonino Valerii
 
I shall say that both these two labels are today acceptable, because
the once pejorative “Spaghetti Western”, coined by first American
critics, has been later on co-opted and rehabilitated in an educated
and more convincing way by René König (1973) and Christopher Fraying
(1981).
The Central Catalogue tells us about the existence of just one volume,
edited by Roberto Curti, printed by the Lilliputian publishing house
“Un mondo a parte”. If we compare this scant bibliography on Valerii
with his cinematographic production--he was the author of twelve
movies, eight of which he also co-wrote, it would seem that Curti’s
reflections (2008) on the aftermath of the tumultuous controversy with
bigger celebrity Sergio Leone regarding the authentic authorship of"
Il mio nome è Nessuno" (1973) [My Name Is Nobody, a.k.a. Lonesome
Gun], undoubtedly the most notable of Valerii’s movies, are in fact
correct.
The resulting fallout not only brought about the end of the
professional and personal rapport between the two directors, but also
that said aftermath might have cast a considerable shadow of the
author’s opus. A shadow from which Valerii was finally able to get
escape shooting other five movies after 1973, becoming president of
the Festival of Roseto degli Abruzzi, and having been summoned as
special guest expert on Italian cinema in many European festivals.
Moreover, in 2008, the prestigious Middelbury College asked Valerii to
conduct a Cinema course during the college’s Summer Term.
 
Therefore, the intention of this paper is to shed some light on the
shadow that Leone and some critics such as Staig and Williams (1975),
Cumbow (1987), Simsolo (1987), Mininni (1994), have cast on Valerii.
In terms of format, this study will limit its analysis to the first
portion of Valerii’s filmic production, focusing on the Westerns "I
giorni dell’ira" (1967) [Day of Anger], "Una ragione per vivere, una
per morire "(1972) [A Reason to Live, A Reason to Die], and the
already cited "Il mio nome è Nessuno" (1973), emphasizing aspects of
psychological introspection and ironic commentary. It is opinion
expressed in this paper, in fact, that Valerii’s cinema is
characterized by a manifest attention to a specific type of character
development, and by the Oedipal rapport between the younger generation
and that of their fathers, as well as to the passage from one
psychological state to the next.
A cinema far from being Manichean, in which the all-good hero has no
place just as the all-bad hero has no place, and thus distinguishing
itself from a certain trend in the American Western. In Valerii’s
Westerns are rather present a vast range of characters who are both
good and evil, on whom the spectator is free to build his or her own
opinion, in full respect of Eco’s theories on the importance of the
potentialities of the “open work.”
 
Methodologically, this study is based on the vision of the cited
movies, on the reading of Curti’s volume, on the analysis of various
other secondary sources on the “Spaghetti Western” as a genre, on a
lengthy interview that Valerii and Ernesto Gastaldi, the screenwriter
of the movie Il mio nome è Nessuno, granted me during the Summer of
2009, at Valerii’s Roman apartment in the Vescovio neighborhood of the
city. Ernesto Gastaldi is also an old-time friend of Valerii since the
years of the Centro sperimentale di cinematografia (Italy’s National
School of Cinema) where both graduated in 1957.
 
The movie that more than any other best introduces the ironical and
coming of age elements is Il mio nome è Nessuno, in which irony works
on two different levels, at least. The first one is explicit, and it
is the one portrayed in twenty-one scenes of the film. I shall briefly
list them: the gun of Jack Beauregard (Henry Fonda) pushed against the
fake barber’s testicles in the opening scene; the money that
Beauregard pays to the fake barber once the service is rendered, money
that once the gun fight has come to an end, is later taken back by
Beauregard and left in the real barber’s ceramic mug; the dialogue
between the real barber and his son, which essentially ends with the
quotation of the film’s title:
 
Boy: “Who’s faster than him on the draw?”
Barber: “Faster than him? Nobody”.
 
 Moreover: the introduction of Nobody, which happens while he is
intent on catching a massive jackfish using only a stick and his bare
hands; the episode of the bomb carried by Nobody in a wicker basket to
the restaurant where Beauregard is having a rest, in which the
following exchange takes place:
 
 Beauregard: “What’s in that basket?”
Nobody: “Oh, probably a bomb”.
 
Completing the list of the twenty-one scenes in which irony is the
key, we have: the comment that Nobody makes, as he throws the same
basket outside of the bar back to his assailants: “He said he doesn’t
want it!”;  the renowned scene of the Navajo cemetery, with the name
of “Sam Pekinpek”, written in this wrong way, recalls the name of the
famous American Westerns director; in the same graveyard, when Nobody
reads the name of Nevada Kid on another grave, Beuaregard betrays a
strong emotion when he suddenly asks: “Do you know where he is?” but
again Nobody replies in his way: “Well, he has to be down here…”
pointing to the grave. Again, the multiple shootings against Nobody’s
hat, after which Nobody takes Beauregard’s for a ride saying: “Four
shots--one hole! Just like the good ol’ days!”, while in reality
Nobody covers a second bullet hole with his thumb, which Beauregard
spots, and replies “There was never any good old days”.
 
Furthermore, the whole sequence in which Nobody passes through the
village fête, where he takes an apple from a baby in a lady’s arms
while her back is turned and doesn’t notice the “theft”--Nobody ends
by mocking the baby silently with menacing gestures; the “special hard
cake” that Nobody throws at the charlatan’s face, owner of the “throw
the cake stand” where two black men are used as target: the specialty
of Nobody’s cake is that he takes as well a portion of the wood table
under it, thus breaking the face of the racist charlatan, and
commenting to him: “The funny thing is to hit the face, uh?”. Some
more, the whole sequence of Nobody in the saloon, when he pretends to
barely be able to handle the flavour of whisky and asks a cheering
audience: “Can I do with milk?”; the two fast-forwarded sequences in
which Nobody humiliates the reversed guns gringo, who has challenged
him, by slapping his cheeks and stealing his two guns over and over
again; the scene in the mirror labyrinth, which substitutes the
traditional indoor saloon shooting; the wooden puppet scene, which
recalls the Saracen puppet, further emphasized by the scoring of the
scene which introduces the only Italian lyrics of the entire movie,
the a children’s nursery rhyme “Oh che bel castello” [Oh What a Merry
Castle]. The song is even more nonsensical, as it goes “Oh che bel
pupazzo, ma con diro, ‘ndiro, ‘ndazzo” [Oh What a Merry Puppet, where
the word “pupazzo” and the the following nonsense “diro, ‘ndiro,
‘ndazzo” rhyme with the Italian bad word “cazzo”]. The 20th scene is
the train robbery scene, which happens by exploiting the bladder
problems of the engine-driver; and, last but not least, the ending
scene, when Nobody finds himself in the hands of a fake barber, who is
about to butcher him, though Nobody of course saves his own life by
pushing his bare middle finger against the anus of the killer, in the
shape of a gun’s barrel.
 
 This first level, which is explicitly ironic as I noted before, risks
making the movie shift to the comic arena, and we cannot exclude that
this was precisely Leone’s intention, as if the eminent director had
wanted to diminish the final product made by Valerii. It is important
to remember that Leone was not only the producer of this movie, but he
also shot three takes punctiliously recited by Ernesto Gastaldi: “The
one in the public urinal, the one with the glass challenge in the
saloon, and the one in which Nobody knocks out his opponents by means
of the wood turning puppet” [Interview with the author, 14 June 2009;
also restated via E-mail, 30 October 2009]. The same nonsensical rhyme
was, according to the screenwriter Ernesto Gastaldi, wanted by Leone
as the soundtrack of that scene. In any case, the fast-forward takes
used by Valerii and also the theme from the Ride of the Valkirye used
by Ennio Morricone to emphasize entrance of the Wild Bunch, contribute
to a possible shift to the field of the comic or parody.
 
The second level of irony is, on the other hand, implicit and inter-
textual; as Alberto Crespi writes:
 
Trans: Nobody is not a character. Nessuno is a bizarre creature who
lives in the text and is, at the same time, extra-textual. Nobody is a
spectator because, one understands this very well, he has watched so
many Westerns (and you can bet they all featured Henry Fonda) and has
a head full of quotes. Nobody is also a screenwriter, because it is
him, actually, the one who dictates times and modes of the movie plot.
Nobody even becomes a director in literally preparing the mise-en-
scene of some sequences (the clash with the Wild Bunch, the fake final
duel) giving direction to the actors. But Nobody is also a creature of
the collective unconscious, who penetrates in the individual
unconscious of Beauregard [Crespi 1994, 23].
 
Yet, Nobody is not only a spectator who embodies the screenwriter of
Beauregard’s life, in a full meta-narration à la Calvino, but he also
embodies--as many critics have maintained (among them Cumbow, 1987)—
the Spaghetti Western genre, too. The Spaghetti Western genre and its
tricks, its poor and scanty craftiness, its irony, its imprecision in
comparison to the American Western Cinema, whose evident metaphor is
accessible through an always authoritative–but now old–Henry Fonda.
Cumbow emphasizes the demythologizing peculiarity: “He wants to behave
as unlike a legend as possible. In a sense, he’s the Hollywood western
trying to be realistic, adult, contemporary and anti-mythic” (1987,
102). Nobody is not only acted by Terence Hill, who in 1973 was a
worldwide celebrity for his character of Trinità [Trinity], but he is
also dressed as Trinity, with “his” classic dirty vest and “his”
classic beans eaten by means of a wooden spoon or a ladle. Terence
Hill transposes as well–willingly or not willingly–the same facial
mimicry and the same acting register of Trinity on Nobody.
 
Therefore, on an aesthetic level, it is difficult to notice any
difference from Trinity and Nobody; but on psychological level, on the
other hand, the differences are striking: Trinity acts and behaves as
a Peter Pan, while Nobody resembles more of the Jiminy Cricket of
Pinocchio. Trinity is all action, cunning, free of any moral concerns,
all of which often results in a comic effect. On the contrary, Nobody
is awareness and astuteness, the bring of a positive moral, which
often translate into ironical effect, holder of a positive moral:
those men who have become myths—thinks Nobody—must go forward in a
lofty manner and must exit the stage in a noble way, or at least “in
style”, as Nobody himself says to Beauregard. In this sense, this
paper does not agree neither with the definition that Fridlund gives
of Nobody as a “malignant partner” (2006, 169), nor with the hasty one
given by Weisser of Nobody as “a cowboy groupie” (1992, 223), nor with
the definition by Curti (2008, 60) who describes Nobody “agli occhi di
Valerii come Peter Pan” [in Valerii’s eyes, Nobody was as a Peter
Pan]. Peter Pan too, as well as Pinocchio, has a character who acts as
his stooge and embodies his conscience: Tinkerbell, while Nobody is
Beauregard’s conscience.
Therefore, if it is acceptable the comparison here offered, one might
say that Nobody is on a psychological level more similar to Tinkerbell
than to Peter Pan. Following the polemics between Leone and Valerii
about who is the real main character in Il mio nome è Nessuno, as
Garofalo refers (1999, 175-6), we may discuss whether Nobody is
Beauregard’s stooge (in the same way as Jimmy the Cricket and
Tinkerbell are the stooge of, respectively, Pinocchio and Peter Pan)
or if the two characters are pretty much co-protagonists to be placed
on the same level of importance. This paper maintains that—at least on
a celebrity level and taking into consideration the cachet received—
Henry Fonda was the protagonist of Il mio nome è Nessuno, and Terence
Hill the deuteragonist.
Moreover, it is very well known which of the two actors was more
excited to be working with the other: Terence Hill, not Henry Fonda. A
further element, albeit funny but in no way meaningless, that
persuades the author of this paper in pairing of Nobody to Tinkerbell
is the presence of wings that the two character show: Nobody in an
allegorical key, Tinkerbell in an actual one. The saddle that Nobody
bears on his shoulders at the beginning and at the end of the movie,
is in fact designed as an ample and rigid structure: a fictitious
characteristic, since it is known that the Western saddles were much
smaller than that and—above all—they had a leather thigh-protector. On
the other hand, a rigid saddle of the dimensions that Nobody bears
upside-down on his back would cause serious injury to the horse’s back—
and not only to the horse back. Evidently, the huge rigid structure is
needed in order to make the upside-down on Nobody’s back appear as a
huge pair of angel wings. Not by chance, Beauregard calls Nobody “My
blue-eyed angel”. The confirmation of this hagiographic profile of
Nobody is also given by the screenwriter Ernesto Gastaldi in an E-mail
message dated 30 October 2009 with the author of this paper.
 
As this paper maintained before, the ironical element is not there
just in Il mio nome è Nessuno, but is evident also in other Valerii’s
movies. "Per il gusto di uccidere" (1966) [Taste For Killing], his
debut movie, is the story of a sort of a bounty killer who has a
predilection for finance and speculates on an imaginary “Stock
Exchange” with the heads of his victims. The idea, Valerii recounts,
is shared with screenwriter Gastaldi:
 
 “I was seeking for a story, and Gastaldi told me that he had had an
idea: that of a bounty killer who “speculated on the Stock Exchange of
the Most Wanted” and used to say ‘what’s the value of this head? 5000
dollars? Come on, let’s make him become a bit more valuable’. On this
idea of Ernesto I wrote a script in a few days (…) the title was given
by Bompani, a friend of mine who I usually met at the restaurant Buca
di Ripetta; he was  general organizer for the Titanus Production,
too”. [Interview with the author, 14 June 2009]
 
In the same way, in the far more dramatic Una ragione per vivere, una
per morire (1972) the character of Major Ward, played by a Telly
Savalas in a state of grace, these ironical elements are not
forgotten. Not by chance, the point of the statue shaping a naked boy
where the Major lights his matches is the testicles. Such a peculiar
point lead some critics to believe that there is an embedded
homoerotic relation between the Major and his subordinate aide,
lieutenant Brent. Valerii, who admits the ambiguity between the two
soldiers, ascribes this peculiarity to an intuition of Savalas:
 
“The idea of leaking a certain ambiguity between Major Ward and his
aide was already in the script and Savals emphasized it with the idea
of lighting a match on the scrotum of the statue. I only had nine days
to shoot with Savalas and in the end we pulled it off. He suggested to
design the character in a certain way: the flower greenhouse, the
cigar-lighter, etc.” [Interview with the author, 14 June 2009]
 
In general, Valerii recognizes the irony bent of his own first movies
but, interestingly enough, disclaims the authorship:
 
“I did not have a particular inclination towards irony, but it is
something I acquired while working with Ernesto. The first inputs in
this sense have come from him. For example, considering the bounty
killer as a Stock Exchange speculator. But also in Day of Anger
there’s Billy the Blind who enjoys throwing little stones in the
bottlenecks, or the judge who likes to mortify this poor kid just
because he dared to speak to his daughter”. [Interview with the
author, 14 June 2009]
 
The element on which Valerii claims his authorship is the attempt of
creating complex characters that are constantly changing. As many
critics have noticed, and among them Curti, the relationship of mutual
admiration that springs up between Scott Mary (Giuiano Gemma) and
Frank Talby (Lee Van Cleef) in I giorni dell’ira (1967) is not so far
from the one that develops between Nobody and Beauregard. After all,
Scott too is lacking a real name, since he has no family name as the
son of a prostitute, and his fictitious surname is given to him
directly by Talby, on the basis that “every respectful man must have a
family name”. Beauregard asks for Nobody’s name more than once, but at
the end he concedes in calling him “Nobody”, as the young cowboy
proposes. At the end, both Scott Mary and Nobody will be able to
overcome the myths of their childhood, even though Nobody does so on a
level of complicity and “happy ending”, while Scott Mary does so in a
dramatic key, by killing his mentor and applying one of the ten
critical rules to live bythat Talby taught to him: “Quando spari a un
altro uomo devi ucciderlo, o prima o poi lui ucciderà te” [“When you
shoot  a man, you must kill him, or otherwise sooner or later he will
kill you”]. If Scott Mary and Nobody are therefore portrayed as the
main characters of a Bildungsroman, characters that introduce
themselves in a naïve way, demonstrating a total lack of naiveté in
any way by the end, then Talby and Beuaregard too, are a pair of
mythical and revered characters. These are two quick drawing gunmen
about whom all the kids of the West speak and dream of. Yet, these two
legendary killers are shelved: Talby gets killed, and everybody
believes that Beuaregard has been killed by Nobody. Although it is
difficult to see Talby and Beauregard as “positive” characters, since
they base their fame on the fact that they are two experienced
killers, yet Valerii introduces them in a twofold way. In the end the
one of the two that seems to be more merciless, Talby, is the one who
begs for mercy from his underclassman; while the one who is portrayed
as the nobler one, Beauregard, accepts being bribed by Sullivan, the
man who had his brother killed. Beauregard takes the gold that Nevada
Kid had “earned” for his services from a terrorized Sullivan, who is
fairly sure that the old cowboy has reached him in order to kill him,
and not to be bribed. A little later on, when Beauregard, crosses
paths with Nobody on the stairs of Sullivan’s place, the old man
explains to the young one that he has no intention to risk his life in
order to revenge his brother, because killing Sullivan would mean
being hunted by the Wild Bunch. But Nobody has other plans for his
hero…
 
In conclusion, the characters of Valerii’s Westerns appear much closer
to real people, rather than to comic heroes or those of a sub genre of
the American Western. Valerii’s characters are often men who bear
serious contradictions within themselves, and perhaps, that undergo to
a continuous succession of difficult and dynamic choices. Those are
men who do not fear to show their fear of death; those are men who
always have “a reason to live, and a reason to die”.
 
Works Cited
 
Crespi, Alberto. Segnocinema. 68/1994, 23-6 July-August.
 
Cumbow, Robert C. Once Upon A Time: the Films of Sergio Leone.
Metuchen, N.J. e Londra: The Scarecrow Press, 1987.
 
Curti, Roberto. Il mio nome è Nessuno: lo spaghetti western secondo
Tonino Valerii. Roma: Un mondo a parte, 2008.
 
Fridlund, Bert. The Spaghetti Western. A Thematic Analysis. Jefferson
e Londra: McFarland & co., 2006.
 
Frayling, Christopher. Spaghetti Westerns. Cowboys and Europeans from
Karl May to Sergio Leone. Londra e New York: I.B.Tauris, 1981,1998.
 
Garofalo, Marcello. Tutto il cinema di Sergio Leone. Milano: Baldini &
Castoldi, 1999.
 
Gastaldi, Ernesto. “Re: Il mio nome è Nessuno.” Message to the author.
30 October 2009. E-mail.
 
König, René. The Restless Image: a Sociology of Fashion. Trad. F.
Bradley. Macht und Reiz der Mode. Londra: George Allen & Unwin, 1973.
 
Mininni, Francesco. Sergio Leone. Roma: Il Castoro, 1994.
 
Simsolo, Nöel. Conversations avec Sergio Leone. Parigi: Stock, 1987.
 
Staig Laurence e Tony Williams. Italian Western: the Opera of
Violence. Halifax: Lorimer Publishing, 1975.
 
Valerii, Tonino and Ernesto Gastaldi. Personal interview. 14 June 2009.

the Cinema of Tonino Valerii  - by Sciltian Gastaldi
 
A Toronto c'é il trota di ernesto ciancialesto banana che da un anno ci ha
raccontato che si é già "addottorato" mentre nel sito del Dipartimento di
Studi Italiani dell'Università di Toronto risulta essere ancora candidato.
 
Ma si sa, la megalomania del banana ha anticipato di un po' il dottorato.
 
http://www.utoronto.ca/italian/graduate/14_theses.html
 
 
Ma vediamo in che cosa si sta addottorando il rampollo del ciancialesto...
 
Theses in Progress
 
Student's Name Thesis Title         Supervisor
______________ ____________         __________
 
Gastaldi       Return to Tondelli   Capozzi (supervisor)
                                    		  Somigli
                                    		  Eisenbichler
 
Uhmmm... Ritorno a Tondelli ....
 
e chi é questo Tondelli?
 
Una ravanatina su internet e si scopre che questo insigne scrittore Pier
Vittorio Tondelli é un pervertito morto a 36 anni di AIDS nel 1991.
 
Si legge anche:
 
Ricordo ancora oggi l'uscita del primo libro di Tondelli, Altri
libertini-[1]. Contrariamente a quanto tramanda la leggenda, sulle prime
passò quasi inosservato. Io ne lessi la recensione su una rivista gay di
allora, che ne parlava con educato entusiasmo come di un'opera di un'autore
che avrebbe fatto strada.
 
Lessi il libro e ne fui entusiasta a mia volta. Ricordo che pensai che
questo nuovo scrittore, dopo averci dato un distillato così attento della
sua vita, avrebbe taciuto per qualche anno, poi si sarebbe fatto vivo con un
altro stupendo bilancio intimo, fino a diventare a poco a poco un "nome"
nella narrativa italiana. Non fu così.
Per qualche tempo si parlò del libro soprattutto nel "tam-tam" degli amici,
se ne disse un gran bene, ma non ci fu un "caso" Tondelli. Non, intendo,
fino a che il solito magistrato oscurantista ordinò il sequestro del libro
per "oscenità". Fu l'apocalisse. Tutti volevano leggere il libro
"scandaloso". Altri libertini fu assolto e divenne da un giorno all'altro un
best-seller, e il suo autore divenne un "caso letterario".
 
Tondelli diventò così il simbolo d'una generazione (quella del
"Settantasette"), colui aveva dato voce a una fauna di "alternativi",
femministe, tossici, gay, travestiti, "scoppiati" che fin lì non aveva avuto
accesso all'aureo mondo della carta stampata.
__________________________________________________________________________
 
 
Evidentemente occorreva proprio doppiare Capo Finisterre e andare a finire a
Toronto nel nuovo mondo per trovare una giovane e politically correct
università d'avantgarde della frontiera di Jack London il cui dipartimento
di studi italiani che ha le sue lontane radici nelle vecchie bettole
italofone degli immigranti, fosse disposto ad accettare una tesi di
dottorato su un ignoto pervertito scrittoruncolo di provincia, meglio noto
come portavoce di tossici, gay, travestiti e scoppiati.
 
Del resto che cosa altro ci si sarebbe potuti attendere dal Cul Cul Clan di
ernestcul banana?
 
 
 
................................................................
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 >the Cinema of Tonino Valerii  - by Sciltian Gastaldi
 
Questo povero antennista sfigato sta morendo per travasi di bile!
 
Ahahahahahahahahahah!!!!!!!
 
Quanti hanno la fortuna di avere un figlio accademico (diue lauree,
tre master, un dottorato) che adora e ammira il proprio padre e che
scrive su prestigiose riviste universitarie a suo onore e gloria?
 
Povero testa di Clapos! Coraggio, sei sfigato, io no.
 
e

 A Toronto c'é il trota di ernesto
 
 E chi se ne frega? Ma sei invidioso forte di ernesto eh...la miseria, sei 
proprio fissato. 
 
 

 proprio fissato.
 
Testa di Clapos ha la sclera giallo-arancio: il travaso di bile è
continuo. Sputa saliva amara, poverino. Sputa, sputa, sputa...sempre
le stesse povere parole.
Gli ho dato il numero di cell. della prof. Francesca Giordano,
notissima esperta in cure per culomani, razzisti, omofobi e  repressi
ma non le telefona, il tapino.
 
e
PS: GLI PUO' ESSERE UTILE?
 
Il reflusso biliare: definizioni, sintomi e cura
 
Il reflusso biliare ha qualche familiarità con il reflusso gastro
esofageo - il riflusso degli acidi caustici dello stomaco che salgono
nell'esofago, il quale collega la gola e lo stomaco, ma è meno noto.
Il reflusso biliare si verifica infatti quando la bile - un fluido
digestivo prodotto dal fegato - risale in flussi dal piccolo intestino
fino allo stomaco e all'esofago.
 
La bile è un liquido verde-liquido giallo essenziale per la digestione
e l'assorbimento dei grassi e per eliminare altre sostanze di rifiuto.
Quando mangiamo viene rilasciata una piccola parte di bile che arriva
al piccolo intestino, ma che non raggiunge lo stomaco grazie
all'azione della valvola pilorica. Un danneggiamento della valvola
pilorica, causa la fuoriuscita della bile nello stomaco e su fino
all'esofago: è il reflusso biliare.
 
A differenza del reflusso acido, il reflusso biliare in genere non può
essere completamente controllato da cambiamenti nella dieta o stile di
vita. Invece, il reflusso biliare è spesso gestito con farmaci o, nei
casi più gravi, con la chirurgia. ll reflusso biliare può essere
difficile da distinguere dal reflusso gastro esofageo - i segni e i
sintomi sono simili, e le due condizioni si possono verificare al
tempo stesso. Ma a differenza del reflusso gastro esofageo, il
reflusso biliare infiamma lo stomaco, provocando un bruciore nella
parte superiore dell'addome.
 
Altri sintomi di reflusso biliare includono: sensazione di bruciore al
petto che si diffonde a volte in gola e un sapore amaro in bocca,
nausea, vomito biliare, tosse occasionale, perdita di peso, rischio di
complicazioni come gastriti, ulcere, cancro dell'esofago e patologie
che causano problemi di funzionalità esofagea a causa di una sua
modificazione (come esofago di Barrett e stenosi esofagea).
 
Normalmente tale danneggiamento si verifica in seguito a una
complicazione da intervento di chirurgia gastrica, come la
gastrectomia o il bypass gastrico. Altre cause di reflusso biliare
sono l'ulcera peptica e un intervento di colecistectomia, e il
reflusso esofageo causato da malfuzionamento dello sfintere esofageo
inferiore.
 
La diagnosi di reflusso biliare non è semplice, e prevede vari esami,
tra cui l'endoscopia. Il trattamento del reflusso biliare è
essenzialmente farmacologico, o in caso di corrosioni  gravi a danno
dello stomaco e dell'esofago, chirurgico. Nel trattamento
farmacologico, si può usare l'acido ursodesossicolico,
che può ridurre la frequenza dei sintomi e la gravità del dolore
associato a reflusso biliare; altrimenti gli inibitori
della pompa protonica, prescritti normalmente per l'esofago di
Barrett.  Il trattamento chirurgico tende a ristabilire invece il
drenaggio biliare.
 
Link utili:
 
Esofago di Barrett
 
Bile su Wiki sensazione di bruciore al petto che si diffonde a volte
in gola e un sapore amaro in bocca, nausea, vomito biliare,

e
 
Che lo sfigato sotto ogni aspetto sia tu � di pubblico dominio mentre tu non
sapendo ch'io sia non puoi sapere nulla della mia presunta sfiga con la quale
posso acquistare un travet pezzentello come te con i dollari che ho nel
borsellino per le spesette.
 
A Toronto c'� il trota di ernesto ciancialesto banana che da un anno ci ha
raccontato che si � gi� "addottorato" mentre nel sito del Dipartimento di
Studi Italiani dell'Universit� di Toronto risulta essere ancora candidato.
 
Ma si sa, la megalomania del banana ha anticipato di un po' il dottorato.
 
http://www.utoronto.ca/italian/graduate/14_theses.html
 
 
Ma vediamo in che cosa si sta addottorando il rampollo del ciancialesto...
 
Theses in Progress
 
Student's Name Thesis Title         Supervisor
______________ ____________         __________
 
Gastaldi       Return to Tondelli   Capozzi (supervisor)
                                    		  Somigli
                                   		  Eisenbichler
 
Uhmmm... Ritorno a Tondelli ....
 
e chi � questo Tondelli?
 
Una ravanatina su internet e si scopre che questo insigne scrittore Pier
Vittorio Tondelli � un pervertito morto a 36 anni di AIDS nel 1991.
 
Si legge anche:
 
Ricordo ancora oggi l'uscita del primo libro di Tondelli, Altri
libertini-[1]. Contrariamente a quanto tramanda la leggenda, sulle prime
pass� quasi inosservato. Io ne lessi la recensione su una rivista gay di
allora, che ne parlava con educato entusiasmo come di un'opera di un'autore
che avrebbe fatto strada.
 
Lessi il libro e ne fui entusiasta a mia volta. Ricordo che pensai che
questo nuovo scrittore, dopo averci dato un distillato cos� attento della
sua vita, avrebbe taciuto per qualche anno, poi si sarebbe fatto vivo con un
altro stupendo bilancio intimo, fino a diventare a poco a poco un "nome"
nella narrativa italiana. Non fu cos�.
Per qualche tempo si parl� del libro soprattutto nel "tam-tam" degli amici,
se ne disse un gran bene, ma non ci fu un "caso" Tondelli. Non, intendo,
fino a che il solito magistrato oscurantista ordin� il sequestro del libro
per "oscenit�". Fu l'apocalisse. Tutti volevano leggere il libro
"scandaloso". Altri libertini fu assolto e divenne da un giorno all'altro un
best-seller, e il suo autore divenne un "caso letterario".
 
Tondelli divent� cos� il simbolo d'una generazione (quella del
"Settantasette"), colui aveva dato voce a una fauna di "alternativi",
femministe, tossici, gay, travestiti, "scoppiati" che fin l� non aveva avuto
accesso all'aureo mondo della carta stampata.
__________________________________________________________________________
 
 
Evidentemente occorreva proprio doppiare Capo Finisterre e andare a finire a
Toronto nel nuovo mondo per trovare una giovane e politically correct
universit� d'avantgarde della frontiera di Jack London il cui dipartimento


JGCinema.com
http://www.jgcinema.com/single.php?sl=humour-western
 
 
Cinema and globalization
 
Dossier » Reflections Upon Contemporary Italian Cinema: The Role of
Humor in Western Italian Style
the Cinema of Tonino Valerii  - by Sciltian Gastaldi
 
