摘要：In his final novel, Petrolio , Pier Paolo Pasolini offers a dismal portrait of neo-capitalist Italy. Focusing on a programmatic referencing of sloth or acedia , this article explores a series of parallels between the symptomatology of the sin and what Pasolini saw as the unreality of consumerist culture. Conferring a central importance on Pasolini's declared intent to compose his final novel in a type of "non-style, " the article posits a stylistic implementation of the symptoms of acedia in Petrolio as part of a reconfiguration of intellectual engagement. This reconfigured engagement with neo-capitalist Italy is based on the provocative negation of the conventional author figure as purveyor of style and the related attempt to insert the living voice within the confines of literary artifice.
