pastiche The term derives its origin from Italy, where gastronomy has expanded from the seventeenth century, and from there to the pictorial to the literature. [1] .
In fact, in Italian, originally meant trouble, and still means today, a dough and is a derivation of the Latin word suffissale pasta, as are the German word Pastete pâté and French [2] . The term is also used in a figurative sense, in the sense of "done unclear" or reported a kind of cheating.
In Italy the word pastiche, fallen into disuse in its literary and artistic sense, she returned as export notably by French critics who have dealt with the pasticheur Marcel Proust (Paris, 1871-1922). Italian criticism has reverted to the term mess, or rather, pastiche, but ignoring the value assumed in the centuries of foreign users. So it happens that in our literary language - and now in the political - you face a lot of confusion between the use of terms macaroni, pastiche and travesty [3] . The term is ambiguous, especially its highest expression in the political debate. Examples are the statements Daniela Santanché, candidate for premier of "The Right", expressed during the program "In half an hour" hosted by Lucia Annunziata, defining a "big mess" the Party of Freedom, "a sort of chemical reaction caused by the presence of characters ranging from a Capezzone Giovanardi - the transformers considered the right - by Berlusconi to Fini. " Similarly, even the Democratic Party was not spared the attribute of mess. Proof of this is the article published by Famiglia Cristiana "the mess in veltroni pannelliana sauce, with whom he claims to the contrary the reaction of Catholics in the PD, Veltroni's decision to embark on the lists also the Radicals.
Hence the question on what the actual shape of the policy to which we are witnessing. That is, if it is a messy model, understood in its original sense of mixing or mess, or a true work of disguise. I think the right way to go is the second option. In the tradition of literary and linguistic, the disguise is a writing technique in which the substance is maintained and work a profound transformation of the model: a process of translation from one register to another politician, what in modern terms could be considered a form of rewriting of Italian politics.
Taking as a starting point and then the opera "The Aeneid in disguise" in which the artist Giovanni Battista Lalli (1882) takes possession of matter (substance) by changing the model, the same way, the PD and the PDL maintain the substance of the old coalition, a modified form. It is therefore appropriate to consider the Democratic Party as a kind of disguised Union and the Party of Freedom as the disguise of the CDL. Two policy scenarios in which there is no substantive change is made, but has implemented a transformation of the model through the rehabilitation of substance date [4] . The disguise becomes, therefore, the technique adopted by both sides that, without the need to field anything innovative is the means by which we try to re-gain the consent of the public, now shrouded by a veil of cynicism towards politics.
Cristina Sanna In fact, in Italian, originally meant trouble, and still means today, a dough and is a derivation of the Latin word suffissale pasta, as are the German word Pastete pâté and French [2] . The term is also used in a figurative sense, in the sense of "done unclear" or reported a kind of cheating.
In Italy the word pastiche, fallen into disuse in its literary and artistic sense, she returned as export notably by French critics who have dealt with the pasticheur Marcel Proust (Paris, 1871-1922). Italian criticism has reverted to the term mess, or rather, pastiche, but ignoring the value assumed in the centuries of foreign users. So it happens that in our literary language - and now in the political - you face a lot of confusion between the use of terms macaroni, pastiche and travesty [3] . The term is ambiguous, especially its highest expression in the political debate. Examples are the statements Daniela Santanché, candidate for premier of "The Right", expressed during the program "In half an hour" hosted by Lucia Annunziata, defining a "big mess" the Party of Freedom, "a sort of chemical reaction caused by the presence of characters ranging from a Capezzone Giovanardi - the transformers considered the right - by Berlusconi to Fini. " Similarly, even the Democratic Party was not spared the attribute of mess. Proof of this is the article published by Famiglia Cristiana "the mess in veltroni pannelliana sauce, with whom he claims to the contrary the reaction of Catholics in the PD, Veltroni's decision to embark on the lists also the Radicals.
Hence the question on what the actual shape of the policy to which we are witnessing. That is, if it is a messy model, understood in its original sense of mixing or mess, or a true work of disguise. I think the right way to go is the second option. In the tradition of literary and linguistic, the disguise is a writing technique in which the substance is maintained and work a profound transformation of the model: a process of translation from one register to another politician, what in modern terms could be considered a form of rewriting of Italian politics.
Taking as a starting point and then the opera "The Aeneid in disguise" in which the artist Giovanni Battista Lalli (1882) takes possession of matter (substance) by changing the model, the same way, the PD and the PDL maintain the substance of the old coalition, a modified form. It is therefore appropriate to consider the Democratic Party as a kind of disguised Union and the Party of Freedom as the disguise of the CDL. Two policy scenarios in which there is no substantive change is made, but has implemented a transformation of the model through the rehabilitation of substance date [4] . The disguise becomes, therefore, the technique adopted by both sides that, without the need to field anything innovative is the means by which we try to re-gain the consent of the public, now shrouded by a veil of cynicism towards politics.
[1] Rosalma Salina Borello, Text intertext, hypertext, Bulzoni Publisher, p.. 94
[2] figures. W. Hempel
[3] Rosalma Salina Borello, Text, intertext, hypertext, Bulzoni Publisher, p.. 98
[4] Rosalma Salina Borello, Text, intertext, hypertext, Bulzoni Publisher, p.. 47
