Open Access Scientific Journals of the Department of Foreign Languages and Literatures of the University of Verona
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«Teatro Caballeresco»: a database for the study of the presence of chivalric books in Golden Age Drama
No full textEn este trabajo queremos dar a conocer una nueva herramienta para el estudio de la presencia de los libros de caballerías en el teatro del Siglo de Oro: se trata de la base de datos «Teatro Caballeresco», que se ha desarrollado en el marco de un proyecto financiado por el Ministerio de Universidades e Investigación italiano (MUR). Después de una presentación de las partes que componen el banco de datos, se ofrecen algunas consideraciones acerca de cómo este instrumento puede resultar útil a la hora de profundizar en la repercusión de la novela caballeresca en el drama áureo español.In this paper I present a new digital tool for the study of the presence of chivalric romances in the Theatre of the Golden Age: the database «Teatro Caballeresco», which has been developed in the framework of a project funded by the Italian Ministry of Universities and Research (MUR). After a presentation of the parts that make up the database, I offer some considerations on how this database can be useful to deepen the knowledge of the incidence of the chivalric romance in Spanish Golden Age drama.In questo articolo presentiamo un nuovo strumento per lo studio della presenza dei libri di cavalleria nel teatro del Siglo de Oro, il database "Teatro Caballeresco", sviluppato nell\u27ambito di un progetto PRIN finanziato dal Ministero dell\u27Università e della Ricerca (MUR). Dopo una presentazione delle parti che compongono la banca dati, si offrono alcune considerazioni su come questo strumento possa essere utile per approfondire la ripercussione del romanzo cavalleresco sulla produzione teatrale spagnola del Secolo d\u27Oro
Courtly scenography in chivalric comedias of Castillo Solórzano: «Los encantos de Bretaña» and «La torre de Florisbella»
No full textEn este trabajo analizo los recursos técnicos para la escenificación de las dos comedias caballerescas de Alonso de Castillo Solórzano, Los encantos de Bretaña y La torre de Florisbella, a la luz de los conocimientos reunidos hoy sobre la escenografía en los teatros comerciales; y especialmente en relación con el teatro cortesano barroco que se desarrolló alrededor de la corte real desde finales del siglo XVI y hasta los primeros años del reinado de Felipe IV. En este análisis se observa una clara relación literaria y escénica de los textos de Castillo con obras como La fábula de Perseo, de Lope, La gloria de Niquea, del conde de Villamediana, Querer por solo querer, de Antonio Hurtado de Mendoza, o La vitoria de España y Francia, de Alonso Jerónimo de Salas Barbadillo. El estudio también pone en evidencia la cercanía literaria y esc´énica de las dos piezas de Castillo, acaso por haber sido escritas para el mismo escenario y las mismas tramoyas, y ofrece más elementos para suponer que su labor de escritor teatral debió de darse solo en el contexto de fastos cortesanos, posiblemente como encargo de alguno de los señores en cuyas casas sirvió durante buena parte de su vida, sobre todo los marqueses de los Vélez. In this paper I analyse the technical resources for the staging of the two chivalric comedies by Alonso de Castillo Solórzano, Los encantos de Bretaña and La torre de Florisbella, in the light of what is known today about stage design in commercial theatres, and especially in relation to the baroque court theatre that developed around the royal court from the end of the 16th century until the early years of the reign of Philip IV. This analysis shows a clear literary and aesthetic relationship between Castillo\u27s texts and works such as La fábula de Perseo, by Lope, La gloria de Niquea, by the Count of Villamediana, Querer por solo querer, by Antonio Hurtado de Mendoza, and La vitoria de España y Francia, by Alonso Jerónimo de Salas Barbadillo. The study also highlights the literary and scenic proximity of Castillo\u27s two plays, perhaps because they were written for the same stage and the same stage machinery, and offers further evidence to suggest that his work as a playwright must have taken place only in the context of courtly pomp, possibly commissioned by one of the lords in whose houses he served for much of his life, especially the Marquises of Los Vélez.In questo articolo analizzo le risorse tecniche per la messa in scena delle due commedie cavalleresche di Alonso de Castillo Solórzano, Los encantos de Bretaña e La torre de Florisbella, alla luce delle conoscenze raccolte oggi sulla scenografia nei teatri commerciali; e soprattutto in relazione al teatro barocco di corte che si sviluppò intorno alla corte reale dalla fine del XVI secolo fino ai primi anni del regno di Filippo IV. L\u27analisi mostra una chiara relazione letteraria e scenica tra i testi di Castillo e opere come La fábula de Perseo, di Lope, La gloria de Niquea, del Conte di Villamediana, Querer por solo querer, di Antonio Hurtado de Mendoza, e La vitoria de España y Francia, di Alonso Jerónimo de Salas Barbadillo. Lo studio evidenzia anche la vicinanza letteraria e scenica delle due opere di Castillo, forse perché scritte per lo stesso palcoscenico e con gli stessi oggetti di scena, e offre ulteriori elementi che suggeriscono che la sua attività di commediografo deve essersi svolta solo in un contesto di sfarzo cortigiano, forse su commissione di uno dei signori nelle cui case prestò servizio per gran parte della sua vita, in particolare i marchesi di Los Vélez
Images of Europe. Selected Excerpts from «Athar al-farāshah»
No full textSelected excerpts from Mahmud Darwish’s Athar al-farāshah (2008, The Butterfly Track), a diary which collects prose and poems written between the summers of 2006 and 2007. The excerpts are translated by Ramona Ciucani.Si presentano, nella traduzione di Ramona Ciucani, alcuni brani scelti da Athar al-farāshah (2008, La traccia della farfalla) di Mahmud Darwish, un diario che raccoglie prose e poesie scritte tra l’estate del 2006 e quella del 2007
И непросто, и необходимо: читать Достоевского во время раздора: (Вступительное слово)
No full textОт Главного Редактора вступительное слово к 25-му выпуску журнала Dostoevsky StudiesВступительное слово к 25-му выпуску журнала Dostoevsky Studies от Главного Редактор
Donkeys, Jesus, Don Quixote, Kant, and Other Idiots: Dostoevsky’s The Idiot and Nietzsche’s Antichrist
No full textThe essay analyzes Dostoevsky’s concept of idiocy and his interpretation of Christ as compared to Nietzsche and Cervantes. Dostoevsky is not so much interested in the historical Jesus as in the psychological type of Jesus, a topic that would later interest Nietzsche. For both Dostoevsky and Nietzsche, if Jesus is only human, he must be an “idiot” of sorts. For Dostoevsky, “idiocy” is associated with the theological tradition of docta ignorantia. I further consider how Nietzsche, who, like Dostoevsky, draws on the original meaning of the word “idiot” in his discussion of Jesus, can offer a useful and insightful interpretation of Dostoevsky’s concept of “idiocy” as depicted in his novel. In tracing the connection between Jesus, Don Quixote, and Kant in Nietzsche’s notion of “idiot”, I consider how Nietzsche’s reading of Dostoevsky can help us better understand Dostoevsky’s “perfectly beautiful man”, as Nietzsche’s interpretation of Jesus seems a fairly accurate description of Prince Myshkin. Their respective attitudes toward Don Quixote provide an important additional dimension to their interpretations of the human type of Jesus as an idiot. Although neither Dostoevsky nor Nietzsche explicitly called Cervantes’ foolish knight an idiot, their respective interpretations of Jesus’ “idiocy” are contaminated by their views of Don Quixote. Both viewed him as a kind of failed Jesus figure, and both lamented Cervantes’ satirical portrayal of his lofty “anti-realist”, though perhaps for slightly different reasons. The essay concluded by comparing Dostoevsky’s and Nietzsche’s notions of realism. Both Dostoevsky and Nietzsche were driven by a desperate search for truth and considered themselves realists, though each put a different meaning into a concept. Both Dostoevsky and Nietzsche were fascinated by the figure of Jesus the man and his underlying mental dispositions, and they depicted him equally as a kind of “idiot”. The tragic “yes” of Dostoevsky and the tragic “no” of Nietzsche clashed in their interpretation of the “positively beautiful man” and the question of faith. Both sought to say “yes” to reality, as different as this reality may have been understood by the two thinkers.
Keywords:
donkey/ass, philosophy, Nicholas of Cusa, Apuleius, The Golden Ass, Nietzsche, Kant, Cervantes, Christ, Jesus, Don Quixote, Holbein, Renan, idiocy, idiot, “learned ignorance”, docta ignorantia, ratio, intellectus, anti-Christ, heroism, reality, realism
О “беседах” старца Зосимы (Братья Карамазовы Ф.М. Достоевского) и книге А.М. Бухарева О современных духовных потребностях мысли и жизни, особенно русской
No full textAbout the "conversations" of Elder Zosima (The Brothers Karamazov by F.M. Dostoevsky) and the book by A.M. Bukharev On the modern spiritual needs of thought and life, especially Russian ones
The article analyzes the influence that had on the novel The Brothers Karamazov, and in particular, on the conversations of Elder Zosima, the books of Archimandrite Theodore (A.M. Bukharev). A comparative analysis of the theses put forward in his "conversations" by elder Zosima and Bukharev\u27s books is carried out, special attention is paid to his work On modern spiritual needs of thought and life, especially Russian (1865), which caused a great public response, with clarification of a number of similar concepts and the assumption of the influence of this book on the plot and ideology of the novel Brothers The Karamazovs.
Keywords:
F.M. Dostoevsky, The Brothers Karamazov, A.M. Bukharev, "conversations" of Elder Zosima, ideology of "new Christianity"Аннотация: В статье анализируется влияние, которое оказали на роман Братья Карамазовы, в частности, «беседы» старца Зосимы, книги архимандрита Феодора (А.М. Бухарева). Проводится сравнительный анализ тезисов, выдвинутых в его «беседах» старцем Зосимой и книг Бухарева, особое внимание уделено его вызвавшему большой общественный резонанс труду О современных духовных потребностях мысли и жизни, особенно русской (1865), с выяснением ряда сходных концепций и предположением о влиянии этой книги на сюжет и идеологию романа Братья Карамазовы.
Ключевые слова:
Ф.М. Достоевский, роман Братья Карамазовы, А.М. Бухарев, «беседы» старца Зосимы, идеология «нового христианства
Il potere della narrazione e le potenzialità del racconto nell’«Elegia di madonna Fiammetta»
No full textFocalizzandosi sulle strategie narrative adottate da Boccaccio, questo articolo mira a dimostrare come l’autore abbia voluto sviluppare nell’Elegia di madonna Fiammetta una riflessione sullo statuto della narrazione e sul ruolo del narratore. Si sottolinea infatti come quest’opera assuma i tratti di una rappresentazione concreta e tangibile del potere e delle potenzialità del racconto, da intendersi tanto come atto del raccontare quanto come suo prodotto, proponendo significativi legami con la poetica boccacciana che emergerà in seguito nel Decameron.Focusing of Boccaccio’s narrative strategies, this article aims at demonstrating that the author wanted to develop in the Elegia di madonna Fiammetta a reflection on the nature of the narration and the role of the narrator. It stresses that this piece of work becomes a concrete and effective representation of the power and the potentialities of both the art of the narration and its narrative products, showing meaningful connections with the poetics which Boccaccio will resort to in the Decameron.Centrándose en las estrategias narrativas adoptadas por Boccaccio, este artículo tiene como objetivo demostrar cómo el autor quiso desarrollar una reflexión sobre el estatuto de la narración y el papel del narrador en la Elegía de Madonna Fiammetta. De hecho, se subraya cómo esta obra asume los rasgos de una representación concreta y tangible del poder y el potencial del contar, para ser entendida tanto como un acto de narración y como su producto, proponiendo vínculos significativos con la poética de Boccaccio que luego emerge en el Decamerón
In a constellation of female first person voices: The case of «A mí no me iba a pasar» (2019) by Laura Freixas, an autobiography with gender perspective
No full textEl objetivo de este artículo es proponer una aproximación a la autografía de Laura Freixas A mí no me iba a pasar (2019). Se destacará el papel de Freixas como referente del feminismo español y de una escritura autobiográfica en la que se destaca cómo el género al que una pertenece condiciona la vida personal a la vez que la profesional. Tras una primera parte, en la que se enumeran algunas de las escritoras que en la actualidad se dedican a la autobiografía desde una sensibilidad nueva, de reivindicación, se trazará su autorrepresentación en una escritura que es a la vez íntima y exterior, en busca de respuestas sobre un papel femenino convencional que Laura Freixas nunca quiso adoptar y en el que durante un tiempo quedó atrapada.L\u27obiettivo di questo articolo è proporre uno studio dell\u27autobiografia di Laura Freixas A mí no me iba a pasar (2019). Si pone l’accento sul ruolo di Freixas come referente del femminismo spagnolo e autrice di un’opera autobiografica dove l’appartenenza di genere condiziona la vita personale e quella professionale della scrittrice. Dopo una prima parte, in cui si elencano le scrittrici che attualmente si dedicano all\u27autobiografia a partire da una nuova prospettiva di sensibilità e di rivendicazione, si ripercorreranno i principi dell’autorappresentazione in una scrittura insieme intima e pubblica, che ricerca delle risposte circa il ruolo femminile convenzionale a cui Laura Freixas non ha mai voluto conformarsi e in cui è rimasta intrappolata per un certo tempo.The aim of this article is to propose an approach to Laura Freixas’ autobiography A mí no me iba a pasar (2019). The paper will highlight the role of Freixas as a reference of Spanish feminism and of an autobiographical writing that emphasizes how the gender to which one belongs conditions the personal life as well as the professional one. After a first part, presenting the scenery of women writers who are currently dedicated to autobiography from a new perspective, with a new sensitivity of vindication, Freixas self-representation will be outlined in a narrative that is both intimate and external, in search of answers about a conventional feminine role that the Spanish writer, born in 1958, never wanted to adopt and in which she got trapped for a while
A Conversation with Thomas Pavel
No full textSi propone l’intervista a Thomas Pavel del 2017 coordinata dal gruppo dottorale FORLab (Laboratorio sulle Forme e Origini del Romanzo) tuttora inedita.Se propone la entrevista a Thomas Pavel de 2017 coordenada por el grupo doctoral FORLab (Laboratorio sobre las Formas y Orígenes de la Novela) todavía inédita.We propose the 2017 interview with Thomas Pavel coordinated by the doctoral group FORLab (Laboratory on Forms and Origins of the Novel), still unpublished
«Esos estilos tan altos / son del tiempo de Amadís»: analysis of references to the world of the romances of chivalry in Golden Age theatre
No full textEl artículo abarca el análisis cuantitativo y cualitativo de la presencia de la mención de personajes pertenecientes a los libros de caballerías en el género teatral del siglo XVII. Al margen del fenómeno ya estudiado y definido del teatro caballeresco, el estudio se propone utilizar cuatro base de datos teatrales (TESO, ARTELOPE, Biblioteca Intratext y TEXORO) para identificar los nombres de personajes de libros de caballerías más citados y sucesivamente analizar el contexto dialógico en el que las citas se producen, es decir, entre criados, entre criados y nobles o solo entre nobles, para sugerir una clave interpretativa de la presencia de esas citas que atestiguan la supervivencia de la pasión para el género caballeresco a lo largo del siglo XVII.The article covers the quantitative and qualitative analysis of the presence of the mention of characters belonging to the books of chivalry in the theatrical genre of the seventeenth century. Apart from the already studied and defined phenomenon of chivalric theatre, the study aims to use four theatrical databases (TESO, ARTELOPE, Biblioteca Intratext and TEXORO) to identify the names of the most frequently quoted characters from the books of chivalry and then to analyse the dialogical context in which the quotations occur, i.e. between servants, between servants and nobles or only between nobles, in order to suggest an interpretative key to the presence of these quotations that testify to the survival of passion for the chivalric genre throughout the 17th century.L\u27articolo riguarda l\u27analisi quantitativa e qualitativa della presenza di riferimenti a personaggi appartenenti ai libri di cavalleria nel genere teatrale del XVII secolo. Oltre al fenomeno già studiato e definito del teatro cavalleresco, lo studio si propone di utilizzare quattro banche dati teatrali (TESO, ARTELOPE, Biblioteca Intratext e TEXORO) per identificare i nomi dei personaggi dei libri di cavalleria più frequentemente citati e analizzare il contesto dialogico in cui le citazioni si verificano, cioè tra servi, tra servi e nobili o solo tra nobili, al fine di suggerire una chiave interpretativa della presenza di queste citazioni che testimoniano la sopravvivenza della passione per il genere cavalleresco nel corso del XVII secolo