Itinera
Not a member yet
571 research outputs found
Sort by
Corpo, sensi e realtà nel teatro italiano del nuovo millennio
Get PDFThe article proposes a study of the Italian theater in the new millennium through the revaluation of the body, of the senses and of the reality. If the main thrust is the presence of the body, the first part studies particularly the definition and the analysis of a language-body, what it is recovered in La madre (2010) of Mimmo Borrelli, methodologically privileging a textual analysis. The second part studies the theatrical relationships, analyzing a particular typology of sensory dramaturgy in the Teatro del Lemming. Beginning from these analyses and from a rapids review of other experiences, the article concludes on the attempt to define what "reality." means today for the theater and to theatre
Il naso e il triangolo. Potere delle immagini, immagini del potere
Get PDFThe essay attempts to analyze the relationship between power and image. The writing starts with the studies of Alberto Giacometti between 1956 and 1961 for the portrait of the Japanese philosopher Isaku Yanaihara. Giacometti says that in this experience one of his tasks is grasping the triangular and pyramidal shape of the portrayed nose. This image, reminiscent of Egyptian pyramids as graves and representations of the pharaoh’s power, becomes vitalist shape, hanging between life and death. Power, required to be efficient, deals with what is subject to its force; its exertion doesn’t move, it can protect but doesn’t save; it hardly gives way to nothing. Power aims at simplification, while art amplifies existence complexity and variety. Art can allows itself a wait and consents to unproductiveness, it strives to bring life into death. Works of art give a picture of power that is not afraid of generating and destroying itself to be able to start again. Works of art have to disown every seeming final goal to avoid their imprisonment into the shapes produced by the desire itself.The essay attempts to analyze the relationship between power and image. The writing starts with the studies of Alberto Giacometti between 1956 and 1961 for the portrait of the Japanese philosopher Isaku Yanaihara. Giacometti says that in this experience one of his tasks is grasping the triangular and pyramidal shape of the portrayed nose. This image, reminiscent of Egyptian pyramids as graves and representations of the pharaoh’s power, becomes vitalist shape, hanging between life and death. Power, required to be efficient, deals with what is subject to its force; its exertion doesn’t move, it can protect but doesn’t save; it hardly gives way to nothing. Power aims at simplification, while art amplifies existence complexity and variety. Art can allows itself a wait and consents to unproductiveness, it strives to bring life into death. Works of art give a picture of power that is not afraid of generating and destroying itself to be able to start again. Works of art have to disown every seeming final goal to avoid their imprisonment into the shapes produced by the desire itself
Colour Alone. The Chromatic Hues of The Concepts of “Painterly” and “Post Painterly” in Clement Greenberg’s Aesthetics
Get PDFThis essay aims to analyse the importance of colour in Clement Geenberg’s theory of art, and its relevance on modernist ontology of pictorial image. It focuses in particular on the shift from the notion of “painterly” to the notion of “post painterly” in the greenbergian aesthetic vision of painting. Firstly, it deals with a recollection of Greenberg’s appropriation of the very concept of “painterly” from Heinrich Wölfflin’s Principles of Art History. Then, it provides an articulated explanation of Greenberg’s arguments on “painterly” and “post painterly”, in respect of their implications with pure colour. Finally, it stresses Greenberg’s troublesome concern with objecthood in art, referring the problematic threshold between monochromatic painting, blank canvases as works of art and a “non painterly” perspective on pictorial images.This essay aims to analyse the importance of colour in Clement Geenberg’s theory of art, and its relevance on modernist ontology of pictorial image. It focuses in particular on the shift from the notion of “painterly” to the notion of “post painterly” in the greenbergian aesthetic vision of painting. Firstly, it deals with a recollection of Greenberg’s appropriation of the very concept of “painterly” from Heinrich Wölfflin’s Principles of Art History. Then, it provides an articulated explanation of Greenberg’s arguments on “painterly” and “post painterly”, in respect of their implications with pure colour. Finally, it stresses Greenberg’s troublesome concern with objecthood in art, referring the problematic threshold between monochromatic painting, blank canvases as works of art and a “non painterly” perspective on pictorial images
Azio Corghi “…tra la Carne e il Cielo” da Pier Paolo Pasolini. Drammaturgia poetica di Maddalena Mazzocut-Mis per Violoncello concertante, Recitante maschile, Soprano, Pianoforte e Orchestra
Get PDFHere we publish the libretto of Azio Corghi’s Opera Tra la Carne e il Cielo, written by Maddalena Mazzocut-Mis. The libretto assembles and transforms different passages from Pier Paolo Pasolini’s texts in order to investigate the relationship within poetry between word and music.Here we publish the libretto of Azio Corghi’s Opera Tra la Carne e il Cielo, written by Maddalena Mazzocut-Mis. The libretto assembles and transforms different passages from Pier Paolo Pasolini’s texts in order to investigate the relationship within poetry between word and music
La spazialità del colore nell’opera di James Turrell. Una prospettiva ecologica sul carattere cromatico della luce
Get PDFJames Turrell’s installation Sight Unseen can provide useful elements concerning the philosophical discourse on colors. The artwork shows how the physical nature of the light allows the environmental diffusion of colors. Meant as character of light itself, the color organizes and disposes the perception of the space explored by spectators. I assume an ecological aesthetic perspective to understand the perceptual phenomena that affect the senses of the spectators’ living body and broaden the current physicalist and representationalist models emerged within theories of color.James Turrell’s installation Sight Unseen can provide useful elements concerning the philosophical discourse on colors. The artwork shows how the physical nature of the light allows the environmental diffusion of colors. Meant as character of light itself, the color organizes and disposes the perception of the space explored by spectators. I assume an ecological aesthetic perspective to understand the perceptual phenomena that affect the senses of the spectators’ living body and broaden the current physicalist and representationalist models emerged within theories of color
Line, Colour, Drawing in Kant and Hegel
Get PDFKant and Hegel have diametrically opposed views concerning the relationship between colour and drawing. For Hegel colour is all; while for Kant drawing is central. Through an analysis of both these positions the conclusion that is drawn is that colour and drawing have a necessary interrelation. One cannot be thought other than in relation to reach other. Taken together they are integral to the development of a philosophy of art
L\u27eco di un fantasma (2017) di Azio Corghi Un saggio preliminare
Get PDFL’eco di un fantasma (2017) by Azio Corghi went on stage at Teatro Lirico in Cagliari on November 3, 2018. It is a “lyric tragedy” on text by Maddalena Mazzocut-Mis and the subject is inspired by Euripides’ Trojans. I will examine the main characteristics of the composition among the concepts of opera and tragedy.L’eco di un fantasma (2017) by Azio Corghi went on stage at Teatro Lirico in Cagliari on November 3, 2018. It is a “lyric tragedy” on text by Maddalena Mazzocut-Mis and the subject is inspired by Euripides’ Trojans. I will examine the main characteristics of the composition among the concepts of opera and tragedy
Tra drammaturgia e linguistica: analisi di "…tra la Carne e il Cielo" e intervista alla librettista Maddalena Mazzocut-Mis
Get PDF...tra la Carne e il Cielo is an opera by Azio Corghi set to a libretto by Maddalena Mazzocut-Mis. The inspiration of the opera is the essay Studi sullo stile di Bach by Pier Paolo Pasolini, a critical analysis to Bach’s violin sonatas. Mazzocut-Mis re-uses Pasolini’s words in the libretto, while the music is a variation on Bach’s sonatas by Corghi. The aim of this paper is the analysis of the language of Pasolini and the dramaturgical use of his words in the opera focusing on the passage from essay to libretto....tra la Carne e il Cielo is an opera by Azio Corghi set to a libretto by Maddalena Mazzocut-Mis. The inspiration of the opera is the essay Studi sullo stile di Bach by Pier Paolo Pasolini, a critical analysis to Bach’s violin sonatas. Mazzocut-Mis re-uses Pasolini’s words in the libretto, while the music is a variation on Bach’s sonatas by Corghi. The aim of this paper is the analysis of the language of Pasolini and the dramaturgical use of his words in the opera focusing on the passage from essay to libretto
Colour for Philosophers: Introduction
Get PDF«The ox becomes furious if a red cloth is shown to him, but the philosopher, who speaks of colour only in a general way, begins to rave». This is still true now: the philosophical discussion on colour is very lively. There is a debate within Anglo-American philosophy that has been going on for the past fifty years, and is still going on today, as is demonstrated by the imminent publication of the Routledge Handbook of Philosophy of Colour, which we are happy to announce in this issue. Colour is something very familiar but, nevertheless, it is also a subject on which philosophers never cease to raise questions. Why
The steady pace of philosophy of colour
Get PDFI outline five issues in philosophy of colour that deserve greater attention and provide skeletal frameworks for how future work on these topics could be carried out. The issues are: colour and metaphilosophy (§1), colour and artistic practice (§2), colour and virtual/augmented reality (§3), colour and imagination (§4), and colour and the predictive mind (§5). Some of these issues have been a focus of important recent works. Thus, colour conjoined with each of metaphilosophy, artistic practice and imagination have all been examined in at least a few recent publications – see below for references. It is clear, however, that these recent works are signals that there is much still to be done. By contrast, while at present there is a great deal of interest in the predictive mind, the intersection of colour and the predictive mind is vastly underexplored. This is despite the fact that the philosophy and science of colour are rather developed disciplines. Finally, while there have been some very important recent works on virtual and augmented reality, the significance of colour for these studies has yet to be examined. It is my hope that after reading this article readers are convinced not only that the philosophy of colour has a rich, recent history, but also a very bright future