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L’assentificazione dell’oggetto e la presentificazione del soggetto nelle opere teatrali di Sarah Kane
Get PDFArt as an organization of the empty is a theory that shows a deep affinity to the psychoanalytical processes suggested by Sigmund Freud and Jacques Lacan. Indeed, the artistic experience cannot avoid the vacuum limit or circumscribe it. Art does not omit nor does it fill the need, or absence of this need, though it could outline and border it. The works written by the British playwright Sarah Kane, a spokesperson for the experiential theatre dominated by an aesthetic limit and excess, demonstrate the theory that there is nothing impossible to represent on stage. In fact a symbolic treatment of the real in which the inability to represent the Thing (according to the Lacanian definition) becomes the same condition of a possible representation. The assentification of the object is closely correlated to a subject\u27s presentification. In her works Sarah Kane, expresses the notion of a collision such as a Stoss, named by Heidegger in The Origin of the Work of Art, in which the aesthetic experience together with anguish and death, is aimed at keeping alive the sense of disorientation which is a constituent factor and provisional of being in the world, Daseing
Il belcanto di Oscar: trasformazioni grottesche del paggio operistico
Get PDFThe grotesque can then be seen as the aesthetic effect generated by the clash between different categories and genres of representation. The dramatic function of the page Oscar in Un ballo in maschera arises from the cross of two different triangles: the dramatic positions tieing him with Cherubino (Nozze di Figaro) and Smeton (Anna Bolena), and the vocal triangle binding him to Abigaille (Nabucco) and Gilda (Rigoletto). In this case, infact, Verdi declines, the version nor heroic nor pathetic but grotesque of belcanto. For his vocality, Oscar is in an eccentric position with respect to the line that binds the operatic pages such as Cherubino and Smeton. This line, however, constitutes the reference horizon on which he projects himself, according to well established Nineteenth-Century expectations of the spectators
L’enigma di Edipo. Dall\u27Œdipe Conquérant di Marie Delcourt al Bouc Émissaire di René Girard
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The Pauline Letters as a Kantian Source
Get PDFThis article is an historical analysis of Saint Paul´s letters as Kantian source, not only in the context of the Kantian philosophy of religion but also and especially of his practical philosophy overall. In order to clarify the context of this analysis, this contribution is split into two parts. The first part cares to analyze the value of Saint Paul within the historical background of Kant, highlighting why it is reasonable to assume an influence of Saint Paul in the second Critique. The second part, therefore, engages a direct confrontation with the Critique of practical reason, using the learnings provided by the first section. The final aim of this work is to discuss the possibility of welcoming a new portrait of Kant with strong biblical traits is some key moments of his practical philosophy
Lucretius plays Epicurus: Kant and pleasure, the sublime, nature
Get PDFThe dissertation aims at uncovering the following topics: ethics, nature and sublime. In particular, it focuses on the above topics in relation to the theories of Epicurus and Immanuel Kant. The analysis takes into account the following scripts: “De Rerum Natura”, “Critica del Giudizio”, “Metafisica dei Costumi”, “Osservazioni sul sentimento del bello e del sublime”. They are evaluated to drouw the similarities and the differences between the two philophical perspectives. 
From Bergson to Girard: the Comedian and the Sacred
Get PDFThe essay by Claudio Rozzoni Il Riso di Molière. Teatro e impersonalità, which has been published in this magazine, examines the phenomenon of the comedian with particular emphasis on his/her impersonal nature. Starting from Henri Bergson’s ideas, and with particular and frequent reference to Molière’s theatre, Rozzoni takes a first step toward defining the air of impersonality that characterises comedy. The purpose of this work is to further explore the aforementioned idea. This study will start with Rozzoni’s analysis and will subsequently make use of the thoughts of the Franco-American anthropologist René Girard, in order to show the mimetic and undifferentiating character of impersonality. At the end of this study, a religious anthropology of comedy will be outlined: moving from sacrificial rituals to medieval festivals and to the gradual professionalization of the modern era, this work will finally look at the contemporary time, shedding light on the long-existing link between the role of the comedian and that of an expiatory victim
