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Edipo. Re e vittima. Indice e Introduzione
No full textInnumerevoli sono le riscritture, gli adattamenti e le riprese della prima tragedia tebana di Sofocle e altrettanto innumerevoli sono gli studi consacrati alla storia di quest’opera e all’analisi del suo contesto, della sua trama e dei suoi personaggi: dall’analisi del sottotesto politico veicolato dalle differenti rielaborazioni del mito nell’ambito specifico di un genere letterario e di una determinata epoca, a studi di carattere letterario e filologico che affrontano le sue numerose declinazioni, a lavori che si interessano più direttamente ai processi mitopoietici e alla ricezione della figura di Edipo nella storia della cultura occidentale. Da Aristotele a Girard, da Corneille a Testori, a Branciaroli, il presente volume fornisce un’importante introduzione alla storia del mito di Edipo, che non ha ancora esaurito la sua eccezionale potenza espressiva
The Grotesque between Il Trovatore and La Traviata
Get PDFThe grotesque represents in a certain way the leading form of ugly since the latter became a too general concept to serve as an effective explicatory principle. Starting from Rosenkrantz’s conception of the grotesque, with a view to Kosik’s thesis of the decline of the tragic in favor of the grotesque during the nineteenth century, this article explores the presence and the modes of this aesthetic category in some of Verdi’s masterpieces: Il Trovatore and La Traviata
Victor Hugo e il fou du roi: variazioni su un tipo
Get PDFIn the Victorian theatre the buffoon is a central character for more than one reason. He contributes to the historical contextualization of the drama and to that principle of historical reconstruction, which is essential to the romantic theatre. Moreover, this character is part of that search for spectacularity, which is equally one of the most relevant aspects of Hugo’s theatre. Finally, the buffoon is also one of the most typical incarnations of the grotesque, which is a fundamental principle of Hugo’s theatrical poetics. This paper realizes a transversal and comparative reading of some of Hugo’s dramas (Cromwell, Marion Delorme, Le roi s\u27amuse), with the aim of reconstructing an overall picture of the dramatic type of the buffoon and its evolution, also showing its effects in the work of Verdi
La faccia nascosta di Hollywood: Tim Burton e il sublime
Get PDFIf you analyze Tim Burton’s filmography, the relationship between his entire work and the philosophical sublime could appear clear. First of all the use of darkness as the symbol of your inner being and also the concept of expressionism seen as the union between dark and light, shadows and brightness, the double nature of the sublime. Moreover, women in Tim Burton’s movies are savior angels, and the sublime is seen as the elevation of the soul, which is the thought we can find in Immanuel Kant, Baldine Saint Girons or Edmund Burke’s works. Another important element is Danny Elfamn´s music, which is played in all Tim Burton´s movies, which is able to magnify the idea of the sublime in all his works. 
Suggestioni postdrammatiche di un teatro di confine
Get PDFIn detention centers, as in marginal contexts in general, theater crosses over into the social sphere. As with many efforts of this type, it may follow different paths than official theater, focusing on aspects related to the value of human beings. An out of bounds theater, part of the so-called “theater of diversity”, is based on the idea of community theater and designed to enhance and develop individual inclinations and abilities in a group context. The end product of this approach to theater is a dynamic performance, an object which, according to the categories suggested by Peirce, displays signs that are interposed between the object and its interpreter, forming a ground that is translated into social significance. This is a kind of theater that, because of the spectator’s reaction, falls into a postdramatic context, where the acting materializes the dramatic subject and his world, affirming his identity through a real body in a real space
Il ruolo del confronto nella critica artistica
Get PDFThe topic of this paper is comparison and classification among artworks. In the first section, I underline the importance of comparison in art criticism, as acknowledged by contemporary philosophers such as Sibley, Vaida and D’Angelo. In the second section, I analyze the nature of comparison as treated by Eighteen century British empiricists such as Hume and Gerard, who recognized, implicitly or explicitly, the existence of two levels of comparison, one involving sensibility and the other relying on reasoning and leading to classification among artworks and species of beauty. In the third and last chapter, I return to the recent analytical debate (Pratt, Vermazen, Dickie and Carroll) and establish both the limits of classification and the real point of comparison, which amounts to refine our taste and achieve a deeper understanding of artworks
«La struttura intima del cervello creatore». La nova critica d’arte di Mariano L. Patrizi
Get PDFThe exploration of the psycho-anthropological aspect of art history was the main purpose of Mariano Luigi Patrizi, criminologist and physiologist. This paper aims to present his short biography and examine his contribution to art theory and aesthetics, focusing on his major work, Un pittore Criminale, Caravaggio e la nova critica d’arte, published in 1921