385 research outputs found
Tony Harrison, Prometheus, introduzione, traduzione e commento di Corrado Cuccoro
No full textIntroduzione, traduzione e commento, a cura di Corrado Cuccoro, della sceneggiatura del "film poem" Prometheus del poeta inglese Tony Harrison (1998), ispirato al Prometeo Incatenato di Eschilo
António Sérgio de Sousa, Antigone, introduzione, traduzione, note e appendici a cura di Corrado Cuccoro, seconda edizione riveduta e ampliata.
No full textEdizione, con traduzione, nota introduttiva, commento e appendici crtiche all'Antigona di António Sérgio de Sousa
Antonio Sergio de Sousa, Antigone.
No full textSi tratta della prima traduzione italiana dell'Antigone lusitana di Antonio Sérgio (de Sousa), una delle prime rivisitazione politiche del mito dei Labdacidi nel Novecento. C. Cuccoro ha curato la traduzione, le note di commento e le appendici; il saggio introduttivo e' stato scritto da M.P. Pattoni
Karst Woudstra ed Eracle, il padre immortale
No full textAs a contemporary retelling of the myth of Hercules’ death, the impressive play De dood van Heracles (1996, 2003) by the Dutch writer and director Karst Woudstra (Leida, 1947) has not yet been critically studied. This paper provides a first comprehensive examination of the play, with special regard to ancient sources. Through a metatheatrical device, both action and meaning are articulated at three interdependent levels: the timeless, traditional fabula Herculea; the theatrical creativity of IJsbrand Tamminga, an author’s avatar who, by reworking a Greek and Roman myth, tries to deal with his internal conflicts and finally, with the crucial contribution of Mauro ~ Philoctetes, ricovers the repressed memory of having been abused by his father (Heracles), as a child; and lastly, the past and the present of all the characters: a level managed directly by the extradiegetic author
Prometei lusofoni (secc. XX-XXI). Appunti di lettura
No full textIn Portuguese and Brazilian literature from the end of XIX century to present day, the myth of Prometheus has provided an archetype and a pattern for symbolizing the human condition and history to many works, which in general are ignored by the main monographies about Prometheus, and nevertheless worthy of being revalued
La fine di Ercole in due tragedie manoscritte dell’Ancien Régime
No full textHercule, una tragedia di Jean-Julien-Constantin Renout rappresentata a Parigi solo una volta, il 28 febbraio 1747, sopravvive in un manoscritto conservato negli archivi della Comédie Française. Il dramma è basato sul mito dell'eroe greco morente, sviluppato a Roma da Ovidio e dall'autore dell’Hercules Oetaeus tradizionalmente attribuito a Seneca. Persino dopo i saggi di S. Pitou (1976 e 1980) e D. J. O’Shea (1982) il testo richiede approfondimenti; questo articolo è appunto inteso a contribuire a una desiderabile edizione critica. Hercule au Mont Oeta, tragedia di Pierre-François-Alexandre Le Fèvre (1741-1813) parimenti ispirata a Ovidio e all’Hercules Oetaeus, debuttò al Théâtre Français di Parigi nel 1787 ed ebbe solo sei repliche. Il testo non venne stampato; tuttavia, ne rimane una copia manoscritta, come D. J. O’Shea annuncia all'inizio della sua breve ma penetrante disamina (1982). Il dramma è interessante non solo per la sua rilevanza nel filone teatrale di Ercole, ma anche in quanto testamento spirituale di Le Fèvre; e certamente una edizione critica – che questo articolo intende promuovere – sarebbe auspicabile.Hercule, a tragedy by Jean-Julien-Constantin Renout which was staged in Paris only once on 28 February 1757, survives in a manuscript lodged in the archives of the Comédie Française. The play is based on the myth of the Greek hero dying, developed in Rome by Ovid and by the author of Hercules Oetaeus (traditionally attributed to Seneca). Even after the essays by S. Pitou (1976 and 1980) and D. J. O’Shea (1982), the text requires critical efforts; this paper is precisely intended to be a contribution to a desirable critical edition. Hercule au Mont Oeta, a tragedy by Pierre-François-Alexandre Le Fèvre (1741-1813) inspired by Ovid and by Hercules Oetaeus as well, had its debut at the Théâtre Français in Paris on 24 May 1787 and afterwards was only shown six more times. The text was not printed; however, a manuscript draft is extant, as D. J. O’Shea has pointed out in her brief but penetrative analysis (1982). The play is interesting not only for its relevance in the theatrical vein of Hercules, but also as a spiritual testament of Le Fèvre, and certainly a critical edition – which this paper intends to promote – would be welcome
Un Prometeo male incatenato.
No full textAnalisi e commento del 'Prometeo mal incatenato' di André Gide nei suoi rapporti con l'archetipo eschileo
Prometeo e le istanze sociali nella drammaturgia di lingua inglese
No full textIn European literature of XIX and XX century the mythical struggle between Prometheus and Zeus has often been used as a mould for analysing social conflicts and criticizing power systems. This article focuses the main contributions in English literature, particularly in the history of playwriting. A diachronic survey of the works of Thomas Hobbes, Percy Bisshe Shelley, Thomas Kibble Hervey, Joseph Lloyd Brereton, John Edmund Reade, John Lehmann, George Ryga and Tony Harrison concerning the Promethean tradition is here articulated with a typology built also on the ideological content (there are 1) works inspired by Shelley and in general pre-Marxist ones;2)Marxist-inspired works; 3) post-Marxist, i.e. revisionist works). A special consideration is dedicated to Ryga’s Prometheus Bound (1978) and Harrison’s film-poem Prometheus (1998); the former is here first published in an Italian translatio
I Labdacidi sulla scena portoghese: due drammi di Armando Nascimento Rosa
No full textIn the 21st century, the already substantial corpus of Portuguese plays inspired by the Theban myth has been increased by two works by Armando Nascimento Rosa, which strike for both their originality and their virtuosity: Um Édipo – O drama ocultado, mitodrama fantasmático em um acto (An Oedipus – The untold story. A ghost-
ly mythodrama in one act), 2002-2006, printed in 2012, and Antígona
Gelada (Frozen Antigone), 2008. These plays do not form a dilogy, at least in a consistent way, since their contents are factually incompatible; they instead substantiate two points of view about the Labdacides myth, in the former case by giving prominence to the underlying subject matter of homosexuality (the ‘early sin’ of Laius and its consequences); in the latter, by transposing the traditional story to a dystopian space station with its technocratic society. Beyond the
dramaturgical differences, these texts testify to the hermeneutic
research of Rosa and his mythopoetic flair, nourished by the classics and by the lesson of masters like S. Freud, C. G. Jung, and J. Hillman
Il mito interpretato: Prometeo nelle sintesi mitologiche di Giovanni Boccaccio, Piero di Cosimo, Francesco Bacone
No full textAmong several references to Prometheus which can be found in Western civilization between late Middle-Ages and Renaissance, the works of Giovanni Boccaccio (as mythographer), Piero di Cosimo (as a painter), and Francis Bacon (as a philosopher), far from being simply summaries of traditional themes, offer original versions of Promethean symbol
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