102,156 research outputs found
Poesie cromatico-materiche di Pietro G. Pantaleo
No full textPresentazione critica a corredo della mostra personale di Pietro G. Pantaleo ( Latiano, Palazzo Imperiali, 5-15 ottobre 2008). La produzione artistica contemporanea dell'artista Pietro G. Pantaleo ( Palese , 1956
G. Guastella, Dottrina di Rosmini sull' essenza della materia
No full textSottile A. G. Guastella, Dottrina di Rosmini sull' essenza della materia. In: Revue néo-scolastique. 12ᵉ année, n°48, 1905. p. 513
G. Guastella, Dottrina di Rosmini sull' essenza della materia
No full textSottile A. G. Guastella, Dottrina di Rosmini sull' essenza della materia. In: Revue néo-scolastique. 12ᵉ année, n°48, 1905. p. 513
L’Agamennone di Evangelista Fossa e i primi volgarizzamenti delle tragedie senecane
No full textEvangelista Fossa’s vernacularization of Seneca’s Agamemnon, published at the
end of the fifteenth century, was not the first translation into Italian of a Senecan
tragedy. This essentially failed attempt should in fact be framed in a wider
context, whose origins date back to the previous century
G. Guastella, Filosofia della Metafisica. Saggio secondo sulla teoria della conoscenza
No full textSottile A. G. Guastella, Filosofia della Metafisica. Saggio secondo sulla teoria della conoscenza. In: Revue néo-scolastique. 12ᵉ année, n°48, 1905. pp. 516-517
From Ferrara to Venice
No full textThe short Plautine revival in translation that signaled the return of ancient comedy to the stages after more than a millennium had its origins (1486) in the courtly shows promoted by Ercole d’Este in Ferrara and terminated in Venice, where, in addition to a rich sequence of Plautine performances, the only printed editions of these texts handed down to us were produced (1530). The comedies of Plautus were initially staged by non-professional performers, who used modern versification and improvisation abilities to represent such plays in front of a court audience. These shows were a source of inspiration for authors like Ariosto, who started a new form of comic production, in which the traditional characters and plots that had characterized ancient comedy were transformed in new masks and scenarios
Ira, superbia, fortuna: evoluzione del tiranno senecano
No full textIn Seneca’s tragedies the tyrant does not figure with the same pre-eminence that he would go on to acquire in Renaissance tragedy. The aim of this paper is to outline the cultural framework within which the tyrant as a «mask of the villain» (D. Lanza) is viewed in both the theatre of Seneca and its later reinterpretations
Recensione a Aa. Vv., Drama y dramaturgia en la escena romana, III Encuentro Internacional de Teatro Latino, coord. Rosario López Gregoris. Zaragoza, Libros Pórtico 2019
No full textVirgo, coniunx, mater: The Wrath of Seneca's Medea
No full textSeneca's Medea carries out a plan of revenge that follows a retaliation mechanism inspired both by fury and by an established principle of reciprocity. This principle follows the rules, described in Seneca's De ira, of revenge aroused by anger. Medea had earlier been guilty of crimes against her own family, in order to assist Jason; she now maintains that she has fallen victim to the very same offenses. Therefore she now resolves to perpetrate similar crimes upon the husband who has decided to leave her. In retaliation for the loss of her father's kingdom, of her brother Absyrtus, and of her own virginity she now kills Creon and his daughter, as well as her own children. Medea can thus create a fictitious link between the parts of her identity (her life as a virgo and her life as a rejected coniunx/mater) that have been thrown into disarray by her separation from Jason. In fact, the crimes she commits as a wife, in order to get rid of Jason, are just the inexorable consequence of the crimes she had committed as a girl, in order to join him. The separation which thus comes about conforms to the rules of a normal Roman divorce: the wife leaves her husband's home as well as her children, but her dowry is returned to her. Towards the end of the tragedy, Medea goes so far as to say that she has retrieved the 'dowry' of crimes she paid in order to become Jason's wife, since she has recovered her father's kingdom, her brother, and her virginity as well. This is no more than a wild illusion, but in considering its elaborate rhetorical form we gain an idea of the kind of balance which is the aim of Seneca's Medea as she accomplishes her revenge
Fides penes auctorem: Seneca e la garanzia delle fonti
No full textL'espressione fides penes auctorem è indicativa di un modo di concepire il rapporto di un testimone con le proprie fonti. Utilizzandola, Seneca ironizza sul rapporto fra uno scrittore e le proprie font
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