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Teatro del mondo, teatro dell'anima. Sondaggi sul codice allegorico nel dramma morale del tardo Rinascimento
Full text link« Quasi una tragedia delle attioni humane » : le tragique entre allégorie et édification morale dans l’œuvre de Fabio Glissenti (1542-1615)
Full text linkFabio Glissenti (1542-1615) est l’auteur d’un corpus de textes qui élaborent le topos du theatrum mundi dans le cadre d’un projet cohérent d’édification morale et chrétienne. L’étude des Discorsi morali (1596) et des pièces dramatiques de l’auteur permet de comprendre le lien entre l’usage métaphorique du théâtre, la dramaturgie spirituelle et la mise en scène intérieure comme exercice de méditation chrétienne.Fabio Glissenti (1542-1615) è autore di un corpus di testi letterari che sviluppano il topos del theatrum mundi nell’ambito di un progetto coerente di edificazione morale cristiana. Lo studio dei Discorsi morali (1596) e dei drammi di Glissenti permette di comprendere il legame tra uso metaforico del teatro, drammaturgia spirituale e messa in scena interiore come esercizio di meditazione cristiana.Fabio Glissenti (1542–1615) is the author of a corpus of texts built on the topos of the theatrum mundi within a consistent project of moral and Christian education. Thanks to the analysis of Glissenti’s Discorsi morali (1596) and morality plays, this paper enlightens the intersections of theatrical metaphors, the practice of spiritual drama and the inner staging of dramatic texts as an exercise of Christian meditation
Bodily Passions: Physiognomy and Drama in Giovan Battista Della Porta
No full textThis article explores the intersections of physiognomic knowledge and drama in the works of Neapolitan naturalist and playwright Giovan Battista Della Porta (1535–1616). It first looks at references to theatre—classical drama in particular—in Della Porta’s writings on physiognomy, thus showing that Latin comic plays provided the naturalist with a gallery of stock characters able to summarize the alleged interdependence of physical and moral traits. The article then analyzes the various ways in which Della Porta—who was a prolific author of comedies—brought his physiognomic expertise into his own experience as a playwright. The study of these two different perspectives on the relation between physiognomy and drama reveals that, far from being a direct translation of physiognomic theories, Della Porta’s dramatic production deploys an ironic and almost paradoxical take on physiognomy that aims to challenge (if not actually subvert) the very principles of the discipline.
Cet article explore les interactions entre la physionomie et le drame dans les oeuvres du naturaliste et dramaturge napolitain Giovan Battista Della Porta (1535–1616). On examine d’abord les références que fait Della Porta au théâtre — en particulier à la tragédie classique — dans ses écrits sur la physionomie, avant de montrer que le théâtre comique latin a fourni au naturaliste une panoplie de personnages stéréotypés lui permettant de mettre en avant l’interdépendance présumée entre traits physiques et traits moraux. L’article poursuit en analysant les diverses façons dont Della Porta, auteur prolifique de comédies, a exploité dans son travail ses connaissances en physionomie et son expérience de dramaturge. L’étude de ces deux aspects de la relation entre physionomie et théâtre montre que l’oeuvre dramatique de Della Porta déploie une approche ironique et presque paradoxale de la physionomie qui, bien loin d’être une traduction littérale des théories physionomiques, vise à remettre en question, voire à inverser, les principes fondamentaux de cette discipline
Luoghi aristotelici nelle lezioni accademiche di Benedetto Varchi
No full textIl saggio esamina alcuni aspetti importanti dell'aristotelismo rinascimentale nell'ambito della critica accademica fiorentina a Dante e Petrarca
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Per via d'annotationi : le glosse inedite di Alessandro Piccolomini all'Ars poetica di Orazio
No full textL'identificazione sconfessata : lettura di Paolo e Virginia : i figli dell'infortunio di Guido Gozzano
No full textDante liberrimus vatum. La libertà stilistica della Commedia tra Orazio e le poetiche medievali
No full textReview of Istruire e rappresentare Isabella d'Este. Il "Libro de natura de amore" di Mario Equicola, by Villa, A.
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