1,721,252 research outputs found
Antenore e Rifeo. Troiani all'Inferno e in Paradiso ("A capta Troja" II)
No full textThis contribution constitutes the second instalment of an investigation published
in this journal (LXVIII, 2016). Dedicated to classifying the category of tragedy
in a way that is not merely stylistic, it focuses on the fall of Troy as the tragic nexus
that Dante’s Comedy extracts from Vergil’s Aeneid. After the cases of the Greeks
Eurypylus, Ulysses, Diomedes and Sinon – who were analysed in the preceding
essay – I consider the “destinies” of the Trojans Antenor and Rifeus. The former
– absent as a character – baptizes with his name the circle in Hell that contains the
traitors to their “faction” (with precise allusive implications); the latter is daringly
promoted to salvation. The destiny assigned to him by Dante – as in the case of
Eurypylus – gives rise to the “formation” of a character, which in Virgil’s poem
appears only as a mere name
"A capture of Troy begins" (Eurypylus, Ulysses, Diomedes, Sinon)
No full textIn a very well known verse of the Inferno Virgil defines his poem as a high tragedy, in close proximity to the two occurrences in which Dante refers to his comedy. Going beyond the stylistic opposition, the study endeavours to focus - referring to what the Middle Ages called 'matter' - on the evocation of a particularly memorable name that is accompanying Virgil's definition and, on the other hand, the totally obscure name of Eurypylus and the reasons behind such an association. Based on this episode, and through its connection with other episodes of the "Trojan tragedy" in nearby Cantos - Eurypylus and Calchas, and far more famous characters such as Ulysses, Diomedes and Sinon - the article tries to investigate a possible line of definition for the relationship with the tragic genre within the design of the Commedia.In a very well known verse of the Inferno Virgil defines his poem as a high tragedy, in close proximity to the two occurrences in which Dante refers to his comedy. Going beyond the stylistic opposition, the study endeavours to focus - referring to what the Middle Ages called 'matter' - on the evocation of a particularly memorable name that is accompanying Virgil's definition and, on the other hand, the totally obscure name of Eurypylus and the reasons behind such an association. Based on this episode, and through its connection with other episodes of the "Trojan tragedy" in nearby Cantos - Eurypylus and Calchas, and far more famous characters such as Ulysses, Diomedes and Sinon - the article tries to investigate a possible line of definition for the relationship with the tragic genre within the design of the Commedia
« With oaths upon your finger ». Una lettura di The Merchant of Venice a partire dalla sua fonte
No full textThe Merchant of Venice is inspired directly to an Italian novel by Ser Giovanni Fiorentino, which is not\ud
translated in the time of Shakespeare. Allowed the possibility of a direct comparison – obviously\ud
already tried many times –, this essay emphasizes some elements, dedicating rather than the carefully\ud
designed figure of Shylock, that of Portia in the direction of a ‘comic-law’ and, in particular in the\ud
rich connection, especially metaphorical, between the double referents of nuptial ring that is welded\ud
around the meat of Bassanio and the knife that claims to extract the famous ‘pound of flesh’ as a\ud
pledge from the Antonio’s body
La via dei satirii (Oratius satirorum scriptor)
No full textA verse of the Ars poetica seems to offer the key to a better comprehension of the\ud
epithet Orazio satiro in Inf. IV, harking back to Horace’s portrait of himself as a Satyrorum\ud
scriptor and iudex. Medieval glosses on the epistle to the Pisos – glosses that Dante\ud
might have drawn on – document how Horace’s allusion to satyric drama elided into a\ud
supposed allusion to satire. With regard to the so-called ‘active genres’, medieval commentaries’\ud
confusion or conflation here complicates and enriches the interaction of\ud
tragedy, satire, and comedy. From here, down the cammin silvestro begun in the selva\ud
selvaggia e aspra, traces of Horace shed light on the mixture of genres that orients and\ud
defines Dante’s never-before-attempted endeavor
La faida di Lelio. Tra Andreini e Goldoni
No full textThe comparison between two comedies of Giovan Battista Andreini and Carlo Goldoni-Lelio bandito andLincognita -concerns the theatrical treatment, of feud and banditism at a distance of more than a century (from the early 1720s and 1850s), the persistence of some long-lasting historical perspectives, as well as the mutation of sensitivity and mind in this context. Naturally; the topic is framed in the specifics of invention and theatrical tradition.The comparison between two comedies of Giovan Battista Andreini and Carlo Goldoni - Lelio bandito and L'incognita - concerns the theatrical treatment of feud and banditism at a distance of more than a century (from the early 1720s and 1850s), the persistence of some long-lasting historical perspectives, as well as the mutation of sensitivity and mind in this context. Naturally, the topic is framed in the specifi cs of invention and theatrical tradition
"Sermo de capris". Comedy, eclogue, active genre
No full textStarting from a proposal concerning the comicomus nebulo to which Giovanni del Virgilio provocatively compares the choice of Commedia (seen as a word game between comicus and comus), this contribution explores the eclogue as a terrain in which Dante reclaims the Virgilian heritage, going far beyond a stylistic distinction, favouring a tradition of the "active" or the "dramatic" genre. Establishing connections with other attestations - with particular reference to a passage in De vulgari eloquentia - this study attempts to reconstruct a theory of the "active" degree of poetic enunciation, since Dante is, at the same time, the person or the individual who takes on the narration and the first amongst the characters whom he "introduces" to speak and act
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