Il saggio analizza la presenza della figura di Dante e di versi della Commedia in un opuscolo recante il titolo La Raxone de la Pasca e de la luna e le feste, che, a quanto ci è dato di sapere, è il ...primo testo stampato in Liguria, essendo ascrivibile al 1474, ovvero – si badi – a soli due anni dopo la princeps del poema.
Alcune opere dell’architetto sloveno Oton Jugovec sono utilizzate per indagare più in generale la sua ricerca figurativa e architettonica, in cui la definizione della forma può essere compresa ...solamente come il risultato di una sintesi di rapporti tra “costruzione” e “luogo”. L’evoluzione del suo pensiero manifesta un graduale allontanamento dai modi della standardizzazione internazionale, nell’intento di sviluppare un’architettura capace di estrarre e astrarre principi e forme derivate dallo studio di epoche precedenti, e della tradizione. Attenzione ai luoghi e memoria delle identità locali, combinate con l’invenzione formale e strutturale a partire da materiali della tradizione sono gli elementi che contraddistinguono il suo lavoro e costituiscono ancora elemento di attualità.
Some works by the Slovenian architect Oton Jugovec are used to investigate his figurative and architectural research more generally, in which the definition of form can only be understood as the result of a synthesis of relationships between “construction” and “place”. The evolution of his thought manifests a gradual move away from the modes of international standardization, with the aim of developing an architecture capable of extracting and abstracting principles and forms derived from the study of previous epochs and tradition. Attention to places and memory of local identities, combined with formal and structural invention from traditional materials are the elements that distinguish his work and still constitute a topical element.
In 17-18th century plays regarding Hercules’ death the character of Iole is deeply reinvented compared to ancient dramas: Iole is no longer just an unfortunate prisoner of war, victim of her own ...beauty, but a proud and strong-willed woman, able to stand up to her fierce conqueror, while Hercules is represented as an elegiac lover, totally subjugated by the girl’s charm and even disposed to a sort of servitium amoris to please her. In some prose and music dramas the aspect of the ‘submission’ of Hercules to Iole is further enhanced by attributing to her the characteristics of Omphale, who most embodies the mythical projection of the elegiac domina. This article reconstructs the origin of the overlapping of the characters of Iole and Omphale, tracing it back to a misunderstanding of the text of Ov. Her. IX documented in medieval comments and translations and widespread through the interpretation of Iole’s character proposed by Boccaccio.
Because of the intertextual features of the classical fable’s style through the centuries, it’s not always easy to find the exact sources of La Fontaine’s verse fables. As regards the Latin sources, ...if in recent times the relationships between La Fontaine and Phaedrus have been in depth investigated, showing the strong influence that the Latin poet had on the concept and the composition of the Fables – especially for their first six books edited in 1668 –, we can’t say the same for other less known Latin fabulists of the Late Antiquity and the Middle Ages. Through the analysis of the themes and the narrative structure of the single fables, this essay aims to investigate how Avianus, the Anonymus Neveleti and the pseudo-Dositheus influenced La Fontaine’s collection.
The present paper aims to propose a new interpretation of Iphigenia in Aulis, by showing that XVIIth century French dramatist Jean Racine identified in his own version the secret of Euripides’ play. ...Racine has followed his Greek mentor and has turned upside down the legend in order to put Iphigenia and not Agamemnon at the center. By giving her the choice between escaping death with her lover Achilles and sacrificing herself for her father, Racine has put the accent on the crazy obeisance of a daughter, which becomes the real theme and which hides an even more powerful tragedy, the one of a girl who refuses to grow up.
However, Racine did not invent anything, he just developed a theme already hidden in Euripides’ text. The Athenian playwright had been the first one who created a perfectly coherent figure (in spite of Aristotle’s view), whose coherence was given by the obeisance to the father. If Iphigenia suddenly transformed herself into a soldier, it was only to please Agamemnon and to remain an obedient daughter.
By highlighting this familiar aspect of Euripides’s play, Racine contributes to better understand the legend and the Euripidean rewriting of the story of Iphigenia, which becomes the story of the impossible growth of a daughter, whose wedding is voluntarily disrupted while the prenuptial rite of protéleia was intended to deliver her from Artemis’ hold. As suggested by the final rescue, she will remain for the rest of her life under the Goddess’ control, in an endless and tragic state of infancy and minority.
LA MEDEA FOLLE DI RICHARD GLOVER Linguanti, Elena Rossi
Studi classici e orientali,
01/2019, Letnik:
65, Številka:
2
Journal Article
Recenzirano
In Richard Glover’s Medea the protagonist kills her children in a fit of temporary insanity. Critics have always interpreted such innovation as the only possible way to represent a child-murdering ...mother on the British stage, but in fact it produces a series of effects which end in utterly distancing from the traditional myth. This essay examines the madness scenes in Glover’s tragedy and attempts at identifying the possible source of this innovation in the alternative paradigm of Herakles.
ERCOLE ALLA CORTE DEL RE SOLE Agnosini, Matteo
Studi classici e orientali,
01/2019, Letnik:
65, Številka:
2
Journal Article
Recenzirano
Ercole amante is the opera in a prologue and five acts by the Venetian composer Francesco Cavalli which was commissioned by Cardinal Mazarin to celebrate the marriage of the French King Louis XIV to ...the Spanish Infanta Maria Theresa in 1660. Due to several delays, the opera was performed for the first time only about two years later, on the 7th February 1662, and was not very well received. The Italian libretto, penned by the abbé Francesco Buti, is based on the classical myth concerning Hercules’ love for Iole, his death and apotheosis. Buti’s libretto appears to rely on a wide range of classical, medieval and Renaissance sources. This article analyses Buti’s libretto paying particular attention to the ways in which Buti integrates, reworks and makes to interact the cues and themes provided by different sources, mainly Ovid’s Metamorphoses and Heroides IX, the Hercules Oetaeus and some mythographical works such as Boccaccio’s De mulieribus claris and Genealogie deorum gentilium, and Conti’s Mythologiae.
L’IMMORTALE DIO PAN Campanile, Domitilla
Studi classici e orientali,
01/2019, Letnik:
65, Številka:
2
Journal Article
Recenzirano
This article aims at examining the short story The Pipes of Pan by Lester Del Rey (1940). The author tries to show that an useful interpretation for this text could be found by placing The Pipes of ...Pan in the context of the famous Plutarchean passage de def. or. 419b-e on Pan’s death: ‘Πὰν ὁ μέγας τέθνηκεν’.
ORESTEA TRA IBSEN E STRINDBERG Rubino, Margherita
Studi classici e orientali,
01/2019, Letnik:
65, Številka:
2
Journal Article
Recenzirano
It is not clear if Ibsen read Greek Tragedy. We know that he failed his finals in Greek and later in life he still did not like to speak about this. On the other hand, texts prove that many times the ...structures, the names and important themes of his tragedies presuppose a good knowledge of Aeschylus’ drama. As for Strindberg, he inaugurated his Intima Teatern with The Pelican, a reinterpretation of Oresteia. Aeschylus’ Oresteia is also essential for Eugene O’Neill, who began American Theatre, in 1930, with Mourning becomes Elektra.
