Dissertations / Theses on the topic 'Italian drama'
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1
Sampson, Lisa Monika. "Italian pastoral drama, 1545-1620." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621591.
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Westhoff, Erica Lynn Mercati Francesco Mercati Francesco Mercati Francesco. "Il sensale, Il lanzi, L'imbroglia reconsidering Renaissance comedy through the plays of Francesco Mercati /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=1997581951&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Anderson, E. M. "Of Ariosto's legacy in seventeenth century Italian musical drama." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.595511.
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This study offers a critical assessment of musical drama based on the Orlando furioso of Ludovico Ariosto from the beginning of the genre to the end of the seventeenth century, and supplies a companion volume containing transcriptions of nearly all of the relevant poetic texts. The Introduction provides an outline of the history of the Orlando furioso in music in the madrigal through 1632, an assessment of monody and the Camérata, a survey of Seicento Ariosto reception studies, a reflection on modern Italianist scholarship and music, the main elements of the publication history of the Orlando furioso in the Seicento, remarks on the influence of the pastoral drama in the period, a consideration of the literary critical reception of the poem in Seicento commentaries, the method by which texts inspired by the Orlando furioso were identified and selected, and a detailed presentation of the three historical periods around which the central chapters of the thesis are organised. The introduction ends by summarising the central thrust of the thesis, namely that poetry deriving from the Orlando furioso plays a more significant role in the history of Seicento musical drama than previously suggested, and that important differences among the texts of Ariosto-inspired musical dramas in point of narrative structure, visual poetics, language and style (especially meter and syntax) invite a three-part reading of Ariostean musical drama in the period of 1600-1699. Chapter II presents a reading of the exciting variety of Ariostean musical-dramatic texts (libretti and manuscripts) in the early period (1609-1699) and links narrative reform and the emergence of the aria da capo in the period to a prevailing Arcadian poetics of clarity and an increasing demand for tuneful diletto. The Conclusion suggests this new history of Ariosto in musical drama has significant implications for future Tasso musical reception studies.
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Nessi, Erika <1991>. "Didactic plays: teaching Italian as a second language through drama texts." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10596.
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Teaching Italian as a second language using drama texts as the main didactic tool stimulates learners' emotional and motivational involvement. The aim of this project is to develop a didactic methodology that is able to trigger learners' emotions and sustain their initial motivation, thus resulting in a better and more stable mnemonic retention of the linguistic input. The 1st chapter provides an overview of the neuroscientifical specifics of the acquisitional and memory process and of the main theories of motivation. The 2nd chapter discusses the features, aims and techniques of teaching Italian as a second language through drama texts, as well as its strengths and weaknesses, in the frame of humanistic-affective studies. The 3rd chapter stresses the importance of outlining the learner's profile, a table of the student's multiple intelligences, motivational drivers, cognitive and learning styles and main characteristics of his/her interlanguage. Ultimately, the last part describes a project of teaching Italian as a second language using didactically-adapted plays experimented in a multicultural class of adult learners.
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Jordan, Peter Edward Rees. "The Pantalone code patrician fatherhood unmasked in sixteenth-century Venice /." Thesis, Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/b40203761.
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D'Ermo-Tenaglia, Doria. "Calandro, un personaggio nella storia della critica, 1788-1980 : saggio di bibliografia critica." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65467.
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Redmond, Michael John. "The Scence lyes in Italy : representations of Italian culture in early modern English drama." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321486.
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Levenstein, Anna. "Songs for the first Hebrew play Tsahut bedihuta dekidushin by Leone de' Sommi (1527-1592)." online version, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=case1138299788.
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Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.
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This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
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Rogers, Mark Christopher. "Art and public festival in Renaissance Florence studies in relationships /." Full text available online (restricted access), 1996. http://images.lib.monash.edu.au/ts/theses/Rogers.pdf.
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Salvi, Marcella. "Escenas en conflicto : un estudio de los márgenes del teatro barroco en España e Italia /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3045093.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 206-227). Also available for download via the World Wide Web; free to University of Oregon users.
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Pramaggiore, Valentina <1991>. "Women’s Tragedy in the Romantic Age: Questioning English, Italian and Spanish Theatre and Drama from a Feminist Perspective." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9331/1/pramaggiore_valentina_tesi.pdf.
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This thesis aims at rediscovering Romantic women playwrights in English, Italian and Spanish literature, and their tragedies, analysed through a feminist critical approach. Starting from a comparative study of the Romantic age and Romantic women’s writings, an overview of female writers’ role and contribution to the development of Romantic literature will be presented. This fundamental examination of the socio-cultural context will be followed by an in-depth analysis of the theatrical environments, deepening the issue of women’s various roles. The relationship between women playwrights and the stage will be tackled, investigating how these women managed to appropriate the “high” genre of tragedy. A focus on the changes that tragedy underwent during the Romantic age will be offered so as to explore in which ways women challenged the canons of the genre. The core of the thesis will include an overview of English, Italian and Spanish women dramatists and a brief analysis of some of their most popular tragedies. The tragedies analysed have been chosen according to themes in common, in order to demonstrate if and how these women used playwriting to address specific issues and to affirm their own agency and subjectivity. Among female playwrights’ dramatic production, three tragedies have been selected for a close reading which takes into account a variety of aspects. The three dramatists’ lives and previous literary production will also be examined in order to contextualise their tragedies and the themes they tackled. By doing so, it will be possible to highlight the reasons that led them to enter the male domains of theatre and tragedy. This analysis will be conducted through a feminist critical methodology that includes historical, literary, philosophical and political theories developed in the last decades, adjusted and contextualised so that they could be useful critical tools in the Romantic literary context.
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Lovelock, John David. "The function of music in Greek drama, and its influence on Italian theatre and theatre music in the Renaissance." Thesis, Open University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.277300.
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Gallucci-Maggisano, Carmen. "A narrative inquiry into understanding the drama of encounter at the borders of identity, six second-generation Italian Canadian women teachers speak." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0017/NQ45671.pdf.
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Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.
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Gargiulo, Jennifer. "Vivere sul serio: Eduardo De Filippo and the Art of Life." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2169.
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This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Munari, Alessandra. "L'Ismenia, opera reale e pastorale di Giovan Battista Andreini, «lo sfortunato fabricatore di castelli in aria»: edizione critica e commentata." Doctoral thesis, Università degli studi di Padova, 2018. http://hdl.handle.net/11577/3423289.
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This thesis offers the critical edition, with commentary, of Ismenia, opera reale e pastorale (Bologna 1638-1639) by Giovan Battista Andreini (1576-1654), that is his last dramatic ‘creation’ published in print during his lifelong career as both a playwright and writer. The text of Ismenia has been studied critically as well as historically, with a careful collation of all the known witnesses of its (printed) tradition, after accurately mapping all the main Italian and European libraries and archives, which led to the rediscovery of manuscript materials by Giovan Battista Andreini (that can be found here in the appendix section). These manuscripts look very interesting, as they help to reconstruct those very years that incubated the creation of Ismenia, from the mid-30s till the early 40s of the seventeenth century – casting light on that very period that has always been considered the ‘blind spot’ of Andreini’s production and life, indeed the central part, the ‘heart’ of this century. Ismenia represents the ‘swansong’ of a Baroque author daring enough to (literally) put into play all his «extravagant» creative genius, bringing life to a dramatic ‘monstrum’ that bravely displays his whole arsenal of literary as well as dramatic resources, developed in the lifetime Andreini spent in and for the theatre: the bold contamination of genres, first of all, in the name of a tragicomic mode, and of various formal and linguistic registers, too (mixing the literary language of ‘noble’ charactersand the dialects of the figures drawn from theCommedia dell’Arte), the intricate web of sources and intertextual, even interdisciplinary connections, bringing Ismenia close to the rising drama in music as well as to the timeless chivalric romance, and maybe already looking at the English drama of Shakespeare – a premonition? –, namelyThe Tempest, which was actually already fueled by those very Commedia dell’Arte sources and experiments that Ismenia itself is built on . The intent or, rather, the hope of this study is to do justice, or at least bear witness to a text that, even in comparison to the usual measures of the Baroque century, cannot be defined but literally «extra-ordinary».La tesi propone l’edizione critica e commentata dell’ Ismenia, opera reale e pastorale (Bologna 1638-1639), ultima ‘creazione’ drammatica data alle stampe da GiovanBattista Andreini (1576-1654) nel corso della sua pluridecennale carriera di attore e autore principalmente , ma non solo, teatrale. Il testo è stato ricostruito sia criticamente sia storicamente, attraverso un’attenta collazione di tutti i testimoni noti della tradizione (a stampa) dell’opera, in seguito a un accurato censimento delle principali biblioteche e risorse archivistiche italiane ed estere che ha portato anche alla riscoperta di preziosi materiali manoscritti dell’autore (inseriti in appendice), utili a illuminare proprio il giro d’anni che interessa l’officina dell’Ismenia, a cavallo tra la metà degli anni Trenta e i primi anni Quaranta del Seicento– gettando così luce su quelle che sono sempre state considerate le principali ‘zone d’ombra’ dell’attività e biografia andreiniana, proprio al centro, anzi, nel cuore del secolo. L’Ismenia si presenta dunque come il canto del cigno di un autore barocco pronto a sfoderare tutto il proprio «stravagante» genio creativo, dando vita a un ‘monstrum’ drammatico capace di dispiegare il folto arsenale di risorse letterarie e drammatiche andreiniane, maturate nell’arco di una vita intera spesa nel e per il teatro: l’audace contaminazione non solo di generi, sotto il segno del tragicomico, ma anche di registri formali e linguistici (con l’alternanza tra l’idioma letterario dei personaggi ‘nobili’ e i dialetti delle figure riprese dalla commedia dell’arte), la brulicante rete di fonti e rapporti intertestuali, perfino interdisciplinari, che sanno avvicinare l’Ismenia tanto al mondo del nascente dramma in musica quanto agli intramontabili modelli romanzesco-cavallereschi,1allo stesso tempo forsegià guardando, con una sorta di premonizione, al teatro inglese shakespeariano, nominalmente La tempesta, questo stesso pure nutrito di quel fertile ‘sottobosco’ dell’improvvisa che emerge fra le righe di questa fabula regia. Si spera così di rendere, se non giustizia, almeno testimonianza al valore di un testo che perfino rispetto alle misure del secolo barocco si può solo che definire, insieme ad Andreini, «non ordinario».
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Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.
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Doctor of PhilosophyThis thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Wagner, Stefanie. "Dario Fos "Morte accidentale di un anarchico" und seine Adaptationen in Frankreich und Deutschland." Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/6027/.
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Dario Fo (Nobelpreis 1997) ist einer der herausragendsten Erneuerer des italienischen Theaters des 20. Jahrhunderts. Ein Überblick über die wichtigsten Stationen seines künstlerischen Schaffens zeugt zunächst von Fos stetem Bemühen um innovative Ansätze in Bezug auf Theaterkonzeption und –praxis: immer gilt es, sich von den Konventionen des literarischen, bürgerlichen, subventionierten, weitgehend passiv rezipierten Theaters abzugrenzen und das Theater für das Publikum wieder ganzheitlich erfahrbar zu machen. Doch nicht selten geraten er und seine Truppe dabei in Konflikt mit den herrschenden politischen und gesellschaftlichen Umständen. Dies trifft auch auf sein Stück "Morte accidentale di un anarchico" (1970) zu, dessen Analyse im Zentrum dieser Arbeit steht. Ein realhistorischer Fall, der "Fall Pinelli" (bzw. "la strage di Piazza Fontana") 1969, diente Fo als Grundlage seiner sehr zeitnah entstandenen grotesken Farce, die aufgrund ihrer politischen Brisanz für Aufruhr sorgte und die auch im Ausland bis heute immer wieder auf den Spielplänen zu finden ist. Die Arbeit geht daher nicht nur auf die Produktion, Inszenierung und Rezeption des Stücks in Italien ein, sondern nimmt auch die Adaptationen und deren Rezeption in Frankreich und Deutschland in den Blick, wobei die italienspezifische Ausrichtung von Fos Theater (Rekurs auf Traditionen des italienischen Volkstheaters, Verarbeitung (tages)politischen Geschehens etc.) eine besondere Herausforderung für die fremdsprachige Bearbeitung des Stückes und seine Inszenierung darstellt. Neben den produktions- und rezeptionsästhetischen Grundbedingungen des Textes von Dario Fo werden in diesem Zusammenhang auch Spezifika der Bühnenübersetzung beleuchtet und Alternativen hierzu aufgezeigt, die auch bereits von Fos Truppe genutzt werden.Dario Fo (Premio Nobel 1997) è uno dei drammaturghi e capocomici più innovatori del teatro italiano del ‘900. Verranno mostrate le tappe più importanti del suo percorso artistico che attestano una ricerca incessante di approcci innovativi per la concezione e la prassi teatrali: una lotta acerrima contro le convenzioni del teatro letterario, borghese, sovvenzionato e fruito in modo passivo. Comunque, cercando di ristabilire l’evento teatrale come esperienza olistica, Fo e la sua compagnia si ritrovano spesso in pieno conflitto con la realtà socio-politica e i suoi rappresentanti. Era anche questo il caso del pezzo "Morte accidentale di un anarchico" (1970) di cui questo lavoro presenta un’analisi. Scritta poco dopo la strage di Piazza Fontana (dicembre 1969) e quindi a quell’epoca di scottante attualità politica, questa farsa grottesca fece sorgere grandi tumulti e rimane finora uno dei pezzi più rappresentati, anche all’estero. Pertanto, questo lavoro contempla non solo la produzione, l’allestimento e la ricezione del pezzo in Italia, ma tiene anche conto degli adattamenti e della loro ricezione in Francia e in Germania. Verrà mostrata la sfida per gli adattamenti stranieri che risulta dall’italianità del teatro di Fo (ricorso alla tradizione del teatro popolare italiano, trattamento di fatti socio-politici quotidiani etc.). In questo contesto verranno spiegati anche elementi specifici della traduzione per la scena e indicata qualche alternativa che anche la compagnia di Fo già utilizza.
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Giachin, Nensi. "Il dramma italiano di Fiume." Bachelor's thesis, Università degli Studi di Trieste, 2002. http://hdl.handle.net/10077/21676.
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Werchowski, Katherine. "Un exemple d'intertextualité : Comédie du mariage : premier drame juif en hébreu." Paris 8, 1999. http://www.theses.fr/1999PA081614.
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Vers 1550 apparait dans l'italie de la renaissance un drame inedit dans l'histoire des lettres hebraiques : comedie du mariage, oeuvre du juif mantuan yehudah somo (1525-1592). En effet, la tradition juive litteraire n'a pas de precedent a cette piece pour laquelle le genre theatral est vil et honni en ce qu'il puise ses origines et ses inspirations dans la culture idolatre greco-latine. La presente recherche repose principalement sur la traduction de ce texte qui a valeur de curiosite et dans le reperage et le role induit par les nombreux intertextes tant bibliques que rabbiniques qui se fondent en un tout homogene. Dans un second temps, sont passes au crible les differents manuscrits de ce drame auxquels l'analyse litteraire de la piece (langue biblique, rabbinique, hebreu tardif, le role fondamental que remplit ici l'onomastique) et l'examen des intertextes principaux convoques par l'auteur comme le midrash tanhumah permettent de confirmer que comedie du mariage est specifiquement juive. A la principale interrogation posee ici a savoir : comment ce drame en langue hebraique a-t-il pu voir le jour, un element de reponse est apporte par la tradition humaniste dont peut se prevaloir yehudah somo, auteur celebre d'un ouvrage theorique sur sa pratique en tant que dramaturge dans la double acception de ce terme : ainsi l'etude des quatre dialogues en matiere de representation theatrale permet-elle d'etablir que somo a du faire jouer comedie du mariage. Sa familiarite avec les grands textes dramatiques de la renaissance italienne se revele a travers la transposition qu'il en afaite dans son drame hebraique : la structure de la piece comme la typologie des personnages evoquent indubitablement la commedia erudita, la commedia dell'arte mais aussi les moralites du moyen age. Cette etude se conclue par la perspective imaginaire d'une mise en scene de la piece a laquelle invitent les precieuses indications dramaturgiques (eclairage, decor, elements architecturaux, direction d'acteurs) des quatre dialogues en matiere de representation theatrale.
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Werr, Sebastian. "Musikalisches Drama und Boulevard : französische Einflüsse auf die italienische Oper im 19. Jahrhundert /." Stuttgart : J. B. Metzler, 2002. http://catalogue.bnf.fr/ark:/12148/cb38866929r.
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Texte remanié de: Diss.--Sprach- und Literaturwissenschaftliche Fakultät--Universität Bayreuth, 2001. Titre de soutenance : Studien zum französischen Einfluss auf die italienische Oper in der Mitte des 19. Jahrhunderts.Bibliogr. p. 218-235. Index.
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Beyer, Hartmut. "Das politische Drama im Italien des 14. und 15. Jahrhunderts humanistische Tragödien in ihrem literarischen und funktionalen Kontext." Münster Rhema, 2007. http://d-nb.info/99052213X/04.
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Trabucco, Sara <1982>. "Périples globaux. La représentation littéraire du drame des migrants." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amsdottorato.unibo.it/10032/1/Trabucco_Sara_Th%C3%A8se_doctorat_Limoges_2021-2022.pdf.
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Au XXIe siècle, le mot migration s’entend, de plus en plus, partout sur la planète, souvent connoté dramatiquement. Comment la littérature prend-elle sa part dans la restitution de ce fait majeur de notre époque ? Des écrits récents tels que : Non dirmi che hai paura de Giuseppe Catozzella, Nel mare ci sono i coccodrilli di Fabio Geda, Cannibales de Mahi Binebine, Mbëkë mi de Abasse Ndione, Mur Méditerranée de Louis-Philippe Dalembert et Exit West de Mohsin Hamid permettent de répondre à cette question en proposant de nouveaux modèles narratifs et esthétiques de représentation de la réalité. Si le regard se focalise sur la représentation littéraire du périple de migration, il embrasse aussi une curiosité pour les arts contemporains et le cinéma. En particulier, deux auteurs italiens sont importants dans la formulation de notre proposition littéraire même si leurs écrits ne relèvent pas de la littérature stricto sensu. L’un est le journaliste Alessandro Leogrande, le premier à s’être interrogé sur la question des naufrages ; la seconde est le médecin-légiste Cristina Cattaneo dont la démarche restitue aux migrants décédés en mer leur identité. Il s’agit, en général, de textes littéraires à la croisée de plusieurs genres, regards et approches dont l’enchevêtrement nous permet de proposer une nouvelle lecture de la migration, et notamment du littéraire. La géocritique nous fournit des réponses claires et décisives à ce défi sans précédent et nous aide à déconstruire les stéréotypes dominants sur ce sujet. Sa forte capacité tient à la manière dont elle étudie, analyse et interprète le référent spatial dans l'oeuvre littéraire. L’analyse passe par l’anthropologie, la sociologie, la géographie et aussi le droit, s’appuyant en particulier sur les travaux de Michel Agier dont les réflexions nous autorisent à concevoir la migration dans une perspective plus large, cosmopolite.In the 21st century, the word migration is increasingly used everywhere on the planet, often with dramatic connotations. How does literature play its role in the restitution of this major fact of our time? Recent writings such as: Non dirmi che hai paura by Giuseppe Catozzella, Nel mare ci sono i coccodrilli by Fabio Geda, Cannibales by Mahi Bine, Mbëkë mi by Abasse Ndione, Mur Méditerranée de Louis-Philippe Dalembert et Exit West by Mohsin Hamid answer this question and propose a new narrative and aesthetic mode of representation of reality. If our gaze focuses on the literary representation of the migration journey, it also embraces a curiosity for contemporary arts and cinema. In particular, two Italian authors are important in the formulation of our literary proposal even if their writings do not come from literature stricto sensu. One is the journalist Alessandro Leogrande, the first one to question the issue of shipwrecks; the second one is the medical examiner Cristina Cattaneo whose approach restores the identity of those migrants who died at sea. These are literary texts at the crossroads of several genres, perspectives and approaches whose entanglement allows us to propose a new reading of migration, and especially about literature. Geocriticism provides us clear answers to this unprecedented challenge and helps us to deconstruct the stereotypes prevailing on this subject. Its strong ability lies in the way it studies, analyzes and interprets the spatial referent in the literary work. The analysis goes through anthropology, sociology, geography and also law, relying in particular on the work of Michel Agier, its contributions allows us to conceive migration from a larger, cosmopolite, perspective.
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Beyer, Hartmut. "Das politische Drama im Italien des 14. und 15. Jahrhunderts : humanistische Tragödien in ihrem literarischen und funktionalen Kontext /." Münster : Rhema, 2008. http://www.rhema-verlag.de/books/sfb496/sfb24.html.
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BESIA, VALENTINA. "Il Tricolore alla ribalta. Teatro drammatico e politica nel Risorgimento tra Italia e Francia." Doctoral thesis, Urbino, 2018. http://hdl.handle.net/11576/2662490.
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Cancino, Alfaro José. "Recepción de tragedia y composición imitativa en Procne (1428) de Gregorio Correr." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/143314.
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Cotler, Avalos Andres. "Genealogía del tiempo en el cine moderno: del neorrealismo italiano a “Los Muertos” de Lisandro Alonso." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2018. http://tesis.pucp.edu.pe/repositorio/handle/123456789/12167.
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En este texto, el autor desarrolla la historia del neorrealismo italiano y el contexto histórico en
el que se desenvolvió. De igual manera, se rastrea las características de su estética que supuso
un momento de corte frente a las anteriores estéticas realistas. Frente al neorrealismo visto
únicamente como crítica o crónica social, algunos críticos y filósofos como André Bazin y
Gilles Deleuze relevaron sus aportes en la Historia del Cine tanto por las innovaciones en la
puesta en escena como por ser el inicio de un cine que utilizó el tiempo cinematográfico en
tanto elemento expresivo primordial. Fueron algunos directores provenientes de este
movimiento, en la década del cincuenta, como Roberto Rossellini, Federico Fellini y
Michelangelo Antonioni quienes hicieron el tránsito de una estética neorrealista al cine
moderno, privilegiando al tiempo cinematográfico como una característica importante en el
cine de autor de entonces, que Deleuze denominó como Imagen-tiempo. La vigencia de estos
directores en el cine contemporáneo no es casual: marcaron un territorio que luego será
emulado por jóvenes directores interesados en los efectos expresivos y poéticos del tiempo
cinematográfico. Ese es el caso de varios de los directores mas interesantes de América Latina
durante la primera década del año dos mil. Ese es el caso del cineasta argentino Lisandro
Alonso.The research focuses on the history of Italian neorealism and the historical context in which it developed. Similarly, it analyzes the characteristics of its aesthetics that implied a rupture with previous realistic aesthetics. Considering neorrealism only as a criticism or social chronicle, some critics and philosophers such as André Bazin and Gilles Deleuze, divulged its contributions in the History of Cinema both for its innovations in staging as for being the outset of a cinema that uses cinematographic time as a fundamental expressive element. Some of the directors of this movement in the decade of the fifties as Roberto Rossellini, Fellini and Michelangelo Antonioni started the movement from a neo-realistic aesthetic to modern cinema granting especial characteristic to cinematographic time in the author cinema of that time, which Deleuze labeled as the Time-Image. The authoritativeness of these directors in contemporary filmmaking is not fortuitous: they underline a territory that will be later imitate by young directors interested in the expressive and poetic effects of the cinematographic time. This is the case for some of the most interesting directors of Latin America during the first decade of the year 2000. This is the case of Argentinean director Lisandro Alonso.
Tesis
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CARIATI, LUCIA. "L'Imerio di Giovanni Testori: il dramma della transizione. Prove inedite del tragico." Doctoral thesis, Università degli studi di Bergamo, 2021. http://hdl.handle.net/10446/181640.
Full textAbstract:
L'Imerio di Giovanni Testori è un dramma riscritto più volte e rimasto inedito perché mai considerato davvero concluso. Attraverso un lavoro di ricerca condotto presso l'Archivio Testori di Milano, si è cercato di ricostruire il percorso di inesausta revisione che ha portato l'autore a redigere ben 18 bozze, prima di abbandonare definitivamente il progetto, in una fase artistica a seguito dello scandalo de L' Arialda, da tempo considerata una sospensione della sua scrittura teatrale, che anticipa, per temi e soluzioni drammaturgiche, le opere che segneranno il definitivo abbandono della fase neorealistica, a partire da La Monaca di Monza.L'Imerio by Giovanni Testori is a drama that has been rewritten several times and has remained unpublished because it was never considered concluded. Through a research work conducted at the Testori Archive in Milan, an attempt was made to reconstruct the path of inexhaustible revision that led the author to draw up 18 drafts, before definitively abandoning the project, in an artistic phase following the The scandal of L'Arialda, for some time considered a suspension of his theatrical writing, which anticipates, by themes and dramaturgical solutions, the works that will mark the definitive abandonment of the neorealistic phase, starting with La Monaca di Monza.
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Giraldo, Federica <1984>. "Transcripción y estudio paleografico de la primera traducción italiana de La Celestina (Bib. Marciana -DRAMM. 2988.5-)." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3615.
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Mi tesis de licenciatura trata de la transcripción paleográfica de la primera traducción italiana de la célebre obra Tragicomedia de Calisto y Melibea, conocida como La Celestina. La traducción, editada por Eucharium Silber alias Franck en Roma y realizada por Alfonso Ordóñez, data del año 1506. Se transcribe el manuscrito que se encuentra en la Biblioteca Nazionale Marciana de Venecia. Además de la transcripción, se realiza una investigación lingüística e histórico-cultural y se tienen en cuenta otras traducciones.
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Miragliotta, Elisa <1991>. "Transcripción paleográfica y análisis de la segunda traducción italiana de la tragicomedia La Celestina. [Biblioteca Nazionale Marciana DRAMM 0123]." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9703.
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Nel mio lavoro di ricerca, attraverso la trascrizione paleografica della seconda traduzione della tragicommedia La Celestina (tradotta da Girolamo Claricio e stampata a Milano da Giovanni Caastiglione, il 23 giugno 1514), ho cercato di evidenziare l'importanza di questa seconda traduzione, facendo un paragone con la prima esistente. Attraverso lo studio del traduttore e dell'editore del manoscritto ho anche analizzato il contesto storico.
Questa seconda traduzione risulta importante dal punto di vista sia letterario che linguistico, in quanto è fondamentale per implementare un corpus per la storia della traduzione e per il confronto linguistico e storico tra le due lingue (Spagnolo e Italiano).
Per l'edizione paleografica ho seguito i criteri esposti da Sánchez Prieto Borja nella RED INTERNACIONAL CHARTA e nel libro Cómo editar los textos medievales.
Mentre per lo studio critico mi sono basata maggiormente sulla versione de La Celestina pubblicata dalla RAE nel 2011, con l'edizione e lo studio di Francisco J. Lobera e Guillermo Serés, Paloma Díaz-Mas, Carlos Mota e Íñigo Ruiz Arzálluz e Francisco Rico.
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Piffaut, Ludovic. "L'univers médiéval et ses figures de représentations dans l'opéra italien (1690-1730)." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2006.
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L’univers médiéval tient une place importante dans la culture poétique italienne du XVème au XVIIIème siècle. Emblèmes de cet univers, les poèmes épiques de l’Arioste et du Tasse, imités de ceux d’Homère, promeuvent les histoires les plus populaires des théâtres italiens des XVIIème et XVIIIème siècles. L’écriture du Moyen Âge dans l’opéra, entre 1690 et 1730, montre une diversité des esthétiques et des figures poétiques et dramatiques. Grâce à l’Accademia dell’Arcadia, la rénovation du livret ouvre de nouvelles perspectives à son exploitation, que développera Zeno contrairement à Metastasio. En s’appuyant sur la tragédie française, celle-ci lie étroitement art poétique et musical. L’air symbolise ce point de rencontre des affects et de leur représentation musicale. Il contribue à la célébrité de l’Artaserse (1730) de Vinci et celui de Hasse. Ces opéras précipitent le déclin des sujets médiévaux et laissent la place à un nouveau modèle lyriqueMedieval universe took an important place in the Italian poetic culture from the 16th to the 18th century. Emblems of this universe, Ariosto and Tasso’s epic poems, imitated of Homer’s, upgraded to most popular histories of the Italians theatres of the 17th and 18th centuries. The Middle Ages’ representation in Opera between 1690 and 1730, showed a diversity of esthetics but dramatic and poetic figures too. Thanks to the Accademia dell’Arcadia, the renovation of the libretto led to consider new prospects of its exploitation. Zeno developed the new vision of Middle Ages contrary to Metastasio. Supporting by French tragedy, this renovation unified with strength poetical and musical art. The aria symbolized the meeting point of affects and their musical representations. It contributed to the celebrity of Vinci’s and Hasse’s Artaserse (1730). These two operas hastened the decline of medieval subjects and installed a new lyric model
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Lévy, François. "De la tragédie au dramma per musica : l'influence du modèle tragique français sur la réforme de l'opéra italien (1690-1731)." Paris 3, 2004. http://www.theses.fr/2004PA030152.
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Cette thèse a pour objet l’influence du théâtre tragique français sur l’opéra italien entre 1690 (date de la fondation de l’Accademia dell’Arcadia) et 1731 (date de la création de Demetrio, le premier livret écrit par Metastasio pour la cour de Vienne). Durant cette période, le modèle tragique français joua un rôle déterminant dans l’évolution de la dramaturgie de l’opéra italien, en raison notamment des très nombreuses adaptations de tragédies par les librettistes de la génération d’Apostolo Zeno. Pour comprendre les causes de ce phénomène, il nous a paru nécessaire de faire la distinction entre l’influence directe exercée par un corpus moderne d’œuvres tragiques sur les pratiques d’écriture des librettistes, et l’influence plus vaste que les belles-lettres françaises exercèrent sur le débat littéraire contemporain en Italie. L’enjeu de ce travail est notamment de savoir comment ces deux niveaux d’influence ont pu coïncider, jusqu’à engendrer une réforme du dramma per musicaThe subject of this dissertation is the influence of french tragic theater on italian opera between 1690 (foundation of the Accademia dell’Arcadia) and 1731 (first performance of Demetrio, first libretto written by Metastasio for the court of Vienna). During this period, the model of french tragedy influenced significantly the evolution of italian opera, particularly thanks to the numerous adaptations of french tragedies by the libretto writers contemporary to Apostolo Zeno. In order to analyse the reasons for this phenomenon, it is essential to distinguish between the direct influence of the contemporary corpus of tragedies on the modes of writing of the librettists, and the more general influence of french literature on the literary debate in Italy of the same time. The ultimate goal of the present work is to determine if and how these two modes of influence may have merged to generate a substancial reform of the dramma per musica
34
Cimmieri, Valeria. "Femme et pouvoir dans le théâtre tragique italien des XVIe et XVIIe siècles : étude d’un corpus emblématique de rôles-titres féminins." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20096.
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Aux XVIe et XVIIe siècles, en Italie, une ample production de tragédies voit le jour, parmi lesquelles de nombreuses pièces consacrées à des héroïnes éponymes. Nés de procédés complexes de réécriture (de mythes, de récits historiques, de sources religieuses et littéraires), ces personnages, qui posent sur scène la question du rapport entre la femme et le pouvoir, mobilisent le jugement des auteurs et du public sur des débats capitaux pour la société de l’époque. Par des démarches d’écriture particulières, plus ou moins explicites, le théâtre tragique se fait ainsi théâtre politique, puisqu’il élève la cité à la dignité d’un spectacle qui s’interroge sur ses mécanismes civiques et culturelsTragedy was a genre that flourished in Italy in the 16th and 17th century of which numerous examples were dedicated to the eponymous heroines. Created in the process of rewriting (réécriture) of myths, historical narratives and various religious and literary sources, those characters bring up questions concerning the relation between women and power encouraging authors and their public to take part in the debates that are crucial for the contemporary society. Through more or less explicit literary means, tragic theater becomes a political theater for it raises the city to the dignity of the spectacle that reflects on its civic and cultural mechanisms
35
Tonello, Riccardo <1996>. "UN EXCURSUS DELLE RELAZIONI ECONOMICHE TRA ITALIA E RUSSIA. DA UN PASSATO RECENTE IN CONTINUA CRESCITA AL DRAMMA DELLA GUERRA." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/22020.
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Nonostante la distanza in termini di spazio che intercorre tra Italia e Russia, le due nazioni sono, storicamente, sempre state molto legate e tendenzialmente in buoni rapporti. Roma e Mosca, difatti, intrattengono solide relazioni sin dal X secolo e ciò è continuato anche nel passato recente in molteplici ambiti. Questo legame è testimoniato, ancor di più, dagli importanti rapporti economici che uniscono i due paesi, come si è potuto accertare in questi mesi dopo lo scoppio della guerra in Ucraina. Adottando un approccio di tipo storico e descrittivo, lo scopo di questa tesi è quello di fornire un quadro esaustivo delle relazioni che i due Paesi hanno intrattenuto tra di loro nel corso della storia, soprattutto in ambito economico ma anche politico, militare nonché culturale. Si riserverà, inoltre, uno spazio adeguato al tema attuale dei conflitti in Ucraina, analizzando le principali sanzioni dell'Unione Europea nei confronti di Mosca, e le relative contro-sanzioni russe nei confronti dell'UE, con conseguenze anche per l'Italia. Difatti, le guerre che dal 2014 si stanno susseguendo nel territorio ucraino, hanno inevitabilmente avuto notevoli riflessi negativi nei confronti dell'economia italiana e delle sue imprese, portando purtroppo a un deterioramento dei rapporti tra Roma e il Cremlino.
36
Faúndez, Viveros Ximena. "Montaje y farsa política como estrategias reflexivas en Muerte accidental de un anarquista." Tesis, Universidad de Chile, 2014. http://www.repositorio.uchile.cl/handle/2250/130409.
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Usula, Nicola <1983>. ""Il carceriere di sé medesimo" di Lodovico Adimari e Alessandro Melani, Firenze 1681. Dalla «comedia» di Pedro Calderón de la Barca al «drama per musica» italiano di fine Seicento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6592/1/Usula_Nicola_tesi.pdf.
Full textAbstract:
Questo lavoro è imperniato sullo studio di uno dei melodrammi più interessanti della fine del XVII secolo: “Il carceriere di sé medesimo” di Lodovico Adimari (1644-1708) e Alessandro Melani (1639-1703), allestito per la prima volta a Firenze nel 1681, e ripreso nel giro di una ventina d’anni a Reggio (1684), a Bologna (1697) e a Vienna (1702). L’opera vanta un’origine drammatica di spicco: risale infatti alla commedia “Guardarse a sí mismo” di Pedro Calderón de la Barca (1600-1681) mediata dal “Geôlier de soi-mesme” di Thomas Corneille (1625-1709), e presenta qualità poetiche e musicali evidenti, assicurate dai nomi del poeta Lodovico Adimari e del compositore Alessandro Melani. A ciò si aggiungano una tradizione articolata in quattro allestimenti, nonché un elevato numero di testimoni superstiti: cinque edizioni del libretto (testimoniate da numerosi esemplari) e il numero fortunatissimo di tre partiture manoscritte, conservate a Parigi, Bologna e Modena.
La tesi contiene l’edizione critica del “Carceriere di sé medesimo” di Adimari con tutte le varianti accumulatesi nella riedizione del libretto e nella copiatura della partitura, l’analisi del dramma, a partire dal confronto tra i testi di Calderón, Corneille e Adimari, e lo studio delle sue componenti drammatiche, formali e contenutistiche. Si aggiunge uno studio sul contesto storico-musicale degli allestimenti di Firenze, Reggio, Bologna e Vienna, nonché l’edizione dei restanti tre drammi di Adimari: la commedia “Le gare dell’amore e dell’amicizia” (1679), e il dramma per musica “L’amante di sua figlia” (1684).This study concerns one of the most interesting Italian operas of the late seventeenth century: “Il carceriere di sé medesimo” by Lodovico Adimari (1644-1708) and Alessandro Melani (1639-1703), staged for the first time in Florence in 1681, and renewed some years later in Reggio (1684), Bologna (1697) and Vienna (1702). This opera has noble dramatic roots since it descends from the «comedia» “El guardarse a sí mismo” by Pedro Calderón de la Barca (1600-1681), translated in French as “Le geôlier de soi-mesme” by Thomas Corneille (1625-1709), and it presents high poetic and musical qualities, as the names of Adimari and Melani can guarantee. A number of sources of this opera survives: 4 editions of the libretto and three manuscript scores (held in Paris, Bologna and Modena). In addition to the study of the historical context in which the opera has been performed in 1681, 1684, 1697 and 1702, this dissertation contains a critical edition of the libretto of “Il carceriere di sé medesimo” and two other plays written by Adimari: “Le gare dell’amore e dell’amicizia” (1679), and “L’amante di sua figlia” (1684).
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Usula, Nicola <1983>. ""Il carceriere di sé medesimo" di Lodovico Adimari e Alessandro Melani, Firenze 1681. Dalla «comedia» di Pedro Calderón de la Barca al «drama per musica» italiano di fine Seicento." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6592/.
Full textAbstract:
Questo lavoro è imperniato sullo studio di uno dei melodrammi più interessanti della fine del XVII secolo: “Il carceriere di sé medesimo” di Lodovico Adimari (1644-1708) e Alessandro Melani (1639-1703), allestito per la prima volta a Firenze nel 1681, e ripreso nel giro di una ventina d’anni a Reggio (1684), a Bologna (1697) e a Vienna (1702). L’opera vanta un’origine drammatica di spicco: risale infatti alla commedia “Guardarse a sí mismo” di Pedro Calderón de la Barca (1600-1681) mediata dal “Geôlier de soi-mesme” di Thomas Corneille (1625-1709), e presenta qualità poetiche e musicali evidenti, assicurate dai nomi del poeta Lodovico Adimari e del compositore Alessandro Melani. A ciò si aggiungano una tradizione articolata in quattro allestimenti, nonché un elevato numero di testimoni superstiti: cinque edizioni del libretto (testimoniate da numerosi esemplari) e il numero fortunatissimo di tre partiture manoscritte, conservate a Parigi, Bologna e Modena.
La tesi contiene l’edizione critica del “Carceriere di sé medesimo” di Adimari con tutte le varianti accumulatesi nella riedizione del libretto e nella copiatura della partitura, l’analisi del dramma, a partire dal confronto tra i testi di Calderón, Corneille e Adimari, e lo studio delle sue componenti drammatiche, formali e contenutistiche. Si aggiunge uno studio sul contesto storico-musicale degli allestimenti di Firenze, Reggio, Bologna e Vienna, nonché l’edizione dei restanti tre drammi di Adimari: la commedia “Le gare dell’amore e dell’amicizia” (1679), e il dramma per musica “L’amante di sua figlia” (1684).This study concerns one of the most interesting Italian operas of the late seventeenth century: “Il carceriere di sé medesimo” by Lodovico Adimari (1644-1708) and Alessandro Melani (1639-1703), staged for the first time in Florence in 1681, and renewed some years later in Reggio (1684), Bologna (1697) and Vienna (1702). This opera has noble dramatic roots since it descends from the «comedia» “El guardarse a sí mismo” by Pedro Calderón de la Barca (1600-1681), translated in French as “Le geôlier de soi-mesme” by Thomas Corneille (1625-1709), and it presents high poetic and musical qualities, as the names of Adimari and Melani can guarantee. A number of sources of this opera survives: 4 editions of the libretto and three manuscript scores (held in Paris, Bologna and Modena). In addition to the study of the historical context in which the opera has been performed in 1681, 1684, 1697 and 1702, this dissertation contains a critical edition of the libretto of “Il carceriere di sé medesimo” and two other plays written by Adimari: “Le gare dell’amore e dell’amicizia” (1679), and “L’amante di sua figlia” (1684).
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Bonnet, Jérôme. "Arsinoe : voyage d'un drame lyrique de Bologne (1676) à Londres (1705)." Tours, 2006. http://www.theses.fr/2006TOUR2011.
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Créé en 1676 (Bologne, Stanzani, Franceschini) l'opéra Arsinoe a voyagé en Italie (Venise, 1677). Des modifications sont opérées pour le présenter au public vénitien. Mais la dernière étape du parcours est la plus significative ; Arsinoe s’installe à Drury-Lane (Londres, 1705). La première représentation va marquer l’histoire de la vie lyrique anglaise qui se passionnera pour l'opéra italien durant le 18e siècle. À Londres, Arsinoe devint Arsinoe, Queen of Cyprus, premier opéra « à la manière italienne » à être joué dans une traduction anglaise. Ses créateurs, Motteux et Clayton ont gardé la structure récitatif-air. Les spectateurs anglais, habitués à écouter des drames lyriques alternant musique et parlé, durent s’accoutumer à ce nouveau spectacle. Cet opéra joue un rôle décisif dans l’histoire de l'opéra italien à Londres, comme l’expose clairement Addison dans The Spectator le 21 mars 1711 : « Arsinoe was the first opera that gave us a taste of the Italian Music »The opera Arsinoe travelled throughout Europe from 1676 to 1705. From its creation in Bologna until its performance at Drury-Lane (London), the work developed according to local operatic practice. The first alterations were made for the Venetian stage, when one character was replaced by another, and where new scenes were added to satisfy the Venetians’ excessive taste for machinery. This lyrical drama was revived in London thirty years later. The major change consisted in Motteux’s translation of Stanzani’s text into English. However, the recitative style was preserved to give birth to the first opera “after the Italian manner”, Arsinoe, Queen of Cyprus. This opera “after the Italian manner” can certainly be seen as a bridge between the English semi-opera of the Restoration and the Italian opera which was to prevail on the London stage from 1711 onwards, mainly through its principal exponent: Haendel
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Refini, Eugenio. "Teatro del mondo, teatro dell'anima. Sondaggi sul codice allegorico nel dramma morale del tardo Rinascimento." Doctoral thesis, Scuola Normale Superiore, 2010. http://hdl.handle.net/11384/86072.
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Slaney, Helen. "Language and the body in the performance reception of Senecan tragedy." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:72f9cf38-6e9c-40a1-b387-12a754e4d0ea.
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Seneca’s contribution to the development of Western European theatre and conceptions of theatricality has been underestimated in comparison to that of Greek tragedy. This thesis argues for the continuous importance of Senecan drama in theatrical theory and practice from the sixteenth century until the present day. It examines significant instances of Seneca in performance, and shows how these draw on particular aspects of Seneca’s style and dramaturgical technique to coalesce into a sub-genre of tragedy termed here ‘hypertragedy’ or the ‘senecan aesthetic’. The underlying premise of this representational mode is that verbal (vocal) performance is a physical act and induces physical responses. This entails the consequential inference that Senecan theatre is not mimetic – that is, based on an isomorphic identification of character with performer – but rather affective; like oratory, it functions through direct, quasi-musical manipulation of the auditor’s senses. The goal of this theatrical form is to articulate extreme states of mind or experiences which cannot be conveyed via conventional mimetic means: pain, frenzy, dissolution of the self. In tracing the theories of tragedy which comprise a narrative contrapuntal to the reception of Seneca onstage, it is possible to identify the factors which have successively constructed, promoted, suppressed, reviled and finally reinstated the senecan aesthetic as philhellenism’s other.
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Marri, Fabio. "Un approccio alle raccolte poetiche-drammatiche tra Sei e Settecento." Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, 2020. https://slub.qucosa.de/id/qucosa%3A70944.
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I manoscritti qui considerati vanno dal Seicento al primo Ottocento, e documentano una fase della letteratura italiana che continuava a interessare lettori e collezionisti. Un caso esemplare è il manoscritto Ob.37, raccolta calligrafica, che contiene soprattutto sonetti, canzoni e poesie musicali senza indicarne il nome dell’autore. La prima menzione di questo supporto è nel catalogo Scheureck del 1755, ma non sappiamo altro sulla sua acquisi-zione. Il lavoro erudito consiste nell’identificare gli autori delle poesie, e rintracciare i testi anche in codici simili della stessa epoca. Interessante pure un gruppo di manoscritti che portano le segnature Mscr.Dresd.Ob.48.b, Ob.48.c, Ob.48.d, Ob.48.e, Ob.48.f, Ob.48.g, Ob.48.ga e Ob.48.h, prevalentemente libretti di opere liriche, con l’eccezione del Falcone, commedia la cui esecuzione va collocata a Vienna intorno al 1740. Di qualche interesse ne è la lingua, aperta sia a modi proverbiali, letterari o popolari, sia a sezioni in dialetto veneto e lombardo, che si possono paragonare a quelle della commedia dell’arte fino ai primi successi di Carlo Goldoni.
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Nosella, Berilo Luigi Deiró. ""Um buraco no céu de papel": o moderno na dramaturgia de Luigi Pirandello." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/14801.
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This master degree main objective is the analysis and the study of the dramatical workmanship composition Six Personages in Search of an Author , witch is studied here as Seis Personagens em Busca de um Autor by Luigi Pirandello (1867-1936), staged for the first time in 1921, in Rome / Italy, reaching success in the entire world and deeply influencing the art of the teatral representation of the century XX. The objectives of the research send to analyze the modern elements gifts in the text Six Personages in Search of an Author and to the verification of the specific items on this modern pirandellian text in debate with modernity and contemporality. Basically, here, the analysis if guideline in the reflection on the existence of a tension between tradition and renewal, characteristic of the modernity in general way and specific way of the workmanship of Pirandello. It is treated, therefore, of formal examining the renewal as crisis of the tradition while factor of revelation and denudation as crisis of the modern world that is present like a mean form in the workmanship of Pirandello and in the Modern Drama . The literary analysis of the pirandellian text was based, initially, in the theoretical debate on the question of the literary sorts for the definition of the concept of Modern Drama . For this issue, this thought followed a line that begins with Hegel, goes to Georg Lukács and finishes with Peter Szondi. Advancing in this way, it was turned back to the proper theoretical texts of Pirandello, mainly O Humorismo , wrote in 1903, that involves the modernity of the drama and how it would be articulated, later, in an artistic form. A critical historical pillar helped to support the recital of this work that had as purpose understand and context this workmanship of Pirandello in its time and the present time. It was established, a parallel between two authors: the Italian, contemporary Pirandello, Antonio Gramsci and the german, Walter Benjamin. This debate in allowed in such a way to invest them in the analysis of the tension between form and content, renewing the art of drama of Pirandello culturally (as content) and the respective esthetic way (as form)
Trata, a presente dissertação, da análise e do estudo da obra dramática Seis Personagens em Busca de um Autor, de Luigi Pirandello (1867-1936), encenada pela primeira vez em 1921, em Roma, Itália, alcançando sucesso no mundo todo e influenciando profundamente a dramaturgia do século XX. Os objetivos da pesquisa remetem à analise dos elementos modernos presentes no texto Seis Personagens em Busca de um Autor e à verificação das especificidades desse moderno pirandelliano em debate com a modernidade e a contemporaneidade. Basicamente, aqui, a análise se pauta na reflexão sobre a existência de uma tensão entre tradição e renovação, característica da modernidade de modo geral e de modo específico da obra de Pirandello. Trata-se, portanto, de formalmente examinar a renovação como crise da tradição enquanto fator de revelação e desnudamento de uma crise do mundo moderno que se apresentaria como uma forma fundamental na obra de Pirandello e no Drama Moderno . A análise literária do texto pirandelliano alicerçou-se, inicialmente, no debate teórico sobre a questão dos gêneros literários para a definição do conceito de Drama Moderno . Para tanto, esse pensamento seguiu uma linha que parte de Hegel, passa por Gyorgy Lukács e se finaliza com Peter Szondi. Avançando neste caminho, voltou-se aos próprios textos teóricos de Pirandello, principalmente O Humorismo, escrito em 1903, que compreende a modernidade do drama e como se articularia, posteriormente, numa forma artística. Sustentou ainda a fundamentação deste trabalho um pilar crítico-histórico que teve como finalidade compreender e contextualizar a obra de Pirandello em seu tempo e na atualidade. Estabeleceu-se, assim, um paralelo entre dois autores: o italiano, contemporâneo a Pirandello, Antonio Gramsci e o alemão Walter Benjamin. Esse debate nos permitiu investir na análise da tensão entre forma e conteúdo, renovando a dramaturgia de Pirandello tanto culturalmente (como conteúdo) quanto esteticamente (como forma)
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FEDERICO, LUCA. "L'apprendistato letterario di Raffaele La Capria." Doctoral thesis, Università degli studi di Genova, 2020. http://hdl.handle.net/11567/1005664.
Full textAbstract:
Superati «novant’anni d’impazienza» e dopo un lungo periodo votato all’autocommento e all’esplorazione delle proprie intenzioni, Raffaele La Capria ha raccolto le sue opere in due Meridiani curati da Silvio Perrella. La Capria ne ha celebrato l’uscita nella prolusione inaugurale di Salerno Letteratura, poi confluita nel breve autoritratto narrativo "Introduzione a me stesso" (2014). In questa sede, l’autore è tornato su alcuni punti essenziali della sua riflessione sulla scrittura, come la relazione, reciproca e ineludibile, fra tradizione e contemporaneità. All’epilogo del «romanzo involontario» di una vita, La Capria guarda retrospettivamente alla propria esperienza come ad un’autentica educazione intellettuale. Perciò, muovendo da un’intervista inedita del 2015, riportata integralmente in appendice, la tesi ha l’obiettivo di ricostruire l’apprendistato letterario di La Capria dai primi anni Trenta, quando l’autore ancora frequentava il ginnasio, fino all’inizio dei Sessanta, quando ottenne il premio che ne avrebbe assicurato il successo. Il percorso, che riesamina l’intera bibliografia lacapriana nella sua varietà e nella sua stratificazione, si articola in una serie di fasi interdipendenti: la partecipazione indiretta alle iniziative dei GUF (intorno alle riviste «IX maggio» e «Pattuglia»); l’incursione nel giornalismo e l’impegno culturale nell’immediato dopoguerra (sulle pagine di «Latitudine» e di «SUD»); l’attività di traduttore dal francese e dall’inglese (da André Gide a T.S. Eliot); l’impiego alla RAI come autore e conduttore radiofonico (con trasmissioni dedicate a Orwell, Stevenson, Saroyan e Faulkner); la collaborazione con «Il Gatto Selvatico», la rivista dell’ENI voluta da Enrico Mattei e diretta da Attilio Bertolucci; e le vicende editoriali dei suoi primi due romanzi, “Un giorno d’impazienza” (1952) e “Ferito a morte” (1961), fino alla conquista dello Strega. La rilettura dell’opera di uno scrittore semi-autobiografico come La Capria, attraverso il costante riscontro di fonti giornalistiche, testimonianze epistolari e documenti d’archivio che avvalorano e occasionalmente smentiscono la sua versione dei fatti, diventa allora un’occasione per immergersi nella sua mitografia personale e avventurarsi in territori finora poco esplorati: come la ricostruzione del suo profilo culturale, a partire dal milieu in cui La Capria vive e opera, o l’incidenza delle letture e delle esperienze giovanili sulla sua prassi letteraria.
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Mariani, Annachiara. "L'inconscio in scena il teatro di Luigi Antonelli, Luigi Pirandello e i Grotteschi /." 2010. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.000052133.
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Kirkpatrick, David Adam Mozart Wolfgang Amadeus Fisher Douglas. "The role of Metastasio's libretti in eighteenth century opera as propaganda." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-03052005-035942/.
Full textAbstract:
Treatise (D.M.A.) Florida State University, 2005.Advisor: Douglas Fisher, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-2-07). Document formatted into pages; contains 48 pages. Includes biographical sketch. Includes bibliographical references.
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Colli, Gian Giacomo. "The Impossible Tempest: Giorgio Strehler or the Director as Interpreter." Thesis, 2006. http://hdl.handle.net/1807/29947.
Full textAbstract:
During his fifty-year career, the Italian director Giorgio Strehler (1921-1997) staged more plays by Shakespeare than by any other playwright, but only a few of his most recent and successful Shakespearean productions have received international critical attention, and The Tempest he directed in 1978 is among them. Thirty years before however, in 1948, he directed a first, completely different production of the same text. Starting from the theoretical assumption that a theatre performance, as object, exists only in the moment in which it is actually produced, that is, in its reception by the audience, this dissertation has a twofold purpose: to explore the different contexts in which the two productions directed by Strehler were staged, and to underline how, from the beginning of his career he developed a crucial attention for interpretative techniques culminating in the 1978 Tempest. Aside from being based on the same text and from being produced by the same ensemble, the Piccolo Teatro of Milan, though with two radically different acting and technical troupes, the two productions of The Tempest directed by Strehler enlighten the variety of dynamics – from historical, political, and cultural, to more specifically theatrical, technical, and dramaturgical – which interacted within him while he was working at the staging of the play, and emphasizes the centrality of the director in contemporary theatre. Finally, this dissertation examines how the pragmatic process of rehearsal might modify the director's theoretical approach to a text, and shows how the study of a performance consists not just in the quest for its meaning, but in the investigation of how the text is brought to the stage, to that coalescent point that, in order to materialize, demands active participation and involvement from both interpreters and spectators.
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Szadkowska-Mańkowska, Olga. "Vittorio Alfieri w Polsce. Problemy recepcji." Doctoral thesis, 2017. https://depotuw.ceon.pl/handle/item/2304.
Full textAbstract:
Praca poświęcona jest obecności włoskiego dramaturga, Vittorio Alfieriego w literaturze i kulturze polskiej od końca XVIII do XX wieku, ze szczególnym uwzględnieniem I połowy XIX wieku. Alfieri jest postacią, która nie zajmuje w polskiej przestrzeni literackiej jednoznacznego miejsca. Odbiór jego dzieł, w zależności od okresu historycznego, sytuacji politycznej, nurtów literackich, ewoluował, czyniąc go na zmianę bohaterem pierwszoplanowym, drugorzędnym, a czasem ignorowanym. Z jednej strony nie stał się on czołowym autorem dramatycznym, z którego czerpie historia literatury powszechnej w Polsce, z drugiej zaś trudno nazwać go dramaturgiem przemilczanym w dyskusji historycznoliterackiej przełomu XIX i XX wieku.
Rozdział pierwszy pracy poświęcony jest uporządkowaniu stanu badań o włoskim dramaturgu. Porównanie krytyki alfierowskiej w Polsce i we Włoszech prowadzi do wniosku, że istnieje kilka pól tematycznych, wokół których koncentrują się badania dotyczące Alfieriego. Przyglądając się refleksji historycznoliterackiej, należy stwierdzić z całą pewnością, że polski stan badań, choć objętościowo skromniejszy, dorównuje włoskiemu stanowi badań dojrzałością i skrupulatnością rozważań.
W drugim rozdziale pracy podejmuję problematykę roli, częstotliwości i sposobu ujawniania Alfieriego w polskich relacjach podróży do Włoch — nie tylko tych dziewiętnastowiecznych, ale i późniejszych. Pojawienie się Alfieriego w zapiskach m.in. Niemcewicza, Czartoryskiego, Rautenstrauchowej, Wiszniewskiego czy Siemieńskiego świadczy o głębokiej refleksji literackiej na temat twórczości dramaturga, poczynionej przez autorów dzienników z podróży, jak również o zjawisku „lektur alfierowskich” w przywołanych epokach.
Rozdział trzeci koncentruje się wokół obecności Alfieriego w prasie polskiej w XIX wieku. Interesuje mnie ustalenie chronologii występowania sztuk Alfieriego w recenzjach teatralnych, które pozwala z kolei na dokładne umiejscowienie twórczości włoskiego dramaturga w kontekście polskiej krytyki teatralnej.
W rozdziale czwartym pojawia się problematyka inspiracji Alfierim w polskiej sztuce dramatycznej XIX wieku. Polskie dramaty, które powstały na początku XIX wieku w Polsce pozostawały pod silnym wpływem tragedii włoskiego poety, dlatego też, gdy mowa o –izmach (klasycyzmie, neoklasycyzmie, sentymentalizmie, pseudoklasycyzmie), wypada przede wszystkim zaznaczyć alfieryzm w tendencjach ówczesnej tragedii polskiej, a wręcz całą polską „generację alfierowską”, czyli autorów wzorujących się na twórczości Alfieriego. Z powstałych tragedii tworzących wówczas poetów, to właśnie, Bolesław Śmiały, Don Carlos i Barbara Radziwiłłówna realizowały najpełniej koncepcję dramatu Piemontczyka, a Felińskiego, Hoffmanna i Wężyka ukonstytuowały w roli „pierwszych” (czy jedynych?) alfierystów.
Ostatni, piąty rozdział poświęcony jest polskim tłumaczeniom sztuk Alfieriego w świetle źródeł. Przede wszystkim analiza zachowanych przekładów pozwala na dokładne odtworzenie, w jakim okresie go tłumaczono, i w związku z tym odczytywano na nowo. Ponadto badania nad językiem Alfieriego obejmują przede wszystkim uchwycenie jego pisarskiej maniery. Jego trudny w odbiorze język, momentami wręcz nieprzystępny, niezgodny z miarą wierszową tragedii, odrobinę przerażał, ale i fascynował tłumaczy.
Analiza tekstów poświęconych Alfieriemu (recenzji, artykułów, wspomnień z podróży, opracowań krytycznoliterackich, dramatów) pozwala na prześledzenie sposobu recepcji włoskiego dramaturga w Polsce. Jest to wielopłaszczyznowy sposób odbioru. Po pierwsze, wynika z uwarunkowań kulturowo-historycznych, językowych oraz politycznych tragedii Alfieriego. Po drugie, dotyczy sposobu rozumienia przesłania jego utworów, mocno osadzonych w realiach starożytnych. Metoda odczytania jego dzieł ujawnia spojrzenie na kwestię popularności włoskiego twórcy w Polsce.The purpose of this thesis was to investigate reception of Italian playwright, Vittorio Alfieri, in Polish literature and culture from 18th to 20th century with particular emphasis on first half of the 19th century. Alfieri was cultural father of Italian Risorgimento, whose works were also significant pattern to Polish Romantics. The presence of Alfieri in Poland required special researches. It was based on several issues, such as political situation in country, periods in history of literature, notable translators. The reception of his works has evolved. It was worth noting, that his popularity in Poland proved how ambiguous dramatist he was. He became the strong inspiration for Polish playwrights (Alojzy Feliński, Franciszek Wężyk, Antoni Hoffmann, Juliusz Słowacki). One of the purposes of thesis was to understand particular style of Alfieri’s writing. Finally, the meaning of Polish translations (in source documents – manuscripts and printed texts, as well as in journals) was examined in the study. Thesis contained five chapters. The first chapter was dedicated to the state of research on the Italian playwright. Comparison of critica alfieriana in Poland and Italy led to the conclusion that there was several thematic fields in state of research on Alfieri. Taking in consideration historical and literary reflection it was observed, that the Polish state of research, although not such extensive, was equal to the Italian studies in respect of maturity and conscientiousness considerations of subject. The second chapter focused on memories and diaries from voyages of Polish artists to Italy. The study inspected the issue of the role, frequency and method of disclosure of Italian playwright. The emergence of Alfieri in notes of Niemcewicz, Czartoryski, Rautenstrauchowa, Wiszniewski or Siemieński revealed the deep reflection on the works of Alfieri, made by the authors above mentioned. In the third chapter was considered the presence of Alfieri in the Polish journals in the 19th century. The study of the Polish press was dedicated to establish the chronology of the occurrence of Alfieri in theatrical reviews. The results of the study allowed to place in context the work of the Italian playwright in Polish scenic reflection. In the fourth chapter was examined the problem of Alfieri’s inspiration in Polish art of drama in the nineteenth-century. Early Polish dramas of this period remained under the strong influence of Alfieri. It was worth noting term “alfierism” in Polish tragedy. It was found the whole generation of the authors inspired by Alfieri’s style of writing. Tragedies such as Bolesław Śmiały, Don Karlos, Barbara Radziwiłłówna had definitely the concept of Alfieri’s drama. Moreover these tragedies constituted Feliński, Hoffmann and Wężyk as the firsts “alfierists”. The final, fifth chapter, was focused on Polish translations of Alfieri in source documents. Furthermore, research on Alfieri’s language primarily contained capturing his literary manners. It has been difficult for translators, even notables, to struggle with language of Alfieri, sometimes inaccessible, incompatible with a meter line of tragedy. The analysis of texts concerning Alfieri (reviews, articles, memories from journeys, essays, plays) allowed to examine reception of Alfieri in Poland. It was discovered, that in Poland in 19th century initiated the whole “generation of alfierists”, playwrights inspired by Vittorio Alfieri. Firstly, reception was connected with the historical, political and linguistic conditions of his tragedies. What is more, the appropriate method of reading of his works revealed new chapter of popularity of cultural father of Italian Risorgimento in Poland.
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Meda, Anna Rosa. "Teatro dei miti in Pirandello e D'Annunzio." Thesis, 1992. http://hdl.handle.net/10500/17426.
Full textAbstract:
D'Annunzio e Pirandello come uomini e come artisti si pongono agli
antipodi della scena culturale del loro tempo, eppure e nel mito, inteso
come categoria psichica oltre che artistica, che la loro antitetica
opera trova un punto d'incontro. In questo studio si analizza, dunque,
il mito nelle tre tragedie dannunziane in cui l'elemento mitico si
manifesta nel modo piu palese (La citta morta, La figlia di Iorio e
Fedra) e nella trilogia dei miti pirandelliana, summa e approdo finale
di tutta la sua opera. Per entrambi la necessita di mito nasce dalla
sofferta consapevolezza della crisi moderna: valori relativi,
personalita
atemporale
scissa,
e fuori
nessun
dello
l'aspirazione alla totalita.
sen so
spazio
di direzione.
del mito e
Nella
ancora
dimensione
possibile
La teoria junghiana degli archetipi dell'inconscio collettivo, di
cui i miti sarebbero le manifestazioni culturali, si e rivelata un
importante ausilio analitico che consente, tramite uno scavo in
profondita oltre le scorze e le sovrastrutture culturali e storiche, di
cogliere la sapiente orditura di immagini e motivi archetipici nelle
opere, confermando l'idea dell'artista anche come uomo collettivo oltre
che come individuo. In tale prospettiva il confronto tra le opere ha
portato ad importanti conclusioni, che non solo chiariscono la loro
opera di scrittori, ma anche la loro funzione all'interno della societa
in cui sono vissuti e, per esteso, della nostra.
Per entrambi recuperare il mito e ridargli una veste moderna, pur
nei rispettivi distinti modi, significa essenzialmente cercare di
superare il relativo, la frammentarieta e la mediocrita del mondo
contemporaneo. Nel processo di recupero, tuttavia, il mito stesso viene
modificato e, facendosi specchio della condizione psichica moderna, non
solo ne interpreta le piu profonde istanze, ma giunge anche a
precorrerne quelle future. La posizione centrale nelle opere dei due
scrittori dell'inconscio, il grande rimosso dell'Io raziocinante
moderno, emergente nella possente figura della Grande Madre primordiale,
rivela la direzione della futura coscienza umana nella necessita di
riaccedere alle fonti piu profonde della psiche da cui nasca l'incontro
e la fusione degli opposti, inconscio e coscienza, l'elemento ctonio,
fertile e generatore, e quello uranico, spirituale e trascendente.D'Annunzio and Pirandello both as men and as artists can only be placed at the opposite ends of the cultural scene of their times. Yet, it is in myth that their antithetical works finally converge. This study, therefore, analyzes myth in three of D'Annunzio's tragedies where the mythical dimension is more apparent (The dead city, Iorio/s daughter and Fedra) and in the trilogy of myths by Pirandello, which brings his work to its ultimate expression. For both authors the need for myth is born of the painful awareness of modern man's crisis: relative values, a divided personality and no sense of direction. In the timeless and universal dimension of myth it is still possible to achieve totality. The Junghian theory of the archetypes of the collective unconscious, of which myths are cultural manifestations, has proved to be an analytical tool of great importance. By giving access to the deepest level of the texts beyond their cultural and historical layers, it brings to light the otherwise elusive meaning of archetypal images and motives, revealing the true nature of art to be not just the work of an individual but also of collective man. The works, different as they may be, when compared in this perspective have nevertheless yielded some important common conclusions, not only on D'Annunzio and Pirandello as writers but also on their role within the society they lived in and, by extension, our own. For both of them myth, even in a modern context, means essentially the overcoming of the fragmentation, the relativity and the mediocrity of contemporary life. However, in the process of recapturing this mythical dimension, myth itself is bound to be modified. Because it mirrors the modern psyche, it not only interprets its deepest present needs, but also points to its future ones. The central position occupied in their works by the subconscious, emerging from behind the powerful image of the primordial Great Mother, points the way to future psychological development and to the need to regain access to the deepest levels of the human psyche so that its opposing forces, subconscious and consciousness, can meet and be reconciled.
Classics & Modern European Languages
D. Litt. et Phil. (Italian)