Suchergebnisse

The avenging character often recurs in the Baroque theatre, even with a positive meaning. The French Classicism, by contrast, inspired by different religious and political principles, limits the use of this theme. In particular, Racine always represents it in a negative light, bringing revenge together with the general condemnation of passions. The article analyses the recurrences in Racine's works showing the different senses of revenge in female and male characters. ; Il personaggio vendicatore ricorre nel teatro barocco spesso anche in un'accezione positiva. Il Classicismo francese, invece, ispirandosi ad altri principi religiosi e politici, limita il ricorso a tale tema. In particolare, Racine lo rappresenta sempre in una luce negativa accomunando la vendetta nella generale condanna delle passioni. L'articolo analizza le ricorrenze raciniane mostrando le differenti accezioni di vendetta in personaggi maschili e femminili.

Il saggio propone una ricostruzione critica della concezione di impegno e di politicità della letteratura formulate da Brecht e da Adorno. Concezioni opposte che possono essere considerate le formulazioni più efficaci delle due posizioni predominanti nel dibattito estetico del Novecento. Adorno fonda la politicità della letteratura sulla sua autonomia e sulla liberazione della forma. La politicità dell'arte scaturisce per lui dal rifiuto della discorsività, dalla aggressiva sottrazione del senso, dalla esposizione del negativo. La sua è una concezione dell'impegno elitaria che subordina il discorso artistico a quello filosofico. Brecht fonda la possibilità politiche della letteratura sulla consapevolezza della medialità dell'esperienza. Può essere rivoluzionario solo l'autore che ha riflettuto sulle mediali condizioni della propria produzione e produce opere che non sono espressione di una soggettività ma lavoro alla trasformazione e al cambiamento di funzione dei dispositivi mediali e delle istituzioni in cui agisce. ; The paper proposes a critical interpretation of the Adorno's and Brecht's conceptions of engagement and politics of literature. The two notions are in contrast with each other but both could be considered representative of the two predominant polarized positions within the aesthetics debate of the last century. Adorno founds the political nature of literature on autonomy and liberation of the form. According to him the political nature of art springs from the refusal of the discourse, from the aggressive removal of meaning, from the exhibition of the negative. His conception of engagement in the arts is elitist and it subordinates the artistic to the philosophical discourse. Brecht founded the politics of literature on the awareness that experience is filtered by the media. It can be revolutionary only the author who reflects on the media bias of artistic production and creates works that are not expression of a subjective perspective but tools for transforming the function of the devices and of the institutions in which they act.

AMBITION WAS LONG an object of disapproval, an occasion for shame. 'We cannot pronounce the word 'ambitious"-wrote La Mothe Le Vayer in the mid-seventeenth century-'without leaving a stain on the person of whom we speak, so unfailing is its negative implication.' As an 'unruly passion for glory and fortune' (so defined in Antoine Furetiere's dictionary of 1690), ambition was conceived as a form of concupiscence, not for worldly goods (like avarice) or sensual pleasures (like lust), but for power and what would have been called success. Its goal was being rather than having. It diverted attention from the one real good, since (again according to Furetiere) 'true ambition seeks only the reward of admission to heaven'. Adapted from the source document.

The famous Galilean question was to become the paradigm of the conflict between Nature and Scripture, science and faith, free research of natural reason and authority of the ecclesiastical institution, obscurantism of the medieval period and scientific progress which would illuminate the modern age. It is well known that the stereotype of the pure conflict between scientific thought and religious dogma for long dominated the interpretation of the most profound essence of the Middle Ages, as an obscurantist age in the grip of the universalist political and religious authorities. This image of the Middle Ages was greatly corroborated by the Humanist writers of the Renaissance and enlightenment historiography. This contribution purports to analyse late-medieval science from an olistic methodology based on history of science and philosophy of science, to obtain a big picture in front to Scientific Revolution and to show the cultural roots of the different images of the universe.