Suchergebnisse

1. OBJETIVOS El objeto del estudio son los dramas heroicos romanos del poeta dramático italiano Pietro Metastasio (1698-1782). Todos los dramas metastasianos poseen un importante componente amoroso, como era costumbre: en un marco mítico, legendario o histórico prestigioso, perteneciente a la Antigüedad, surgen verosímiles aventuras amorosas de intrincado y complejo desarrollo. Si bien muchos de sus dramas son amorosos, hay otros, sin embargo, en los que el siempre presente componente amoroso cede protagonismo al heroico. En éstos se canta la heroicidad de sus protagonistas, que se ofrece como modelo ejemplar de conducta, desplazando así a un segundo plano las historias amorosas. Los dramas propiamente heroicos de asunto romano son el Catone in Utica, La clemenza di Tito y el Attilio Regolo. Cada uno de ellos está inspirado en un personaje de la historia de Roma, y, a su vez, pertenece a una etapa distinta de la creación literaria del poeta, a saber, el Catone in Utica, a la primera etapa o al llamado período italiano (1724-1730), La clemenza di Tito a la segunda o al llamado período del reinado de Carlos VI de Habsburgo (1730-1740), y el Attilio Regolo a la tercera y última o al llamado período teresiano (1740-1771). El Catone in Utica es un drama inspirado en el episodio de la historia de Roma en que, vencido y muerto Pompeyo, Catón, acérrimo defensor de la república, se retira a Útica, donde antepone la muerte a ver la patria oprimida por César. En La clemenza di Tito, descubierta una conspiración de dos patricios contra el emperador, la infinita clemencia de éste los perdona. Por último, en el Attilio Regolo, el cónsul Régulo, hecho de los cartagineses prisionero, prefiere dar la vida por la patria a conservarla. En los tres dramas asistimos al heroico y sacrificado triunfo de las virtudes y principios de cada uno de sus protagonistas: Catón con su heroico suicidio hace que sus ideales políticos venzan y se perpetúen, al no doblegarse ante César; el emperador Tito, en el que todo es sacrificio y entrega a su pueblo y a Roma, y para quien la inopinada conjura supone una durísima prueba, obtiene finalmente el triunfo de su heroica virtud, la clemencia, dignísima y principal prez de príncipes; Atilio Régulo, con el fin de que no sea mancillada la dignidad de Roma, en nada tiene su propia vida. 2. METODOLOGÍA El trabajo consiste fundamentalmente en un estudio de fuentes. Se tratarán principalmente las fuentes literarias clásicas que se hallan tras los argumentos de los citados dramas, tanto las citadas por el autor, cuanto aquéllas que, silenciadas, estén relacionadas con las obras. El fin es cotejar la versión del episodio histórico en cuestión, dada por las fuentes antiguas, y la versión que ofrece el drama, prestando especial atención a la particular recreación literaria que éste hace de los personajes históricos y de los distintos episodios de la historia de Roma. 3. CONCLUSIONES El estudio muestra la fidelidad de los dramas metastasianos a las fuentes antiguas, lo cual constituirá la principal causa de la justificación de la clasificación de las obras estudiadas como dramas heroicos. Asimismo, se hace ver cómo tales dramas metastasianos responderían a la intencionalidad de creación de un drama nacional italiano de tema romano, cuyo referente clásico literario sería posible ya encontrar en la misma literatura romana antigua. 1. AIMS The purpose of this project is to analyse the Roman heroic dramas written by the dramatic poet Pietro Metastasio (1698 – 1782). As it was costumary, a strong romantic element runs through all Metastasian works: a plausible love relationship begins and develops in intricate ways within a mythical, legendary or pseudo-historical background from ancient times. Although most of Metastasio's dramas are romantic in nature, some others give more importance to the heroic aspect. The main goal of these heroic dramas is to praise the characters' heroism and set an example, displacing the recurring love motifs. The proper heroic dramas depicting Roman themes are Catone in Utica, La clemenza di Tito and Attilio Regolo. Each one of these plays takes its inspiration from key figures from Rome's history and, on the other hand, each of them belongs to different periods in Metastasio's creative production, namely: Catone in Utica to the first period or Italian period (1724 – 1730), La clemenza di Tito to the second period or Emperor Charles IV of Habsburg's period (1730 – 1740) and finally Attilio Regolo to the third period or Theresian period (1740 - 1771). Catone in Utica is a drama inspired by Rome's historical episode when, after Pompey's defeat and death, Cato, staunch supporter of the Republic, retires to Utica where he prefers death rather than seeing Caesar's opression on Rome. In La Clemenza di Tito, the emperor shows his infinite mercy and forgives two patricians involved in a conspiracy against himself. Last, in Attilio Regolo consul Regulus, taken prisoner by the Carthage army, chooses to die for his homeland. All three plays display the heroic sacrife and triumph of the virtues and principles held by the three heroes: Cato succeeds in passing down his political ideals after his death and avoids submission to Caesar; emperor Tito, famous for his devotion for his people and Rome, despite suffering an unexpected strike in the shape of a conspiracy shows his mercy and respectable sense of justice; Atilio Regulus disdains his own life not to sully Rome's honour. 2. METHODS This dissertation consists basically on source researching. Classical literary sources regarding this topic will be deeply analysed: both sources quotated by the author himself and sources unmentioned although related to the plays. The eventual aim is to compare the given version of this historical facts according to the ancient sources and the version according to Metastasio's works drawing special attention to the particular literary recreation that Metastasio infuses into his characters and their historical time. 3. CONCLUSIONS This study proves the accuracy of the Metastasian drama in respect of the ancient sources: being this accuracy reason enough to label these case plays as heroic dramas. Likewise, it is obvious that Metastasio means to create an Italian national drama of Roman theme, whose main classical source can be traced back to the ancient Rome literature.

This article highlights the letter that Pietro Metastasio, poet laureate to the imperial court of Vienna and librettist, wrote to the Ragusan scientist Ruđer Bošković, in which the name of the composer Luka Sorkočević is mentioned. In fact, it is the earliest traceable data on Sorkočević's arrival in Vienna, dispatched by the government of the Dubrovnik Republic upon a diplomatic mission to the court of Joseph II, shortly after the death of Empress Maria Theresa. The letter provides details on Luka's accommodation, but also on his manners and qualities. It affords new insights into his sojourn in Vienna, notably in the light of the hitherto known entries of his Vienna diary.

Gaspar Zavala y Zamora, el bien conocido dramaturgo, cuyos trabajos aparecieron a fines del siglo XVIII y en las primeras décadas del XIX, se inspiró en tres de sus comedias heroicas de los melodramas del abad Pedro Metastasio, aunque las influencias no fueron siempre idénticas. Mientras que "El Adriano en Siria" (1798) es una completa adaptación de su homónima italiana en "Ser vencedor y vencido". "Julio César y Catón" (1793) y "La clemencia de Tito" (1810) su sello personal es más notorio en su obra dramática (puesta en escena) por motivos ideológicos, políticos e ideológicos. ; Gaspar Zavala y Zamora, the well-known playwright whose work appeared at the end of the 18th century and in the opening decades of the 19th century, was inspired in Pietro Metastasio's three heroic comedies. The influences are not always identical. Whereas "El Adriano en Siria" (1798) is a faithful adaptation of its Italian homonymous, in "Ser vencedor y vencido", "Julio César y Catón "(1793) and "La clemencia de Tito" (1810) the personal hallmark of the Spanish playwright is more noticeable owing to dramatic (staging), ideological, historical or political motives. ; notPeerReviewed

Vivian Schumann ; Masterarbeit Alpen-Adria-Universität Klagenfurt 2020 ; Zusammenfassung in Englisch

Contains also: Henry, Louis. Le Amazzoni -- Giannini, G.B. La finta militare per gelosia. ; Mode of access: Internet.

[Die Poesie ist vom Abt Metastasio. Die Musik vom Churfürstl. Sächßl. Kapellmeister Schuster] ; Uraufführung: Dresden, 1796. - Akte: 2. - Rollen: Judith, Wittwe des Manasse; Osias, Oberhaupt der Regierung zu Bethulia; Karmi und Kabri, Vorsteher des Volks; Amital, eine vornehme Bürgerin von Bethulia; Achior, Fürst der Ammoniter, u.a. ; Paralleltitel: Betulia Liberata : Oratorio Da Cantarsi Nella Capella Elettorale Di Dresda Il Sabato Santo Nell' Anno 1796. ; Vorlageform des Erscheinungsvermerks: Dresden, gedruckt in der Kurfürstlichen Hofbuchdruckerey ; Stieger, Franz: Opernlexikon. Teil 1: Titelkatalog. 3 Bde. Tutzing 1975. Bd. 1, S. 169. - The New Grove Dictionary of Music and Musicians. Second edition. Edited by Stanley Sadie. Executive editor John Tyrell. 29 Bde. London/ New York 2001. Bd. 22, Artikel Schuster, Joseph, S. 823-825 ; Volltext // Exemplar mit der Signatur: München, Bayerische Staatsbibliothek -- Slg.Her O 274

Alterations in reward processes may underlie motivational and anhedonic symptoms in depression and schizophrenia. However it remains unclear whether these alterations are disorder-specific or shared, and whether they clearly relate to symptom generation or not. We studied brain responses to unexpected rewards during a simulated slot-machine game in 24 patients with depression, 21 patients with schizophrenia, and 21 healthy controls using functional magnetic resonance imaging. We investigated relationships between brain activation, task-related motivation, and questionnaire rated anhedonia. There was reduced activation in the orbitofrontal cortex, ventral striatum, inferior temporal gyrus, and occipital cortex in both depression and schizophrenia in comparison with healthy participants during receipt of unexpected reward. In the medial prefrontal cortex both patient groups showed reduced activation, with activation significantly more abnormal in schizophrenia than depression. Anterior cingulate and medial frontal cortical activation predicted task-related motivation, which in turn predicted anhedonia severity in schizophrenia. Our findings provide evidence for overlapping hypofunction in ventral striatal and orbitofrontal regions in depression and schizophrenia during unexpected reward receipt, and for a relationship between unexpected reward processing in the medial prefrontal cortex and the generation of motivational states. ; Supported by a MRC Clinician Scientist award (G0701911), a Brain and Behaviour Research Foundation Young Investigator, and an Isaac Newton Trust award to Dr Murray; an award to Dr Segarra from the Secretary for Universities and Research of the Ministry of Economy and Knowledge of the Government of Catalonia and the European Union; by the University of Cambridge Behavioural and Clinical Neuroscience Institute, funded by a joint award from the Medical Research Council and Wellcome Trust (G1000183 and 093875/Z/10Z respectively); by awards from the Wellcome Trust (095692) and the Bernard Wolfe Health Neuroscience Fund to Professor Fletcher, and by awards from the Wellcome Trust Institutional Strategic Support Fund (097814/Z/11) and Cambridge NIHR Biomedical Research Centre. The authors are grateful for the help of clinical staff in CAMEO, in the Cambridge Rehabilitation and Recovery service and Pathways, and in the Cambridge IAPT service, for help with participant recruitment. ; This is the final version of the article. It first appeared from Nature Publishing Group via http://dx.doi.org/10.1038/npp.2015.370

Dante e il suo poema.--Giotto.--Francesco Petrarca.--Il Poliziano e l'umanesimo.--La lirica nel cinquecento.--La poesia politica nel cinquecento.--Dal Metastasio a Vittorio Alfieri.--Giuseppe Parini.--La poesia patriottica e Giovanni Berchet.--L'Italia dolente e sperante.--Il teatro tra il 1849 e il 1861.--Giosuè Carducci. ; Mode of access: Internet.

"In the two centuries since Mozart's La clemenza di Tito was first performed, and the almost three centuries since Metastasio created the libretto, many rumours, myths and prejudiced opinions have gathered around the work, creating a narrative that Mozart, Mazzolà and their contemporaries would scarcely recognise. The essays in this book contribute ideas, facts and images that will draw the twenty-first-century reader closer to the events of Central Europe in the late eighteenth century, and these new facts and ideas will help peel off some of the transmitted accretions that may hinder a modern listener from enjoying and understanding the opera in all its fullness. In this sense the essays present the reappraisal promised in the title.

The book is a product of the Performing Premodernity research project, funded by the Swedish Foundation for Humanities and Social Sciences and based at the department of theatre studies of Stockholm University. Envisioned and edited by Magnus Tessing Schneider and Ruth Tatlow, the five essays by internationally renowned Mozart scholars are preceded by a chronology and a selection of original documents presented in new and revised parallel translations."