Anche al di fuori della produzione propriamente comica la scrittura di Machiavelli rivela una qualità scenica. Nel "Principe" la definizione della fenomenologia politica si giova di eloquenza visiva. Le lettere familiari riferiscono in molteplici occasioni casi umani disponendoli in forme rappresentative; talora invece operano nell'interazione di mittente e destinatario una burlesca falsificazione di identità ai danni degli inconsapevoli latori dei messaggi. La novella di Belfagor, affine per certi tratti alla trama della "Mandragola", inscrive nel proprio tracciato diegetico molteplici performances simulative. ; Analyzing the "Prince", several familiar letters and the novella "Belfagor", It can be noticed that Machiavelli frequently resort to scenic representation of humanity in action to study, express and evaluate reality, inside and outside politics. Visual strength of his prose, and his recurring picture of life as performance and simulation, show that even apart from his comedies Machiavelli's way of writing enjoys a theatrical quality.
The article discusses correlations between artistic vision and poetics in Vasyl Stefanyk's novellas. It is argued that the writer's modernist aesthetic experience left its imprint on his literary works. The author concludes that the writer's artistic vision followed a dynamic course of development correlating with the poetics of the novella and enriching the stylistic color scheme of his narrative prose.
Le opere rappresentative del Quattrocento – estranee alle codificazioni tassonomiche del teatro cinquecentesco – sono contrassegnate da un incerto statuto morfologico, che si riflette in strutture formali articolate e nell'utilizzo di varie soluzioni metriche e di diversi modelli. Il genere novellistico – che si fonda su alcune caratteristiche costitutive ben compatibili con il riuso teatrale – diviene un punto di riferimento ineludibile per i drammaturghi. In particolare, la novella di Giletta di Narbona (Dec III, 9) – fonte di ispirazione per un racconto di William Painter contenuto in The Palace of pleasure (1556) e per la shakespeariana All's well that ends well (1602-1603) – viene imitata nella Virginia di Bernardo Accolti, messa in scena per celebrare il matrimonio di Antonio Spannocchi con la figlia di Neri d'Aldello Placidi (1493). Il testo decameroniano subisce un calibrato processo di rielaborazione: nella versione di Accolti l'azione è trasferita da Siena a Milano e dalla Francia a Salerno non senza motivazioni politico-economiche; i d'Aldello Placidi erano stati ospitati dagli Aragonesi dopo un temporaneo confino da Siena, mentre gli Spannocchi intrattenevano sovente affari commerciali nella capitale lombarda. La trama viene resa più complessa attraverso l'inserzione di nuovi personaggi e adeguata in base al pubblico e alla situazione festiva, laddove la protagonista Virginia risulta differente dall'energica figura boccacciana, in quanto fragile e insicura. La relazione si concentra poi sulla Virginia: il testo novellistico sarà confrontato con quello teatrale, di cui si mostreranno le scelte compositive e ideologiche operate per adattare l'originale decameroniano.
Letter regarding the opening of a music school, Novella's visit to Ohio to meet with Paul Robeson and information about Samuel McCrorey's time in the military.
Existentialism has been used within marketing to enrich understanding of consumer motivations and behaviour. Consumption may be used as a means of existential avoidance or facilitator of existential authenticity. However the overlap, mutual support, limitations and nuances of the relationships between existentialism and consumption are underdeveloped. Drawing on the literary tradition of the philosophy, this think piece explores the themes of existentialism and consumption within Truman Capote's classic fiction. Breakfast at Tiffany's provides a succinct, engaging and holistic depiction of existential consumption and demonstrates the value of reading literature in enriching marketing theory.
Die Geschichte einer Familie ist häufig von Rivalitäten zu anderen Familien geprägt. Auch die Strozzi befanden sich über Jahrhunderte in Konkurrenz zu den Medici und in dauernden Auseinandersetzungen um Macht und Einfluss. Wie Ironie wirkt es, dass die beiden Geschlechter im Lauf der Zeit über die Verheiratung von Töchtern und Söhnen miteinander verschmolzen. 1509 heiratete Filippo Strozzi Clarice de? Medici, eine Enkelin Lorenzo des Prächtigen, und verband so seine Familie mit der des Erzrivalen.Der florentinische Händler und Bankier Palla Strozzi musste, nachdem er gegen die Vorherrschaft der Medici aufbegehrt hatte, die Stadt verlassen. Er und seine Familie wurden mit einem jahrzehntelangen Bann bestraft. Palla floh nach Padua und wurde dort zum Prototyp des gebildeten und kunstsinnigen Renaissancebürgers. Er konnte mit seinem Reichtum nicht nur politischen Einfluss gewinnen, sondern wurde zum Motor einer reichen Kulturentwicklung. Filippo der Ältere stiftete nicht nur den großartigen Palazzo Strozzi und die Cappella Strozzi in Santa Maria Novella, ihn verbanden auch Freundschaften zu den hervorragendsten Künstlern seiner Zeit. Die Arbeiten von Filippino Lippi und Benedetto da Maiano legen Zeugnis davon ab. Filippos Sohn Lorenzo war ein begeisterter Kenner antiker Autoren und für die Niederschrift der Familiengeschichte verantwortlich. Für Ruberto Strozzi arbeitete Tizian in Venedig.So wurde die Familie Strozzi in der Renaissance zum Symbol für die Verbindung von Finanzkraft und Mäzenentum. Der hier vorgestellte Palazzo Strozzi und die Cappella Strozzi in Santa Maria Novella sind eindrucksvolle Belege für das Wirken dieser Familie in Florenz. ; In history, the story of a family is often the story of rivalry. Here we are, as well, confronted with competition lasting centuries. The families Strozzi and Medici are bond by persistent conflict over power, rule and reign. Therefore, it seems ironic when both lineages merge through the marriage of daughters and sons. In 1509 Filippo Strozzi marries Clarice de? Medici, a descendant of Lorenzo ?the Magnificent? and thus unites his family with the one of his arch-rival.The Florentine trader and banker Palla Strozzi had to leave the city after rebelling against the Medici?s hegemony. He and his family were, for decades, punished by excommunication. Palla escaped to Padua, North Italy, and became the prototype of an educated and appreciative Renaissance citizen. With his money, he not only influenced politics, he even became the driving force behind a rich, cultural development. Filippo "the Elder" not only donated the marvellous Palazzo Strozzi and the Cappella Strozzi in Santa Maria Novella, he also was a good friend of the most outstanding artists of his time. The works of Filippino Lippi and Benedetto da Maiano offer information about this friendship. Lorenzo, the son of Filippo, was an enthusiastic expert on antique authors and responsible for the record of the family?s history. Titian was working for Roberto Strozzi in Venice. In this way, the Strozzi family became a symbol for the connection of financial power and patronage of art. The Palazzo Strozzi as well as the Cappella Strozzi in Santa Maria Novella, which are presented in this thesis, are impressive proofs. ; vorgelegt von Sophie Theres Nagele ; Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers ; Zsfassung in dt. und engl. Sprache ; Graz, Univ., Dipl.-Arb., 2013 ; (VLID)232225
In the extensive tradition of adaptations of the Medea myth in German-speaking literature Paul Heyse's novella Medea (1898) has been often overlooked. However, the fact that it is the first text to introduce the tragic heroine from classical mythology as 'black' gives it particular relevance. This contribution provides an analysis of the text with emphasis on Heyse's portrayal of the Medea/Wally character at the interface of late nineteenth-century discourses about race, colonial politics, female sexuality and social class. Die deutschsprachige Literatur weist eine lange Tradition von Adaptionen des Medea-Mythos auf, in der Paul Heyses Novelle Medea (1898) jedoch häufig übersehen wird. Die Tatsache, dass dieser Text der erste ist, in dem die tragische Heldin der griechischen Mythologie als 'Schwarze' dargestellt wird, verleiht ihm jedoch eine besondere Bedeutung. Der folgende Beitrag liefert eine Analyse des Textes mit Schwerpunkt auf Heyses Darstellung von Medea/Wally im Schnittpunkt der Diskurse um Kolonialpolitik, Rasse, weibliche Sexualität und soziale Klasse am Ende des 19. Jahrhunderts.
