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In the discourse presented herein, it is imperative to underscore the intrinsic interplay among memory, language, and orality as a triad of fundamental constituents discernible within the literary corpus of the Messina author under scrutiny. This nexus not only serves as a hallmark of his stylistic and literary endeavors but also constitutes a theoretical inquiry that undergoes continual evolution across the various epochs of his career, as elucidated within his seminal treatise "La metrica della memoria". The writer's linguistic expression is intricately woven upon a dual axis, navigating the normative structures of formal language and the vernacular nuances of dialect, a stratification meticulously crafted upon a vertical and palimpsestic framework. It is within the trajectory of this cognitive excursion towards memory that his "baroque" prose attains fruition, thereby engendering encounters with Mediterranean equivalences of profound import. [ABSTRACT FROM AUTHOR]

Through an analysis of the settings of three comedies and tragicomedies of the 1630s, La Rosella, Li duo baci and La Rosa, this essay highlights the later developments of Giovan Battista Andreini's 'pastoral poetics'. The pastoral elements, which the author puts to use throughout the entire arc of his theatrical production, are here stylized, lacking the dynamic contribution that the genre offered in the Baroque age. What emerges is a previously unremarked trait of Andreini's dramaturgical writing, which gives a singular metaphorical value to the environmental descriptions and translates the actor's performativity into rhetorical terms. [ABSTRACT FROM AUTHOR]

Costantino Carasi's work, Noto native artist, is not easily definde in philological and formal terms. He was a minor artist who partecipated, with the other major artist, to expose both, the artistic and cultural fabric and the popular religious dimension of a little know territory. This study investigates the foundations of a late-baroque lenguage that relates to personality such as Carlo Maratta, Olivio Sozzi, Vito D'Anna, that determinated, beetween the end of Seventeenth and the early Eighteenth Centuries, the pictorical decoration in the liturgical spaces. Carasi espressed his "theological" vision according to the post-tridentistdictates and celebrated the ecclesial condition of his time. [ABSTRACT FROM AUTHOR]

Always neglected by history of art as it was believed to be the negation of formalism, argentinian sculpture, both baroque and folk, today intrigues scholars who are rediscovering in its structure formal significance, anthropological and theological, and are able to make sense of the existential complexity of the country. The present essay, supported by critical and documented texts, sheds light on the force of a decorative language that extracts reasoning from both european culture, as well as South American Civilization. Therefore plastic imagery does not imitate Iberian or Italian models, but translates to another reality, impregnating faith and magic, christianity and animism. [ABSTRACT FROM AUTHOR]