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The essay considers the representation of childhood and adolescence in the work of Dante. While in Convivio the poet discusses the ages of human life but does not address infanzia or puerizia, in his poem the representations of this earlier phase of life are many and varied, presented above all through similes. These representations illustrate the particular attention Dante paid to the mother/child relationship, which allows the reader to form hypotheses about his family environment and relationship with the woman with whom he shared his life in Florence: not Beatrice, but Gemma Donati.

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Copyright of Psicoespacios is the property of Institucion Universitaria de Envigado and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Este artículo da cuenta de una investigación tendiente a comprender los significados construidos por estudiantes de Psicología de la experiencia de teatro aplicado a la educación en el curso de Teorías de la Personalidad de la Universidad Pontificia Bolivariana, en Medellín, Colombia. Como base teórica se tomó la psicología posracionalista y se empleó un enfoque cualitativo con una metodología narrativa. Se diseñó una técnica mixta que incluye la narración libre y el autoanálisis a partitr de elementos dramatúrgico-narrativos para reconocer la experiencia de teatro aplicado e identificar los elementos dramáticos de la experiencia de los estudiantes. La información fue sintetizada en matrices de análisis cualitativa, lo que permitió identificar tres categorías emergentes que dan cuenta de los hallazgos: el aprendizaje, la identidad y el convivio. Se halló que los significados se relacionan con la experiencia de aprendizaje, con los cuestionamientos y configuraciones sobre la propia identidad y con el encuentro que supone un ejercicio de creación teatral y su puesta en escena ante un público. Se concluye que la piscología postracionalista permite reflexionar sobre la experiencia humana y que el teatro aplicado se constituye como un lugar para la autoconstrucción del sujeto.

L’articolo si concentra sull’analisi dell’estesa comparazione tra filosofia e amicizia proposta da Dante in Convivio III, xi, interpretandola come una consapevole analogia. A partire da un’attenta esegesi del capitolo, letto come un peculiare accessus ad philosophiam dantesco, l’articolo ripercorre le tappe dell’analogia evidenziandone i principali contenuti teorici. In questo modo, diventa possibile mostrare la rilevanza del tema dell’amicizia (in particolare di quella tra maestro e allievo) per una corretta comprensione di uno degli aspetti fondamentali (e anche più dibattuti) della pratica filosofica così come concepita da Dante, ovvero il suo carattere intrinsecamente collettivo. Inoltre, l’articolo sottolinea come l’amicizia costituisca per Dante uno degli strumenti essenziali per l’allargamento del sapere filosofico al di fuori dei circoli universitari, obiettivo a cui il Convivio dichiaratamente mira. The article focuses on the analysis of the extended comparison between philosophy and friendship advanced by Dante in Convivio III, xi, interpreting it as a conscious analogy. Starting from a careful exegesis of the chapter, read as Dante’s peculiar accessus ad philosophiam, the article goes through the stages of the analogy, and it highlights its main theoretical contents. In this way, it becomes possible to show the relevance of the topic of friendship (especially that between master and student) for a correct understanding of one of the fundamental (and most debated) aspects of philosophical practice as conceived by Dante, i.e., its intrinsically collective character. Moreover, the article underlines that friendship constitutes for Dante one of the essential instruments in order to broaden philosophical knowledge outside of university circles, something that the Convivio explicitly purports to do.

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The best way to gage Aristotle's influence on Dante's work is to follow his progression from poet of the Vita nuova to philosopher of the Convivio to political author of De Monarchia to poet of the Commedia. This sequence establishes Aristotle's influence before and after the Commedia as it relates to the issue of happiness and greed which prevents it; and differentiates between the mimetic poetry of the "dolce stil nuovo" and the allegorical poetry of the Commedia. [ABSTRACT FROM AUTHOR]

Dante's inclusion of Statius among De Vulgari Eloquentia's catalogue of Latin poets and his use of Statius's Thebaid in Convivio III–IV are well-known. Yet critical literature overlooks the significant development in Dante's treatment of Statius over the course of the two opere minori. This article argues that Dante's qualitatively different approach to Statius between De Vulgari Eloquentia, Convivio III, and Convivio IV. xxv both sheds light on Dante's reading programme in exile and acts as a prelude to Dante's engagement with Statius in Inferno and creation of Stazio-character in Purgatorio. Close analysis of Dante's changing engagement with Statius between De Vulgari Eloquentia, Convivio III and IV. xxv suggests Dante first encountered Statian epic in extracted form, stimulating Dante's interest such that he read the Thebaid in entirety. Dante's use of Statius in Convivio thus signals the beginning of Dante's intense engagement with Statian epic that culminates in the Commedia. [ABSTRACT FROM AUTHOR]

The goal of this article is to analyze the scenic-performative procedures used in Pita Torres' staging, Prostíbulo poético Valparaíso (2018), to understand how, through theatrical-gathering resources a world of marginal festivity that tenses the image of the patrimonial, cultural and touristic Valparaíso, old port of the South, (raised from the political institutionally) is configured. The analysis suggests that the choice of a borderline proxemics, which favours bodily interaction between actants and spectators, produces a shocking experience that takes them out of illusion. This configures as a non-textual strategy that raises a social critique from within the poetic universe. [ABSTRACT FROM AUTHOR]

This article studies the connection between Dante’s Vita nuova and Convivio and focuses on the relation between Beatrice and the donna gentile. The Convivio is used as a starting point to understand Beatrice’s nature and her role in the entire Dantesque corpus. The article outlines the questions arising from the comparison of the two texts (especially regarding the diff erent endings of the love aff air with the donna gentile, and her allegorical or non-allegorical status) and examines the hypothesis proposed by L. Pietrobono about the existence of a lost “fi rst redaction” of the Vita nuova. Admitting the impossibility to solve the incongruities, the author argues that a comparison between the texts is not only reasonable but also necessary, as Dante himself in the Convivio urges his reader to attempt it. Following this, the article moves on to analyse the interconnections between Beatrice and the donna gentile of Convivio, presented by Dante as a “better friend” for him. The study identifi es the common role which Dante assigns to both women in his journey to contemplation and beatitude as the source of contrast between the female fi gures; this assumption is illustrated with textual references. The fi nal section of the paper provides examples of how this thesis can shed light on links and diff erences between the two texts. It is also describes how these examples show how Beatrice and the donna gentile not only embody different ways to attain contemplation and beatitude but also represent two different understandings of contemplation and beatitude, the former focusing on love, the latter on knowledge.

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El empleo de artefactos tecnológicos y de la red de internet han sido los recursos más explotados por los artistas de todo el país y del mundo para sostener su actividad en estos últimos tiempos. Ahora bien, ¿cómo impacta esta emergencia en la perspectiva de los estudios teatrales? El teatro tecnovivial no solo nos plantea un programa poético específico, explícito y decidido que buscó dar respuesta a esta coyuntura y resolver el particular desafío del empleo de aparatos para la producción de acontecimientos teatrales, sino que también nos lleva a reconsiderar la relación entre cuerpo, espacio y tiempo en la construcción de territorios posibles inéditos. El teatro tecnovivial nos hace repensar el rol que cumple el espacio en la producción del acontecimiento teatral. A partir del análisis de tres casos, revisamos el funcionamiento del espacio en el teatro tecnovivial, la problemática que involucra a quienes buscan legitimar esta práctica y, finalmente, las implicancias territoriales sobre la configuración del campo teatral.

La pandemia por la COVID-19 trastornó la convivencia entre humanos y la alternativa frente al distanciamiento social ha sido mantener los vínculos comunicacionales mediante la tecnología. Con ello, se afectó el convivio —en términos de Jorge Dubatti (2015)—, un rasgo sustancial de la identidad del teatro, y se optó por el tecnovivio a través del teatro digital. La definición de teatro digital y la relación —mediada por la tecnología— entre los artistas escénicos y las audiencias se encuentran en construcción, así como su gestión sostenible. Con el objetivo de analizar la experiencia local, se ha revisado la situación del teatro peruano —antes y durante la pandemia— y se han realizado entrevistas semiestructuradas a tres creadores escénicos, quienes tuvieron temporadas en Lima en medio de la crisis sanitaria. A través de los datos cualitativos recogidos, se identifican las fortalezas, las debilidades y los alcances a futuro de este formato.

Las obras que le dieron fama a Dante están escritas en lengua vernácula y pese a ello hubo quienes lo incluyeron como integrante, o bien predecesor, del humanismo florentino. Se analiza esta cuestión y el hecho de que sus textos, en particular el Convivio y la Commedia, a diferencia de casi el resto de los escritos humanistas, exhiben un manejo erudito del estado del arte en cuanto al conocimiento de los escritos sobre óptica que circulaban a principios del siglo XV en Italia.

Resenha

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This essay reflects on the discourse representations adopted during an urge that moved the conceptual basis, re-dimensioned the offer, and promoted the visualization of the foreseeable future of Rosario's independent theater. The reflections are part of the new approach and administration strategy of the Facultad de Ciencia Política y Relaciones Internacionales University Extension project "Building new publics III". These thoughts contemplate the value of the word in movement as well as the unease produced by the changes in people's sociability; aspects that impacted directly over the agreement through which theater is structured. These ideas were part of the videoconferences virtual cycle "Expanding Bonds: Conversations about Theater in the Pandemic", organized by the project, with the sponsorship of the Secretaría de Extensión of the Facultad de Ciencia Política y Relaciones Internacionales, and conducted between May 7th and June 4th, 2020. With these and other voices, a disturbing reality is addressed: if coexistence and auratic art continue to disappear from the scene, perhaps it is time to rethink the concept of theater. [ABSTRACT FROM AUTHOR]

This essay explores Dante's notion of 'discrezione' in Convivio I. xi, with the aim of highlighting the syncretic nature of the concept. It argues that Dante's discretion (from Latin discretio) relies upon both Aristotle and Cicero's ethical thought, thus reflecting the fluidity and the harmonising potential of the intellectual and civic culture in which Dante was immersed. This reading is thus situated within current discussion of Dante's intellectual formation within Florence, and beyond. It especially focuses on the mediating role played by Brunetto Latini's Tresor in relation to Dante's encounter with Aristotle's Nicomachean Ethics alongside Stoic traditions. This study also brings to light the ambivalence, and even rivalry, that seems to characterise Dante's relationship to his older master, after the poet's exile from Florence. [ABSTRACT FROM AUTHOR]

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The essay is intended to draw attention to some Dante’s references in Regole grammaticali della volgar lingua by Giovan Francesco Fortunio: in these first surveys on Proemio the paper mentions the possibility that Dante’s Convivio could represent a theoretical reference work for the definition of the assumptions of Fortunio’s grammar.

Este artigo é fruto de estudos do projeto de extensão O Terreiro Lá de Casa. O artigo pretende discutir o papel da cultura na promoção de vida dos homens, a partir de diversos autores que sustentam diferentes significados para terreiros, festas e comunidades como expressões da cultura ao longo da história. O terreiro, ou o espaço depois da edificação da casa, era considerado por várias culturas, um lugar íntimo, situado no espaço privado, era o espaço público familiar. Era neste terreiro onde as pessoas podiam chorar e cantar de alegria e tristeza, rezar enfrentando deus e o diabo e, também, confabular, brincar e festejar. A Festa significando desde seu valor de “alimentar na fonte primordial” até o sentido atual - no mundo ocidental - o qual herdamos por força da colonização. "De terreiros, de festas e de comunidades" como espaços produtivos por excelência, em que se desenvolvem ações, de diferentes formas e intenções, que possibilitam comunicar-se, relacionar-se, compartilhar a memória e a cultura, criar novas conexões, música e literatura, trabalhar com o imaterial utilizando o que nos é mais comum: a linguagem, a inteligência, a imaginação, criando meios para uma inventividade, disparando a criatividade. O artigo defende o reconhecimento do que venha a ser os bens culturais presentes nas comunidades em que as pessoas estão inseridas. Discute a sua importância para resistir ao rompimento do idiorritmo e da lentidão imposto pela rapidez dominante no mundo atual, mas tão necessários ao convívio e crescimento humano.

Este texto pretende problematizar a noção de convívio que se tornou, nos últimos anos, uma noção corrente na crítica e na teoria literária para pensar produções poéticas contemporâneas nas quais aparece a figura do(s) amigo(s). Para isso, tento mostrar como, ao longo do século XX, parte da crítica, alicerçada numa concepção autônoma da arte, negou valor a uma poesia concentrada no convívio, como no caso da poesia de circunstância, uma poesia eminentemente doméstica. Em seguida e em contraposição, coloco a necessidade de reavaliar essa poesia como sendo aquela que poderia nos aproximar de um vínculo menos centrado no sujeito cartesiano e lúcido que construiria o poema, estimulando outro tipo de trocas e uma perspectiva não autônoma da arte. Por último, no entanto, chamo a atenção para o perigo de, uma vez feita essa recuperação da dimensão convivial, desativá-la, já não pela via da recusa, mas por uma celebração do conceito que o reaproxima das noções de cordialidade, ou de amizade em termos identificatórios e pacificados.

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For some, ethics exist to limit and control the choices of the individual in the world and to impose a mode of conduct as if it were a set of universal rules deduced from the sky. Our perspective contrasts with this. In the first place, ethics does not oppress, but ethics frees. Secondly, it is not imposed, but it can be chosen. Third, ethics is a project invented and not deduced. For the third point, we can base ourselves on phenomenology and existentialism, especially on Sartre, who holds that existence precedes essence. This means that values are not to be discovered by reason and reminiscence, but that they are mere purposes invented and chosen, attested by the experiences. And then we enter the second point. Another aspect is that ethics is a project different from other projects, because it is not a project that affects only the one who chose it, as is the case of the longevity or weightlifting project, but it is a project that directly affects the other. Thus, at the present time, ethics is being thought with the intention of resolving conflicts of interests in social life, in such a way as to bring less damage and interfere minimally in the individuality of each one. And then we get to the first point. That is why ethics causes freedom. In a society where it is present as an expression of conflicts: violence, exploitation and abuse; the experience of ethics causes freedom against prejudice, intolerance and injustice. Moreover, ethics is not given, and it is not always simple to deduce the judgments from your goal. Therefore, it is necessary to investigate problems and moral dilemmas. [ABSTRACT FROM AUTHOR]

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The search for a perfect style, that can make the public service a relevant spiritual event for the current generation, is constant, and goes through several phases. The fact is that no style is eternal, nor permanent, and the styles go through processes of transformation, that most people prefer not to face. The exclusivity of the use of only one over the other is fraught with controversy and brings with it discussions and disagreements between leaders and subordinated ones, causing even serious divisions in the church. It is necessary, then, an appropriate study of the dynamics of these styles, together with their possibilities of conviviality and acceptance, realizing that exclusive choices will always cause some form of rejection by the group that does not appreciate them. [ABSTRACT FROM AUTHOR]

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Este trabajo estudia algunos de los fundamentos doctrinales de la concepción escatológica y soteriológica de la filosofía que se conformó entre Medioevo y Renacimiento a partir de la recepción de las obras de Aristóteles. En primer lugar expongo algunos significativos pasajes en los que Aristóteles vincula de un modo íntimo la filosofía con la esfera de lo divino. En un segundo lugar analizo la concepción aristotélica del hombre como un ser abierto a lo divino, así como los fundamentos del paradigma antropológico de la recepción, en un breve pasaje de s. Tomás de Aquino y en Dante. Por último, me detengo en la politización de esas concepciones aristotélicas llevada a cabo por Dante en el Convivio, obra en la que esa concepción soteriológica de la filosofía se pone al servicio de la interpretación de un grupo de poemas filosóficos que narran, en clave alegórica, el alejamiento de Dante de Beatriz, luego de la muerte de esta última, y su enamoramiento de una dama gentil (donna gentile) alegóricamente identificada con la Filosofía. [ABSTRACT FROM AUTHOR]

At its core the Commedia is a poem written for and about adults, but children (and references to children) appear throughout. In this essay, I argue that the juvenilization of the main character relates directly to the poet's ages of man, namely the contrasting nature between adolescenza and gioventute, an intertextual connection between the Convivio and the Commedia that has never been previously explored. Dante thus allegorizes his afterlife journey within the context of life's ages of man relating the pilgrim to a figurative state of adolescenza, essentially condemning the protagonist to a developmental fall from the author's more advanced age with the poet/narrator emerging in his actual state of gioventute (i.e., maturity) recaptured through the completion of his afterlife experience. Although Dante inherently recognizes children's deficiencies, the poet will take advantage of them to foreground growth and maturation, especially in his portrayal of the protagonist's spiritual development. [ABSTRACT FROM AUTHOR]