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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]

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At Igualada Enric Miralles and Carme Pinós give form to a landscape of pitiless poetry where death is evoked with solemn gravity. A trail descends between ruins and detritus along what seems like the dried bed of a river in flood as far as the final space where gaping tombs await. The fate that is in store for each of us is displayed without veils in an image worthy of Baroque theatre. The themes of the descent to the underworld, of the decomposition of the body and of the resurrection are not evoked by figurative devices but by an architecture suspended between construction and dilapidation. As in the Skogskirkogården, personal and collective memories are layered to give life to a landscape that is not simply geographical but also cultural, a landscape that more than any other represents the spirit of Catalonia as it exits forty years of dictatorship.

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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]

Lo scopo del presente articolo è quello di stabilire una connessione fra il pensiero estetico di Adorno e quello di Nietzsche passando attraverso lo sviluppo della nozione di barocco. Il concetto di barocco viene analizzato nella sua origine nietzschiana e nel suo sviluppo da parte di storici dell’arte come Wölfflin e Riegl. Viene quindi considerata la critica di Adorno a questa concezione del barocco, che egli considera un vero e proprio abuso concettuale. Il testo rappresenta l’inizio di una più vasta ricerca sul concetto di barocco nel periodo compreso fra fine Ottocento e fine Novecento.__The aim of this article is to determine a relation between Adorno’s and Nietzsche’s aesthetical thoughts by defining the category of baroque. We shall analyse the Nietzschean origin of this category and its development by art historian such as Wöllflin and Riegl. We shall discuss the Adorno’s criticizing of this conceptual definition, which he considers a real conceptual abuse. The text is also the beginning of a more extended research on the concept of baroque during the period from the end of 19th century to the end of the 20th.

Having influenced his intellectual growth since the outbreak of the Civil War, Spanish culture became a mirror through which Leonardo Sciascia would reread his Sicilian origins. In the various historical, cultural and literary investigations that he carried out about the island, therefore, he constantly mentions the Iberian dimension. Of that prolific process of assimilation, the present study aims to illustrate the most significant moments which have been partially neglected by critics. Finally, following Eugenio d’Ors’s thesis, this “Mediterranean dialogue” will be synthetized through a historical-artistic category which is extremely coherent with the idea outlined so far of “Spain as a metaphor”: the Baroque.

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Affinché la descrizione di opere d’arte potesse trovare spazio nell’ambito della lirica moderna era necessario andare oltre il primato classicistico della poesia sulla pittura e riconoscere un’affinità e un’intesa paritaria fra arti sorelle. Con le Rime nuove del 1603 il poeta Cesare Rinaldi, amico dei Carracci e di Guido Reni, inaugura una nuova possibilità di dialogo tra pittura e poesia su base lirica e soggettiva, ponendo al centro di quel canzoniere il mito luminoso di Barbara come immagine del sentimento polemicamente al di là del “vero” e del “falso”.

Between the seventeenth and eighteenth centuries, some new cultural relations between Bologna and Naples developed a new dialogue between the two cities, focusing on new scientific discoveries and academic disciplines. From this moment on, Naples and the South become a pole of attraction in the reflections of intellectuals and artists of the Bolognese circles. Thanks to the Institute of Sciences and the Studio in Bologna, it begins a production and a collection of texts, images and objects that refer to the charm of the coastal city. If some of these materials have already been analyzed individually, the paper aims to set a broader reflection that recomposes a network of correspondence; it also identifies the attention on Naples during the eighteenth century within the main figurative genres and collectors who animate the Bolognese artistic culture.

The incipit of Claudio Achillini’s sonnet, composed in 1629 to pay homage to King Louis XIII of France, is possibly the most renowned verse in seventeenth-century Italian literature. Over the centuries, it has been quoted by all those who attacked Baroque poetry, becoming an anti-exemplum for both aesthetic (pompous style, excessive rhetorical figures) and ethical reasons (servility towards a foreign monarch). This article offers an overview of the writers who have quoted, criticised or parodied Achillini’s verse from its first publication to the first half of the twentieth century.

Recensione del volume Le seduzioni della pace. Giovan Battista Marino, le feste di corte e la Francia barocca di Alessandro Metlica.

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In quest’articolo viene analizzato il concetto di barocco presentato da Carlo Emilio Gadda nella nota che accompagna il testo del suo ultimo romanzo: La cognizione del dolore. Si mette in relazione la peculiare posizione teorica dell’autore col pensiero di Eugenio d’Ors e di Walter Benjamin, con lo scopo di dimostrare l’originalità dell’approccio gaddiano al barocco.In this paper I shall analyze the concept of Baroque as it is defined by Carlo Emilio Gadda in the note which goes with his last novel: Acquainted with Grief. Our aim is to demonstrate the originality of Gadda’s approach to the Baroque connecting his peculiar theoretical opinion with the thought of Eugenio d’Ors and Walter Benjamin.

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

Copyright of Thiasos Monografie is the property of Edizioni Quasar di Severino Tognon s.r.l. 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.)

The Purpose is to recover rhizome and barocco as cultural-ontological foundations of innovative process. Methodology is subjective analysis of conceptions ‘rhizome’ and ‘barocco’, thematization their presence in space of innovation carry out with using discoursing approaches’ of phenomenology, comparative, structuralism. Scientific Novelty. Rhizome has been opened as cultural-ontological foundation in its processes, problems, pre-predicative functions, totality, transcendence and principles of connection, diversity, cartography, re-traicng etc. It is showed that barocco with rhizome founds innovative process in some aspects: fold, binary, extension and texture. Conclusions. Rhizome as one of the foundations of innovation shows its non-line, statistic character that determines its creative potential and opens in two directions: from innovation to rhizome and on the contrary. In the first case when we have a deal with innovative characteristics as process, problems, pre-predicative, totality, transcendence. In the second case we have a deal with the principles which can carry out innovative activity: a) connection (unavoidable of freedom of researcher, and it correlates with the principle of epistemological anarchism ‘Anything goes’); b) inhomogeneity (maintenance of multiplicity of innovative decisions that correlates with postpositivistic principle of proliferation); c) multiplicity (attitude on principle refuse from tradition in innovative activity); d) a-signed break (non-line character of innovative processes); e) cartography (constructive character of innovations with possibility of variety of different senses); f) re-tracing (critical attitude to the past and probable results in the future). Barocco consist in specific of innovative activity on contemporary period and has some parameters: fold: innovative activity in conceptual and methodological aspects are carrying out as multiple folds, crossing of different sense fields: b) binary opposition ‘interior – exterior’: innovative activity is a point of crossing and break of spontaneous and determine processes; c) binary opposition ‘up – down’: innovative activity has non-line, topological character; d) extension: in innovative activity priority has process on ending; e) texture as sing of singular character of innovative process; f) paradigm underlines fundamental, whole, universal character of innovation.

Questo articolo analizza le edizioni del 1618 delle Bravure di Capitan Spavento di F. Andreini e Lo Scherno degli dei di F. Bracciolini, e anche una commedia («commedia ridicolosa») di A. Benetti, Lo Scherno di Giove (1636). L’autore sottolinea l’importanza delle edizioni del 1618 anche perché erano indirizzate allo stesso dedicatario: don Giovanni de’ Medici, una figura rilevante nel mondo teatrale e culturale del tempo. Il saggio porta alla luce gli scambi tra letteratura e teatro evidenziati nello Scherno e, naturalmente, nelle Bravure. Queste ultime, infatti, si affidano al prestigio del dialogo classico per innalzare il profilo della letteratura comico-teatrale: «ragionamenti in forma di dialoghi». La commedia Lo Scherno di Giove di Benetti rappresenta un importante indizio della fortuna sia dello Scherno, sia delle Bravure di Andreini. In conclusione, questo saggio traccia le origini e le occasioni di due importanti testi al fine di comprendere da dove e con chi hanno iniziato il loro cammino. [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]

Sogno and Rosario delle stampe de tutti i poeti e poetesse antichi e moderni di numero 500 by the Dominican friar and idle academic Maurizio Di Gregorio were published in Naples in 1614. This essay examines the rewriting strategies supporting the entire structure of a work in which texts by more or less contemporary authors (Tommaso Garzoni, Giovan Battista Rinaldi) undergo an intense labour of revision. This analysis focuses particularly on the quotations identified in Sogno, as well as on the methodologies and composition techniques of the preaching-friar, and his peculiarly ‘schizophrenic’ literary practice.

Nei primi decenni del Seicento la pittura decorativa a Firenze risulta ancora legata all'ornamentazione tradizionale tardomanierista attuata nei modi di Alessandro Allori o di Bernardino Barbatelli detto il Poccetti. L'interesse per le novità e per l'aggiornamento dell'ambiente artistico fiorentino portarono il granduca Ferdinando II a chiamare a Firenze tra il 1636 ed il 1637 Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli. I due bolognesi completarono il ciclo pittorico celebrativo del governo di Ferdinando cui aveva dato inizio Giovanni da San Giovanni, con la decorazione delle tre sale di rappresentanza del quartiere estivo di palazzo Pitti realizzata tra il 1637 ed il 1641. L'intervento, condotto secondo il più moderno linguaggio barocco che vede la perfetta integrazione dell'illusionismo architettonico, che supera i limiti dello spazio reale, con le scene figurative, verrà a costituire nell'ambiente fiorentino un ineludibile modello di riferimento nella decorazione d'interni, soluzioni di grande modernità su cui si formerà Jacopo Chiavistelli e i giovani della sua scuola. Anche Giovan Carlo, fratello del granduca, nel 1637 diede inizio ad una serie di trasformazioni che si protrassero per oltre un ventennio, trasformando gli ambienti a lui assegnati in Pitti in veri e propri luoghi di delizie, decorati dagli artisti più significativi del momento quali ad esempio Angelo Michele Colonna, Agostino Mitelli, Pietro da Cortona, Jacopo Chiavistelli. Fu quest'ultimo frescante che con i suoi 'scolari', fin dagli anni Cinquanta fu attivo in palazzo Pitti, decorando a quadratura gli ambienti dei quartieri dei membri della famiglia granducale, ambienti che in gran parte sono andati perduti in quanto interessati dalle ristrutturazioni lorenesi e sabaude. Con i lavori commissionati dal gran principe Ferdinando si chiude in palazzo Pitti la grande stagione del quadraturismo barocco fiorentino.Nos primeiros decênios do Seiscentos a pintura decorativa em Florença resulta ainda ligada à ornamentação tradicional tardo maneirista operado nos moldes de Alessandro Allori ou nos de Bernadino Barbatelli, chamado de Poccetti. Os interesses pela novidade e pela modernização do ambiente artístico florentino levaram ao grão duque Ferdinando II a chamar para Florença, entre 1636 e 1637, Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli. Os dois bolonheses completaram o ciclo pictórico comemorativo do governo de Ferdinando, que tinha sido iniciado por Giovanni da San Giovanni na decoração das três salas de representação do apartamento de verão do palácio Pitti, realizada entre 1637 e 1641. A intervenção conduzida segundo a mais moderna linguagem barroca, a partir de uma perfeita integração do ilusionismo arquitetônico supera os limites do espaço real com cenas figurativas. Deste modo, seria constituído no ambiente florentino um ineludível modelo de referência na decoração dos interiores, soluções de grande modernidade nas quais se formará Jacopo Chiavistelli e os jovens da sua escola. Também Giovan Carlo, irmão do grão duque, em 1637 dá início a uma série de transformações que se prolongaram por mais de vinte anos, transformando os ambientes assinados por ele no palácio Pitti em verdadeiros e próprios lugares de deleites, decorados por artistas mais significativos do momento, dos quais, por exemplo, Angelo Michele Colonna, Agostino Mitelli, Pietro da Cortona, Jacopo Chiavistelli. Foi este ultimo pintor de afrescos quem, com os seus "alunos", trabalhou no Palazzo Pitti desde os anos Cinquenta, decorando os ambientes dos apartamentos dos membros da familia dos grão duques com quadraturas. Grande parte desses ambientes desapareceu, pois foram reformados durante o governo dos Lorenas e dos Sabaudas. Com os trabalhos comissionados pelo grão duque príncipe Ferdinando se fecha no palácio Pitti o período do quadraturismo barroco florentino.In the early decades of the 17th century decorative painting in Florence is still tied to traditional ornamentation late-mannerist by Alessandro Allori or Bernardino Barbatelli who is called Poccetti. Between 1636 and 1637, the Grand Duke Ferdinando the 2nd called to Florence Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli to upgrade the artistic environment. Between 1637 and 1641, with the decoration of three representation rooms, the two bolognese completed the painting cycle who celebrating the Ferdinando's Government, started by Giovanni da San Giovanni in the summer residence of Palazzo Pitti. The intervention, according most modern baroque language, who sees the perfect integration of architectural illusionism and exceeds the limitations of real space with the figurative, will be in Florentine environment inescapable reference model in interior decorating, great modern solutions on which will be formed Jacopo Chiavistelli and his school. Even Giovan Carlo, brother of Grand Duke, in 1637 began a series of transformations that lasted for over twenty years, turning the rooms assigned to him in Pitti in places of delights, decorated by the most significant artists of the moment such as Angelo Michele Colonna, Mitelli Agostino, Pietro da Cortona, Jacopo Chiavistelli. It was the latter frescante , active in Pitti Palace since 1650 ,that with his' pupils' decorated in squaring the neighborhoods of members of the grand ducal family, environments largely lost because of the restructuring of Lorena and Savoy. With the work commissioned by Prince Ferdinando in Pitti Palace they closed the great season of squaring in the Florentine baroque.

While the historical novel is a product of European Romanticism, the first Italian historical novel expresses the critical awareness of its origin against the dark background of the Seicento. For the historical and political imagination of the Italian Romanticism, the Seicento represents the Middle Age of modernity, namely the obscurity of the contemporary. From the dark background of the Seicento the Italian historical novel draws stories that reflect on the obscurity of its own time. In particular, my essay examines a selection of contemporary texts that show the continued and critical presence of the Seicento in the Italian historical novel.

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This paper is focused on image of Turks and Ottoman expansion to the Europe in croatian and serbian sources from the middle of the 14th to the middle of the 17th century. It presents and explains frequent phenomenons connected to Turks, development of the image of Turks through the three centuries and the differences in serbian and croatian enviroments.

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The article considers the outstanding examples of the word musical classics, which are constantly used in pedagogical and concert practice. Nowadays the genre of settings to music expressive means, to enrich the instrument's palette with new colors and images.

La festa barocca a Palermo costituisce l’alter ego effimero e occasionale del processo di monumentalizzazione, graduale e complesso, della città: entrambi obbediscono alle stesse esigenze di ufficialità e magnificenza, da soddisfare obbligatoriamente nell’ottica di una città capitale. L’autorevole regista delle grandi manifestazioni ufficiali è il Senato palermitano, al quale come massima istituzione della città è affidata in genere la responsabilità sia dell’organizzazione materiale, sia dell’elaborazione culturale del programma celebrativo, in particolare della festa annuale in onore di S. Rosalia.In Palermo the baroque festival is the ephemeral and occasional alter ego of monumentalisation process, gradual and complex, the city: both obey the same requirements for official and magnificence, must be fulfilled in a capital city. The authoritative director of major official events is the Senato of Palermo, which as the highest institution of the city is generally entrusted the responsibility of both materials, both developing cultural celebrations, especially the annual festivity in honor of S. Rosalia.

This paper is focused on image of Turks and Ottoman expansion to the Europe in croatian and serbian sources from the middle of the 14th to the middle of the 17th century. It presents and explains frequent phenomenons connected to Turks, development of the image of Turks through the three centuries and the differences in serbian and croatian enviroments. [ABSTRACT FROM AUTHOR]

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