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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.

«Una relazione delle mie calamitati». La Lettera dalla Prigionia di Ferrante Pallavicino (1641).Ferrante Pallavicino (1615-1644) concluse sul patibolo avignonese, prima di compiere il ventinovesimo anno d’età, la parabola di contestazione, successo e persecuzioni cui la sua produzione vasta e torrentizia lo aveva condotto. Animo indomabile, eclettico, precoce e dotato di una prosa facile e scorrevole, produsse in poco più di una decina d’anni romanzi, pamphlets, dialoghi e prose diverse animante da una vis polemica corrosiva e implacabile in cui la protesta, la fustigazione dei costumi, dei vizi e dell’ipocrisia della società non risparmiava nessuno: i potenti, i preti, i pedanti, le donne e soprattutto il Papato. Il radicalizzarsi dello scontro personale con la famiglia Barberini e soprattutto con il Papa Urbano VIII (Maffeo Barberini) costarono a Pallavicino una persecuzione senza quartiere culminata con la pena capitale che seguì una prigionia lunga e spietata. Opere quali Il Divorzio Celeste, La Baccinata Antibarberiniana, La Pudicizia Schernita, Il Corriero Svaligiato e La Retorica delle Puttane costituiscono il culmine formale e contenutistico della poetica veemente e dissacrante, oscena e corrosiva, della satira e dello sberleffo dissacratore. Il mio intervento intende fornire un’analisi quanto più possibile ampia e articolata dei contenuti della celebre Lettera dalla Prigionia di Pallavicino (1641) opera complessa e densa dove l’autore rivendica il proprio valore letterario e il diritto alla denuncia delle altrui corruzioni, ipocrisie e nefandezze, in una sintesi elevatissima di senso della giustizia, consapevolezza della libertà narrativa e letteraria, rivolta contro l’arbitrio e la brutalità di chi governa e opprime. Un vero manifesto contro l’ingiustizia e l’oppressione, atto di vibrante protesta contro il secentesco ‘mondo alla rovescia’ e ribellione contro la logica del torto che, come scrisse Manzoni, “non resta che farlo o patirlo”.

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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.