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Cet article approfondit l’analyse du fonctionnement du langage dans la communication, du point de vue de la philosophie du langage. Le sujet parlant construit, à travers le langage, un univers de représentations de son monde et du monde de l’autrui, des sujets ou des objets de la communication. La parole est un instrument qui facilite l’ouverture envers l’autrui, mais qui, dans certaines circonstances, entraîne une mauvaise compréhension et empêche la communication. Le langage maintient une étroite liaison avec le temps, ce qui impose la co-présence et, à la fois, l’interchangeabilité des rôles des (inter)locuteurs, prémisse et condition de la communication. On propose donc une analyse phénoménologique du temps dans le roman de Marcel Proust, À la recherche du temps perdu.
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While writing for the Venetian stage, Carlo Goldoni adhered to the requirements of the commedia dell’arte theatre, and thanks to his successful cooperation with actors, he gradually introduced changes to the ossified convention. The comedian-playwright wrote many of his texts for particular performers, using their personal qualities, stage experience, interpersonal relations within the team, and even biographies. Caterina Bresciani is an actress with whom Goldoni worked for as many as 10 theatre seasons, from 1753 to 1762, yet Goldoni does not mention much about her in his memoirs. To her, he owes his greatest stage success in Venice, La sposa persiana (1753), and two subsequent episodes of the story of the wild slave of Ircana. The aim of this article is to analyse the new typology of a female role, created for her first female performer, as well as to examine the performative traces hidden in the texts that will allow us to recreate the Bresciani style of acting.
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The essay focuses on Carlo Goldoni’s musical drama Il mondo alla roversa put on stage in 1759 in Moscow by the company of Giovanni Battista Locatelli. In particular, it investigates the reasons why the impresario adapted this satirical and misogynist comic opera in his repertoire and the transformations that the libretto underwent to fit into the socio-political context governed by women rulers.
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Teresa Bandettini Landucci (1763–1837) was a dancer, poet, and above all amongst the most acclaimed composers of extemporaneous verse in the late 18 th century. Yet her legacy is all but forgotten, her name virtually unmentioned in histories of literature. Such an omission is a result of the general dismissal of female writing in literary history; but, in the case of Bandettini, it is all the more pronounced because she was an improviser. The aim of this study is to show that, firstly, in the 18 th century, the profession of improvisation was one of the few cultural fields in which women could attain celebrity; and secondly, that the Western emphasis on the written word over orality, on printed documents over ephemeral performances, has meant that improvisation as a performative art has received little recognition or cultural legitimacy.The art of improvisation experienced a golden age in the second half of the 18 th century. This depended upon an expression of enthusiasm within an impromptu performance, characterised by physical presence, the staging of the self, and the involvement of the public. The immediacy of th eperformance and the authenticity of the artist were decisive elements of this type of performance,though they were rarely recognised within a culture of literacy. Moreover, the transcription and publication of improvised poems could never communicate the nature of these performances and their cultural impact, in part because the oral nature of these texts was considered to be subordinate to meditated poetry. The marginalisation of Bandettini in literary history can therefore be ascribed to the dismissal of categories such as performance, orality, and ephemerality.
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This paper describes some aspects of the lives and artistic activities of Anna Binetti, Maria De Caro, and Giovanna Campilli, “prima ballerinas” who lived between the second half of the 18 th century and the beginning of the 19 th century. This research aims to highlight how these personalities practised as choreographers at a time when this profession was principally a male prerogative. Through the analysis of ballet programmes and contemporary sources, this paper investigates an area that has been little explored in the studies of the history of dance that is, the female presence as an “artistic subject” in the theatre of Italian dance. Thus, this phenomenon is contextualised in the broader cultural landscape of the time and focuses on three case studies of women choreographers who, whilst isolated in their extraordinariness, often converged significantly in their performance venues, in particular in Venice and Naples, and in personalities such as Jean-Georges Noverre and Maria Carolina of Austria. What is most interesting is that this approach highlights possible relationship networks and, thus, may open new avenues of research.
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Critical studies on the theatre from the 19 th and 20 th centuries, even founding ones, are limited as they do not include a gender category – a paradox in a space where bodies are central. The actresses, in fact, give life to different stories, which allow for the enrichment of historical-critical reconstructions. Given the vastness of the topic, this article aims to identify some fundamental turning points. We begin with the legacy of the 19 th century, rich from both a linguistic and a historical-critical viewpoint; the article moves on to the post-Duse period, which saw, on the one hand, the birth of the actor-artist’s Italian specificity and, on the other, the crisis of female leaders of theatre companies; then, the article discusses the birth of Italian theatre direction in the period following the Second World War and the reaction of a few actresses, like Anna Magnani, who aimed to re-create the reality that was to be reclaimed by the history of theatre. Finally, the article explores the breakdown caused by the New Theatre and even calls into discussion the word for “actress”, with overlaps in the fields of theatre direction and dramaturgy.
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The essay analyses some scenes from Friedrich Schiller’s Mary Stuart and from Paolo Giacometti’s Queen Elizabeth I of England, performed by Adelaide Ristori. Through a careful comparison between textual sources (memoirs, scripts, testimonies) and iconographic sources(paintings, photographs, engravings), the scene movements and gestures used by the great actress are reconstructed.
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Sibilla Aleramo (1876–1960) and Emilia Szenwicowa (1889–1972), Polish journalist and translator, met in 1927: the Italian writer hoped that Szenwicowa would translate her novel Amo dunque sono into Polish. A year later, Aleramo spent a few weeks on vacation in Positano, in the villa of the Szenwic family, where she often returned until the outbreak of World War II. In 1931, thanks to Szenwicowa’s mediation, Aleramo undertook the translation of Dom kobiet, a theatrical piece by Zofia Nałkowska, into French and literal Italian, using mediatory versions. A collection of Aleramo’s letters has recently been found in the family archive of the Polish journalist’s heirs. The letters, published for the first time in the present paper in fragments, testify to the profound friendship that united the two intellectuals, and document, amongst other things, their various collaborative projects concerning the translation of theatre plays from Polish to Italian. The aim of the paper is to analyse the moments of correspondence between Aleramo and Szenwicowa that refer to the theatre.
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Ballet is the language that is most representative of dance culture in Italy, with its famous male librettists and choreographers, the archons of its knowledge. This academic tradition is closely connected to the aesthetic representation of the ethereal image of the female body – and the way she must be, without “weight”. By proposing a “matri-archival” methodology, this paper aims to interrogate the roles and the values that have been “choreographed” into the representation of women inside and beyond the Italian theatre-dance scene. The purpose is to discuss the choreographic experimentations where, instead, women dance and make dance themselves through their body- writing – here proposed as corpo-graphy. I select, in the form of fragments, practices of art of the lives of women and pioneers of western Dance History in order to trace the principles of “repetition and destruction” – which are always at play in every archiving act (Derrida, 1996) – of a specific force and quality of movement: “gravity”. Conceptually and metaphorically, “gravity” is conceived here as both the “weight” of the body and of the choreographic “thinking” that supports it. Following this way of thinking, I recall fragments of dance, theatre-dance, and video-dance, briefly referring to the corporeal stories of women and archons who rewrote the representative memory of the ethereal body transmitted through ballet – women who embody, dance, and think the research of a political and poetical protest. I conclude with an example of female corpo-graphy that hosts, on and with a woman’s own corporeality, the experience of contemporary migration.
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This article deals with the status of the Bosnian language in the Ottoman and Austro-Hungarian Bosnia, but also in different periods before and after, through formal-legal and scientific approach, with special consideration of questions on what the status of the Bosnian language will be in the European Union. The special emphasis is given to the issue of the nomination of language and relation of titles Bosnian and Bosniaks, and through the application of basic principles and rules of derivation, i.e. generative morphology of Bosnian language
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Novels written by Enes Karic Jevrejsko groblje (Jewish cemetery) and Slučajno čovjek (Accidentally human) are connected in their plots; they have a mutual hero and the central topic – the possibilities and perspectives of interreligious and intercultural dialogue. What connects them even more thoroughly is that they are novels with a thesis. Marking religions today as “museums of long gone hope” Karic doesn’t set the bar of his ecumenical expectations high. The outcome vision (thesis) of this novel writer is not to achieve some interdoctrinal consensus but to establish and maintain a dialogue as such, for which it is necessary to remove the dialogue from the religious-academic elite circles and lay it in the parterres and agoras of profane life. The author’s key operation of lowering cultural values must encompass the layman level where, as the author unequivocally suggests to us, the dialogue of religions, ideologies and cultures can only hope for effectiveness, purpose and sense. This intention created problems for the author concerning the naturalization of layman characters overburdened by the sophisticated spiritual-theological agenda and thus the surprising solutions are not always on the level which contributes to the aesthetic credibility.
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Book-Review: David Zane Mairowitz, Robert Crumb, Kafka, tłum.Zofia Ziemann, słowo/obraz terytoria, Gdańsk 2019, 180 s. Reviewed by Jerzy Sosnowski.
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Book-Review: Anna Nasiłowska, Historia literatury polskiej, Instytut Badań Literackich, Warszawa 2019, 680 s. Reviewed by Jerzy Sosnowski.
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