Search

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage 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.)

Leopardi has examined the influence of the case on human life. Fortune and circumstances have a great influence on everything: health, genius, courses of life, study and education. Therefore, it's not easy to foresee results of a formative programme. This Leopardi's position completes his theory of custom and balances its theoretic importance. [ABSTRACT FROM AUTHOR]

To avoid the risk of Dante's erasure from the cultural horizon, like that of the most representative classics of culture that his work expresses, but also the trivialization to which the universal themes he dealt with are subjected, the paper advances an exegetical proposal for the twenty-first century Dante: to investigate the various aspects of culture, thought and ideology by leveraging the poetic language of the Comedy, considering it above all in its rhetorical processes, placing poetic language at the center of interpretation and reiterating the centrality of poetry as a perspective of reading. The essay considers from this point of view the theme of justice, central to the structure of Dante's work and vision of the world, proposing an overall reading of its metaphorical knots and developments to reinforce the idea that its specific poetic treatment endowed its pervasive fortune. [ABSTRACT FROM AUTHOR]

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage 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 essay reviews the cultural dynamics, authors and texts that marked Seneca’s great fortune in Elizabethan theater, an almost unique case in all of Europe during the XVIth Century. [ABSTRACT FROM AUTHOR]

The paper analyses the reception of Seneca’s works and biography in 13th- and 14th-century Padua, focusing especially on the role played by Lovato Lovati and Albertino Mussato. It argues that Mussato was pivotal in the reception of Seneca as a tragic poet. Both Mussato’s Senece vita et mores and Ecerinis emphasised Seneca’s worth as an author of tragedies, starting a new rise of the fortune of Seneca’s plays. [ABSTRACT FROM AUTHOR]

The essay examines the "hagiographic fortune" of Giorgio La Pira, highlighting how the breadth of the historical documentation and the abundant bibliography on him have in fact avoided a hagiographic drift. La Pira's memory is part of an authentic "fama sanctitatis", founded on a discreet knowledge of his testimony of Christian life. [ABSTRACT FROM AUTHOR]

The paper analyzes two of the possible reasons for the "local" absence of Canons of the Roman Chapters in the Universal Church's calendar of saints: 1) the reduced hagiographic fortunes of secular clergy between the Middle Ages and the Modern Age and 2) the cultic fruition typical of the great Roman patriarchal basilicas, with the sole exception of Blessed Antonio Fatati, who was canon of St. Peter's in the 15th century. [ABSTRACT FROM AUTHOR]

Copyright of Santo: Rivista Francescana di Storia Dottrina Arte is the property of Associazione Centro Studi Antoniani 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 author maintains that the subject of the treatise is the specific ideal form of a prince «al tutto nuovo» (of a completely new type) which appears in the sixth chapter. The paper highlights the logical development thanks to which the treatise identifies that form in that chapter, distinguishes it from the existing forms of prince in chapters VII-XI, describes the process of formation of his mind, and culminates the last chapter pointing out the possibility of its realization in history.

Copyright of Santo: Rivista Francescana di Storia Dottrina Arte is the property of Associazione Centro Studi Antoniani 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 Enthymema is the property of Enthymema, International Journal of Literary Criticism, Literary Theory & Philosophy of Literature 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 Reti Medievali is the property of Firenze University Press 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.)

After some observations about the importance attributed to the king in the most authoritative texts of Brahmanic tradition, this essay illustrates the role of the sovereign in Kādambarī, the famous novel by Bāṇa. The king embodies the force that permeates and sustains the whole world. He is the first principle of the universe and thus the axis mundi. Extremely problematic is the relationship betweenindividual value and “fate” (karman), to which the very sovereign is subject, although he himself is defined as the “source of fortune”. The king’s value depends on his firm dedication to Dharma and on his ability to lead all creatures to consciousness of their own sacredness. The protagonists of this novel are linked by religious merit, the only element that can change fate.

Copyright of Il Capitale Culturale: Studies on the Value of Cultural Heritage is the property of Il Capitale Culturale Studies on the Value of Cultural Heritage 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 luck of Leonardo da Vinci is given by his genius, less by the political and ecclesiastical protagonists of his time. Estimated and ignored, the Artist had trained in the Florentine school of Verrocchio and attend the most illustrious courts of modern Europe, from the Medici to the Sforza, up to the Rome of the Popes, where he has special contacts with Alessandro VI and Leone X. And right here he experiences the oblivion and indifference, tracks on which he embarks on his journey to reach the France of Francis I. [ABSTRACT FROM AUTHOR]

The paper deals with the psychological category of 'affectivity' in the Romance linguistics between the 19th and the 20th century, using as a reference point Iorgu Iordan's Introduction to Romance Linguistics. Thanks to a great number of translations, the book had a remarkable fortune and can offer an interesting survey of the Romance linguistics of the 20th century. Particularly, the contribution focuses on Iordan's paragraph concerning the linguistic studies on affectivity. First, comparing the translations of Iordan's book, it investigates the different translations of 'affectivity', which, between the 19th and the 20th century, was a sort of technical term of the German-speaking Sprachpsychologie. Then, it studies the structure of Iordan's paragraph, showing how it mirrors the complexity of the concept of affectivity in the linguistics of the period, which was used and/or criticised by different linguistic schools (such as the linguistic Neoidealism and the Geneva School). [ABSTRACT FROM AUTHOR]

Copyright of Studi e Materiali di Storia delle Religioni is the property of Editrice Morcelliana S.p.A. 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.)

After some observations about the importance attributed to the king in the most authoritative texts of Brahmanic tradition, this essay illustrates the role of the sovereign in Kādambarī, the famous novel by Bāa. The king embodies the force that permeates and sustains the whole world. He is the first principle of the universe and thus the axis mundi. Extremely problematic is the relationship between individual value and "fate" (karman), to which the very sovereign is subject, although he himself is defined as the "source of fortune". The king's value depends on his firm dedication to Dharma and on his ability to lead all creatures to consciousness of their own sacredness. The protagonists of this novel are linked by religious merit, the only element that can change fate. [ABSTRACT FROM AUTHOR]

The article constitutes an attempt to interpret one of the newly discovered source texts concerning mediaeval Slavdom, which is William of Malmesbury’s Chronicle of English Kings. The author analyzes a passage devoted to the cult of “Fortune” among the pagan Lutici tribes which is described in a fragment of the chapter ‘De Henrico Imperatore’ devoted to the allies of the empire. The fragment in question concerns the Veleti – the pagan allies of emperor Henry III in the years 1045–1055. On the basis of an analysis of the description of prophesies from the horn of the statue of Fortune, the author tries to justify a hypothesis that the presently missing German source of this fragment (dating back to the middle of the 11th c.) was based on a 15th book ‘Diversarum hereseon liber’ by Filastrius of Brixen, an early mediaeval author of the 4th/5th century, whereas the cult described by William of Malmesbury concerned a female goddess with uranic-pluvial connotations (whose proper name had been substituted in the Roman interpretation by “Fortune”) in one of the cities of the northern Veleti.

La vision du monde, présente au début du poème de Juan de Mena, le Laberinto de Fortuna, prend son origine dans un texte latin, le De Imagine Mundi (d’abord attribué à saint Anselme puis à Honorius Augustodunensis). Dès les premiers éditeurs critiques, le trajet commun suivi dans les deux œuvres et la reprise par l’auteur d’un grand nombre de toponymes ont conduit à surestimer cet emprunt. Les critiques successifs ont laissé de côté tout l’arrière-plan de théologie naturelle qui sous-tendait le De Imagine Mundi et négligé l’important travail de déconstruction du texte latin auquel s’est livré Juan de Mena pour écrire ce passage. La confrontation des deux textes permet de mieux comprendre comment, à partir de l’image d’un monde providentiel que lui offrait le De Imagine Mundi, l’auteur du Laberinto de Fortuna a pu montrer le rôle désorganisateur de la Fortune dont la situation chaotique de l’Espagne de son temps lui fournissait l’exemple.

Les Mémoires de Giuseppe Gorani (Milan 1740 - Genève 1819) se situent dans l’intervalle entre l’art et la vie. En véritable écrivain, l’auteur y glisse la force prodigieuse du hasard avec toutes les figures qu’une technique narrative avisée lui suggère. Les interventions du hasard et de la nécessité dans son écriture autobiographique dévoilent par défaut le portrait en ombre de l’aventurier Gorani.

Le hasard, dans l’ensemble de l’œuvre de Pirandello, peut être rapporté à deux sources : la nature et les autres hommes. Les hasards de Nature (celui de la naissance et de ses circonstances) sont intégrés par la Culture pour y devenir les éléments aliénants d’identification du sujet. L’autre hasard, « fondateur » du sujet en quelque sorte, est le nom (hasard de la naissance dans telle ou telle lignée familiale) ; et le nom est porteur de toute une histoire qui s’impose au sujet. Moscarda dans le roman Uno, nessuno e centomila et Mattia Pascal dans Il fu Mattia Pascal vont à rebours de cette construction aliénante et tentent, chacun à leur manière, des voies de libération. Toutefois, la voie la plus aboutie, même si elle ne fournit pas une solution définitive et radicale, est celle de l’art, en particulier de l’art théâtral dont peut faire l’expérience la comédienne Donata dans la pièce Trovarsi. L’art apparaît en effet comme la voie possible pour une réplique tenable et une expression moins inauthentique du sujet.

Prenant appui sur deux romans de Luigi Santucci (1911-1999), cette étude essaie d’analyser comment un écrivain chrétien contemporain a mis en scène le hasard, selon quelles stratégies et à quelles fins. Il apparaît ainsi que, si le XXe a été qualifié de “siècle du hasard”, l’auteur choisit de situer sa fiction dans la période qui le précède immédiatement, plongeant ses lecteurs dans un monde où le hasard peut être soit expliqué comme effet d’une providence qui met les individus à l’épreuve (Il velocifero, 1963), soit contemplé comme mauvaise fortune (Orfeo in paradiso, 1967).

Omniprésents au XVIIe siècle, les thèmes du hasard et du destin aveugle sont analysés ici à travers l’allégorie de la Fortuna, dans six melodrammi de G. F. Busenello, dont la cohérence poétique reflète l’évolution même du genre durant tout le Seicento. Tour à tour personnage à part entière du Dramma ou vecteur de l’intrigue, la Fortuna y est décrite comme une déesse à la fois honnie et redoutée, symbole d’une humanité fragile et soumise à son destin. Associée au Temps et surtout à l’Amour, qui apparaît comme son plus sérieux “rival”, elle forme ainsi, sous la plume du libertin Busenello, une nouvelle Trinité qui substitue aux fallacieuses aspirations spirituelles un hédonisme lucide et assumé.

Boccace hérite d’une notion complexe de hasard, liée à la tradition savante de la philosophie, distinguant fortuna (pouvoir) et caso (événement effet de la fortuna) et passée dans le sens commun. Loin de prendre place dans le Décaméron pour le plaisir d’offrir une conception du hasard et du monde, le hasard y est principalement un élément de motivation réaliste de l’arbitraire du récit et fait partie d’un système de vraisemblance visant à obtenir l’adhésion de l’au-ditoire. Ce système de vraisemblance induit un système de personnages, caractérisés par leur attitude à l’égard du hasard. Sur le chapitre du hasard dans le Décaméron, les perspectives offertes par l’analyse du récit semblent plus riches que celles qu’ouvre l’analyse des idées.

The article discusses the structure and progression of the first nine chapters of the political philosophy work "The Discourses on Livy," by political philosopher Niccolò Machiavelli. Topics mentioned include previous historiographic studies of Machiavelli, the use and development of political philosophy terms in the work, and political philosophy concerning Roman civilization.

The article discusses the academic reception of the medical treatise "De Morbis Artificum Diatriba" by early modern Italian physician Bernardino Ramazzini. Among other topics addressed are the dissemination of the work in the original and translation, how the work was written, and relevant details of the author's life.

This article explores the meaning and usage of phthonos in the works of Theodoros Prodromos, Konstantinos Manasses, and Nikephoros Bryennios. In all three authors phthonos, the personified human emotion envy, appears as a metaphysical power which destroys human good fortune, and its appearance plays an important role for the structure of the narrative. Although this motive goes back to ancient literature, it is argued that according to Byzantine understanding this destructive power to a great extent was identified with the devil. [ABSTRACT FROM AUTHOR]