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La regió més oriental d’Ucraïna, el Donbass, viu des de fa vuit anys una sagnant guerra en què Rússia s’ha vist directament involucrada. A més, la regió ha estat objecte de la propaganda russa, que l’ha utilitzat com un dels principals motius per justificar la seva intervenció militar sobre Ucraïna, el febrer de 2022. Tots els bàndols implicats en aquest conflicte argumenten que estan protegint els interessos i els desitjos dels seus habitants. Però aquests interessos i desitjos, a més de ser sovint manipulats, han sofert moltes modificacions i pressions després d’una guerra tan llarga, que entre altres coses ha fet que prop de la meitat dels habitants hagin abandonat la regió, i la resta es vegi sota una pressió militar, política i mediàtica constant. Aquest article intenta ser una anàlisi i una reflexió sobre l’autèntica voluntat dels habitants del Donbass, com també de la manipulació que estan sofrint.

Els paral·lelismes entre la futura Isabel II i Isabel I de Castella van ser explotats en els camps polític, literari i artístic pels òrgans propagandístics de la monarquia espanyola, des del naixement de la infanta, l’octubre de 1830, fins als primers dos anys de regència de Maria Cristina de Borbó. I és que Isabel la Catòlica va néixer en una època en què, a falta de fill baró, la successió a la Corona de la filla primogènita dels monarques estava permesa. Tanmateix, aquesta tradició castellana, regularitzada en el còdex de Las Siete Partidas d’Alfons X al segle XIII, va quedar invalidada amb l’Auto Acordat per Felip V el maig de 1713, que també donava prioritat als barons de branques laterals. Davant d’això i de l’amenaça que la Corona passés a mans de Carles Maria Isidre de Borbó, el 29 de març de 1830 es va aprovar la Pragmàtica Sanció que promulgava l’acord de Corts de 1789 amb què Carles IV va pretendre recuperar la vella consuetud castellana. Poc abans de la mort de Ferran VII, en els festeigs per l’acte de jurament i reconeixement de les Corts espanyoles a Maria Isabel Lluïsa de Borbó com a princesa d’Astúries, la tradició política i l’estètica medievals van adquirir un paper encara més rellevant, sobretot en pintures i arquitectures efímeres creades ex professo per adornar els carrers de moltes ciutats del Regne. L’organització de torneigs medievals, com el de Barcelona, o les vindicacions de comtes i vells sobirans en obres literàries adornades amb gravats, en arbres genealògics i en diversos gèneres de la literatura popular també van ser utilitzats per evocar la Catalunya de Guifré el Pilós o l’Espanya dels Reis Catòlics. Aquesta mirada cap al passat medieval va servir a la Corona espanyola per legitimar la successió femenina al tron, mentre que, de retruc, es va crear el marc idoni que permetria a certs sectors afins a Isabel manifestar públicament la seva inclinació per l’estil gòtic, el qual s’estava posant de moda entre les classes burgeses per influx del moviment romàntic.

La darrera restauració del voladís de l’Ajuntament de Palma recuperà en gran part el valor artístic i simbòlic que aquest havia perdut després d’anys de degradació. L’esmentat element segueix jugant avui un paper rellevant en l’escenografia que desplega la façana de l’edifici consistorial en presidir la plaça de Cort, un nucli fonamental de la vida ciutadana de Palma. La present investigació pretén aclarir, a partir de fonts documentals inèdites, algunes circumstàncies que envoltaren la realització de l'esmentat ràfec i que en possibilitaren l’originalitat respecte als de la resta de casals ciutadans. Malgrat la pèrdua de la majoria de fonts directes sobre la fabricació de l’obra, l’estudi estableix un possible precedent desaparegut que n’explica la inspiració forana. També la relaciona amb altres treballs de fusta de l’edifici i evidencia que formà part d’un projecte unitari. Finalment, aporta novetats significatives sobre el seu autor, Gabriel Torres, que en permeten contextualitzar la intervenció i demostren fins a quin punt arribà la preeminència dels escultors sobre els fusters durant la segona meitat del segle XVII. Per acabar, s’hi fa una evolució històrica i una valoració de l’obra.

Ancient sources do not reveal a clear picture of what happened in Darius III’s last days, his killing by Persain traitors, and how Alexander seized his corpse. The usual interpretation of these facts by scholarship tends to follow the account of the sources with not much criticism on the facts. However, a close look may drive us to guess if in this concrete case we are not facing a deep misunderstanding and an interpretation graeca of a local tradition and a Persian custom. Following previous works, mainly Briant’s brilliant approaches to Achaemenid rites on Royal Funerals, the aim of this paper is to challenge the usual perception of the facts around Darius III’s death, and how the sources’ account can be reviewed in order to get a deep perspective.

In this great, although old and difficult to find, paper A. B. Bosworth review Tarn's work on Alexander and many of the Historiographical issues on Alexander the Great during most of the XXth Century. THIS PAPER WAS ORIGINALLY PUBLISHED IN Ancient Society Resources for Teachers 3 (1983). The Director of Karanos wants to thanks the Staff in Ancient Society Resources for Teachers (Macquarie University) for the kindness and managements to re-publish this paper.

This paper explores the literary tradition of the curious chreia that Alexander ordered his men to shave off their beards before battle. The story is represented by various sources from the imperial period but most prominently in the Encomium of Baldness by Synesius of Cyrene. The latter source posits that the story comes from the History of Alexander by Ptolemy, son of Lagus, but this claim cannot be true when Synesius’ version is compared to other extant uses of the chreia. This paper exemplifies some of Synesius’ methods of working, arguing that we need to invest more energy in appreciating the wider tradition of Alexander in late antiquity to understand our earlier texts.

Este artículo aborda un caso poco estudiado de la recepción de Dante en la literatura argentina. En 1916 Leopoldo Lugones publica un largo ensayo titulado El payador, cuyo principal objetivo era brindar una justificación a la vez histórica y filosófica de la existencia de una raza argentina, entendida –en sentido positivista decimonónico– como el soporte ontológico de la nación. Según Lugones, durante la Conquista la civilización comenzó una lenta migración desde Europa a América, que dio lugar a una nueva raza cuyo prototipo era el “gaucho” argentino. Desde el punto de vista de la teoría lugoniana de una translatio de la civilización –i.e., a la vez del poder (imperium) y de la cultura (studium)– los “gauchos” pertenecían a una serie que iba de Homero a Dante, y de Dante a José Hernández, el autor del Martín Fierro. Este artículo estudia el modo en que Lugones lee a Dante en el marco historiográfico de su teoría de una translatio argentina. Palabras clave: Leopoldo Lugones; Dante; translatio imperii et studii; literatura argentina; filosofía argentina. Abstract This paper examines a hardly studied case of the reception of Dante in Argentine literature. In 1916 Leopoldo Lugones published a long essay entitled El payador (Argentine Spanish for “troubadour”) the aim of which was to provide a historical and philosophical rationale for the existence of an Argentine race—understood in a nineteenth-century positivistic way as the ontological bearer of the nation—that was seen as the final result of the European civilization. According to Lugones, during the Conquista the civilization began a slow migration from Europe to America that ended in the creation of a new race which prototype was the Argentine “gaucho”. From the standpoint of Lugones’ theory of the translatio of a civilization (where both power (imperium) and culture (studium) migrate), the “gauchos” belonged to a series that went from Homer to Dante, and from Dante to José Hernández, the author of Martín Fierro. This paper studies the way in which Lugones reads Dante within the historiographical frame of the theory of an Argentine translatio. Keywords: Leopoldo Lugones; Dante; translatio imperii et studii; Argentine literature; Argentine philosophy.

This study analyses the direct impact of the European Union’s restrictive measures against the Russian Federation due to the involvement of the latter on the territorial sovereignty of Ukraine since 2014. It evaluates the development of the sanctions imposed by the EU from 2014 to 2022, exploring the motives and explaining the goals that motivated the Union to apply these measures. Observing their development and prolongation during the years, as well as explaining in a detailed manner the various sanction packages in 2022. The paper portrays the evolution of the EU sanctions regime from the starting point in 2014 as a response to the Crimean crisis, until 2022 with the ongoing military conflict in Luhansk and Donetsk. Furthermore, it evaluates the impact and direct consequences of EU restrictive measures on the Russian Federation, especially their impact on the economy, industry, and international relations. All in all, the investigation produced by the breakdown of the timeline points to pondering if the current tools used by the EU to counter the Russian Federation’s actions actually work. Becoming an analysis of how sanctions are designed, for what type of political structure and with what particular aims. Nevertheless, also conveying how the Russian Federation has been able to minimise some of the effects of these measures by being able to anticipate what sectors can be impacted, creating preventive economic mechanisms, and even expanding their scope of international relations towards different global political spheres of influence.

The article sets out by briefly surveying recent scholarship on the Seleukid kingdom and Hellenistic queenship. Two important works that fall into both fields: Women and Monarchy in the Ancient World edited by Beth Carney and Sabine Müller (2021) and Basilissa authored by Christiane Kunst (2022). The discussion, however, concentrates on the first monograph that systematically explores Seleukid queenship: Robin Hämmerling’s Zwischen dynastischem Selbstbild und literarischem Stereotyp. Königinnen der Seleukiden und der Mittelmächte Kleinasiens (2019). By investigating the roles of the sister and the mother of the king as well as inter-dynastic marriages, Hämmerling explores the extent of the basilissa’s autonomous agency. Revisiting the evidence leads the author of the present article to many alternative views, especially concerning the early Seleukid women from Apama over Stratonike to Laodike I-IV . While Hämmerling rightly identifies the sibling marriage among the Seleukids as ritual role play until the generation of Antiochos III, the same arguments should have induced him to challenge the standard claim that there was a radical change beginning with Antiochos the son of Antiochos III. Another shortcoming is the assumption of monogamy as the norm in the House of Seleukos, although the evidence clearly favours polygamy as the prevailing model. But Hämmerling’s main conclusion is confirmed: the political power of the Seleukid queen was limited and confined to some instances of troubled successions; her typical role was to represent the royal family rather than to rule. Yet he omits an investigation into the basilissa title. He follows the traditional view that it could be borne by every woman of the king’s family, whereas the present paper argues that it is mostly attested for only one woman, namely the mother of the designated successor, co-ruling king, or king after his succession. The position of the basilissa was thus to support the smooth dynastic transition at the polygamous court, it did not come with any institutional power.

This paper aims to show that Alexander displayed more confidence in oracles or signs geographically external to Macedonia and Greek peninsula and related to the Asian territory. He mainly worshipped Athena and Zeus, after the stops at Ilium and Siwah, and disdained Apollon, before and after the diabasis to Asia.

The studies on the relationship between religion and Macedonian monarchy have been mainly focused on male rulers. This paper tries to compile and analyse the evidence for Macedonian royal women. This article demonstrates the importance of public religion and patronage for those women through archaeological, epigraphical, and textual evidence. The corpus shows that religious affairs in Macedonia were necessarily entangled with political and cultural aspects, hindering straightforward conclusions about the range and evolution of the royal women in the public religion of Argead Macedonia.

The aim of this paper is to examine the figure of Archelaos I and developments in Macedon during his reign and the 5th century as a whole. Literary accounts point to what might have been an attempt to improve the administration and organization of the kingdom. A careful analysis of the sources is essential to understand the role played by Archelaos I, together with the position that Macedon occupied in the Greek world, in a series of developments during those years which offered the kingdom the opportunity to increase its power.

Riassunto Il contributo non intende proporre una soluzione alternativa a quelle comunemente praticate – per alcuni di ragione stilistica, per altri di riferimento all’allegoresi che si appoggia alla scelta del genere comico – per la scelta del titolo di Commedia per il poema dantesco (da alcuni, e anche recentemente, messo esso stesso in discussione). Si vuole proporre di aggiungere ad esse, alla parzialità della prima e alla risolutività dell’altra, una prospettiva intermedia, non a caso precisamente considerata da Boccaccio nell’accessus offerto dalle sue Esposizioni, in un passo assolutamente trascurato dalla critica. Un passo apparentemente oscuro e in realtà chiarissimo se ricondotto alla tradizione – di assoluta continuità nei secoli, nell’età tardoantica e nel medioevo e molto oltre – della teoria platonica delle “forme di dizione”, che distingue mimetico, diegetico e misto. Cosa il medioevo intendesse per genus dragmaticum o “comico”, in senso modale e non stilistico (anche se la critica normalmente li confonde) è oggetto del presente contributo. The paper doesn’t intend to propose an alternative to the usual practice –namely, for some, stylistic reason, for others, an allegoresis that relies on the choice of comic genre– regarding the choice of the title Comedy of Dante's poem (recently, a term put itself into question). The purpose is to add to them, to partiality in the first case and to decisiveness in the other, an intermediate perspective. Not surprisingly, this is what Boccaccio precisely considered in the accessus offered by its Esposizioni, in a move completely overlooked by critics. A seemingly obscure move but also really clear if brought back to tradition –a tradition of absolute continuity over the centuries, the age of the late ancient and the Middle Ages, and far beyond– of the Platonic theory of the “forms of diction”, that distinguishes mimetico, diegetico and misto. What the Middle Ages meant by genus dragmaticum or “comic”, in the modal and stylistic sense (even if the criticism usually confuses them) is the subject of this paper.

Elizabeth Donnelly Carney is one of the most renowned scholars on Ancient Macedonia. Carney’s research has contributed to open the studies about Ancient Macedonia to the scope of Gender Studies. Her influence in many modern interpretations concerning the complex relations of power and court network in Argead Macedonia also includes topics like mutiny, social performances (like royal banquets) and court groups (like the Royal Pages). Her scope is wide, and she usually focuses on concrete topics from multiple perspectives. Books like Women and Monarchy in Ancient Macedonia, or the recent Eurydice and the Birth of Macedonian Power (2019) (completing the works devoted to three generations of Macedonian Royal women with her Olympias (2006) and Arsinoë of Egypt and Macedon: A Royal Life (2013)) are now must-to works for world-wide researchers concerning Ancient Greece and Macedon. Among her many skills, the Editorial Board of Karanos wants to remark her kind proximity and her usual predisposition to comment and help, with her experience, to improve discussions, projects and papers with admirable knowledge.

Macedonian kings kept close bonds with the divine sphere. They considered themselves as Heraklids (and, in consequence, they traced back their lineage to Zeus himself) and the kingship kept noteworthy religious functions. Philip II made wide use of this religious side and it became a key element of his public image and propaganda, both inside and outside the kingdom of Macedonia. It was especially important the relation Philip established with Panhellenic shrines, like Delphi and Olympia, in close connection with his aspiration for hegemony all over Greece. Philip also regarded his coinage as useful political tools and the religious motives engraved are very telling about the king's claims and objectives. Originally published in Ancient Macedonia / Archaia Makedonia VI (Papers Read at the Sixth International Symposium held in Thessaloniki by the Institute of Balkan Studies (Greece): Le Bohec 2002a. Published in Karanos by kind permission of the author and the Institute for Balkan Studies.

This paper revaluates key moments in the court politics of Alexander the Great’s reign through the introduction of philia-networks governed by gift-exchange as a template for explaining the relationships between key participants. This approach makes it clear that Alexander initially held a passive role in the political life of his own court and was dependant on others for his succession. These dynamics shifted in the opening years of the Asian expedition as Alexander sought to break these philia-networks, building his own and surrounding his person with philoi of his own choosing.

Olympias of Epirus is one of the main characters in the history of the emergency of Macedonia as an international power with Philip II and Alexander. Nevertheless, despite the many books, papers and studies that had been improving our knowledge about Argead Macedonia in times of the great Macedonian conquerors, the historians of the XIXth and XXth centuries treated Olympias in the same terms of the ancient sources. This uncritical perspective denotes a clear tendency and aims to reproduce gender stereotypes that comes to our own days.

This paper interprets the way in which transnational writers use monstrosity and the uncanny to investigate the concept of the HomeSpace with dissent. An important group of unusual creatures in the contemporary fiction of Latin American women authors seem to «crawl out of their skins» (Himani Bannerji). This essay tries to analyse these speculative narratives which we will call hemispheric and which bear some resemblance from the north to the south of the continent, for different political and traumatic reasons, focusing especially on their cinematic deployment of the HomeSpace horror, childhood memories and physical and psychological boundaries which chain us to our ancestors’ memories. We will try to examine a range of subversive metamorphoses of the female body in recent speculative fiction by Cecilia Eudave, Socorro Venegas, Mariana Enríquez, Samanta Schweblin, Valeria Correa-Fiz, Florencia del Campo, Agustina Bazterrica or María Fernanda Ampuero. These writings could be read as poetical and political strategies of dissent that innovate within the genre of speculative fiction.

This paper deals with an aspect of Alexander the Great's representation that had not been systematically studied by the modern scholars as yet, the refulgent panoply of the Macedonian king in combat. The author collects the passages where this motif appears, examines the sources and presents some parallels in the Greek literary and iconographic tradition.

This paper deals with the complex situation that lived Athens at the first decades of the Ist Century BC. Between the good and advantageous relations with Rome, that led Athens to big benefits from the control of the Delian markets, and the hard sack of the city by the troops of Sulla in March 86, the city suffered an economical crisis that derived in political instability. The government of Athens finally was hold by some persons who acted like tyrants, in a moment when events and historical context (social conflict and economical crisis) seems to remember the situation that produced the historical phenomenon of the Greek Tyranny.

Naomi Novik, an American writer of Lithuanian-Polish ascendency, is one of the most acclaimed voices in contemporary young-adult fantasy fiction. Her fantasies are heavily influenced by her cultural heritage, as well as by the fairy tale tradition, which becomes most obvious in her two standalone novels, Uprooted and the subject of this essay, Spinning Silver. As the quote chosen for this essay’s title demonstrates, Novik’s second standalone work constitutes one of the most obvious outward statements of an ideological stance as expressed within fantasy literature, as well as an example of what Jack Zipes (2006) called transfiguration: the rewriting and reworking of traditional tales in order to convey a different, more subversive message. This paper considers how Novik’s retelling takes advantage of traditional fairy-tale elements to create an implicit critique of gender-based oppression, while at the same time, and much more overtly, denouncing racial and religious prejudice. The ideological stance thus conveyed is shown to be intended to have consequences for the reader and the world outside of the fiction.

It would be a complete «revolution» (etymologically a turn-around) if death were defeated and the deceased returned to the world as they were, in the flesh and with their own individuality, instead of coming back as reanimated monsters. This fantastic possibility is usually described as having revolutionary existencial and societal effects, since the society and the emotional lives of the living is usually transformed through the contact with the returned, whose very presence seems to alter the meaning of life. This paper provides an overview of resurrection stories by international writers, from Giacomo Leopardi to some modern classics, such as Tudor Arghezi, Érico Veríssimo, Marcel Thiry, Angélica Gorodischer and Robert Silverberg, as well as by others less well known, in a variety of fictional works on this matter, especially in the fantastic, but also in the speculative mode.

This paper presents an interview with Hunt Emerson about his adaptation process of Dante's Inferno, the first section of The Divine Comedy. Emerson tells his approach to Dante’s work and his vision of it when transforming the original poem into a comic story.

Alexander was the most prominent Argead and one of the major figures in Second Sophistic literature. The Second Sophistic authors had their own respective images of Alexander, treatment of their sources, and intention to write about him. This paper aims at exploring Lucian's ironic response to the historiographical Alexander images in his time. It will be argued that by ridiculing the current Alexander images in Second Sophistic literature, particularly as provided by Arrian's Anabasis, Lucian did not mean to make fun of the historical Alexander but of his reception and the bias and artifice involved.

The death of Perdiccas, son of Orontes, during his invasion of Egypt is a fact hardly understandable, so that we can find different explanations for this event. The main goal of this paper is to establish a connection between Perdiccas’ death and the importance, meaning of rivers and its crossing for the ancient Macedonians. Indeed, rivers were related to kingship. This fact is reflected in its relationship with kings of the Balkan geographical area (Polyaen. 4.12.3). Thus, we can find passages in which some of most important mythical characters were begotten by a god-river (Asteropaios, Rhesus, Orpheus, etc). Besides, sometimes even the majesty comes from the river, because the kings were crowned into the river or near one (App. Syr. 56; Justin 15. 4.2-7). In fact, the founder of the Argead royal house, Perdiccas I, became king after being saved by a river (Hdt. 8. 138). The strong connection between kings and rivers can be perceived during the crossing, because the Macedonian monarchs, especially Alexander the Great, were responsible of this act. In other words, a true king was able to protect his soldiers during the crossing, given his close link with the water. Perdiccas son of Orontes wanted to become king, therefore the disaster of Nile could be understood like ordeal which showed the will of the river. Perdiccas was not considered a true king, while Ptolemy should become one.

There is no evidence in either Greece or Macedon in the archaic and classical periods that the throne functioned as a symbol of royalty. Thrones were for the gods and their priests. Only the king of Persia used a royal throne and even had portable thrones for his campaigns. This paper argues that after his conquest of the Persian Empire, Alexander the Great adopted the throne as a royal symbol; after his death, his throne became a token of his invisible presence. Philip III Arrhidaeus is known to have used a royal throne after his return to Macedonia. By implication, the marble thrones found in three tombs at Vegina–Aegae are here understood as symbols of royalty and the tombs are interpreted as royal.

In The Divine Comedy, Dante Alighieri conceived of the Inferno as a physical landscape which could be mapped and navigated through. In so doing, he helped create the language and imagery which modern-day writers and artists often turn to when describing Hell. It also created a shared reference point for discussion of horrific events such as the Holocaust/ Shoah. For example, in Survival in Auschwitz [Se questo è un uomo], Primo Levi turned to Dante’s Inferno to make sense of his experiences in the concentration camps. In this paper we suggest that comic book artist Art Spiegelman utilised the imagery and lexicon of theInferno to create Maus, a two volume biography of his father Vladek Spiegelman, a former inmate of Auschwitz and Holocaust survivor. Art Spiegelman utilises structural and the- matic elements of Inferno to help explain the tortured relationship he had with his parents, especially the effects on him of his mother’s suicide, as well as the difficulties of recording history, particularly an event as immense and traumatic as the Holocaust.

Neil Gaiman is a highly acclaimed British author of novels, short fiction, film scripts, graphic novels, and radio plays. His first novel, Neverwhere, was his attempt to fill in the blanks left by the television series with the same name, by writing down everything that he could not fit into the restrictive television format. This paper analyses the novel through the lens of structuralism and poststructuralism, in order to reveal inherent social critique, artfully concealed in a game of complex urban imagery, chronotopic structures and intertextual references.

El present article pretén contextualitzar la galeria en terracota dels monarques catalans que decorava la gran sala de la Llotja de Mar de Barcelona, una iniciativa dels mercaders barcelonins que aspirava a cridar l’atenció sobre el seu paper en el nou projecte imperial de Carles V. A partir dels assentaments comptables del contracte i de les descripcions dels testimonis de vista de la galeria, reconstruïm el catàleg de sobirans i el sentit historiogràfic de la sèrie icònica, a més, plantegem hipòtesis sobre la disposició de la galeria a la gran sala de la Llotja i sobre la concepció artística.

Alla luce del recente fenomeno riguardante il considerevole incremento degli studi danteschi orientati in senso musicologico in questo contributo ci si propone di ritornare su determinati luoghi della Commedia caratterizzati dalla presenza del lessico musicale. Si esamineranno alcuni passaggi della seconda cantica, particolarmente segnati dall’uso di tale terminologia, per dimostrare come una lettura di essi isolata dal contesto letterario di riferimento non renda giustizia dell’elaborata costruzione linguistica ed ideologica del poema e come gli strumenti delle discipline scientifiche relative agli studi musicali debbano necessariamente rimettersi al servizio di un’interpretazione complessiva del testo. Due to the considerable increase of Dante studies focused on musicological themes as a recent academic phenomenon, in this paper we propose to revisit certain topoi in the Commedia characterized by the presence of musical vocabulary. We will examine some passages of the second cantica that are specially marked by the use of that kind of terminology. We will try to demonstrate that an analysis of these, isolated by the literary context of reference, does not do justice to the elaborated linguistic and ideologic construction of the poem. Thus, the scientific disciplines concerning the musical studies should necessarily be put to use in the overall interpretation of the text.

This paper applies psychoanalytic frameworks to the survival horror franchise Silent Hill, a series which is itself informed by psychoanalytic themes. Concerns include the construction of game space as maternal womb, cinematic sequences as primal fantasies, and the representation of memory across the games within a psychoanalytic context. The horror genres’ preoccupation with monstrous mother figures is evident in boss battle adversaries, the depiction of gamespaces as bloody «maternal caves», and in narratives concerning characters’ searching for their parental origins Distinguishing between videogames’ playable sequences and cinematics as conscious and sub-conscious aspects, cut-scenes are analysed as reproducing primal fantasies, serving to explain protagonists’ backstory and situating play within narrative contexts. Such moments intrude into the game, marking transformations between the ordinary world and the abject Otherworld, or heralding the emergence of psychoanalytically-resonant monstrous creatures which the protagonist must destroy. Finally, Silent Hill: Shattered Memories is examined as a game which, even more than others, foregrounds the series’ explicit reference to psychoanalytic preoccupations, engaging with contemporary understandings concerning the relationship between memory, media and fantasy.

The paper analyses the sequentiality of Dante’s narrative in Inferno VIII–XI, and its pictorial translation by Sandro Botticelli. It intends to show the major intermedial differences of expression and their theological consequences. As a result, it argues that Botticelli’s ‘undramatic’ representation of the journey eliminates the tropological meaning of Dante’s poem and passes over the complexity of the compensational system. The drawings rather stress the organisational model and the longue durée of man’s representation of hell. Il contributo analizza la sequenzialità della narrazione di Dante in Inferno VIII-XI, e la sua traduzione pittorica da parte di Sandro Botticelli. Si intendono mostrare le maggiori differenze intermediali di espressione e le loro conseguenze teologiche. Di conseguenza, si sostiene che la rappresentazione "non drammatica" di Botticelli del viaggio elimini il significato tropologico del poema di Dante e ignori la complessità del sistema di compensazione. I disegni sottolineano piuttosto il modello organizzativo e lalongue durée di rappresentazione dell'uomo dell'inferno.

L’argomento di questo saggio è la riscrittura della Divina Commedia proposta nel 2008 dalla Socìetas Raffaello Sanzio, compagnia di teatro sperimentale conosciuta in ambito internazionale per l’estetica postdrammatica e iconoclasta. Questo studio vuole mettere in risalto le connessioni con il poema dantesco e, allo stesso tempo, la rottura e la radicalità della riscrittura della Socìetas basata sulla tragicità, sulla frammentarietà e sulla decostruzione. Sulla scena postdrammatica, l’Inferno, il Purgatorio e il Paradiso generano potenti figurazioni che riproducono le tappe di un viaggio labirintico e fisico nei meandri dell’esistenza e dell’arte. The topic of this paper is the rewriting of the Divine Comedy proposed in 2008 by the Socìetas Raffaello Sanzio, company of experimental theater known in the international sphere for postdramatic and iconoclastic aesthetic. This study aims to highlight connections with Dante's poem and, at the same time, the break up and the radicality of rewriting by the Socìetas based on the tragicalness, the fragmentary and the deconstruction. On postdramatic stage, Inferno, Purgatorio and Paradiso generate powerful figurations that reproduce the stages of a labyrinthine and physical journey through the meanders of life and art.

Questo contributo fa luce sulla fortuna russa della tragedia dannunziana Francesca da Rimini, analizzando le traduzioni conservate al Vittoriale nella Biblioteca privata di Gabriele d’Annunzio. In particolare, la traduzione dei poeti Brjusov e Ivanov pubblicata a San Pietroburgo nel 1908, è alla base di due allestimenti moscoviti realizzati a distanza di tre giorni l’uno dall’altro e dai differenti esiti: quello (poco apprezzato) del 1° settembre 1908 al Teatro “Malyj”, con regia di Aleksandr Lenskij, e quello (di successo) del 4 settembre al Teatro “Ermitaž”, con regia di Nikolaj Evreinov e protagonista Vera Komissarževskaja, attrice detta la “piccola Duse” russa. Questo singolare caso permette di considerare l’importanza della mediazione del “teatro di poesia” dannunziano per il dantismo sulla scena russa di inizio Novecento, valutando il legame tra traduzione e prassi teatrale. This paper sheds light on the Russian success of d’Annunzio’s tragedy Francesca da Rimini, through the analysis of the translations held in Vittoriale, in the private library of the Poet. In particular, Bryusov’s and Ivanov’s translation published in St. Petersburg, in 1908, was used for two Muscovite productions that led to different outcomes: on 1st September 1908 at the Maly Theatre (poorly regarded), directed by Aleksandr Lensky, and on 4th September at the Hermitage Theatre (successful), directed by Nikolai Evreinov and with actress Vera Komissarzhevskaya in the leading role. This one-off event allows us to consider the importance of the mediation of d’Annunzio’s “theater of poetry” for Dantism on the Russian scene of the early twentieth century, by evaluating the relationship between translation and theatrical practice.

In questo saggio scritto in due, si ripercorre la Trilogia teatrale dedicata da Federico Tiezzi alla riscrittura della Commedia dantesca tra il 1989 e il 1991. Le cantiche erano state riscritte per l'occasione dai poeti più importanti della scena letteraria: Edoardo Sanguineti (Inferno), Mario Luzi (Purgatorio), Giovanni Giudici (Paradiso). Lo scopo dell'analisi è quella di recuperare il confronto-conflitto con il testo di Dante operato dagli autori con strategie diverse e di riscontrare gli elementi unificanti del lavoro drammaturgico sorvegliato da Tiezzi e dalla sua compagnia, in cui primeggia Sandro Lombardi. This co-authored paper examines the theatrical Trilogy devoted by Federico Tiezzi to the rewriting of Dante’s Comedy between 1989 and 1991. The canticas were rewritten for this occasion by the most important poets of the literary scene: Edoardo Sanguineti (Inferno), Mario Luzi (Purgatorio), Giovanni Giudici (Paradiso). The purpose of the analysis is to recover the comparison-conflict with Dante’s text, carried out by the authors through different strategies, as well as to find the unifying elements of dramaturgical work supervised by Tiezzi and his company, in which Sandro Lombardi stands out.

This is a study of the representation of the dwelling space in fantastic narratives of Brazilian literature. We advocate that the elaboration of such spatialities is what configures to a large extent the fantastic setting of the fictional plot. In this paper some of Clarice Lispector’s and Murilo Rubião’s fantastic narratives are counterpointed to narratives by Walpole, Poe, Kafka, Saramago and Cortázar. To do so, we rely on the theoretical bases of spatialities as designed by Foucault, Deleuze, Guattari, and Bachelard.

Aquests tres llibres, Lire avec des images au XIX° siècle en Europe, Le livre illustré européen au tournant des XIX° et XX° siècles, i L’Europe des revues (1880-1920). Estampes, photographies, illustrations, són el resultat de l’encontre i de la col·laboració de tot una sèrie d’invertigadors interessats pel paper de la imatge en el llibre i les revistes, especialistes de literatura comparada, historiadors de l’art, historiadors del llibre, de la premsa, dels medis de comunicació, etc., que ens varem reunir en tres col. loquis el 2000 a la Universitat de Reims, el 2003 a la Universitat de Haute-Alsace a Mulhouse i el 2006 al «Institut National d’Histoire de l’Art » (INHA) a París. Els tres es van concebre dins una perspectiva europea i això fa que en tots hi hagi una doble investigació comparatista, d’una banda mitjançant l’estudi de dos medis d’expressió, el text i la imatge i llur interferència dins un mateix objecte, el llibre o la revista, i d’altra banda gràcies als contactes i encreuaments entre els diversos dominis linguistics i àrees culturals sobretot europees. Aquestes van ésser les de França, Gran Bretanya, Alemanya, Bèlgica, Polònia, Hongria, Suïssa, Itàlia, Japó i Catalunya.

Sempre és molt d’agrair que, durant una investigació, surtin a la llum arxius familiars relatius al personatge o al tema en qüestió que s’està treballant. És per això que el cas de Ramon Martí Alsina és tan extraordinari en el món científic. Són pràcticament tres mil papers amb informació manuscrita pel pintor i per persones de la seva família, que ens donen informació de tipus personal, íntim, professional, social i polític, artístic, administratiu, etc, per poder veure amb els propis ulls, i sentir, fins i tot, com era aquest pintor de vida agitada i ànima apassionada. Aquest article vol ser un petit tast de les novetats que aporten dos arxius: aquell que encara era inèdit i desconegut (transcrit parcialment a la meva tesi), i l’altre que per fi ha quedat dipositat al Museu Nacional d’Art de Catalunya.

El nostre article estudia el tractament de la superfície dels interiors de les cases de les famílies benestants de Barcelona entre final del segle XVIIi inici del segle XIX. Ens hem centrat en les estances més valorades i representatives de la casa, que són els salons i, quan ha estat possible, també hem estudiat algunes altres dependències, com ara les estrades (sales de recepció que precedeixen els salons) o les sales amb alcova. A final del segle XVIII, es va manifestar una sensibilitat renovada, per part de la noblesa i de la burgesia que havia assolit una posició destacada en la societat catalana, vers les residències i els seus interiors. En l’escrit, hi mostrem i hi analitzem alguns exemples per tal d’entendre com va ser el tractament de la superfície d’aquests interiors: quins van ser els valors i les expectatives que s’hi van tenir en compte; quin paper van tenir els artistes i els artesans en la seva definició; com van intervenir els arquitectes en la concepció d’aquests espais, si només es van centrar en la composició dels buits i plens o si hi va haver una participació molt més activa. D’altra banda, també apuntem a partir de quines tècniques es van resoldre aquests aspectes i quin va ser el grau de sistematització.

L’adquisició d’obres d’art per part dels virreis espanyols i la seva cort es feia de maneres diferents (regals, compres mitjançant intermediaris...) i tenia diverses finalitats. L’article analitza les obres adquirides a Nàpols pel virrei comte de Peñaranda i l’inventario de l’enviament de part dels seus béns, que van sortir de la capital del regne el 9 de setembre de 1664. Després de cinc anys de govern, aquest virrei tornarà a Espanya amb nombroses obres d’escultura, orfebreria i pintura per al monestir carmelità que va fundar a Peñaranda de Bracamonte i alguns quadres per a la capella madrilenya de la Real Congregación del Santo Cristo de San Ginés. Després de fer l’examen d’algunes d’aquestes peces, sorgiran interessants relacions entre les comissions italianes i espanyoles d’aquest comte, home diplomàtic que va tenir un paper rellevant en la política exterior de la Corona en els darrers anys del regnat de Felip IV i al llarg de la regència de Mariana d’Àustria.

L’antiga capella de santa Clara i santa Caterina de la catedral de Barcelona, una de les darreres erigides dins de l’església, va ser concedida el 1431 a Sança Ximenis de Cabrera, una dama pertanyent a un dels llinatges més distingits de l’aristocràcia catalana de l’època. Durant els anys següents, Sança s’ocupà de proveir la capella amb els elements litúrgics i ornamentals necessaris, com ara un sepulcre monumental, el retaule i diverses peces d’orfebreria, comptant amb alguns dels principals artífexs catalans del moment, com ara Pere Oller, els continuadors del taller de Bernat Martorell, Pere Àngel o fins i tot un nom que fins ara per a nosaltres no tenia gaire rellevància artística, Jaume Vergós. No obstant això, determinats elements documentals i heràldics permeten suposar l’important paper que hauria tingut en el projecte original la difunta mare de Sança, Timbor de Prades, fins al punt que aquesta circumstància ens obliga a replantejar-nos la identitat de la destinatària del sepulcre.

Rafael Barradas, pintor nascut a l'Uruguai, va tenir un paper important en l'avantguarda catalana. La dècada de 1910 va contribuir a la difusió dels corrents internacionals, primer a Barcelona, després a Madrid, a través del seu estil «vibracionista». A partir de 1926, instal·lat a l'Hospitalet de Llobregat, al costat de Barcelona, va erigir-se en un personatge central dels impulsos de ruptura que es donaven en els sistemes culturals catalans. Per la seva banda, Sebastià Gasch va ser el crític d'art més incisiu d'aquell moment; amic i defensor acèrrim de Joan Miró, de Salvador Dalí, de Picasso, també va mantenir unes intenses relacions amb Rafael Barradas. Les cinc cartes i el dibuix inèdit que el pintor envià a Gasch que es reprodueixen i s'analitzen, corresponents als anys 1927 i 1928, indiquen que aquestes relacions entre Barradas i el crític d'art català tingueren una dimensió professional i, també, una dimensió personal.

El paper capdavanter d'Alexandre de Riquer en la història del cartellisme català és reconegut per tota la historiografia. Tanmateix, no disposem encara d'un catalogue raisonné de la seva producció cartellística. El nostre article aporta un conjunt de precisions que contribueixen a l'elaboració d'aquest catàleg, encara obert. Però, sobretot, insistim en la necessitat d'investigar més a fons les fonts internacionals del cartellisme riquerià. La connexió amb el prerafaelitisme tardà britànic ha estat ja indicada, però ara hem pogut identificar també alguns deis models concrets en què s'inspirà Riquer. Ens esforcem, també, a provar la importància, fins ara subestimada, que revesteix el cartellisme art nouveau nord-americà —Bradley, Ethel Reed, M. Parrish, etc.— com a model inspirador del cartellisme riquerià, i confirmem la del cartellisme belga, especialment de Privat-Livemont. En canvi, cal corregir clarament l'èmfasi que bona part de la historiografia ha posat en Mucha.