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Lo studio rilegge alcuni testi significativi seguendo le tracce del personaggio storico, Alcibiade, e alla figura mitica, Elena, che hanno incarnato la bellezza assoluta nel pensiero e nella cultura greca antica. Prestando particolare attenzione ai giochi allusivi e metaforici che associano Elena e Alcibiade e incrociano le loro vicende in stranianti scambi delle parti, la rilettura cerca di superare il fraintendimento classicistico e museale della bellezza greca come armonia e perfezione. Alla luce dei testi poetici, drammaturgici e storiografici, la bellezza di Elena e Alcibiade appare un’ambivalente forza carismatica che attrae e spaventa, che destabilizza la vita degli individui e le società nella storia. Il filo conduttore del saggio attraversa i testi di Omero, Eschilo, Euripide, Aristofane, Tucidide, Andocide, Plutarco.

Questo articolo esamina l'intreccio di identità e scrittura nel romanzo nabokoviano The Real Life of Sebastian Knight (1941) da una prospettiva psicoanalitica, seguendo in particolare l'insegnamento di Freud e Lacan sul concetto di desiderio, significante e sublimazione artistica. L'attenzione principale sarà dedicata al rapporto tra i fratellastri, V. (il narratore) e Sebastian. Dopo aver dimostrato che Sebastian Knight ha assunto il ruolo di oggetto del desiderio per chi lo ha conosciuto intimamente (soprattutto V.), muovendo i personaggi secondo ciascun modo d'essere, si passerà al trauma della sua morte e all'elaborazione del lutto da parte del narratore, grazie alla creazione letteraria (la biografia fittizia che leggiamo); il paragrafo conclusivo analizza i cosiddetti 'inganni' del significante, episodi chiave in cui il narratore prende contatto con la verità del desiderio. Dato l'ineludibile interrogativo sulla paternità fittizia della Real Life (se l'autore fosse Sebastian Knight?) e la questione del 'tocco artistico' di V., in questa argomentazione non verranno trascurati gli aspetti metaletterari dell'opera. This paper examines, from a psychoanalytic standpoint, the intersection between identity and writing in the novel The Real Life of Sebastian Knight (1941) by Vladimir Nabokov. In particular, in the wake of Freud and Lacan, the following contribution will take the notions of desire, signifier, and the process of sublimation involved in artistic creation as interpretative devices. The main focus of the analysis will be the relationship between the two half-brothers of the novel, V (the narrator) and Sebastian. First, I will show that Sebastian Knight holds the role of the object of desire for the characters who have established a close relationship with him and, in particular, for V. Secondly, the paper will be devoted to the analysis of the trauma experienced by the characters because of Sebastian's death, with a particular focus on the narrator's mourning through writing (the fictional biography we read in the novel); in the end, I will give evidence of the so-called signifier’s fallacy, crucial episodes in which the narrator can experience an insight into the truth of desire. Because of the not negligible question of the fictional paternity of The Real Life and the equally essential matter of V’s ‘stylistic touch’, metaliterary aspects of the novel will also be part of the following reading of the text.

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The paper argues that writers and psychotherapists are drawn to their work through the desire to remedy an unconscious sense of lack brought about by early relational trauma. Often, because of its origins in psychic pain, the connection between these individuals' beginnings and their profession remains largely dissociated. The theme is developed with reference to the idea of the wounded healer taken up by Jung. It is proposed that the original wound is also the crack that lets the light in: a dissociated tough spirit that can be channelled into discriminating countertransference and strong writing. This paper is implicitly arguing against an objective or neutral analytic stance, and for the therapeutic and creative value of acquaintance with negative affect. [ABSTRACT FROM AUTHOR]

The essay aims to disclose British sociologist Ruth Levitas’s proposal regarding the thorny issue of the lack of consensus about the definition of the concept of utopia, a issue which, in the Levitas’s view, results in a widespread terminological confusion and in the omnipresent risk of arbitrary selection of the material. After an accurate analysis of the main theoretical and epistemological approaches on the topic, Levitas suggests an inclusive definition which would allow to cross the boundaries imposed by «restrictive» characterizations, for the purpose of creating a higher degree of agreement with regards to what may be included within the concept of "utopia". Too «limitative» definitions would instead lead to misleading conclusions about the destiny and the function of the utopian genre, among which the widespread belief that utopia is in decline or, even worse, definitively disappeared. Finally, Levitas suggests a «sociology of utopia» through an analysis of the correlations between the two form of knowledge, correlations which, in her view, has been repressed for decades.

The purpose of this paper is to analyze the presence of typically comic narrative elements, especially concerning the characters’ sexual and social life in Houellebecq’s novels. The primary effect of this elements is to make the reader laugh, but also to cause him to distance themselves from the disturbing representations. At a later time, the same elements will trigger identification mechanisms in the reader thorough their pathetic connotations. The method is a close reading of some pages of Houellebecq’s novels Whatever (1998) and Atomised (1998). The key assumption is that the literary text is always ambivalent, multiform and plural, and that these components can brought to light thorough textual analysis.

Bonaventure's interpretation of the Franciscan choice of poverty is embedded within his philosophy of the status viae; that is, of the existential conditions in which man's journey through time towards eternity takes place. The homo pauper is the homo viator and the status viae is the exile on earth: begun with the loss of Eden's gifts of innocence due to original sin and continuing on the path that returns to the heavenly home in which it will fully realize human existence. However, Bonaventure affi rms in his works that the status gloriae requires the anticipation of the status gratiae. Grace, a divine life in which man participates, is the power of God that heals the wounds caused by sin and once more gives us a chance for communion with God. However, God gives Himself to those who seek him-observes Bonaventure and to seek him, it is necessary to desire him: desire arises from the recognition of one's own nothingness in the face of the Absolute. For this reason, humility is the door that opens up to truth and salvation. Humility is closely linked with poverty: both express the radical contingency of the creature and both can become evangelical virtues if, in faith, one opens himself to God's love. It is the imitation of Christ-Incarnate Word of the Father, who made Himself naked and poor out of love, the believer's one exemplar-which is the motivation that drives voluntary poverty to be the privileged evangelical choice. [ABSTRACT FROM AUTHOR]

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Questo contributo si sviluppa a partire da una prima riflessione riguardante l’Uomo per definizione a etto dal male di vivere. In seguito a ronta una visione dello sviluppo del pensiero scientifico attorno al tema della fede e della religiosità. In conclusione, nello sforzo di creare nessi, legami fra le cose piuttosto che offrire definizioni e contenuti precostituiti, si addentra nella quotidianità professionale dello psicoterapeuta.

Since the 19th century, the literary representations of school have been founded on two different perspective: school has been portrayed either as a tyrannical, oppressive institution, or as a means of personal and social redemption and growth. The same alternative applies also to the representation of the teacher, and of her/his relationship with the students: either a merciless war, or a splendid opportunity of mutual enrichment. This dialectic is outlined through a series of exemplary literary works, from Edmondo De Amicis’s Romanzo di un maestro to Sandro Onofri’s Registro di classe.

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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 Storia delle Donne 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.)

The author's reflection unfolds in three steps. Firstly, he displays the gospels as a school of freedom, underlying their narrative trend and exhorting to read them with imagination, creativity and courage so as to catch the human side of Jesus and associate it to our humanity. Secondly, he highlights some basic points to bear in mind when helping someone find his/her own freedom and therefore guide him/her to decide what to do with his/her life: in particular, a close attention to one's subjectivity and desires and the development of the principle reality through a process of listening to oneself. Thirdly, the author examines the text of Marks's gospel 10,17-22 that offers an exemplary way of guiding a person towards freedom. [ABSTRACT FROM AUTHOR]