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This book is about the Renaissance revitalization of classical drama. Using a cultural and theatrical approach, it shows how Italian playwrights made ancient tragedy relevant to their audiences. The book challenges the traditional critical approach to the Italian Renaissance tragedy as a mere literary work, and calls attention to the complementary function of the theatrical text, which is 'reconstructed' from the stage directions embedded in the discourse of the characters.
Forse è una reminiscenza. Fatto sta che l’autore, sin da quando dodicenne leggeva Allan Kardec, capendoci molto poco, era certo che la società femminile fosse migliore di quella maschile. Ancora adesso vede la donna come uno spettacolo, che va continuamente incontro alla sua attenzione con la capacità di procreare, di spartire in due il suo corpo durante la gestazione, di crescere i figli e di rimanere in equilibrio, anche quando la pressione dell’incarnazione la mantiene in un forte stato di stress. Certamente questo vale per la media evolutiva delle donne, che giungono a questi risultati quando, durante le vite precedenti, hanno fatto davvero un buon lavoro su ciò che erano, sia come femmine e sia come maschi.
Vittoria Colonna was one of the best known and most highly celebrated female poets of the Italian Renaissance. Her work went through many editions during her lifetime, and she was widely considered by her contemporaries to be highly skilled in the art of constructing tightly controlled and beautifully modulated Petrarchan sonnets. In addition to her literary contacts, Colonna was also deeply involved with groups of reformers in Italy before the Council of Trent, an involvement which was to have a profound effect on her literary production. In this study, Abigail Brundin examines the manner in which Colonna's poetry came to fulfil, in a groundbreaking and unprecedented way, a reformed spiritu...