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Tytuł:
Afekt i konwencja – budowanie przestrzeni widzenia
Affect and Convention: Creating the Space of Seeing
Autorzy:
Nabiałek, Magda
Powiązania:
https://bibliotekanauki.pl/articles/1450408.pdf
Data publikacji:
2020-07-15
Wydawca:
Uniwersytet w Białymstoku. Wydawnictwo Uniwersytetu w Białymstoku
Tematy:
drama
comedy dell'arte
affect
convention
space
Opis:
Artykuł podejmuje zagadnienie współistnienia dwóch zjawisk w dramacie II połowy XIX wieku i przełomu XIX i XX wieku. Autorka łącząc afekt i konwencję stara się wskazać na bardzo charakterystyczne zarówno dla twórców odradzającej się we Włoszech komedii dell’arte, rosyjskiego bałaganu jak i polskiej baśni dramatyczne zjawisko wykorzystywania zapomnianych, ale i silnie utrwalonych w pamięci kulturowej odbiorców schematów fabularnych, postaci, rozwiązań konstrukcyjnych w celu wywoływania u odbiorcy określonego rodzaju afektów. Te z kolei pozwalały na budowanie więzi z widownią w oparciu o zupełnie nowe zasady współuczestnictwa, które dały początek zjawiskom teatralnym charakterystycznym na twórczości dramatycznej II połowy XX wieku.
The article discusses the coexistence of two phenomena in the drama of the second half of the 19th century and the early 20th century. By combining affect and convention, the author seeks to point out the dramatic use of the forgotten plot schemes, characters, and construction solutions, which still remain strongly preserved in the cultural memory of the viewers. These were highly characteristic of the comedy dell'arte, the Russian  balagan, which was at the time regaining its popularity in Italy, as well as of the Polish fairy tale. The authors used them in order to evoke in the viewer a certain kind of affectation. This, in turn, allowed them to build ties with the audience based on completely new rules of participation, which gave rise to the theatrical phenomena characteristic of the second half of the 20th century.
Źródło:
Białostockie Studia Literaturoznawcze; 2020, 16; 65-82
2082-9701
2720-0078
Pojawia się w:
Białostockie Studia Literaturoznawcze
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ars memorativa i nauczanie retoryki w kolegiach jezuickich. Recepcja dzieł: "Rhetorica ad Herennium", "De oratore" Marka Tuliusza Cycerona i "Institutio oratoria" Marka Fabiusza Kwintyliana w podręczniku "De arte rhetorica" libri III Cipriano de Soareza
Ars Memorativa and the Teaching of Rhetoric in Jesuit Colleges. The Reception of the Works: "Rhetorica ad Herennium", "De Oratore" by Marcus Tullius Cicero and "Institutio Oratoria" by Marcus Fabius Quintilian in the Manual "De Arte Rhetorica" Libri III by Cipriano De Soarez
Autorzy:
Konrad, Agata
Powiązania:
https://bibliotekanauki.pl/articles/2230979.pdf
Data publikacji:
2022-12-16
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Rhetorica ad Herennium
ars memorativa
memoria
pamięć
zapamiętywanie retoryczne
sztuka zapamiętywania
De arte rhetorica libri III
Cipriano de Soarez
nauczanie retoryki
szkoły jezuickie
Cyceron De oratore
Kwintylian Institutio oratoria
Cicero De oratore
Quintilian Institutio oratoria
memory
rhetorical memorisation
art of memory
teaching of rhetoric
Jesuit colleges
Opis:
Members of the Society of Jesus, as didacticians (and humanists), were aware of the importance of the memoria for the delivery of speech. For this reason, they did not omit this opus oratoris in rhetorical studies intended for their students. An example of this is the textbook De arte rhetorica libri tres ex Aristotele, Cicerone, et Quintiliano praecipue deprompti by the Portuguese Jesuit Cipriano de Soarez (1524–1593). The aim of the research was to trace the influence of Rhetorica ad Herennium, De oratore by Marcus Tulius Cicero and Institutio oratoria by Marcus Fabius Quintilian on the rhetorical theory presented by Soarez concerning ars memorativa. An attempt was also made to determine what the teaching of rhetoric looked like in Jesuit colleges, which was helped by the Ratio studiorum treatise (1599). In the course of comparative analysis, it was found that the Portuguese teacher mainly drew on Marcus Fabius Quintilian’s Institutio oratoria.  
Źródło:
Collectanea Philologica; 2022, 25; 51-71
1733-0319
2353-0901
Pojawia się w:
Collectanea Philologica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Art, Culture and Innovations: A Shift in Urban Engineering? Public Policies in Bogota and Medellin and the Development of Local Communities
Arte, cultura e innovaciones: ¿un cambio en la ingeniería urbana? Las políticas públicas en Bogotá y Medellín y el desarrollo de las comunidades locales
Autorzy:
Wereta, Karolina
Powiązania:
https://bibliotekanauki.pl/articles/486181.pdf
Data publikacji:
2014
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
art
urban culture
creativity
innovations
community development
Bogota
Medellin
arte
cultura urbana
creatividad
innovaciones
desarrollo comunitario
Bogotá
Medellín
Opis:
The article is a part of a broader discussion about municipal development strategies based on culture and innovativeness. It analyzes the potential and constraints of the approach, indicating conditions favorable for its effectiveness. To exploit the phenomena the author uses the examples of two Colombian cities, Bogota and Medellin. Over last two decades they have been an area of huge transformation. Thanks to adapted policies, it was possible to convert their image from brutal gang-war zones to vibrating metropolis aiming at peaceful social co-existence and infrastructural investments. The chosen cases serve as a background of synthetic description of developmental strategies based on culture and innovativeness. The analysis presents factors that are advantageous for their successful implementation. It also offers several points of critics, outlining some practical, social and institutional challenges that cities willing to adapt similar solutions may come across with.
El artículo es parte de una discusión más general sobre estrategias de desarrollo municipal basadas en cultura y capacidad para innovar. Analiza el potencial y las restricciones de este enfoque, indicando las condiciones favorables para su efectividad. Para explotar el fenómeno el autor utiliza los ejemplos de dos ciudades Colombianas, Bogotá y Medellín. Durante las últimas dos décadas estas han sido un área de gran transformación. Gracias a las políticas adaptadas, fue posible convertir su imagen de zonas de brutal guerra entre mafias a vibrantes metrópolis aspirando a una coexistencia social pacifica e inversión en infraestructura. Los casos escogidos sirven como trasfondo para la descripción sintética de estrategias de desarrollo basadas en cultura y capacidad para innovar. También ofrece varios puntos críticos, delineando algunos retos prácticos, sociales e institucionales que las ciudades que deseen adaptar soluciones similares pueden encontrar.
Źródło:
Revista del CESLA. International Latin American Studies Review; 2014, 17; 215-233
1641-4713
Pojawia się w:
Revista del CESLA. International Latin American Studies Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Arte e artistas migrantes: Um universo simbólico na formação da sociedade brasileira
Art and Migrant Artists: A symbolic universe in the formation of Brazilian society
Autorzy:
Silva Rossi, Mirian
Powiązania:
https://bibliotekanauki.pl/articles/1491652.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
arte
cultura
identidade
imigração
sociedade brasileira
art
culture
identity
immigration
Brazilian society
Opis:
Muito se procurou e se procura as autênticas raízes da nossa nacionalidade. Esse tema se apresentou de forma mais abrangente nas primeiras décadas do século XX, levando a nossa intelectualidade a refletir sobre o que somos e o que não somos; entre reconhecer uma originalidade nacional ou aceitar as teorias estrangeiras. Na tentativa de compreender a cultura brasileira, produziram-se imagens e reflexões profundamente contrastantes entre si. Esta pesquisa retoma essa discussão, tendo como linha de argumentação o lugar que a arte e os artistas imigrantes em São Paulo ocuparam, no longo e contraditório processo de formação da sociedade brasileira. Transitando pelo universo simbólico do qual emergem as formas e as representações artísticas, as relações e as significações, este estudo parte do pressuposto de que a arte promove o encontro do homem consigo mesmo e com a sua cultura, e que as manifestações estéticas de uma sociedade, quando em sintonia com o momento histórico, são capazes de revelar a sua essência, no que ela tem de material e imaterial.
Much has been sought and searched for the true roots of our nationality. This theme presented itself more comprehensively in the first decades of the twentieth century, leading our intellectuals to reflect on what we are and what we are not; between recognizing a national originality or accepting foreign theories. In an attempt to understand Brazilian culture, deeply contrasting images and reflections were produced among themselves. This research resumes this discussion, having as line of argument the place that art and immigrant artists in São Paulo occupied, in the long and contradictory process of formation of Brazilian society. Transiting through the symbolic universe from which emerge forms and artistic representations, relations and meanings, this study starts from the assumption that art promotes man’s encounter with himself and with his culture, and that the aesthetic manifestations of a society, when in tune with the historical moment, are able to reveal its essence, in what it has of material and immaterial.
Źródło:
Revista del CESLA. International Latin American Studies Review; 2021, 27; 31-48
1641-4713
Pojawia się w:
Revista del CESLA. International Latin American Studies Review
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Arte sacra nell’insegnamento del Magistero dal Vaticano II a papa Francesco
Sacred Art in the Teaching of the Magisterium of the Church: from Vatican II to Pope Francis
Autorzy:
Jura, Piotr Pawel
Powiązania:
https://bibliotekanauki.pl/articles/23050845.pdf
Data publikacji:
2023
Wydawca:
Gdańskie Seminarium Duchowne
Tematy:
sacred art
church teaching
pulchritudinis
Vatican II
Arte sacra
magistero
Vaticano II
Francesco
Opis:
l’arte sacra occupa – a partire dal concilio vaticano ii – un posto importante nell’insegnamento del Magistero della chiesa. Ma è stato soprattutto il papa benedetto Xvi ad intraprendere una vera e propria ricerca della cosiddetta via pulchritudinis. nel suo magistero ha affrontato diverse volte il tema della bellezza e dell’arte nel senso ampio del termine. Un capitolo importante in queste sue riflessioni riguardava la bellezza nel contesto liturgico, cioè la bellezza della liturgia che è in grado di mostrare la bellezza di Dio stesso. Parlando della bellezza poi, papa ratzinger, si riferiva sia a ciò che è materiale e artistico, sia alla natura, alla creazione e a Dio. Anche l’attuale pontefice francesco parla della via della bellezza che, secondo lui, può condurre al bene, a Dio ed è capace di creare la comunione interpersonale, interculturale ed interreligiosa.
The dialogue with the world of art was taken up again by Vatican II and continues to this day. The post-conciliar popes dedicated several pronouncements to artists. But it was especially Benedict XVI that put into action a real search for the via pulchritudinis. In his teaching, he showed a particular predilection for the theme of beauty, art, as well as the relationship with the various arts. An important chapter of his reflection concerns beauty in the liturgical context. According to the Pontiff, the beauty of the liturgy manifests the beauty of God who is communicated through the beauty of the Church, and also the beauty of the assembly gathered in the liturgical celebration. Speaking of beauty, according to Ratzinger, it is necessary to take into consideration both the material, artistic one and also that referring to nature, to creation, to God.
Źródło:
Studia Gdańskie; 2023, 53; 47-61
0137-4338
2720-7102
Pojawia się w:
Studia Gdańskie
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Biblioteki muzeów sztuki na przykładzie Biblioteki Arxiu CCCB w Barcelonie i Biblioteka de Arte Muzeum Gulbenkiana w Lizbonie
Libraries of art museums: the Arxiu Library in Barcelona and Biblioteca de Arte in Lisbon
Autorzy:
Sobczyk, Sławomir
Powiązania:
https://bibliotekanauki.pl/articles/555321.pdf
Data publikacji:
2012
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
Arxiu CCCB
Biblioteca de Arte Museu Calouste Gulbenkian
biblioteka artystyczna
the Arxiu Library CCCB
the Art Library of Gulbenkian Museum
art library
Opis:
Artykuł opisuje organizację pracy i sposób działania dwóch bibliotek mieszczących się w muzach sztuki: Biblioteki Arxiu w Barcelonie i Biblioteca de Arte w Lizbonie. Opracowanie zawiera spostrzeżenia własne oraz informacje uzyskane od pracowników bibliotek w trakcie ich zwiedzania.
The article describes the work arrangement and functioning of the two libraries located at art museums: the Arxiu Library in Barcelona and Biblioteca de Arte in Lisbon. The paper includes the author’s observations and information obtained from the personnel of the libraries in personal communication.
Źródło:
Biblioteka i Edukacja; 2012, 2
2299-565X
Pojawia się w:
Biblioteka i Edukacja
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Caterina Bresciani, l’Ircana famosa
Caterina Bresciani, "Famous Ircana"
Autorzy:
Dygul, Jolanta
Powiązania:
https://bibliotekanauki.pl/articles/446339.pdf
Data publikacji:
2019-11-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
commedia dell’arte
Venetian theatre
actress
role typology
Persian trilogy
Commedia dell’Arte
teatro veneziano
attrice
tipologia del ruolo
trilogia persiana
Opis:
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.
Carlo Goldoni si adattò alle esigenze del teatro dell’arte e grazie alla collaborazione con valenti comici, muniti di eccellenti doti interpretative, introdusse dei cambiamenti nella tradizionale convenzione. L’autore scrisse molte commedie per degli attori concreti sfruttando la loro indole, l’esperienza professionale, le relazioni interpersonali all’interno della compagnia e perfino la loro biografia. Caterina Bresciani, attrice fiorentina che per 10 stagioni, dal 1753 al 1762, collaborò con Carlo Goldoni, nelle sue memorie compare poco. A lei l’autore dovette il suo più grande successo scenico, ossia La sposa persiana (1753) e altri due episodi della fortunata storia. L’obiettivo dell’intervento è indagare la nuova tipologia del personaggio – concepito su misura per la Bresciani – presente nella famosa trilogia dell’Ircana (La sposa persiana, Ircana in Julfa, Ircana in Ispaan) e cercare le tracce performative della prima interprete del ruolo sparse nel testo.
Źródło:
Italica Wratislaviensia; 2019, 10.2; 135-146
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Coincidentia oppositorum: The Works of Giovanni Anselmo between the Visible and the Invisible
Autorzy:
Tiberi, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/485518.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
Tematy:
Giovanni Anselmo
Arte Povera
Germano Celant
Italian Art
Contemporary Art
Infinite
projection
visible
invisible
light
Art Press
Beatrice Merz
Jean-François Lyotard
Friedrich W. Nietzsche
Achille Bonito Oliva
Massimo Carboni
Michel Foucault
Opis:
The Italian artist Giovanni Anselmo (b. Borgofranco d’Ivrea, 1934) was a member of Arte Povera group, which was put together by Germano Celant back in 1967. Anselmo has addressed the invisible in art since the beginning of his activity, mainly with projections ofwords that play with the idea of the visible and the invisible, with the true (or multiple) meanings of language, and with the very nature of art. He refers to universal and eternal concepts and opposite pairs, such as the visible and the invisible, the finite and the infinite, the close and the open, the clear and the blurred, the being and the non-being. In the works discussed in the paper, the intangible element of the light beam is made visible only through the projection. It is always the projection of something immaterial on something material, an entity that participates in the dimension of non-being that is projected onto the world of being.
Źródło:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione; 2018, 13; 66-67
2081-3325
2300-5912
Pojawia się w:
Annales Universitatis Paedagogicae Cracoviensis. Studia de Arte et Educatione
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Commedia dell’arte und persifliertes Freimaurertum als Mittel zu vorurteilsbefreiter Männlichkeit in August Kopischs Schwanknovelle Ein Karnevalsfest auf Ischia/Iskja
Commedia dell'Arte and satirised Freemasonry as a means to prejudiced masculinity in August Kopisch's Ein Carnevalsfest auf Ischia
Commedia dellArte i satyryczne przedstawienie masonerii jako środek wyrazu pozbawionej uprzedzeń męskości w Ein Carnevalsfest auf Ischia Augusta Kopischa
Autorzy:
Rudolph, Andrea
Powiązania:
https://bibliotekanauki.pl/articles/28317008.pdf
Data publikacji:
2021-12-30
Wydawca:
Uniwersytet Humanistyczno-Przyrodniczy im. Jana Długosza w Częstochowie. Wydawnictwo Uczelniane
Tematy:
August Komisch
Ein Carnevalsfest auf Ischia
Commedia dell’Arte
Freimaurer
Karnevalisierung
August Kopisch
commedia dell'Arte
masoni
karnawalizacja
Commedia dell'Arte
Freemasons
carnivalisation
Opis:
Don Antonio hat die gängige Schönheitsnorm der Gesellschaftsschicht, der er angehört, verinnerlicht. Daher glaubt der Kahlköpfige sich chancenlos, die Liebe der schönen Witwe Donna Theresa zu erlangen. Ein Karnevalsfest, das seine Freunde ihm schenken, invertiert die männliche Schönheitsnorm. Während die Commedia dell’Arte-Komik nur als Situationskomik Überraschungen bietet, die die Spannung retardieren, sichert der von Kopisch gleichfalls einbezogene freimaurerische Spielrahmen die Entwicklung der Handlung. Erzählt wird die gelingende Verwandlung eines aus verinnerlichtem Schönheits-Vorurteil nur verborgen Begehrenden (Don Antonio) zum vorurteilsbefreiten Ehemann. Die karnevaleske Verkehrung der soziokulturell vorgegebenen Schönheitsnorm in ihr Gegenteil und die komische Umschrift von Freimaurerritualen erzeugen in dieser Schwanknovelle Ein Carnevalsfest auf Ischia ein Marktplatz- und Festtagslachen. Kopisch vergeistigt nicht nur Elemente der Commedia dell‘Arte-Tradition. Er persifliert zudem freimaurerische Mysterien und Initiandenrituale.
Don Antonio wyznaje powszechną normę piękna klasy zgodnie z klasą społeczną, do której przynależy. Jako łysy mężczyzna uważa, że nie ma szans na zdobycie miłości pięknej wdowy Donny Teresy. Karnawałowa zabawa zorganizowana dla niego przez przyjaciół prowadzi do odwrócenia męskiej normy piękna. O ile commedia dell'arte opiera się na komizmie sytuacyjnym prowadzącym do zmniejszenina napięcie akcji, to masoński kontekst wprowadzony przez Kopischa sprzyja rozwojowi akcji. Historia opowiada o udanej przemianie mężczyzny wyzwalającego się spod uprzedzeń (Don Antonio). Karnawałowa inwersja społeczno-kulturowej normy piękna w jej przeciwieństwo oraz komiczna transkrypcja masońskich rytuałów wywołują w Ein Carnevalsfest auf Ischia zarówno jarmarczny, jak i wzniosły śmiech. Kopisch nie tylko spirytualizuje elementy tradycji commedia dell'Arte. Satyrycznie traktuje też masońskie misteria i rytuały inicjacyjne.
Don Antonio has internalised the common beauty norm of the social class to which he belongs. Therefore, the bald man believes he has no chance of winning the love of the beautiful widow Donna Theresa. A carnival party given to him by his friends inverts the male beauty norm. While commedia dell'arte only offers surprises in the form of situation comedy, which retards the tension, the Masonic play framework, which Kopisch also includes, ensures the development of the plot. The story tells of the successful transformation of a man who desires beauty only covertly out of an internalised prejudice (Don Antonio) into a husband free of prejudice. The carnivalesque inversion of the socio-culturally prescribed beauty norm into its opposite and the comic transcription of Masonic rituals generate marketplace and festive laughter in Ein Carnevalsfest auf Ischia. Kopisch not only spiritualises elements of the Commedia dell'Arte tradition. He also satirises Masonic mysteries and initiatory rituals.
Źródło:
Transfer. Reception studies; 2021, 6; 47-63
2451-3334
Pojawia się w:
Transfer. Reception studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Culture as one of the Determinants of Church and State Legislation: A Case of Canon Law
La culture comme déterminant de la législation Le cas du droit canonique
La cultura come fattore determinante della legislazione Il caso del diritto canonico
Autorzy:
Kroczek, Piotr
Powiązania:
https://bibliotekanauki.pl/articles/1035608.pdf
Data publikacji:
2020-12-18
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
canon law
culture
lawmaking principles
art of legislation
droit canonique
règles de droit
art législatif
diritto canonico
cultura
norme del diritto
arte legislativa
Opis:
The aim of this article is to show how culture influences church legislation and to identify possible dangers associated with it. The article illustrates examples of changes in Church law that take place under the influence of culture. The conclusions are as follows: canon law submits to culture and it is a possible threat because it loses its ecclesiastical and salvific character. The legislator should be aware of such a phenomenon and try to preserve specific features, especially the purpose of canon law.
Lo scopo dell’articolo è mostrare l’influenza della cultura sulla legislazione ecclesiastica e indicare le possibili minacce legate a questo fenomeno. L’articolo illustra esempi di cambiamenti nella legge ecclesiastica che sono influenzati dalla cultura. Le conclusioni sono le seguenti: il diritto canonico soccombe alla cultura e quindi c’è una reale minaccia che perda il suo carattere ecclesiale e salvifico. Il legislatore dovrebbe essere consapevole di questo fenomeno e cercare di mantenere le caratteristiche specifiche del diritto canonico, in particolare lo scopo del diritto canonico.
L’ambition de cet article est de montrer l’influence de la culture sur la législation de l’Église et d’indiquer les menaces possibles liées à ce phénomène. L’article examine, à titre d’illustrations, des exemples de changements dans la loi de l’Église; il s’agit de changements influencés par la culture. Les conclusions sont les suivantes : le droit canonique succombe à la culture et il existe donc une menace réelle qu’il perde de son caractère ecclésial et rédempteur. Le législateur doit être conscient de ce phénomène et essayer de maintenir les spécificités du droit canonique, en particulier l’objectif du droit canonique.
Źródło:
Philosophy and Canon Law; 2020, 6; 97-105
2450-4955
2451-2141
Pojawia się w:
Philosophy and Canon Law
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Diana, Aurelia e le altre: attrici e capocomiche dell’ultimo duca di Mantova
Diana, Aurelia and the Others: Actresses and Leaders of the Last Duke of Mantua
Autorzy:
Zaccaria, Michela
Powiązania:
https://bibliotekanauki.pl/articles/446377.pdf
Data publikacji:
2019-11-30
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
actress
commedia dell’arte
Ferdinando Carlo Gonzaga-Nevers
leader
theatrical market
attrice
Commedia dell’Arte
capocomica
mercato teatrale
Opis:
This article introduces the activity of artistic directors Teresa Costantini, Angela Paghetti, and Colomba Coppa in the service of Ferdinando Carlo Gonzaga-Nevers, their generous patron and the last Duke of Mantua. Referencing studies that were initiated 30 years ago in the field of musicology and using recent historical research and archival sources, the essay highlights the artistic, organisational, and management responsibilities of commedia dell’arte directors. It reconstructs their relations with Ferdinando Carlo, ducal agents, and the Gonzaga court, while also focussing on their relations with Venetian Grimani impresarios, with whom the Duke of Mantua had established a lasting and generous collaboration. Performing women, prejudicially equated with prostitutes and beneficiaries of gifts and privileges, were depictions of love and glory for a discredited prince, whose array of artists was, however, amongst the most dense and dynamic in Italy. Actresses progressively moved away from the codes of courtliness and, as professionals registered and paid with money, they came to have strong bargaining power and levels of autonomy. However, they were subjected to rules and obligations, especially in Venice, where theatre owners made spaces available only to companies under the protection of the princes who were politically aligned with the Serenissima. During the years of the so-called Spanish succession war, Diana, Aurelia, and the others moved between Venice, Mantua, and Casale, where Ferdinando Carlo had moved after the blockade of Mantua, accompanied by a colourful procession of women, musicians, and commedia actors. Through theatrical misadventures mingled with military manoeuvres in Mantuan territory, and via changes of destination, programme, or repertoire, we read the story of a duchy that had lost its identity and of a rapidly changing theatrical market.
Il contributo presenta l’attività delle capocomiche Teresa Costantini, Angela Paghetti, Colomba Coppa al servizio di Ferdinando Carlo Gonzaga-Nevers, ultimo duca di Mantova e generoso mecenate. Sulla linea di studi iniziati trenta anni fa sul versante musicologico e delle recenti ricerche storiche, il saggio, condotto su fonti d’archivio, mette in evidenza le responsabilità di ordine artistico, organizzativo e gestionale delle capocomiche della Commedia dell’Arte e ricostruisce da un lato i loro rapporti con Ferdinando Carlo, gli agenti ducali e la corte gonzaghesca; dall’altro con gli impresari veneziani Grimani, con i quali il duca di Mantova aveva stabilito una duratura e generosa collaborazione. Le donne di spettacolo, pregiudizialmente equiparate alle prostitute e beneficiarie di regali e di privilegi, erano raffigurazioni d’amore e di gloria per un principe screditato, la cui schiera di artisti fu però fra le più folte e dinamiche d’Italia. Le attrici si allontanarono progressivamente dai codici della cortigianeria e in qualità di professioniste scritturate e retribuite in denaro vantarono forte potere contrattuale e margini di autonomia; ma furono sottoposte a regole e obblighi soprattutto a Venezia, dove i proprietari dei teatri rendevano disponibili gli spazi solo alle compagnie sotto la protezione dei prìncipi politicamente allineati con la Serenissima. Durante gli anni della cosiddetta guerra di successione spagnola, Diana, Aurelia e le altre si mossero fra Venezia, Mantova e Casale, dove Ferdinando Carlo si era trasferito dopo il blocco di Mantova accompagnato da un variopinto corteggio di donne, musicisti e commedianti. Le disavventure teatrali si incrociarono con le manovre militari nel territorio mantovano e dietro i cambi di destinazione, di programma o di repertorio leggiamo in filigrana la storia di un ducato che aveva smarrito la propria identità e di un mercato teatrale in rapida trasformazione.
Źródło:
Italica Wratislaviensia; 2019, 10.2; 103-117
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Ethics in specialist translation and competencies of interpreter – the case study
Autorzy:
Boroch, Robert
Powiązania:
https://bibliotekanauki.pl/articles/702972.pdf
Data publikacji:
2017
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Tematy:
applied ethics
ethics in specialised translation
interpreter competencies
the principle cuilibet in arte sua
Opis:
The subject of the considerations put forward in this article is an evaluation of the quality, in substantive and ethical terms, of the specialist translation into Polish of Henryk Hiż’s article ‘Peirce’s Influence on Logic in Poland’. The trans-    lation subjected to evaluation here was published in 2015 in the specialist philosophical journal Studia z Filozofii Polskiej  [Studies of Polish Philosophy] (October 2015, pp. 21–33). In the presented evaluation, I point out substantive and ethical violations committed by interpreter, calling attention to (a) the flouting of the principle cuilibet in arte sua ; (b) manipulation of source material; (c) dishonesty in philological-textological development; (d) improper editorial preparation; (e) disregard of the subsequent literature on the subject; (f) deliberate and unjustified abridgement of the original text. The deficiencies enumerated in points (a)–(f) are the result of interpreter’s adoption of the ‘publish or perish’ strategy, the overriding goal of which is to publish an article in a high-impact journal with the aim of achieving the most favourable bibliometric result in the shortest possible time, at a cost to the integrity and ethical responsibility of the translator-researcher.
Źródło:
Nauka; 2017, 1
1231-8515
Pojawia się w:
Nauka
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Gennaro Sacco, słynny Coviello, i jego trzy sztuki
Gennaro Sacco, the Famous Coviello, and His Three Plays
Autorzy:
Dygul, Jolanta
Powiązania:
https://bibliotekanauki.pl/articles/29432230.pdf
Data publikacji:
2023
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Gennaro Sacco
Coviello
komedia dell'arte
typy komiczne
repertuar
wariantowość postaci
dystrybucja ról
commedia dell’arte
comic types
repertoire
character variation
role distribution
Opis:
Przedmiotem artykułu jest analiza trzech utworów dramatycznych wydanych przez aktora-autora teatru dell’arte, Gennara Sacca, który gościł na dworze polskim w 1699 roku. Sacco zasłynął z roli Coviella. Początkowo grał w Neapolu, potem na północy Półwyspu Apenińskiego i jak wielu włoskich aktorów oferował swój talent różnym władcom europejskim (w Celle, Warszawie, Madrycie). Prawie nic nie wiemy o jego pobycie na warszawskim dworze Augusta II, brakuje źródeł na temat repertuaru oraz składu osobowego zespołu. Zachował się jednak opublikowany w Warszawie tekst dramatyczny Commedia smascherata, ovvero i comici esaminati. Przeprowadzona w artykule analiza tej sztuki na tle dwóch poprzednich wydanych przez aktora ponad dziesięć lat wcześniej we Włoszech poszerza wiedzę o strukturze, dystrybucji i wariantowości ról w teatrze dell’arte. Przyczynia się także do określenia wpływu lokalnych warunków na sztukę włoskich artystów dell’arte przemieszczających się między ośrodkami.
This article analyzes three plays published by Gennaro Sacco, a dell’arte actor-playwright who visited the Polish royal court in 1699. Sacco became famous for his role as Coviello. He initially performed in Naples, then in the northern part of the Apennine Peninsula, and, like many Italian actors, he offered his talent to various European rulers (in Celle, Warsaw, Madrid). We hardly know anything about his stay at the Warsaw court of king Augustus II; there are no sources that would reveal the repertoire or the names of troupe members. What is extant, however, is the dramatic text of Commedia smascherata, ovvero i comici esaminati, published in Warsaw. The analysis of this play against the background of its two predecessors, published by Sacco in Italy more than a decade earlier, contributes to our knowledge of role structure, distribution, and variation in dell’arte theater. It also helps identify the impact of local conditions on the work of travelling Italian dell’arte artists.
Źródło:
Pamiętnik Teatralny; 2023, 72, 1; 141-157
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
I personaggi maschili ne L’arte della gioia di Goliarda Sapienza
The Male Characters in L’arte della gioia by Goliarda Sapienza
Autorzy:
Kornacka, Barbara
Powiązania:
https://bibliotekanauki.pl/articles/1929927.pdf
Data publikacji:
2020-12-31
Wydawca:
Wydawnictwo Adam Marszałek
Tematy:
Goliarda Sapienza
Arte della gioia
masculinity
universality
sicilianity
mascolinità
universalità
sicilianità
Opis:
The aim of the paper is to analyse, using the structuralist approach, the structure of the male characters in L’arte della gioia by Goliarda Sapienza and the meaning—universal or local, symbolic or real—attributed by the writer to them, through the example of six male figures. This approach allows us to delve into the literary text, leaving the biographical, historical, and ideological context outside of the analysis, focusing on internal dynamics that are purely literary. Modesta’s father and her husband, as universal figures of a patriarchal system, illustrate and symbolise the subversion of its laws by Modesta. Modesta’s lovers, Carmino and Carlo, are models of real accomplishments of important male roles (father, husband, lover) whose representation is limited by geopolitical stereotypes. Pietro, Modesta’s loyal gabellotto, embodies local, Sicilian relationships and, as a result, he symbolises the persistence of archaic laws of Sicilian society. With Prando, Modesta’s son, Sapienza realistically illustrates the passage from adolescence to masculinity by showing some universal rules that occur in this transition. The structure of the male characters turns out to be geometric and very clear and is proof of the writer’s great literary awareness and writing skills.
Lo scopo dell’articolo è quello di analizzare - ricorrendo all’approccio strutturalista - il sistema dei personaggi maschili ne L’arte della gioia di Goliarda Sapienza e il significato - universale o locale, simbolico o reale - attribuitogli dalla scrittrice, sull’esempio di sei personaggi principali. Tale approccio consente di addentrarsi nel testo letterario lasciando al di fuori dell’analisi il contesto biografico, storico ed ideologico, e di focalizzarsi sulle dinamiche interne puramente letterarie. Il padre e il marito di Modesta, in quanto figure universali del sistema patriarcale, illustrano e simboleggiano la sovversione delle sue leggi alla quale contribuisce Modesta. I suoi amanti, Carmino e Carlo, sono modelli di una reale attuazione degli importanti ruoli maschili (padre, marito, amante), la cui rappresentazione è tuttavia limitata dagli stereotipi geopolitici. Pietro, il leale gabellotto di Modesta, incarna una relazione interpersonale tipicamente locale, siciliana ed in quanto tale simboleggia la persistenza di alcune arcaiche leggi della società siciliana. Con Prando, figlio di Modesta, Sapienza illustra realisticamente il passaggio dall’adolescenza alla mascolinità, mostrando alcune leggi universali su cui si basa tale passaggio. Il sistema dei personaggi maschili risulta essere una struttura geometrica e molto chiara, cosa che testimonia della grande consapevolezza della letteratura della scrittrice nonché delle sue capacità scrittorie. Parole chiave: Goliarda Sapienza, Arte della gioia, mascolinità, universalità, sicilianità
Źródło:
Italica Wratislaviensia; 2020, 11.2; 97-117
2084-4514
Pojawia się w:
Italica Wratislaviensia
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Identidades imigrantes na criação artística e literária: o caso de Tomasz Łychowski
Immigrant identities in artistic and literary creation: the case of Tomasz Łychowski
Autorzy:
Siuda-Ambroziak, Renata
Jamrozek-Sowa, Anna
Powiązania:
https://bibliotekanauki.pl/articles/45904556.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Warszawski. Ośrodek Studiów Amerykańskich
Tematy:
identidade
migração
arte
Brasil
Tomasz Łychowski
identity
migration
art
Brazil
Opis:
O objetivo do trabalho é a apresentação do processo da construção identitária de Tomasz Łychowski, imigrante pós-guerra no Brasil, refugiado do nazismo e do comunismo, feita à base da análise das suas obras artísticas (criação literária e pintura) e da sua (auto)biografia. Tomasz Łychowski é angolano-polonês-alemão naturalizado brasileiro, que chegou no Brasil como criança acompanhando os seus pais - DPs (mãe alemã, ativista do movimento da oposição anti-nazista polonesa, e pai - militar polonês do Exército do Estado Polonês Clandestino, AK, ligado ao governo polonês anticomunista exilado em Londres). Distanciando-se do modelo do “sofrimento identitário” típico da maioria dos imigrantes na primeira geração, Tomasz Łychowski aceita com gratidão o seu des- tino no Brasil, aproveita a grande riqueza do seu background multicultural, multiétnico e multi-identitário, procurando o seu próprio universo particular (ligado estreitamente com a sua conversão religiosa e filiação oficial católica assumida como adulto), onde as suas várias identidades não se opõem uma a outra, mas se complementam e mutualmente se enriquecem.
The objective of the article is to present the process of identity construction of Tomasz Łychowski, a post-war immigrant in Brazil, a refugee from nazism and communism, based on the analysis of his artistic works (literary creation and painting) and his biography. Tomasz Łychowski is an Angolan-Polish-German, naturalized Brazilian, who arrived in Brazil as a child accompanying his parents - DPs (German mother, an activist of the Polish anti-Nazi opposition movement, and Polish father – a soldier of the Clandestine Polish State Army, AK, linked to the anti-communist Polish government in exile in London). Distancing himself from the model of “identity suffering” typical of most first-generation immigrants, Tomasz Łychowski gratefully accepts his Brazilian destination and takes full advantage of the great richness of his multicultural, multi-ethnic and multi-identity background, searching for his own private universe (closely linked to his religious conversion and official Catholic affiliation assumed as an adult), with his various identities not opposing each other, but complementing and mutually enriching each other.
Źródło:
Revista del CESLA. International Latin American Studies Review; 2023, 32; 121-142
1641-4713
Pojawia się w:
Revista del CESLA. International Latin American Studies Review
Dostawca treści:
Biblioteka Nauki
Artykuł

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