Modern Tragedy

In the Author's Note to Death and the King's Horseman, Wole Soyinka famously asserts, "The Colonial Factor is an incident, a catalytic incident merely. The confrontation in the play is largely metaphysical." This claim has generally divided the scholarship on the play into those who accept it and those who do not. What has been noted less frequently is that the alternative between metaphysical and cultural-historical readings is not only a question about the play but also one within it-not simply because support for either view can be found there, but because the question about which of these interpretative frames should be used to understand events is the play's central structuring principle. Recognizing this fact makes it possible to identify the play's formal unity and brings into view its differing conceptions of the historical and cosmological orders of experience. Ultimately, the tragedy that Horseman stages is the fall from cosmology to history.

تاریخ فلسفۀ غرب: ۳
فلسفه در عصر رنسانس
براین پ. كُپنهِوِر و چارلز ب. اشمیت
ترجمۀ محمدسعید حنایی كاشانی
انتشارات روزنه


رنسانس دیری است كه در مقام مرحله ای درخشان در تكامل تمدّن غرب شناخته شده است. اما به سهم متمایز فلسفه در فرهنگ عصر رنسانس كم توجه شده است. این كتاب خواننده را با فلسفۀ نوشته شده و خوانده شده و تدریس شده و بحث شده در اثنای دوره‌ای آشنا می‌كند كه به طور مرسوم به «احیای دانش» مفتخر است.

نویسندگان به بررسی رابطۀ فلسفۀ عصر رنسانس با انسان گرایی و دانشگاه‌ها و تأثیر منابع بازكشف شدۀ قدیم و بازگشت به فلسفۀ افلاطون و نوافلاطونیان و اعتلای روزافزون ارسطو می‌پردازند و سهم اصیل شخصیت‌های بزرگی همچون برونی، واللا، فیچینو، پیكو دللا میراندولا، پومپوناتسی، ماكیاوللی، مور، ویتوریا، مونتِنی، برونو و كامپانللا را مشخص می‌كنند.

This paper focuses on the Utilitarian Philosophy in education that appeared in Charles Dickens' "Hard Times" during the industrial revolution. This paper aims to show the outcome of the Utilitarian Education Style taught by Mr. Gradgrind in his model school and to prove how this philosophy ends up with fail. Charles Dickens is trying to show that one of the dark sides of that the industrial revolution is more towards the logic of mind than the logic of heart, so in this case the greed of the people to wealth at that time is very clear. Charles Dickens assent a subject matter of utilitarianism, along with education and industry. Utilitarianism is the idea that something is morally proper if it assist a popular of people. It is a rule concern nothing but facts and leaves no area for creativity or thoughts. Dickens arrange for figurative models of this utilitarianism in Hard Times by using Mr. Thomas Gradgrind, one of the main characters in the book, who has a tough confidence in utilitarianism. This paper is a sarcasm to the philosophy of (Only Facts) by Mr. Gradgrind in his model school which is not based on the morals of the actual education organization.

This thesis is a critical edition of Il Tommaso in Londra, a tragedy by Jesuit Father Ortensio Scammacca (Lentini 1562?-Palermo 1648). The play is contained within the twelfth edition of Tragedie sacre e morali (Palermo: Decio Cirillo, 1648). The purpose of the study is to expose Scammacca's dramaturgical contribution to Jesuit and post-Tridentine theatre by thoroughly analyzing Il Tommaso in Londra. An excursus on the evolution of sacred drama from its origins to the theatre of the Jesuits elucidates the historical and poetic aspects of sacred tragedy as a theatrical genre. A historical review delves into the politico-cultural mood of sixteenth and seventeenth century Italy with regards to the Protestant Reformation. The socio-religious circumstances of Sicily, as well as the regulations imposed on the representations are also evaluated. Additionally, a lengthy discussion of the Ratio Studiorum (1599) and the Spiritual Exercises explores the declamations as a significant pedagogical method of the Jesuits, and opens the debate on Scammacca's theatre. Care is taken that the poet's motivation to compose a tragedy based on Thomas Becket's life does not go unnoticed. The study of Il Tommaso in Londra ends with an extensive philological note. iii Scammacca's tragedies have previously been studied and evaluated by scholars such as D'Agata and Donzelli. Nevertheless, this assessment of Il Tommaso in Londra reveals the profoundness, richness, and deliberate artifice of Father Scammacca's dramas in view of the Counter-Reformation spirit. The study discloses a remarkably integrated historical play, and recognizes the poet as the most prominent playwright of the era.

در فرهنگ و منابع اسلامی شهادت به عنوان یکی از والاترین ارزش ها بود و مقام شهدا از بلند مرتبه ترین مدارج انسان است. جان انسان بزرگ ترین هدیه الهی است و چه بهتر که این هدیه خداوند را نثار راه خالق گردد تا اینکه در بستر مرگ به هدر رود. در منابع اسلامی قرآن و روایات از شهادت مقام بس بلندی یاد کرده است. در قرآن کریم از شهادت به عنوان بهترین تجارت سودمند نامبرده شده است و در روایات آن بالا ترین خوبی دانسته است.

Orrori e meraviglie nel teatro tragico tra Cinque e Seicento the essay esamins some religious italian tragedies-Crisanto by Hortensio Scammacca (1632), Il Pellegrino and Il bartolomeo by tommaso Aversa (1641) (1644) and La reina di Scotia by Federico della Valle (1628)-written in the Age of Controriforma and barocco, when tragic theatre, in particolar, offers to Christian propaganda a powerful instrument of moral repentance. religious tragedies stage the war between the Good and Evil and the final triumph of Good, through rhethorical strategies and a singular connection between immagins, words, music and theatrical machines. this kind of plays expresse the authentic meaning of barocco religious tragedy. Nell'ambito delle forme teatrali che tra Controriforma e barocco proiettano sulla scena le inquietudini e le tensioni morali del tempo, la tragedia sacra italiana offre un singolare campo di sperimentazioni nel quale le sopravvivenze dell'antico, nelle forme del riuso del mito pagano, e le cogenti istanze della cultura controriformistica trovano efficace sintesi generando straordinari effetti morali di commozione e redenzione 1. Finalizzato alla propaganda religiosa, a produrre nel pubblico, soggetto attivo dello spettacolo, pietà e terrore, secondo le regole aristoteliche, il teatro sacro diventa uno spazio in cui sacro e 1 Per la storia del teatro tragico barocco si rimanda ai classici studi di F. Angelini,

Giuseppe Artale (Mazzarino 1628 - Napoli 1679) è stato un poeta e soldato vissuto tra Venezia e Napoli. Fu esponente di spicco della corrente poetica marinista e partecipò alla quinta guerra turco- veneziana o guerra di Candia. Trascurato dai critici dell'Arcadia e dell'800, viene oggi rivalutato come efficace cantore del gusto e della mentalità barocchi.

Ibidem, p. 57. ["do homem como um todo (...)se pelo menos através do drama, nós possamos saber o quão parecidos somos, pois se perdemos essa consciência, não sobra nada"] 29 Ibidem, p. 54. 30 MILLER, Arthur. The Family and Modern Drama. In: Ibidem, p. 72. ["como qualquer relacionamento humano, tem uma qualidade predominante, mas possui também elementos poderosos que, apesar de secundários, não devem ser ignorados"] 31 Ibidem, p. 82. ["em tempos de problemas, os cidadãos se retraem para uma privacidade que exclui a sociedade"]

Giuseppe Artale (Mazzarino 1628 - Napoli 1679) è stato un poeta e soldato vissuto tra Napoli e Venezia interpretando a pieno, nelle opere e nella vita, i modelli letterari e comportamentali più caratteristici del barocco. Esponente di spicco del marinismo, abilissimo schermidore, è stato recentemente rivalutato dalla critica come efficace cantore del gusto e del sentire secenteschi.

Over 75 years after their creation, the Farm Hall transcripts remain a tantalizing source from the dawn of the atomic age in 1945. Declassified in 1992, the transcripts document ten prominent German nuclear physicists, including Werner Heisenberg, Carl Friedrich von Weizsäcker, and Otto Hahn, contemplating the Nazi defeat, their complicity in the German war machine, and-after the atomic bomb was dropped on Hiroshima-whether they truly intended to build a nuclear weapon for Adolf Hitler. As a written record of conversations, one might expect the transcripts to be the proverbial smoking gun that determines, once and for all, whether German physicists intended to build a nuclear weapon for the Nazi regime. Yet the Farm Hall transcripts have been used to support starkly divergent arguments. Some have used them to assert that the Germans would have willingly provided Hitler with a bomb if only they could; others view them as evidence of scientific resistance inside the Nazi regime. This article explores why the Farm Hall transcripts are not the smoking gun they appear to be.

Ibidem, p. 57. ["do homem como um todo (...)se pelo menos através do drama, nós possamos saber o quão parecidos somos, pois se perdemos essa consciência, não sobra nada"] 29 Ibidem, p. 54. 30 MILLER, Arthur. The Family and Modern Drama. In: Ibidem, p. 72. ["como qualquer relacionamento humano, tem uma qualidade predominante, mas possui também elementos poderosos que, apesar de secundários, não devem ser ignorados"] 31 Ibidem, p. 82. ["em tempos de problemas, os cidadãos se retraem para uma privacidade que exclui a sociedade"]

The Pulitzer winner Death of a Salesman is a play written by Arthur Miller and first performed in 1949. The play portrays a period in which the negative effects of the Great Depression, which turned the 'American dream' into a struggle for survival, were felt by its great intensity. The play is about the struggle of an ordinary man, Willy Loman, and his family trying to survive in a materialistic and ruthless atmosphere. Miller's great achievement as a playwright allows us to see and understand characters or groups as possessing universal, human traits, even as we also see how their lives illuminate, by association, our own lives as individuals and as members of our larger society. In recognizing these larger concerns, we recognize as well that Miller's plays are not exclusively about individuals, but more precisely, are about humanity and human societies with all their contradictions and complications. As an audience we respond to the pointless death of one salesman; but we also respond as members of a society for whom, not the fact, but the nature of Willy Loman's life and death simultaneously diminishes and exalts us.

This thesis is a critical edition of Il Tommaso in Londra, a tragedy by Jesuit Father Ortensio Scammacca (Lentini 1562?-Palermo 1648). The play is contained within the twelfth edition of Tragedie sacre e morali (Palermo: Decio Cirillo, 1648). The purpose of the study is to expose Scammacca’s dramaturgical contribution to Jesuit and post-Tridentine theatre by thoroughly analyzing Il Tommaso in Londra. An excursus on the evolution of sacred drama from its origins to the theatre of the Jesuits elucidates the historical and poetic aspects of sacred tragedy as a theatrical genre. A historical review delves into the politico-cultural mood of sixteenth and seventeenth century Italy with regards to the Protestant Reformation. The socio-religious circumstances of Sicily, as well as the regulations imposed on the representations are also evaluated. Additionally, a lengthy discussion of the Ratio Studiorum (1599) and the Spiritual Exercises explores the declamations as a significant pedagogica...

These notes on Arthur Miller's Death of a Salesman are meant for students of graduate and postgraduate level. They shed light on the prominent characters in the play, portray Willy Loman as a modern tragic protagonist and show the use of anagnorisis and peripetia in the play.

La Collana Latinae Humanitatis Itinera Nova, col suo proposito di accogliere Studi e Testi della Latinità medievale e umanistica, aspira a promuovere fra un vasto pubblico di interessati un'opportuna conoscenza o una migliore diffusione dei più vari prodotti di quella cultura letteraria mediolatina che, pur avendo ricevuto nel corso del tempo e nell'avvicendarsi delle prospettive della critica una non sempre adeguata attenzione e considerazione, si colloca imprescindibilmente, tuttavia, con le sue molteplici e poliedriche valenze, alle fondamenta della cultura europea moderna e contemporanea e, più in generale, di tutto il pensiero occidentale.

Questo lavoro di tesi magistrale esamina, nel modo più esaustivo possibile e partendo dall’edizione originale Vallecchi 1959, l’opera di Tommaso Landolfi “Landolfo VI di Benevento”.
In particolare il lavoro riguarda gli aspetti di inquadramento storico del periodo in cui si svolge la tragedia, quelli compositivi ed editoriali, lo stato dell’arte, la ricerca e l’esposizione di commenti critici e di recensioni, l’analisi testuale e linguistica, la problematica filologica, la lettura e il commento mio personale dell’opera e il rilevamento delle tematiche presenti in essa, il confronto con gli altri due lavori drammaturgici di Landolfi (Il Faust 67 e il Cagliostro), la questione relativa alla non avvenuta rappresentazione pubblica.

This master's thesis examines, as exhaustively as possible and starting from the original Vallecchi 1959 edition, the work of Tommaso Landolfi "Landolfo VI di Benevento".
In particular, the work concerns the aspects of historical framework of the period in which the tragedy takes place, the compositional and editorial ones, the state of the art, the research and display of critical comments and reviews, the textual and linguistic analysis, the philological problem, my personal reading and commentary on the work and the survey of the themes present in it, the comparison with the other two dramaturgical works by Landolfi (Faust 67 and Cagliostro), the question relating to the theatrical performance, that it’s never been publically represented.

This article consists of an analysis of the sources and the historical-literary location of a sonnet by Bonaventura Battaglia contained in the sacred poem "The Rosary", which Giovanni Antonio Brandi published in 1595, then re-edited in 1601.

Tragedy is the least noticed and talked about in contemporary literature. Tragedy was born as a genre when Aristotle constructed the theoretical premises upon which Tragedy is based. Perhaps, as argued by some, the rise of novel marked the death of tragedy. However, it is found that tragedy did not die rather was re-born (Steiner, 45; Brockmann, 23) to suit the modern life. The paper traces the growth of the poetics of Tragedy from Plato to the contemporary period, and postulates that from Renaissance to the present day, the literature in English has shifted piecemeal and ultimately revolted against Aristotle's definition of tragedy.

عاشورا و موقعیت تراژیک

«عاشورا» از آن دست رویدادهایی است که در هر بار خواندن می‌تواند درس‌هایی برای زندگی کنونی ما داشته باشد. چرا که ما در «دایره»ای تاریخی سرگردانیم که همه چیز در آن بارها و بارها تکرار می‌شود تا گواهی باشد بر این معنا که «کل یوم عاشورا و کل ارض کربلا». اما آیا واقعاً «عاشورا» رویدادی است که بخواهیم هربار در جامعه‌ای «تکرار» شود؟ تکرار جنایتی چنین موحش چه فایده‌ای به حال مردم و جامعه و نظام سیاسی دارد؟ آیا بهتر نیست در پی فهم چرایی چنین رویدادی و علت یا علل و دلیل یا دلایل رویداد آن باشیم، و در بی‌اثر کردن آنها باشیم، تا دیگر چنین جنایتی روی ندهد؟ بیش از بیست سال از انتشار نخستین مقاله‌ام دربارۀ «عاشورا» و «تراژدی» می‌گذرد. امیدوارم تمامی آنچه را در این سال‌ها در این باره اندیشیده‌ام به زودی در کتابی با عنوان «عاشورا بازی تاج و تخت نبود!» تقدیم کنم.
* در نسخۀ زیر تغییراتی اندک داده‌ام.

پاسدار پاسداران کیست؟


عبارتی لاتینی از شاعر رومی جوونال هست که می‌گوید .Quis custodiet ipsos custodies? :این عبارت را در انگلیسی به صورت‌های مختلف ترجمه کرده‌اند، اما معنایش تقریباً یکسان است: «چه کسی از پاسداران پاسداری می‌کند؟»  جوونال، طنزپرداز رومی قرن‌های اول و دوم میلادی، این جمله را در نصیحت به دوستانی به کار برد که زنان‌شان را در خانه محبوس می‌کردند تا از وفاداری آنان مطمئن باشند، غافل از آنکه مراقبان آنان نیز خود به مراقبت نیاز دارند؟ — چه در قصه‌های «هزار و یک شب» خودمان، چه در «دکامرون» بوکاتچو و چه در تاریخ مکتوب حرمسراهای کشورمان، داستان‌هایی دربارۀ کامرانی‌های زنان محبوس در خانه و حرم با غلامان و دیگر نگهبانان به چشم می‌خورد و البته چه انتقام‌های وحشیانه‌ای که مردان، به‌ويژه قدرتمندان، از زنان نمی‌گرفتند! این همه، آزمونی هزارباره بر این نکته است که «غُل» و «زنجیر» و «قفل» و «نگهبان» وفاداری و اطمینان خاطر نمی‌آورد! نیچه نیز، با سخنی که بی‌شک بصیرتی تاریخی در پشتش نهفته است، از این تمایل و رفتار به خوبی سخن گفته است: «مردان همواره با زنان همچون پرندگانی کوچک رفتار کرده‌اند که می‌باید در قفس‌شان کرد مبادا بگریزند!» اما فیلسوفان و نظریه‌پردازان دوره‌های بعدی در این جمله اشارۀ خوبی دیدند به این نکته که بالاترین مرجعی که در یک جامعه می‌تواند از فساد مصون باشد و مراقب انجام وظیفۀ درست نهادهای دیگر باشد کجاست؟ به عبارت دیگر، اگر برای بازداشتن تبهکاران از تبهکاری به پلیس نیاز است، برای بازداشتن پلیس از تبهکاری به چه نهاد یا چه کسی نیاز است؟ بدین طریق، این جمله به‌وضوح به یک «ناسازه» («پارادوکس» یا «متناقض‌نما») نیز اشاره می‌کند، ناسازه‌ای که به «تسلسل» می‌انجامد: اگر برای پیشگیری از جرم هر فرد یا مقامی یا مکافات آن به یک مراقب نیاز است، چه کسی می‌باید مراقب جرم‌های مراقبان باشد؟ اگر بخواهیم برای هر مراقبی مراقب بگذاریم، این کار به تسلسل می‌کشد و پایانی برای آن تصور پذیر نیست. پس چاره چیست؟

Even though tragedy is perceived as it belongs to ancient times, modern tragedy is an important issue, which is discussed. Especially for novels, tragedy can be used for defining their contents. In a classic tragedy, basically, characters' will is questionable. They live what is written on their destiny, then after a sin, they experience regret and act for the sake of exculpation. The role of Gods is so dominant during entire story which can be visible or under handed. However, with the modernity in literature, this role became faded and so it brings a bigger question for the main functional characteristic of the tragedy. When character begin to questioned his destiny, the role of gods and other parameters which are affective on the life of them, then adjudicating authority becomes invisible. This is why tragedy is not simply a case of suffering. Addition to these basic differences, even the structure is also questioned. While all fundamental tragedies are written in the form of poem, novels become a problem because it can be found as less impressive. So as it seems modern tragedy has some points to be discussed.

Intervención ampliada y corregida en el simposio "Estéticas del siglo XVIII"
(Buenos Aires, 11 y 12 de agosto de 2016), organizado por el Centro de Investigaciones Filosófica, la Asociación Argentina de Estudios sobre el Siglo XVIII y la Escuela de Humanidades de la UNSAM (Doctorado en Filosofía). La exposición  gira en torno al "Shakespeare" (1773) de Johann G. Herder, uno de los ensayos liminares del Sturm und Drang,  que propone reexaminar desde la doble perspectiva de una reinterpretación de la tragedia antigua y una crítica de la tragedia francesa, señalando las divergencias del filósofo alemán con Lessing y Voltaire.  El texto de persenta acompañado de debate entre los asistentes: Nicolás Kwiatkowski, OScar Esquisabel, Ricardo Ibarlucía, Adrián Ratto, Silvia Manzo y Esteban Ponce.

¿Qué movidas se juegan al traducir un ensayo político que va del manifiesto al intimismo? ¿Cómo puede una traducción volver a darle vida a un texto escrito en otro tiempo, otra lengua y para otro público? ¿En qué consisten la fidelidad y la lealtad del traductor? ¿Cuáles son los vínculos entre la traducción y la ansiedad de la escritura política? El presente artículo vuelve sobre estas preguntas y algunas más, utilizan-do la traducción de Tragedia Moderna de Raymond Williams como disparador para pensarlas. Finalmente, el artículo pre-senta algunos indicios para la actualización de las tesis centrales de Tragedia Moderna, continuando —con otros recursos— la tarea interpretativa abierta en la traducción.
Palabras clave: · traducción · ensayo político · ansiedad · Tragedia Moderna

What moves are played by translating a political essay that is between manifest and intimacy? How can a translation give back life to a text written in another time, another language and for another public? What are loyalty and fidelity in the translator? Which are the links between translation and the anxiety of political writing? This article retraces these questions and some more, using the translation of Raymond Williams's Modern Tragedy, as a trigger for thinking them. Finally, the article presents some evidence for updating the central thesis of Modern Tragedy, continuing —with other resources— the interpretative task open in translation.

Dans la littérature européenne, il y a toute une lignée de la «folie» ambigüe, parfois lucide, censée de révéler la vérité, de faire justice, de corriger le réel. C'est la «folie» de Hamlet, du pirandellien Enrico IV, d'Alonso Quijano auto-proclamé Don Quichotte. Sous le masque, de tels héros agissent afin d'améliorer l'ordre moral du monde, et d'en tirer au jour une vérité essentielle, jalousement cachée ou malheureusement oubliée. Motif littéraire aux origines beaucoup plus anciennes que le Baroque qui l'a consacré, el gran teatro del mundo croise ainsi l'auto-fiction du fou, le plus lucide y compris, tel qu'en témoignent l'oeuvre de Shakespeare, de Cervantes, de Pirandello, et jusqu'à un certain point, de I.L. Caragiale. Chez ce dernier, il y a  tout un monde à l’envers, qui, à quelques exceptions près, reste comme tel après la fin du texte; l'anarchie d'une fête des fous s'y installe à la longue. Les personnages de I.L. Caragiale défient, presque tous, soit moralement «le raisonnable», soit pathologiquement «la rationalité». Le comique y découle non seulement «du mécanique plaqué sur le vivant», mais aussi d'un soupçon de folie «plaquée» sur la raison. Notre approche est donc une relecture de la dramaturgie de I.L. Caragiale, dans la perspective d'une archéologie de l'imaginaire, plus précisément d'une (arché)typologie de la folie comme dérapage ou (prémisse de) réparation, telle que l'a déjà consacrée une longue histoire des mentalités européennes.
Mots-clés: «monde à l’envers», «nef des fous» (stultifera navis), (dé)raisonnable, el gran teatro del mundo, I.L. Caragiale, Michel Foucault, Năpasta [Le Malheur], D'ale carnavalului [Du carnaval], O scrisoare pierdută [Une lettre perdue].

Ai primordi di un Settecento siciliano ancora vibrante di note barocche, Il Disinganno dei Principi di Pietro Mancuso (1703) riprende la storia moscovita del falso Demetrio – che già aveva ispirato Lope de Vega – per presentare la «volubile scena» delle ambizioni umane, brulicante di maschere ingannevoli e segnata da inattesi capovolgimenti di fortuna. Seguendo l’esempio del melodramma e del teatro spagnolo, anche in Sicilia la tragedia si apre così alle ragioni dello spettacolo e a una pirotecnica mescolanza di codici. Dal patetismo funebre alle tenerezze pastorali, dal graffio della satira agli eccessi del dialetto: tutti gli strumenti scenici e verbali vengono profusi in un estremo, sgargiante resoconto della teatralità barocca, prima che il Settecento regolatore riporti il «genere perfettissimo» all’austera purezza del decoro classico.

L’intervento intende approfondire un momento dell’evoluzione del teatro tragico in Sicilia, quando, nel primo decennio del Settecento, il retaggio del dramma sacro appare contaminarsi con le forme di generi meno codificati come il melodramma e la tragicommedia. L’opera di Pietro Mancuso (1636-1713) si rivela significativa di questo passaggio: benché l’esito luttuoso venga mantenuto, i temi politici sono assunti da un punto di vista sempre più laico, smussando le dicotomie di tipo morale; metrica e lingua tendono verso forme brachilogiche e cantabili; si fanno sempre più evidenti le infrazioni al principio del decoro del personaggio e dell’unità d’azione, con trame policentriche e personaggi plebei che parlano in dialetto (napoletano). Particolare attenzione viene dedicata alle due tragedie Il mondo in scena e Il disinganno dei principi: una ambientata nella corte di Nerone, l’altra dedicata alla vicenda storica del Duca di Moscovia già messa in scena da Lope de Vega, mettono entrambe in rilievo la categoria centrale di finzione mondana, nella totale assenza di eroi positivi.

L’articolo è costituito da un’introduzione e da un catalogo. Nel catalogo vengono censite 33 opere tragiche pubblicate in Sicilia fra il 1650 e il 1850; 21 con citazioni integrali dal paratesto e dati sul formato editoriale, 12 con le sole indicazioni bibliografiche essenziali. Nell’introduzione sono discussi i motivi di interesse di tale produzione, per la quasi totalità ignorata dagli studiosi, eppure assai varia sotto il profilo retorico e ideologico: si va dalla «tragedia sacra» del pieno Seicento alle contaminazioni con il melodramma nel primo Settecento, passando per le tragedie a tema politico o allegorico-erudito; durante la fase illuministica si profila l’influenza della cultura francese e tedesca, mentre in età pre-risorgimentale dominano il modello di Alfieri e i riferimenti alla storia locale.

The paper consists of an introduction and a catalogue. The catalogue records 33 tragic works edited in Sicily between 1650 and 1850; 21 with analytic file and wide quotations from the paratext, 12 with basic bibliographic data only. The introduction examines the prominents aspects of this production, mainly ignored by scholars but really various in regard to ideological and rhetorical side: from «sacred tragedy» and political themes in the 17. century, to contaminations with melodrama in the early 18.; during Enlightement period an influence from French and German culture looms up; shortly before Risorgimento, Alfieri’s model and references to local history come out.

dà molta informazione, teatro per teatro, su questo tipo di statue sulla grande facciata della scaenae frons. Questa poteva essere alta anche 20 metri. Aveva tra nicchie che ospitavano tre aperture, o ualuae, delle quali quella centrale era detta regia.