Results 41 to 50 of about 837 (182)
Perspectives Médiévales, 2023 Within the rewritings of Dante’s Commedia published in 2021 three different trends can be highlighted : the aim (using modern tools to re-tell Dante’s poem), the audience of recipients (students of all ages), the remediation of all the three canticles ...
Valentina Rovere
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Cognitive Theories of Galant Music at the Margins of Experience
Music Analysis, Volume 44, Issue 3, Page 293-339, October 2025.ABSTRACT Leading cognitive studies of galant music treat schematism as both a device and an ethos. The devices – whether called pre‐fabs, tiles or schemata – undergird a mechanistic and passive ethos of inventiveness. In vision and practice, this constellation of approaches directs inquiry away from a musical depth that one contemplates and towards a ...
Edmund J. Goehring
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The Influence of Commedia Dell’arte is Evident in the Opera: Don Giovanni
KonservatoryumThe study looks at the opera Don Giovanni, written by Lorenzo da Ponte and composed by W.A. Mozart, and how it was influenced by commedia dell’arte. The study looks at the historical process of the figure of Don Juan, which emerged in the Spanish Golden ...
Furkan Aktakka
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Apuleio, l’adulterio e la "Milesia" di Donato Giannotti
Versants, 2022 Partendo dalla commedia fiorentina di inizio Cinquecento, il saggio prende in esame la Milesia di Giannotti collocandola a fianco degli analoghi esperimenti teatrali in versi realizzati da Jacopo Nardi e da Lorenzo Strozzi.
Paola Cosentino
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MIGRATION, MOBILITY, AND BEING IN TRANSLATION
History and Theory, Volume 64, Issue 3, Page 396-404, September 2025.ABSTRACT Drawing on an expanded concept of translation as process and practice, this contribution to the “Translation, Migration, Narrative” forum explores how migrants, as described by scholars such as Paul F. Bandia, embody “translated beings” who are marked both by agency and by constraint.
Peter Schneck, Julie M. Weise
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Studi Slavistici, 2021 During the late nineteenth and early twentieth centuries, in the academic and literary circles of tsarist Russia Dante’s Divina Commedia was considered as a religious poem. The theological background underlying the work incurred ecclesiastical censorship,
Kristina Landa
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Prayer, Participation, and Perfection in Dante's Commedia
Modern Theology, Volume 41, Issue 3, Page 515-538, July 2025.Abstract This article stands at the intersection of two theological moments: one recognizing the theological authority of Dante Alighieri, especially in his Commedia, the other examining the relation of the doctrine of prayer to the doctrine of God. It argues that Dante can inform modern theological reflection on this relation in a profound way.
Stephen C. Pepper
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Trans/Form/Ação, 2001 Il segreto della commedia dell'arte è stato nel paradosso di Maschera e Improvvisazione, Tipo Fisso e Testo Variabile, Conservazione e Innovazione. Per questo è stato nei secoli esaltata o denigrata: considerata reazionaria dalla Rivoluzione francese e ...
Roberto Cuppone
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Sofocle senza χλανίς: nota a un aneddoto comico-erudito
Erga-LogoiSophocles without his χλανίς: a note to a comic and scholarly anecdote This note examines the anecdote concerning Sophocles and the stealing of his cloak, which was told by the peripatetic Hieronymos of Rhodes.
Antonio Mura
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Singing Community in Martin Luther's Kirchenlieder
The German Quarterly, Volume 98, Issue 1, Page 54-70, Winter 2025.Abstract In this essay, I claim that Martin Luther's Kirchenlieder can be read as Volkslieder, a reading which allows us to account for their function of consolidating identity through communal singing. Luther's songs, I argue, are activated in their being voiced—voice, here, understood in a non‐metaphorical mode, as the material utterance of a singing
Evan Strouss
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