- Department of Education, Languages, Intercultures, Literatures and Psychology, University of Florence
Via Santa Reparata 93
50129 Florence
Italy
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The textual problems surrounding The Taming of the Shrew are complicated by its relationship with the anonymous 1594 quarto The Taming of a Shrew. Since Pope, who either possessed or had seen a copy of the first edition of the quarto,... more
The textual problems surrounding The Taming of the Shrew are complicated by its relationship with the anonymous 1594 quarto The Taming of a Shrew. Since Pope, who either possessed or had seen a copy of the first edition of the quarto, Shakespearean criticism has argued ...
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fetishism and religious idolatry, usury and sodomy, let alone capital and Judaism, lie beyond the scope of this book. If that is disappointing, it is only because the quality of Grav’s analyses leaves the reader wanting more. It would... more
fetishism and religious idolatry, usury and sodomy, let alone capital and Judaism, lie beyond the scope of this book. If that is disappointing, it is only because the quality of Grav’s analyses leaves the reader wanting more. It would have been especially exciting to read an extended treatment of Shakespeare’s Sonnets, where the discussion of economic ethics blends so inseparably with meditations on romance and sexuality. But Grav’s work bursts with potential, giving reason to hope that he will soon provide us with further, broader illuminations of the uneasy relations between literary and economic modes of representation, in both Shakespeare’s culture and our own.
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Research Interests: History and The Holocaust
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... Each text bears the other's trace' [1980:209]. It is, in Julia Kristeva's defini-tion of text, 'a permutation of texts, an intertextuality. In the space of a single text several Page 3. Textual... more
... Each text bears the other's trace' [1980:209]. It is, in Julia Kristeva's defini-tion of text, 'a permutation of texts, an intertextuality. In the space of a single text several Page 3. Textual Liaisons <""»J 79 énoncés from other texts cross and neutralise each other' [1970:12]. ...
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Research Interests: Humanities and Art
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Theatre, at a dialogical level, presents encounters and clashes of different perspectives, world-views, styles, languages, ideologies. In Shakespearean theatre the word, from a rhetorical point of view, becomes someone else word to be... more
Theatre, at a dialogical level, presents encounters and clashes of different perspectives, world-views, styles, languages, ideologies. In Shakespearean theatre the word, from a rhetorical point of view, becomes someone else word to be disputed. The rhetorical aim of this dispute is to attain pathos through ethos. The actor, like a skillful orator, arouses passions in the mind and in the soul of his audience. In Shakespeare's theatre, passions are a real poetic practice, in particular in the great tragedies and in the romances. The paper will investigate different, and opposite, ways of the theatricalizing passions in Antony and Cleopatra and The Winter's Tale.
I drammi di Shakespeare hanno subito trasformazioni radicali nei modi in cui sono stati messi in scena e recepiti nel corso dei secoli. Nel ventesimo e ventunesimo secolo, i drammi sono stati adattati, localizzati, appropriati attraverso... more
I drammi di Shakespeare hanno subito trasformazioni radicali nei modi in cui sono stati messi in scena e recepiti nel corso dei secoli. Nel ventesimo e ventunesimo secolo, i drammi sono stati adattati, localizzati, appropriati attraverso media diversi: teatro, cinema, musica, fumetti e cartoni animati. Questo articolo si focalizzerà sull'appropriazione di A Midsummer Night's Dream in forma di cartone animato e fumetto, mettendo a confronto versioni diverse e media diversi, dalla versione con le marionette di Jiri Trnka agli animated tales, alla versione manga adattata da Richard Appignanesi e illustrata da Kate Brown, alla graphic novel di Neil Gaiman.
The rewriting, often a contraposition (critical, ideological, and historical) to another text, is at the basis of Angela Carter’s dramatic works. For Angela Carter, dramatic rewriting is not the transposition of her short stories, it is... more
The rewriting, often a contraposition (critical, ideological, and historical) to another text, is at the basis of Angela Carter’s dramatic works. For Angela Carter, dramatic rewriting is not the transposition of her short stories, it is not a mere adaptation to the radio, to the cinema, or to television, but a proper rewriting of her narrative material. This essay focuses on Angela Carter’s works for radio, particularly those radio plays, such as The Company of Wolves, Puss in Boots and Vampirella, whose narrative version was published in The Bloody Chamber. Carter’s radio plays are built, as she wrote, “not for creating dramas on a theatrical model so much to create complex, many-layered narratives that play tricks with time”, having in mind that the radio, like narrative, does not show, but suggests. What was fascinating to Angela Carter was the third dimension of the radio, the sound, and the shift from a "point of view” to a “point of hearing”.
Carmelo Bene, one of the leading ‘alternative’ and avant-garde Italian actors and directors, produced his first Hamlet in 1962, which had a revival at Spoleto Festival two years later. In 1967 Bene produced Hamlet o le conseguenze della... more
Carmelo Bene, one of the leading ‘alternative’ and avant-garde Italian actors and directors, produced his first Hamlet in 1962, which had a revival at Spoleto Festival two years later. In 1967 Bene produced Hamlet o le conseguenze della pieta filiale ( Hamlet; or, the consequences of filial piety ) from and by William Shakespeare. In 1973 Bene produced a film from his first production ( Un Amleto di meno ). In 1975 he performed another Hamlet , a sort of conflation from Shakespeare, Laforgue and himself. The performance was adapted for television in 1975 I will analyse these two productions starting from the script and the videos. Bene, after having performed other plays ‘from’ Shakespeare, such as Romeo and Juliet and Othello, came back to Hamlet in the Eighties, producing his own Hamlet , both from Laforgue and Shakespeare. It became a film with the title of Homelette for Hamlet . In the Nineties, Bene wrote another Hamlet , whose script was published in his complete dramatic work...
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... subito come narratore e personaggio della storia, introducendo la storia e i suoi personaggi e puntualizzando che si tratta di un memory play: The play is memory [...] I am the narrator of the play, and also a character in it. The... more
... subito come narratore e personaggio della storia, introducendo la storia e i suoi personaggi e puntualizzando che si tratta di un memory play: The play is memory [...] I am the narrator of the play, and also a character in it. The other characters are my mother, Amanda, my sister ...
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Elizabethan drama used a variety of introductory scenes which can be defined as inductions, provided that we distinguish their dramatic and theatrical functions. In the theatre, the induction is a dramatic device, metatheatrical and... more
Elizabethan drama used a variety of introductory scenes which can be defined as inductions, provided that we distinguish their dramatic and theatrical functions. In the theatre, the induction is a dramatic device, metatheatrical and metadramatic, which emphasizes the nature of the play. Richard Hosley argues that it is “a short dramatic action introducing a full-length play, normally performed by two or more actors and creating a fictional situation different from that of the play itself.” This article contains a survey of such inductions in the English theatre with parallels in the Italian tradition. The article also contains as an appendix a detailed overview of inductions and dumbshows in English plays.
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full annotated critical edition of the play edited by Fernando Cioni
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... Each text bears the other's trace' [1980:209]. It is, in Julia Kristeva's defini-tion of text, 'a permutation of texts, an intertextuality. In the space of a single text several Page 3. Textual... more
... Each text bears the other's trace' [1980:209]. It is, in Julia Kristeva's defini-tion of text, 'a permutation of texts, an intertextuality. In the space of a single text several Page 3. Textual Liaisons <""»J 79 énoncés from other texts cross and neutralise each other' [1970:12]. ...