Roberto Mario Danese currently works at the Dipartimento di Scienze della Comunicazione e Discipline Umanistiche, Università degli Studi di Urbino "Carlo Bo". Roberto does research in Philology, Entertainment and Arts and Literature. Their current project is 'Intersemiotic Transaltion between Literatura and Cinema (Myth in Cinema).'
ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Stud... more ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Studi di Urbino 'Carlo Bo'; si occupa soprattutto di teatro latino arcaico e, in special modo, di Plauto, prendendo parte tra l'altro, al progetto di una nuova edizione critica della ...
Ii LIBANVS Sicut tuom vis unicum gnatum tuae superesse vitae sospitem et superstitem, ita ted obt... more Ii LIBANVS Sicut tuom vis unicum gnatum tuae superesse vitae sospitem et superstitem, ita ted obtestor per senectutem tuam perque illam, quam tu metuis, uxorem tuam, si quid med erga hodie falsum dixeris, 20 ut tibi superstes uxor aetatem siet atque illa viva vivos ut pestem ...
ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Stud... more ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Studi di Urbino 'Carlo Bo'; si occupa soprattutto di teatro latino arcaico e, in special modo, di Plauto, prendendo parte, tra l'altro, al progetto di una nuova edi-zione critica delle ...
The explicit sexual jokes, which appear in the fragments of literary Atellana, are usually marked... more The explicit sexual jokes, which appear in the fragments of literary Atellana, are usually marked with important stylistic tools, borrowed from the 'fabula palliata'
" The cinematic reception of the myth of Medea has usually followed the text of ... more " The cinematic reception of the myth of Medea has usually followed the text of Euripides’ Medea (see for instance the Medeas of Pasolini and of von Trier, or the recent French movie Médée miracle shot by the Italian director Tonino De Bernardi). The Mexican director Arturo Ripstein, trained at Luis Buñuel’s school, released in 2000 Así es la vida, a movie based upon Seneca’s Medea, but set in contemporary Mexico City. In keeping with Ripstein’s poetic vision of the ‘tragic’ (seen also in his earlier Profundo Carmesì), the characters are not heroes, but losers of low social status, and the set is a squalid and degraded suburban block of flats. Ripstein keeps the dramatic structure of the Senecan pièce as well as its artificiality: the film includes a surreal tragic chorus (neither Pasolini nor von Trier nor De Bernardi used the chorus), and a continuous flaunting of the camera (some characters speak directly to the ‘invasive’ and personified eye of the camera itself) and of the reproduced image (almost every room presents a television turned on). Altogether Así es la vida is astonishingly close to the Senecan text, as is evident, for example, in the spatial structure of the set during the last terrible murder committed by Julia/Medea. "
Toshio Matsumoto retells the sophoclean tragedy Oedipus Rex through a movie about post-bellic Jap... more Toshio Matsumoto retells the sophoclean tragedy Oedipus Rex through a movie about post-bellic Japan and the omosexuality. This film is a complex and experimental cinematic experience with high degree of intersemiotic translation and cultural intermediation among greek tragedy, french cinema and contemporary japanese culture
We know very little about Greek models that have inspired Plautus, Terentius and other poets of t... more We know very little about Greek models that have inspired Plautus, Terentius and other poets of the palliata. This is why the attempt of reconstruction of their original shapes and even of their details, on the basis of an analytical approach on Latin ‘texts of arrival’, is an useless exercise and a merely hypothetical proceeding. Instead the utilization of reliable data preserved by the tradition is helpful to understand how Plautus especially has built his comic dramas by using the Greek theater. We will see therefore that he makes use of general and recurrent ‘dramaturgical motifs’ that can be traced back to the New Comedy. By the combination and the creative variation of these ‘motifs’ Plautus composes original comedies in total keeping with his inimitable idea of comic theater.
1 Cfr. R. Raffaelli, 'Il naufragio felice', in C. Questa - R. Raffae?i, Mascher... more 1 Cfr. R. Raffaelli, 'Il naufragio felice', in C. Questa - R. Raffae?i, Maschere Pro loghi Naufragi nella commedia plautina, Bari 1984, pp. 121-144 (in questo caso so prattutto pp. 122-129). 2 Cfr. Raffaelli, cIl naufragio', cit. pp. 121-144. 3 Der gl?ckliche Schiffbruch ? l'espressione ...
The sixth book of Lucan's Bellum civile contains, as th sixth one of Virgil&#... more The sixth book of Lucan's Bellum civile contains, as th sixth one of Virgil's Aeneid, a tale about a prediction, from the underworld, of the future: Lucan however turns Aeneas' catabasis into a impious necromancy. The constant twisting, into the whole episode, of forms and contents is noticed from the choice of the characters outwards: instead of pious Aeneas we find the impious and lazy Sextus Pompeus; instead of Sibyl, Apollo's priestess, the cruel Erichto appears, a subverter of cultural and religious values and profaner of the world of the dead and of the legitimate divine cult. The horrifying details and the continuous sense of horror and profanation spreading through the tale did not aid revivals and imitations in subsequent epics. The tale of Erichto's necromancy, surprisingly similar to the biblical one of Saul and the witch of Endor, will be dealt with again in the particular neoclassical painting of the 1700s in England.
ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Stud... more ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Studi di Urbino 'Carlo Bo'; si occupa soprattutto di teatro latino arcaico e, in special modo, di Plauto, prendendo parte tra l'altro, al progetto di una nuova edizione critica della ...
Ii LIBANVS Sicut tuom vis unicum gnatum tuae superesse vitae sospitem et superstitem, ita ted obt... more Ii LIBANVS Sicut tuom vis unicum gnatum tuae superesse vitae sospitem et superstitem, ita ted obtestor per senectutem tuam perque illam, quam tu metuis, uxorem tuam, si quid med erga hodie falsum dixeris, 20 ut tibi superstes uxor aetatem siet atque illa viva vivos ut pestem ...
ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Stud... more ROBERTO M. DANESE è professore di Lingua e Letteratura Latina presso l'Università degli Studi di Urbino 'Carlo Bo'; si occupa soprattutto di teatro latino arcaico e, in special modo, di Plauto, prendendo parte, tra l'altro, al progetto di una nuova edi-zione critica delle ...
The explicit sexual jokes, which appear in the fragments of literary Atellana, are usually marked... more The explicit sexual jokes, which appear in the fragments of literary Atellana, are usually marked with important stylistic tools, borrowed from the 'fabula palliata'
" The cinematic reception of the myth of Medea has usually followed the text of ... more " The cinematic reception of the myth of Medea has usually followed the text of Euripides’ Medea (see for instance the Medeas of Pasolini and of von Trier, or the recent French movie Médée miracle shot by the Italian director Tonino De Bernardi). The Mexican director Arturo Ripstein, trained at Luis Buñuel’s school, released in 2000 Así es la vida, a movie based upon Seneca’s Medea, but set in contemporary Mexico City. In keeping with Ripstein’s poetic vision of the ‘tragic’ (seen also in his earlier Profundo Carmesì), the characters are not heroes, but losers of low social status, and the set is a squalid and degraded suburban block of flats. Ripstein keeps the dramatic structure of the Senecan pièce as well as its artificiality: the film includes a surreal tragic chorus (neither Pasolini nor von Trier nor De Bernardi used the chorus), and a continuous flaunting of the camera (some characters speak directly to the ‘invasive’ and personified eye of the camera itself) and of the reproduced image (almost every room presents a television turned on). Altogether Así es la vida is astonishingly close to the Senecan text, as is evident, for example, in the spatial structure of the set during the last terrible murder committed by Julia/Medea. "
Toshio Matsumoto retells the sophoclean tragedy Oedipus Rex through a movie about post-bellic Jap... more Toshio Matsumoto retells the sophoclean tragedy Oedipus Rex through a movie about post-bellic Japan and the omosexuality. This film is a complex and experimental cinematic experience with high degree of intersemiotic translation and cultural intermediation among greek tragedy, french cinema and contemporary japanese culture
We know very little about Greek models that have inspired Plautus, Terentius and other poets of t... more We know very little about Greek models that have inspired Plautus, Terentius and other poets of the palliata. This is why the attempt of reconstruction of their original shapes and even of their details, on the basis of an analytical approach on Latin ‘texts of arrival’, is an useless exercise and a merely hypothetical proceeding. Instead the utilization of reliable data preserved by the tradition is helpful to understand how Plautus especially has built his comic dramas by using the Greek theater. We will see therefore that he makes use of general and recurrent ‘dramaturgical motifs’ that can be traced back to the New Comedy. By the combination and the creative variation of these ‘motifs’ Plautus composes original comedies in total keeping with his inimitable idea of comic theater.
1 Cfr. R. Raffaelli, 'Il naufragio felice', in C. Questa - R. Raffae?i, Mascher... more 1 Cfr. R. Raffaelli, 'Il naufragio felice', in C. Questa - R. Raffae?i, Maschere Pro loghi Naufragi nella commedia plautina, Bari 1984, pp. 121-144 (in questo caso so prattutto pp. 122-129). 2 Cfr. Raffaelli, cIl naufragio', cit. pp. 121-144. 3 Der gl?ckliche Schiffbruch ? l'espressione ...
The sixth book of Lucan's Bellum civile contains, as th sixth one of Virgil&#... more The sixth book of Lucan's Bellum civile contains, as th sixth one of Virgil's Aeneid, a tale about a prediction, from the underworld, of the future: Lucan however turns Aeneas' catabasis into a impious necromancy. The constant twisting, into the whole episode, of forms and contents is noticed from the choice of the characters outwards: instead of pious Aeneas we find the impious and lazy Sextus Pompeus; instead of Sibyl, Apollo's priestess, the cruel Erichto appears, a subverter of cultural and religious values and profaner of the world of the dead and of the legitimate divine cult. The horrifying details and the continuous sense of horror and profanation spreading through the tale did not aid revivals and imitations in subsequent epics. The tale of Erichto's necromancy, surprisingly similar to the biblical one of Saul and the witch of Endor, will be dealt with again in the particular neoclassical painting of the 1700s in England.
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