‘Perché mi vinse il lume d’esta stella’:Giovanni Giudici’s Rewriting of Dante’s Paradiso for the Theatre

Transforming a text — narrative or poetic — into a play, made of dialogues and organized into scenes, has been one of the most frequent forms of literary transcodification both in the past and in the present. We can find examples of this procedure at the very origins of Italian theatre, which indeed began as the rewriting of earlier texts, both in the sacre rappresentazioni and in the profane field: the Bible in the first case and the Ovidian mythologies in the second. Poliziano’s Fabula d’Orfeo and Cefalo e Procri by Niccolò da Correggio are the first well-known examples of this process. Thus, the metamorphosis of a text into a dramatization has many models in the history of theatre and literature. It would be of great interest to start with an overview of the different types, aims, and forms of transcodification of texts that are enacted in order to create dramatizations capable of being performed on stage. It is impossible to do this here, but I will nonetheless attempt to offer an introduction to my study of Giovanni Giudici’s play about Dante’s Paradiso with a brief discussion of three different practices of theatrical transcodification. I will look at three pièces written at the request of the Italian scenographer Federico Tiezzi between 1989 and 1990 as stage productions of the three cantiche of the Divine Comedy. Although they belong to the same project, are inspired by the same person, and share a unified aim, the three pièces created by Edoardo Sanguineti, Mario Luzi, and Giovanni Giudici show three different approaches to the task of transcodifying a text in order to produce a drama — the task, in Genette’s words, of creating a theatrical palimpsest

IMPARARE L’ITALIANO L2/LS CON TESTI TEATRALI

Il saggio tratta dell'impiego di testi teatrali come fonti di esercizi per l'apprendimento dell'italiano L2/LS. Dopo alcune riflessioni teoriche, si presentano sei proposte di lavoro, con relative soluzioni, adatte a studenti del livello B2-C2 del quadro di riferimento. Si tratta di esercizi ricavati da drammi in un unico atto di Pirandello (La morsa e Lumìe di Sicilia), da Verga (un confronto fra Cavalleria rusticana nella forma drammatica e novellistica), e da Tommaso Landolfi (Ombre). Ogni proposta sfrutta una peculiarità del testo teatrale che si costituisce nell'incontro di dialoghi con didascalie. Anzitutto si tratta di comprendere come si costruiscono i personaggi, quindi di vedere la funzione delle didascalie in relazione al testo, infine di riflettere sulle diverse modalità in cui avvengono i dialoghi, includendo le forme di silenzio. Il testo teatrale appare così molto adatto ad esercizi di lingua, perché mette in gioco le capacità interpretative e immaginative degli studenti, li fa discutere e parlare sulla base delle loro intuizioni.   This paper investigates the use of play scripts as inspiration for Italian L2/FL exercises. After a brief discussion on theory, six project proposals and their solutions, suitable for B2-C2 level students, are presented.  These exercises are based on one-act plays by Pirandello (La Morsa and Lumìe di Sicilia), Verga (a comparison between Cavalleria Rusticana in drama and narrative forms) and Tommaso Landolfi (Ombre).  Each project focuses on a specific aspect of the script  and is made up of dialogues with captions. After the way the characters are constructed is investigated, then the function of the captions in relation to the texts is considered, and finally students reflect on the different ways the dialogues are presented, including the pauses. Play scripts lend themselves to language exercises, because they encourage students to use their interpretation skills and imaginations to talk about their intuitions and ideas

Cutaneous and renal glomerular vasculopathy as a cause of acute kidney injury in dogs in the UK

To describe the signalment, clinicopathological findings and outcome in dogs presenting with acute kidney injury (AKI) and skin lesions between November 2012 and March 2014, in whom cutaneous and renal glomerular vasculopathy (CRGV) was suspected and renal thrombotic microangiopathy (TMA) was histopathologically confirmed. The medical records of dogs with skin lesions and AKI, with histopathologically confirmed renal TMA, were retrospectively reviewed. Thirty dogs from across the UK were identified with clinicopathological findings compatible with CRGV. These findings included the following: skin lesions, predominantly affecting the distal extremities; AKI; and variably, anaemia, thrombocytopaenia and hyperbilirubinaemia. Known causes of AKI were excluded. The major renal histopathogical finding was TMA. All thirty dogs died or were euthanised. Shiga toxin was not identified in the kidneys of affected dogs. Escherichia coli genes encoding shiga toxin were not identified in faeces from affected dogs. CRGV has previously been reported in greyhounds in the USA, a greyhound in the UK, without renal involvement, and a Great Dane in Germany. This is the first report of a series of non-greyhound dogs with CRGV and AKI in the UK. CRGV is a disease of unknown aetiology carrying a poor prognosis when azotaemia develops