The Tyrant's Fear. Part 2.

Literary and dramatic representations of tyranny abound since antiquity alongside critical distinctions between different forms of totalitarian and oppressive regimes. Yet, book-length studies on the topic of the tyrant\u2019s fear are relatively few. The second part of this special issue (part 1: 51.4. 2017) includes seven articles which explore the tyrant\u2019s fear as dramatized in the Oresteia and Macbeth through discussions of classical and early modern psychological, cultural and performative interdictions to say and show on stage the murder of the king (1 and 2); of affect and stage/audience liminality (3 and 4); and of the tyrant\u2019s fear from the perspective of the dangers and fears of staging these two plays in contemporary tyrannical regimes, from Czechoslovakia to Francoist Spain to authoritarian Greece (5, 6, 7). How do these plays lend themselves to unflattering renderings of contemporary tyrannical regimes? Have they been \u2018unmountable\u2019 at particular moments in time or in certain cultural contexts where censorship was, and still is, strong? Along these lines, can different (possibly depoliticized) stagings communicate the themes and ideas of the plays in order not to offend the regime within which the performance is produced

La mappa e il cammino. Su "Orizzonti di gloria" (S. Kubrick, 1957)

the essay analyzes Stanley Kubrick's Path of Glory in the joint perspective of Film studies and Law & Humanities studie

Giuseppe Fraccaroli. Giuseppe Fraccaroli (1849-1918). Letteratura, filologia e scuola fra Otto e Novecento

Contributi di carattere filologico e storico culturale su una importante figura di letterato, filologo e uomo di scuola, docente di Letteratura greca nelle Universit\ue0 di Messina, Torino e Pavia tra Otto e Novecent

La Grande Guerra. Storie e parole di giustizia

Attraverso la coltre oscura, tragica e irredimibile della guerra riesce talora a filtrare qualche bagliore di verit\ue0 e dignit\ue0, di \u2018tregue pensose\u2019: atti di riconoscimento del \u2018volto dell\u2019altro\u2019, azioni giuste, oltre la semplice obbedienza all\u2019ordine ricevuto. \uc8 la narrazione letteraria che sa disvelare, nelle \u2018tempeste d\u2019acciaio\u2019 del conflitto di massa e della carneficina industrializzata, non meno che nelle vite di ogni giorno, quanto vi \ue8 di \u2018spiritualmente tipico\u2019: la \u2018dimensione spettrale\u2019, come avrebbe detto lo scrittore Robert Musil, in cui si invera l\u2019\u2018umano\u2019. Si pu\uf2 forse pensare che questa magia di disvelamento, che si rinnova ogni volta nelle grandi narrazioni, non sia destinata a illuminare \u2013 ieri, oggi e sempre \u2013 chi, per professione o per semplice appartenenza al genere umano, voglia debba confrontarsi con la \u2018domanda di giustizia\u2019? E che ad addensare ancor pi\uf9 questa domanda, guidandola verso risposte possibili, non sia proprio lo sguardo di una letteratura che abbia saputo penetrare nell\u2019estremo scempio della guerra, di una guerra che \ue8 stata detta Grande? La Grande Guerra. Storie e parole di giustizia \ue8 ricerca dolente e partecipe di \u2018parole giuste\u2019, ispirate dalle storie di chi o su chi ha attraversato gli abissi di un conflitto mai veramente finito, perch\ue9 coagulo e anticipazione di molti degli orrori dei nostri recenti passati e di un presente che ancora non riesce a liberarsi dallo spettro di Polemos. .Through the obscure, tragic and irredeemable clouds of war, sometimes filters out some gleam of truth and dignity: 'thoughtful truces', acts of recognition of the 'face of the other', right actions, beyond the simple obedience to the order received. It is the literary narrative that knows how to distinguish, in the 'steel storms' of mass conflict and industrial carnage, no less than in everyday lives, what is 'spiritually typical', the 'spectral dimension' ', as the Austrian writer Robert Musil would have said, in which the human mettle can show itself. One may perhaps think that this magic of disarmament, which is renewed every time in the great narratives, is destined to enlighten - yesterday, today and always - those who, by profession and by simple belonging to the human race, desire and must confront themselves. with the 'question of justice'. To thicken even more this great issue, guiding it to possible answers, it is really the look of literature that has been able to penetrate the extreme destruction of the war, of a war that has been called \u2018Great\u2019. The book - a collection of essays written by lawyers, historians, political scientists, literary and film critics, philosophers and writers - is a painful and participatory search for 'right words', inspired by the stories of those who have crossed the abysses of the conflict. A war that can be named Great also because it really never ended as it epitomized and anticipated many of the horrors of our recent past and of a present that still is not able to free itself from the ghost of \u201cPolemos\u201d, from the hostility towards all those who are or may be deemed as \u2018other\u2019, namely as people somewhat looked and treated as adversarie

Transitions. For Alessandro Serpieri.

The title of this Special Issue of Sken\ue8. Journal of Theatre and Drama Studies (4.1 2018), Transitions, wants to suggest ideas of movement and exploration of texts, languages, modes and genres and the investigation of their connections across time. It also wishes to keep a dialogue alive with Alessandro Serpieri on some of the main fields of his research in drama and theatre studies: transitions from sources to texts and genres, from page to stage, from one language to another, from poetry to drama, or drama in poetry, from deep to surface structures, finally, from criticism to creative writing. It is divided into into three main sections: the first one contains two articles by the co-editors of the Journal, devoted to a discussion of Euripides\u2019 Electra and Shakespeare\u2019s The Winter\u2019s Tale, respectively. The second section tackles questions of literary theory and cognitive studies through a comparative approach to transitions between Shakespeare and Philip H. Dick\u2019s posthumanity (Angela Locatelli); an uncanny construction of femininity in The Duchess of Malfi and related cultural transitions from stage to Court (Clara Mucci); the reshaping of gender subjectivities in Felicia Hemans\u2019s The Vespers of Palermo within national and transnational contexts (Lilla Maria Crisafulli); the survival of the figure of Ophelia in Italian male-chauvinist Fascist culture as a n\u201cerased or grotesque figure\u201d and Alba De Cespedes\u2019 subsequent treatment of the Ophelia-subtext (Maria Del Sapio Garbero); Carmelo Bene\u2019s rewritings and adaptations of Hamlet (Fernando Cioni); a contemporary \u2018dark\u2019 reinterpretation of The Merchant of Venice in the 2015 Globe production, with a focus on its added performative paratexts (Roberta Mullini); and, finally, Beckett\u2019s challenging revision of the idea itself of tragedy \u2013 and the tragic \u2013 in Not I, and its raising radical questions for a rethinking of the Aristotelian precepts (Carla Locatelli). The Special Section opens with three contributions devoted to various aspects of generic, textual, rhetorical and philological transitions: the first one discusses Thomas Nashe\u2019s move from drama to pamphlet writing on the occasion of the composition of Lenten Stuff (Valerio Viviani), while the following two deal with Hamlet, offering some reflections on the Prince\u2019s textual encoding of a pretence of madness (Guido Paduano) and on the category of \u2018origin\u2019 from both a philological/textual perspective and an authorial one (Rosy Colombo). The next two articles shift the attention to Alessandro Serpieri\u2019s work on Shakespeare as both editor and translator, focusing on his latest parallel edition of Re Lear (Claudia Corti) and on the performative potential of his translations of The Tempest and Richard II once brought on stage (Eric Nicholson). The final three pieces are translations of a critical chapter on Shakespeare and Eros co-authored by Alessandro Serpieri and Keir Elam, an imaginary interview with Prospero co-authored by Alessandro Serpieri and Pino Colizzi, and, to conclude, the translation of the closing page of Serpieri\u2019s Mare Scritto novel: Ouverture. A last tribute of deep friendship and gratitude is Tomaso Kemeny\u2019s final \u201cWords for Sandro\u201d