« Quasi una tragedia delle attioni humane » : le tragique entre allégorie et édification morale dans l’œuvre de Fabio Glissenti (1542-1615)

Fabio Glissenti (1542-1615) est l’auteur d’un corpus de textes qui élaborent le topos du theatrum mundi dans le cadre d’un projet cohérent d’édification morale et chrétienne. L’étude des Discorsi morali (1596) et des pièces dramatiques de l’auteur permet de comprendre le lien entre l’usage métaphorique du théâtre, la dramaturgie spirituelle et la mise en scène intérieure comme exercice de méditation chrétienne.Fabio Glissenti (1542-1615) è autore di un corpus di testi letterari che sviluppano il topos del theatrum mundi nell’ambito di un progetto coerente di edificazione morale cristiana. Lo studio dei Discorsi morali (1596) e dei drammi di Glissenti permette di comprendere il legame tra uso metaforico del teatro, drammaturgia spirituale e messa in scena interiore come esercizio di meditazione cristiana.Fabio Glissenti (1542–1615) is the author of a corpus of texts built on the topos of the theatrum mundi within a consistent project of moral and Christian education. Thanks to the analysis of Glissenti’s Discorsi morali (1596) and morality plays, this paper enlightens the intersections of theatrical metaphors, the practice of spiritual drama and the inner staging of dramatic texts as an exercise of Christian meditation

Armida disvelata. L’immagine del velo nella "Gerusalemme liberata"

The essay takes into account the different occurrences of the term ‘veil’ in the Gerusalemme liberata. After an analysis of the metaphorical meanings of the term, the focus moves towards the veils that hide or embellish some of the female characters, in particular Sofronia, Erminia and Armida, bringing to light the different functions – even symbolic – that appear to be connected to this garment.The essay takes into account the different occurrences of the term ‘veil’ in the Gerusalemme liberata. After an analysis of the metaphorical meanings of the term, the focus moves towards the veils that hide or embellish some of the female characters, in particular Sofronia, Erminia and Armida, bringing to light the different functions – even symbolic – that appear to be connected to this garment