Il filosofo di campagna goldoniano tradotto da Ramón de la Cruz Note di lingua e riscrittura

Il saggio analizza dal punto di vista linguistico-letterario alcuni passi della zarzuela di Ramón de la Cruz El filósofo ldeano,traduzione-adattamento di un dramma giocoso goldoniano, allo scopo di identificare le linee maestre seguite dal drammaturgo spagnolo per la sua rielaborazione drammatica. La campionatura dei testi, che tiene conto sia delle tipologie testuali che della caratterizzazione comica o seria dei personaggi, permette di enucleare la tendenza di Ramón de la Cruz ad accentuare il carattere popolare - con un abbassamento stilistico-linguistico del dettato - delle figure comiche. Se nel caso di Don Alfonso e dello scrivano, lo scopo è quello parodistico, caricaturale; nel caso del contadino-filosofo (e della servetta, qui vista di sfuggita), gli interventi vanno, invece, in direzione opposta.This essay discusses, from a linguistic-literary viewpoint, some movements of the zarzuela El Filósofo Aldeano by Ramón de la Cruz (which is a translation-adaptation of a goldonian "dramma giocoso"), with the aim of identifying the framework followed by the Spanish playwright in order to achieve his dramatic re-elaboration. Our sampling of the texts, which takes into account the textual typologies as much as the characterization (serious or comic) of the characters, allows us to elucidate de la Cruz's tendency to emphasise the popular character of the comic figures (which also involves a stylistic lowering of the dictation). If in the case of Don Alfonso and of the scrivener the purpose is parodic or caricaturesque, in the case of the peasant-philosopher (and of the servant, seen here in passing) the interventions work, on the contrary, in the opposite direction

Angiola d’Orso y la traducción de 'Con quien vengo, vengo'

El trabajo de la profesora Marcello trata sobre la traducción italiana de 'Con quien vengo, vengo', llevada a cabo por la actriz italiana Angiola d’Orso en 1666. El análisis de la traducción busca establecer las diferencias de interpretación desde la perspectiva italiana de un texto español visto como contemporáneo. Professor Marcello’s work treats the Italian translation of 'Con quien vengo, vengo', realized by the Italian actress Angiola d’Orso in 1666.The analysis of the translation seeks to establish the differences of interpretation from the Italian perspective of a Spanish text seen as contemporary

"Los propósitos" : notas de lengua y dramaturgia

El artículo aborda el estudio de la comedia anónima de la colección Gondomar Los propósitos a partir de su configuración lingüístico-versificatoria -grafías y correspondencias fonéticas, tipos y frecuencia de rimas- conectándola con ciertos aspectos dramatúrgicos definitorios del género, en los albores de la comedia nueva.The paper deals with the study of the anonymous comedy of the Gondomar collection Los propósitos through the analysis of its linguistic-versificatory configuration -spelling and phonetic correspondences, types and frequency of rhymes- connecting it with certain dramaturgical aspects defining the genre, in the beginning of the so-called comedia nueva

De la lectura al tablado : Antonio Matina, Carlo Celano y otros estimadores de Lope en la Nápoles virreinal

El artículo analiza las estimaciones sobre Lope de Vega de un lector, el canónigo Antonio Matina, activo en Nápoles en la segunda mitad del Seiscientos comparándolas también con dos lectores de la primera mitad del siglo (A.G. Brignole Sale y F. Bracciolini). Posteriormente, se establece una correspondencia entre estos comentarios estéticos y poéticos con los datos relativos a las traducciones y adaptaciones de comedias lopescas de la misma época en la ciudad partenopea. Se reseñan piezas de Carlo Celano, Raffaele Tauro, Andrea Perrucci e Ignazio Capaccio.This paper analyzes the commented readings on Lope de Vega done by Canon Antonio Matina in the Naples of the second half of the seventeenth century and compares them with the considerations by A.G. Brignole Sale and F. Bracciolini. The essay also relates these poetic and aesthetic commentaries to the translations and adaptations of Lope's plays carried out in Naples at the same time and century. It describes plays by Carlo Celano, Raffaele Tauro, Andrea Perrucci and Ignazio Capaccio

La storiografia del P. De Rogatis, cornucopia di miti ispanici e motivi teatrali nell’Italia del Seicento

Il saggio avvia una ricerca sull’opera del padre gesuita Bartolomeo De Rogatis intitolata Il regno de’ goti nella Spagna abbattuto e risorto, ovvero La perdita e racquisto della Spagna occupata da’ Mori diffusa in Italia a partire dal 1648. In essa si trasmette, partendo anche da fonti spagnole (in particolare, l’opera di Miguel De Luna), una visione di miti identitari e culturali ispanici. Il filtro di lettura di De Rogatis è successivamente rintracciabile negli argomenti dei libretti del Sei e Settecento, di cui si traccia il corpus relativo alle vicende di Rodrigo, ultimo re dei goti.L’étude se veut une recherche sur l’œuvre du père jésuite Bartolomeo De Rogatis intitulée Il regno de’ goti nella Spagna abbattuto e risorto, ovvero La perdita e racquisto della Spagna occupata da’ Mori, qui circule en Italie à partir de 1648. Par cette œuvre on transmet, même en puisant dans des sources espagnoles (en particulier l’œuvre de Miguel De Luna), une vision de l’identité et des mythes culturels hispaniques. Le philtre de lecture de De Rogatis se retrouvera ensuite dans les sujets des livrets d’opéras des xviie et xviiie siècles, où on définit le corpus relatif aux événements de Rodrigo, dernier roi des Goths.This paper begins a research on the work of the Jesuit Bartolomeo De Rogatis entitled Il regno de’ goti nella Spagna abbattuto e risorto, ovvero La perdita e racquisto della Spagna occupata da’ Mori spread in Italy since 1648. In it is conveyed, also from Spanish sources (in particular, the work of Miguel De Luna), a vision of Hispanic identity and cultural myths. The reading filter of De Rogatis can be subsequently found in the subjects of the booklets of the sixteenth and eighteenth centuries, of which we trace the corpus relative to the events of Rodrigo, the last King of the Goths

El mito histórico de Cleopatra en Calderón y sus contemporáneos

En este artículo se estudia el tratamiento del mito de Cleopatra en cinco piezas del siglo XVII, cuatro españolas y una italiana. Los elementos considerados para el análisis son la proverbial belleza de la reina egipcia, por un lado, y su suicido, por el otro. Las formas de plasmarlos proporcionan las pautas para entender el valor dado a la figura histórica y para corroborar el proceso de «redención» sobre los escenarios. De las obras, quizás sea “El mayor monstruo del mundo” de Calderón la menos relevante, porque la historia de Cleopatra no es el núcleo dramático principal. “Los áspides de Cleopatra” de Rojas Zorrilla, “Marco Antonio y Cleopatra” (obra conservada en una suelta que la atribuye a Calderón) y “Los tres señores del mundo” de Belmonte Bermúdez, en cambio, dramatizan la historia haciendo diferente hincapié en la belleza de la reina pero coincidiendo en enaltecer su sacrificio final como ejemplo extremo de amor, un triunfo en toda regla. El punto álgido del rescate teatral de la reina egipcia se realiza en “La Cleopatra” de Giovanni Delfino, cuya belleza se transforma en atributo moral y cuya nobleza se expresa plenamente en la manera de afrontar la muerte.This paper analyses the treatment of Cleopatra’s myth in five plays —four Spanish and one Italian— of the seventeenth century. The elements used for my analysis are the proverbial beauty of the Egyptian Queen and her suicide. The ways of expressing them provide guidelines to understand the significance of this historic figure and to verify her redemption, a process then in progress on the stage. They are Calderón’s “El mayor monstruo del mundo”, “Marco Antonio y Cleopatra” (a play printed in one suelta attributed to Calderón), Rojas Zorrilla’s “Los áspides de Cleopatra”, Belmonte Bermúdez’s “Los tres señores del mundo” and Giovanni Delfino’s “La Cleopatra”. Of the five, perhaps Calderón’s is the least relevant, because in it (unlike the other four) Cleopatra’s story is not the central dramatic point. All others have dramatized it with special emphasis on the beauty of the queen but also highlighting her final sacrifice as an extreme example of love —a clear triumph. The apex in this process of redemption the Egyptian queen is Delfino’s La Cleopatra, where her beauty becomes a moral attribute and her nobility becomes evident in the manner in which she faces death

Endosteal plating for the treatment of malunions and nonunions of distal femur fractures

PurposeTo describe the surgical technique and the outcome of a case series of nonunion and malunion of distal femur fractures treated with an endosteal medial plate combined with a lateral locking plate and with autogenous bone grafting. MethodsWe retrospectively analyzed a series of patients with malunion or nonunion of the distal femur treated with a medial endosteal plate in combination with a lateral locking plate, in a period between January 2011 and December 2019, Database from chart review was obtained including all the clinical relevant available baseline data (demographics, type of fracture, mechanism of injury, time from injury to surgery, number of previous surgical procedures, type of bone graft, and type of lateral plate). Time to bone healing, limb alignment at follow-up and complications were documented. ResultsTen patients were included into the study: 7 male and 3 female with mean age of 48.3 years (range 21-67). The mechanism of trauma was in 8 cases a road traffic accident and in 2 cases a fall from height. According to AO/OTA classification 5 fractures were 33 A3, 3 were 33 C1, 1 was 33 C2 and 1 was 33 C3. The average follow up was 13.5 months. In all cases but one bony union was achieved. Bone healing was observed in average 3.3 months after surgery. No intraoperative or postoperative complications were reported. ConclusionA medial endosteal plate is a useful augmentation for lateral plate fixation in nonunion or malunion following distal femur fractures, particularly in cases of medial bone loss, severe comminution, or poor bone quality