Vittoria Colonna

This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna's influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women's place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right.

‘She Showed the World a Beacon of Female Worth’ : Vittoria Colonna in Arcadia

The Accademia dell’Arcadia (founded 1690) deserves to play a leading role in any account of Vittoria Colonna’s posthumous influence. The author of the first ‘critical’ edition of Colonna’s verse, Ercole Visconti, was an Arcadian, as was Giovan Maria Crescimbeni, who presented Colonna’s work in his Istoria della volgar poesia as an ‘inexhaustible mine of the finest gold’. The many female poets of the Academy also recognised and paid tribute to Colonna’s inspiration. This chapter investigates Colonna’s role as literary model within the Academy, covering all the key phases, from the early eighteenth to the nineteenth century, and examining the ways in which gender inflected the practices and stylistic ideals of this powerful cultural institution.

Vittoria Colonna

This edited collection presents fresh and original work on Vittoria Colonna, perhaps the outstanding female figure of the Italian Renaissance, a leading Petrarchist poet, and an important figure in the Italian Reform movement. Until recently best known for her close spiritual friendship with Michelangelo, she is increasingly recognized as a powerful and distinctive poetic voice, a cultural and religious icon, and an important literary model for both men and women. This volume comprises compelling new research by established and emerging scholars in the fields of literature, book history, religious history, and art history, including several studies of Colonna’s influence during the Counter-Reformation, a period long neglected by Italian cultural historiography. The Colonna who emerges from this new reading is one who challenges traditional constructions of women’s place in Italian literature; no mere imitator or follower, but an innovator and founder of schools in her own right.

Wpływy chrześcijaństwa w kontekście Zagłady w rozważaniach Henryka Grynberga

The aim of this paper is to study Grynberg’s attempt to understand the attitude of Christians towards the Shoah catastrophe. It is a reflection on theodicy, on the Jew as the one who “killed Christ” and, at the same time, on the entire Jewish nation and its sacrifice comparable to Christ’s sacrifice. This essay discusses Henryk Grynberg’s view on the matter of divine intervention and, in conclusion, his career path of a writer is summarized. It also refers to other texts in an attempt to compare the approaches to this topic adopted in essays, poetry and novels. Grynberg’s works do not constitute a closed chapter; they provide ground for further discussions and commentaries. He writes and simultaneously explains his actions. His poetry complements his prose, and his essays present a theoretical approach to the main theme. He gives a specific literary model of the survivor.

ARCHETYPICAL CONSTANTS AND TRANSFORMATIONS OF THE RUSSIAN NOVEL

The article examines the correlation of the Russian classic novel with the Easter archetype dominant in Russian culture. The authors believe that the novel assumed a central position in the genre system of 19th century Russian literature, not only because of its natural openness, which allowed it to recreate life and man both in the general dimension and in private manifestations, but also because of the greatest responsiveness of this genre to the spiritual needs of Russian culture. The article examines the “plot space” of the Russian novel, which gravitates towards the archetypal model, actualizing the scenario of rehabilitation (Dostoevsky) / awakening (Goncharov), or salvation. Not only doesn’t the hero’s line in the Russian novel imply an end; moreover, as it lines up vertically, it suggests his rebirth to a “new life,” sometimes even posthumous, as was the case with Turgenev’s Bazarov, or through the fear of falling into the hellish abyss of modern life, as is it was with Oblomov. Using the example of novels by F. Dostoevsky, I. Turgenev, I. Goncharov and L. Tolstoy, the article demonstrates that the main mission of the hero of the Russian novel was that of personal salvation, the achievement of “new happiness” (Prince Andrei Bolkonsky), which is associated with forgiveness, a willingness to accept God and with the “new life.” The Easter nature of Russian culture predetermines the gravitation of the Russian classical novel (as a typological variety of the Russian novel) to the artistic realizations of the idea of salvation present in world literature in genres of a non-novel nature. The Russian novel primarily developed the storylines and motifs that originated in Dante’s Divine Comedy and Goethe’s Faust, which suggested two options for personal salvation: the awareness of sins and “behind the door of the grave.” The second option was more relevant for the 19th century Russian novel. The savior hero, rooted in Cervantes’s novel, was also relevant for Russian literature, although not as popular. Taking into account the complex explorations of modern writers in the field of the novel genre, the authors conclude that there is a present-day connection with the Russian classic novel, i.e., in E. Vodolazkin’s prose: apparent signs of a “Dante plot” are present in the novel Lavr. Regardless of all the metamorphoses, the Russian classical novel is still a national literary model in the space of Russian culture.

The Dawn of Scientific Biography

This article endeavors to contribute to a better understanding of the literary contexts of early biographies of scientists written during the Scientific Revolution. To what extent are these biographies influenced by stereotypes that are an inadequate fit for modern history of science? Its claim is that there was, indeed, a literary model for biographies of scientists, and that this model had deep roots in Biblical and classical literature. While the model was similar to that used in Renaissance biographies of artists, it did not fully emerge until as late as the seventeenth century.

Communicative Model – Author, Hero, Text, Recipient in a Postmodern Novel

The study deals with the communicative interaction between the author, the hero, the text, the reader in a postmodern novel. A similar and ambiguous reality, on the one hand, sometimes led to the subjectivist hypertrophy, absolutizing the author’s world view, and at times minimized and devaluated the author’s identity, on the other. Therefore, from the end of the 1990s the ways of expressing author’s “Self” changed dramatically, which directly affected the means of creating a hero in the contemporary Ukrainian literature. An important place in the communicative literary model was occupied by the text as an independent semantic unit and the reader as an interpreter of the text. The specifics of deploying the dialog between the author and the hero point to the transformation of their functions in the Ukrainian postmodern novel. Considering the statement of the death of the author proclaimed by R. Barthes, the former stops being the main holistic text creator, thus rather becoming its product and the way of expression. The author, the hero and the text have a certain integrity aimed at the interpretative game with the recipient, who diffuses the newly created semantic integrity into a diversity of meanings.

Absolvenții: modelul American și poeții optzeciști

The current study is both an inventory and an interrogation: on the one hand, it makes an inventory of the dynamics of affinities that the poets of the Monday Literary Circle (and, by extension, of the 1980s’ generation) felt for the American literary model; on the other hand, it questions the genuine nature of this relationship, that is often inflated in recollection. Are Cărtărescu, Coșovei, Iaru, Bucur and the others just mere local Beatniks, as they have been accused (and were never prompt in refuting)? How do they themselves define this relationship? A possible answer might be found at the end of the analysis, where I introduce a (never before published) document: Traian T. Coșovei’s Bachelor thesis.

Así Stan Lee como William Shakespeare

Resumen: En los años noventa se produce un renovación generacional de cineastas que marcará distancias con sus predecesores. Destacan por la mezcla de referencias audiovisuales de todo tipo alejadas de la literatura, que había sido el modelo predominante hasta el momento y entre las que el cómic tiene una presencia relevante. Este artículo estudia los casos paradigmáticos de Álex de la Iglesia, Óscar Aibar y Javier Fesser analizando sus óperas primas en busca de aquellos elementos que evidencian en sus películas la relación con el ámbito de la historieta. Abstract: A generational renovation is notable in 90’s Spanish cinema. The new filmmakers make use of a mixture of audiovisual references that move away from the literary model, which had been the main reference for the preceding generation. In this context, comic was one of those cultural manifestation that influenced on filmmaker’s storytelling way in this period. This paper proposes an analysis of the paradigmatic cases of Álex de la Iglesia, Óscar Aibar and Javier Fesser, whose first works show many features that evidence their intertextual relation with comic.