Caligula : malade mental ou fou de lucidité ? (Rostworowski et Camus)

Caligula: Mental illness or lucid madman? (Rostworowski and Camus) This article – focused on two plays about the Roman Emperor Caligula – has a double objective: firstly, it puts aside two dramatic versions of history of Caligula, and, secondly, it asks a question whether it is more legitimate to consider Caligula as a madman or as a mental patient. After introducing the playwrights Karol Hubert Rostworowski and Albert Camus, as well as the basic terminological concepts concerning the notion of madness and mental illness, the article analyses the symptoms of the illness and the madness included in the studied texts.

Les (a)céphales dela modernité. Reconfigurations du motif de la « femme sans tȇte » dans Au Bonheur des Dames d’Émile Zola

(A)céphales of modernity. Transformations of the “headless women” theme in Émile Zola’s novel Au Bonheur des Dames The article reflects on the “headless woman” motif, taking into account its transhistorical and transsemiotic character, in Émile Zola’s novel Au Bonheur des Dames. The eleventh volume of Les Rougon- Macquart describes the moment of the transition from the economy of the “ancien regime” to capitalism. This naturalistic view of socio-economic modernity is reflected in the depiction of figures, mainly female ones. The aim of the article is to show that although the presentation of the new femininity is based on the old figure of ambivalence, this time the axis of opposition runs between the “hysterical fever of novelty” and reason or logic.

Le théâtre de Koltès – théâtre des transgressions

The theatre of Bernard-Marie Koltès as a theatre of transgression When we define specific theatrical forms, the work of Bernard-Marie Koltès transcends the boundaries between the forms. La nuit juste avant les forêts was a soliloquy or a quasi-monologue, Dans la solitude des champs de coton related to the form of the eighteenth-century philosophical dialogue, and Roberto Zucco provoked scandal due to the eponymous character of a serial murderer. All of Koltès’s texts, including the above, transgress the boundaries, either through their form or through the philosophy included in them. The violence that is inseparable from Koltès’s theatre is often devoid of any motivation, it is not grounded in any reasoning, it often acquires a mythical meaning, aggression becomes a desire, and evil becomes a source of fascination and something beautiful. The article is an attempt to demonstrate the unusual cooperation of form and content in Koltès’s theatre, while both of the elements balance between what is acknowledged, acceptable, and definable.

La mirada costumbrista de Jerónimo López Mozo sobre la pandemia COVID-19

The costumbrista look of Jerónimo López Mozo on the COVID-19 pandemic During 2020 the COVID-19 pandemic affected the entire world. One of the areas that suffered from the situation caused by the virus was culture, and especially the performing arts. To counteract the crisis, various solutions were sought that, on the one hand, would give continuity to theatrical art, and on the other, would maintain the relationship between the artists and the spectators. At the same time, the coronavirus became a subject of literary and theatrical creation, as in the case of five short pieces by Jerónimo López Mozo that have been studied in this article.

La formula di saluto «salve» nell’insegnamento della lingua italiana come lingua straniera (livello di competenza A1)

The greeting formula “salve” in teaching Italian as a foreign language at reference level A1 The aim of this this paper is to examine the greeting formula “salve” in the context of teaching Italian as a foreign language at A1 level of competence. First, the topic is investigated from the perspective of pragmatics and communicative competence. Then we analyse a range of teaching materials to see how “salve” is realized on a more practical level and to check how the authors of the coursebooks understand its function.

Aromanian – Language or Dialect? Overview of Historical and Contemporary Opinions

This article aims at presenting two concepts from the modern typology of the Romance languages, with a special focus on the Aromanian ethnolect. The first concept, which is widely accepted in the Romanian linguistics and was most prevalent before the Second World War, does not recognise Aromanian as a separate language, but treats it as one of four dialects of the Romanian language. The second movement, much closer to modern Romanist research at the international level, opts for a full autonomy of all Balkan Romance ethnolects and attributes to them statuses of national languages. It also negates the existence of a common Romanian language in the first millennium, arguing that the Balkan Romance languages developed independently from a late form of Balkan Latin around the 11th century.

« Faire la vaisselle » ou la mission littéraire selon Matéi Visniec

“Washing the dishes” or the mission of literature according to Matéi Visniec Matéi Visniec can be considered a “committed” author, in the broadest sense of the term, because he often speaks on current socio-political problems. For him, writing is a mission, as evidenced in numerous interviews and the peritexts of his works. This article aims to analyse Visniec’s relationship to literature and to his own writing, as well as to define his literary mission and to analyse the way it manifests itself in his dramatic work.

Mémoires d’une jeune fille rangée : le récit beauvoirien d’émancipation

Mémoires d’une jeune fille rangée: The Beauvoir’s emancipation story Simone de Beauvoir in her autobiography Mémoires d’une jeune fille rangée describes her own way of getting to know herself, her abilities and limitations and her search for identity. Considering the past, she ruminates over how certain episodes from her life influenced her later choices, especially the writer’s sensitivity and personality. The autobiographical perspective allows Beauvoir to present evolution of young Simone’s behaviour and worldview, her dreams, traumas and obsessions. In this way the author sketches convincing portrait of a maturing woman, distinguished by brilliant intelligence, opposing traditional values of bourgeois environment, its morality and all authorities, a woman who could experience a kind of “conversion” and also fulfil her ideal of emancipation, and at the same time her idée fixe, which was to become a writer.

Sui requisiti di una buona comunicazione nel libro di Kamila Miłkowska-Samul (S)cortesia e social network. Opportunità e rischi del dibattito pubblico su Facebook

On the requirements of good communication in the book by Kamila Miłkowska-Samul (S)cortesia e social network. Opportunità e rischi del dibattito pubblico su Facebook The article aims to discuss the latest book by Kamila Miłkowska-Samul, entitled (S)cortesia e social network. Opportunità e rischi del dibattito pubblico su Facebook, published in 2019. It is the second time that the author takes up the subject of the language of Italian politics, this time in a pragmalinguistic and communicative perspective. The interpretation key to which the analysis of numerous examples of politicians’ statements on Facebook was subordinated is the theory of politeness (or impoliteness). The reader will also find an in-depth study of individual theoretical component issues: concerning the language of the Internet, politics, and the already mentioned theory of politeness and related sociopragmalinguistic issues.

“Non vide mei di me chi vide il vero”: l’arte “verace” nel girone dei superbi come mise en abyme dell’arte dantesca nella Commedia

“Non vide mei di me chi vide il vero”: L’art “verace” in the circle of proud as a mise en abyme of Dante’s art in the Comedy The purpose of this study is to discuss the problem of meta-poetic themes in the Divine Comedy, focusing in particular on the relationship between God’s art and Dante’s art in the context of the impression caused by the sight of the rock reliefs in the cornice of the proud in the Purgatorio, where the poet, presenting and imitating the art of God, in fact shows the mastery of his own art. The analysis leads to the conclusion that the examples of humility and pride carved on the walls and the rock path – the perfect work of God-the Artist, vibrant with life and called by Dante visibile parlare – are, on the one hand, a mise en abyme of its macroscopic version, which is the Universe created by him, and, on the other hand, a mise en abyme of the universe narrated with the simile perfection by Dante.