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Performing Dante or Building the Nation?: The Divina Commedia between Dramaturgy of Exile and Public Festivities

Bonfatti, Rossella

Mediaevalia (Binghamton, N.Y.), 2017, Vol.38 (1), p.37-67 [Periódico revisado por pares]

Binghampton: State University of New York Press

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Título:
Performing Dante or Building the Nation?: The Divina Commedia between Dramaturgy of Exile and Public Festivities
Autor: Bonfatti, Rossella
Assuntos: 1265-1321 ; 1849-1870 ; 19th century ; 400-1399 Medieval period ; Actors ; Alighieri, Dante (1265-1321) ; Catholic Tradition ; commemoration ; Culture ; Dante ; Dante Alighieri ; Divine Comedy ; Dramaturges ; Dramaturgy ; Exile ; Globalization ; History ; History of Philosophy ; Ideology ; Influence ; Italian literature ; Italy ; La Divina Commedia(ca. 1320) ; Literature ; Medieval literature ; national identity ; Poetry ; Political and social views ; Politics ; Politics and government ; reception ; Religion ; Rhetoric ; Risorgimento ; Stage history ; Theater ; writers in exile
É parte de: Mediaevalia (Binghamton, N.Y.), 2017, Vol.38 (1), p.37-67
Descrição: Catapulted into modernity by literature and the visual and performing arts, the Genio gigante [great Genius], apostle and prophet of the nation, poet of Italian regeneration, symbol of an individual and collective fate, therefore represented a pulsar memory, both inside and outside the text.2 For this very reason, as Alberto Savinio stated, Homer, Dante, and Shakespeare are great names but they are timeless: we would say detached from life...they are men-oases, or men-islands, detached from the chain, or better the conveyor belt of ideas.3 In the nineteenth century, Mazzinis thought, the romantic myth, Italophilia, and the civil religion of an Italy devoted to unity and national pride (despite some severe divisions) promoted the internationalization and democratization of culture. [...]we will look at the "dramaturgy of the festival," provoked by the Universal Exhibitions and the Sixth Centenary in 1865: the modern global stages or shop windows for art as a product and the first national congress of the newly formed Italian civil society, defined eloquently by Carlo Dionisotti as the "final scene of the fantastic drama of the Risorgimento,"7 held in Florence, the Kingdom's new capital. Recent historical and cultural studies have shown that "Dantean literature of the Risorgimento"8 and the Commedia can be considered both an "Italian book" and a "universal book," as the political message could be transferred from the patriotism of one country to another, and took on different meanings depending on the various ideologies and the corresponding rhetoric that fed it, adapting to the ideas narrated and the roles conferred. [...]one may consider the Commedia the first "textbook" of the new, secular, post-unification education, which the Risorgimento as teacher would update, furnish with comments, and canonize as a memento of the nation.
Editor: Binghampton: State University of New York Press
Idioma: Inglês

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Performing Dante or Building the Nation?: The Divina Commedia between Dramaturgy of Exile and Public Festivities

Bonfatti, Rossella

Binghampton: State University of New York Press

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