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By Sacchi Luca

Nel campo enciclopedico medievale l. a. struttura è spesso dotata di valore simbolico, ed è comunque elemento fondante del progetto che organizza e indirizza l. a. conoscenza; s'intende perciò quanto problematica e sfuggente risulti l. a. strategia enciclopedica basata sul dialogo, in cui è giocoforza che l'organicità dell'insieme si riduca a favore del frazionamento, della divagazione libera, della discontinuità. Il saggio esamina quattro rilevanti opere romanze accomunate da questa formulation, frutto di una stagione breve ma assai produttiva, tra l'ultimo terzo del Duecento e l'inizio del secolo seguente: in sector d'oïl Placides et Timéo e il Livre de Sydrac, in Catalogna l. a. Summa de philosophia in vulgari, e in Castiglia il Lucidario di Sancho IV. Pur seguendo strade indipendenti, i testi approdarono a soluzioni simili, tanto nella divulgazione del sapere, quanto nella sua promozione, giocata sulla curiosità del pubblico e sulla sanzione regale dei contenuti. Dopo un'introduzione rivolta ai nodi principali del microgenere, di cui si rintracciano le corrispondenze con l. a. produzione latina precedente, si dedica un esame approfondito alla tradizione manoscritta e a stampa di ciascun testo. Ne derivano varie indicazioni in merito alla storia della ricezione, che si estende fino al XV secolo e oltre con innovazioni notevoli, sia nella disposizione della materia sia nelle integrazioni, nei tagli, nelle riletture.

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Extra info for Le domande del principe : piccole enciclopedie dialogiche romanze

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35 To be comic is to be both grotesque and artificial; the two are inextricably linked and equally indicative of the comic genre. Scholarship on the (male) comic body has focused primarily on its relationship to the notion of the ideal Athenian citizen. 36 Helene Foley has modified his view, noting that these grotesque characters nevertheless frequently claim to be citizens and to represent the interests of citizens. ”37 Foley’s argument emphasizes the distancing power of the costume’s patent artificiality, a feature that surely made it possible for actual male citizens to play these roles without shame.

Photograph © The State Hermitage Museum. Photo by Leonard Kheifets,Yuri Molodkovets. 65 On a Campanian bell-krater dated to c. 67 In both of these cases, the female figure is unmasked, clothed in a normal robe without somation, and of nongrotesque proportions, as in Figure 14. 68 Lest we think that this is only a southern Italian phenomenon, the Attic relief discussed earlier (Figure 3) seems to depict an auletris with a comic chorus, although the upper body and face have not survived. These auletrides suggest at least the possibility that nonspeaking performer roles were represented onstage in quite The Comic B ody as Costume a different manner from the grotesquely shaped speaking characters who sport obvious layers of costume.

This chapter examines the comic body costume from four points of view: first, the contributions of the visual record to our understanding of the body as staged in comic performances; second, some common patterns of bodily manipulation in Aristophanes; third, the comic body as figure of gluttony and outrageous demagoguery in Knights; fourth, the thematic interweaving of body and textiles in Lysistrata. 16 The Comic B ody as Costume Envisioning the Comic Body The Male Comic Body The male comic body as depicted in the visual record of the late fifth through mid-fourth century is both grotesque and manifestly artificial.

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