ERESIE DEL SUBLIME (Italian Edition)

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Any item with "FREE Shipping" label on the search and the product detail page is eligible and contributes to your free shipping order minimum. You can get the remaining amount to reach the Free shipping threshold by adding any eligible item to your cart. Eresie del sublime e quella che viene definita un'ekphrasis, una raccolta di poesie ispirate a dipinti. Le opere in questione sono della pittrice surrealista contemporanea Simona Bramati.

Bachelard definiva la poesia metafisica istantanea, essa si compie nell'istante, un istante eterno che viene. Bachelard definiva la poesia metafisica istantanea, essa si compie nell'istante, un istante eterno che viene dall'alto e li rimane. La pittura e dunque la metafisica di questa poesia.

Se come affermava Paul Klee l'arte non deve rappresentare il visibile ma rendere visibile l'invisibile, il poeta distillando simboli e codici dipinti dall'artista, ha scolpito e vivificato le visioni e le ispirazioni della pittrice dando vita a un'alchimia che diventa filosofica, in quanto vuole conoscere - connaitre, naitre ensamble - rimembrando Valery - nascono insieme poesia e pittura, ri-nascono nell'alchimia di Eresie del Sublime.

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Enter the code below and hit Verify. Free Shipping All orders of Cash on Delivery Pay for your order in cash at the moment the shipment is delivered to your doorstep. Don't have an account? Ariosto, Tasso, Marino e dintorni, Novara, Interlinea , pp. In Dopo Tasso, eds. On the centrality of the Edenic myth, see the compelling account by Greenblatt S.

Poema sacro, Modena, Eredi Soliani, With this poem, Tasso provided proof of a great deal of daring, poetic and otherwise: Third, and no less importantly, in his catholic poem on 27 Ardissino E. For if people publish medical or scientific treatises in metre the custom is to call them poets. Most theorists and poets of the Renaissance abided by this pronouncement: The Late Renaissance in Italy, Ithaca , pp. Ma imitazione di che? To give just one example, in Mondo Creato Tasso makes use of the famous simile of the puer navita DRN V, , the new-born infant as naufragus: Il punto di vista del naufrago: Percorsi del poema eroico, pp.

For all its recognized impiety, the De rerum natura elicited the sympathy of a special audience: In the same years the Inquisitor and Jesuit, Antonio Possevino was tending to his monumental Bibliotheca selecta which detailed what orthodox Catholics could and could not read. Strikingly, Lucretius is not only allowed, though with obvious expurgations: Possevino distinguishes between the parts worth reading from the De rerum natura and those that should be avoided.

On the contrary I would not deny that it is possible to read in Lucretius what he says concerning the contempt of death, the fleeing from love, the limiting of desires, the calming of the passions, the acquiring of imperturbability, the nature of sleep, the birth and death of stars, the eclipses of the Sun and Moon, the nature of lightning, rainbows, the causes of illnesses, and many such things, and particularly those passages in which, despite himself, he points to the day of the last Judgement This larger freedom enjoyed by the clergy36 in dealing with Lucretius translated into a more confident appropriation not only of his poetry but also of its theoretical contents, provided they could be bent to Christian purposes.

It was a pattern established early on by the Church Fathers: Item si ab uno deo inspirati omnes et animati sumus, quid aliud quam fratres sumus et quidem coniunctiores, quod animis, quam qui corporibus?

On Lucretius as a model in Jesuit didactic poetry: It cannot be overstressed that Lucretius owed his exclusion from the index to a Cardinal, then Pope: Prosperi, Di soavi licor, pp. Of the throngs of poemi sacri written in the 17th century, most eschewed any engagement with secular philosophy. In it, as in the Adamo, a higher entity Truth takes a male character the disillusioned Philosopher on a journey of wisdom: Within this narrative frame, Coppola lines up the names and deeds of thinkers in an unrelenting attack, but no one receives a harsher treatment than Lucretius, evoked as a poisoner of minds through a sophisticated reversal of his famous simile of the honeyed cup Jori, Le forme della creazione.

In canto 15, the dialogue between man and angel for the most part a monologue is suspended and the crucial events of Genesis take centre stage: However, Raphael comforts them and gives them hope of a future pardon from God. The last cantos thus deal with human feebleness: A keen focus on material reality is constantly accompanied with reminders of our eternal soul and of the obedience we owe to God and true faith.

This paves the way for Canto 19, which examines the nature of the soul, a section that we will go back to.

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Canto 20 abruptly deflects from the overall scientific and empirical structure of the rest of the text and depicts the transcendent City of God, with all the trappings of dogmas and miracles. Here, the Virgin Mary offers her Son in sacrifice for the salvation of man, in a landscape thick with symbols alluding to the mystery of the Eucharist. The poem ends with the promise of eternal salvation.

Several literary archetypes overlap in this vision, the main one being Aeneid 6: In the Adamo, the genealogical model easily dovetails with the universal character of the library: The philosophers are presented in chronological order: Then, the name of Lucretius emerges, amidst words of begrudging praise: It is up for debate whether to celebrate him as a sage, or to condemn him as an atheist. And, overall, the poem strictly follows its own rules: In the following stanza 5. Cristiano ingegno of the Mondo Creato 5.

But what is the necessity, at this date, for so much animosity against the Latin poet?

Conceptual

But an equally harsh attack is aimed at the man responsible for spreading the contagion of Epicurean impiety through his translation of the DRN: Now, it is clear from the Adamo that just as in his opinion Tasso successfully replaced the Latin Lucretius, Campailla takes on the task of rebuking the new, invigorated Italian Lucretius of Marchetti.

It should be noted that, according to Emanuele Zinato, the Introduction was written under the direct control of Campailla himself. In a perceptive reading of the Adamo, Emanuele Zinato suggests that we see the poem as an instance of the Freudian return of the repressed, where the attacks on Marchetti and Lucretius, as well as the ostentatiously pious finale are in fact a dissimulating cover for what is ultimately a fully atomistic and Lucretian view of the Universe.

Campailla, che voglia portargli le mie somme congratulazioni, specialmente pel suo poema.

Lucretius is praised, but so are Polignac and his Italian translator, Ricci. However, there is no evidence of a deliberate deception on the part of Campailla. Campailla was in many respects ahead of his time: His contemporaries — Ludovico Antonio Muratori and Berkeley among others — appreciated his doctrine.

His cultural background, as testified by his works, was vast: Percorsi dei Lumi e anti-illuministi in Italia fra settecento e novecento, , Napoli, Edizioni scientifiche italiane, , pp. The poem had a second edition: Siracusa, Pulejo Regio, On George Berkeley and Campailla: On atomism and scientific advancement in the 16th and 17th centuries: Teorie e pratiche scientifiche dal Rinascimento a Newton, Roma, Carocci, ; id.

Elements, principles, and Corpuscles: La natura e la scienza, pp. Zinato, Epica della scienza, pp. However the dynamic between the two opposite models as templates for a new didactic epic is never more significant or more evidently at play than in Marchetti himself, the belated purveyor of the dreaded Italian Lucretius. In other words, when the Italian Lucretius appeared, it was permeated in language and style by the Christian one.

There is one further twist to this seemingly endless string of Italian and Christian Lucretiuses. Del terrestre paradiso libri tre Roma, per Gio. Battista Molo, and the unfinished Filosofia morale: Del terrestre paradiso is published in Ardissino, Poemi biblici del Seicento.

Contesto europeo e analisi interna di una traduzione. Saccenti, Lucrezio in Toscana p. Besides his scientific and philosophical activity, Marchetti wrote poetry all his life. Twenty years after translating Lucretius56, he turned again to didactic poetry, this time to compose his own philosophical poem.

He never went further than the proem57, which he nonetheless circulated among friends and admirers, including Menzini One was Maria Selvaggia Borghini, a Pisan noblewoman and poet. Di nuovo date in luce da Antonio Bulifon.

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