La memoria visionaria (Italian Edition)


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The result is a new emphasis on the importance of our concept: How familiar Domenico may have been with detailed philosophical knowledge, or whether, as Pontremoli has it, his whole writing can be effec- tively interpreted as an exercise in scholastic argumentation, is not easy to establish. What would Domenico, what would his direct interlocutors, his intended and actual readers and followers think of when speaking of phantoms? What would that imply in their representation and understanding of the experience of the dancer and of his or her audience?

Together with the philosophical tradition, is this choice of vocabulary introducing some level of reference to ideas of ghosts and ghost-like experiences of visual perception and memory8? Do ghosts dance, a part from North American indigenous ones?

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And if so, in what way may such linguistic connotations affect an aesthetic theory that has listed this keyword among those deining the art of courtly dancing as a whole? Aristotle and his subsequent interpreters provided the medieval and Re- naissance tradition with a standard description of the process of perception and memory based on an interaction between human faculties. While we are all very familiar with the senses on one hand and the intellectual and rational power on the other, it may perhaps be worth reminding that this traditional assessment of human psychology also identiied a third function, imaginatio 7 Alessandro Pontremoli, Danza e Rinascimento, Macerata, Ephemeria, , pp.

See also Patrizia Castelli, Il moto aristotelico e la licita scientia.

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Guglielmo Ebreo e la spec- ulazione sulla danza nel xv secolo, in Mesura et arte del danzare. Guglielmo da Pesaro e la danza nelle corti italiane del xv secolo, ed. Laboratorio di studi, scritture, visioni, 7: Teoria e prassi coreutica nella festa di corte del xv secolo, Milano, Vita e Pensiero, , p. The word phantasma, speciically, had been used by Plato with predominant reference to relections in mirrors or pools.

Aristotle, instead, reserves it for appearances in the psyche, sometimes describing it as being analogous to paintings or wax impressions9. In Aristotelian terms, therefore, phantasmata play an integral part in the physiology of perception, as well as offering material for mental images that can subsequently fuel memory, dreams, thought and action.

Scano, Maria Grazia

As an object of phantasia, a phantasma was a representation of a perceptible object, which presented the advantages as well as the risks, non being necessarily veridical of being available to our experience even in the absence of the actual object. To adopt this vocabulary within humanist dance discourse, if we can consider it suficiently calcu- lated, would have suggested in Domenico an implicit reference to a discrete rather than continuous series of poses of the dancer as playing a signiicant role in the perception and later remembrance of a given choreography, pre- sumably both on the part of the performer and on that of their viewers.

The study of the appearance of ghosts — whether in the experience of dreams or on that of wakeful visions — and of the beliefs concerning them is a fascinating page of cultural history, one which Jean-Claude Schmitt has reconstructed with his customary brilliancy for the medieval millennium, and the terrain of further research by other scholars. It tells us the story of the re- lations between the living and the dead.

While the early Christian Church tended to treat beliefs on the return of the dead as superstitious pagan heritage, the Middle Ages registered a signif- icant shift, witnessed by the recurring of the theme in miracle narratives and sermons It would be tempting, from here, to follow a line exploring the 9 Nigel J. I thank Margherita Arcangeli for the above references. It has been connected with the powers of the imagination and the techniques of memory, in relation to both the per- formers and their audiences.

It seems suggestive of some ghost-like experience. It is introduced in the key source, Domenico da Piacenza, with extraordinary images, suggestive of a moment of absolute stillness, soon followed by a swift light. The relevance of this stylistic category on Renaissance dance aesthetics has undergone recent re-evaluation; so would deserve its implications for the time and space per- ceptions of dancers and onlookers alike. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link. Click here to sign up.

He loses his temper and realizes he's not all that different. No belly button though! Observations from a Distance: People on the moon make astronomical observations of Earth from , consider if life is possible. The Brokers — in a prelife, brokers try to convince S to be born as a human to fix the 'flaw of form' hey that's the name of the book! They try to sweeten the deal by offering him a good position at birth, which he declines.


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Vilmy — a new pet produces in its milk a more powerful version of the chemical that bonds infants to mothers, creating addicts of those who drink it. Creative Work — a writer is visited by one of his creations, who describes a National Park inhabited by fictional characters. The writer is to become a resident there, as his character has been writing about him. The writer sabotages the plan by convincing his publisher not to buy the book. He regrets this in his later years and so writes a fictional autobiographical book to gain entry into the Park.

Kind of magical realist, I guess. Roland gets mentioned as an interesting example of a person who was real Hrothland in the Vita Karoli Magni but is known primarily for his fictional exploits there's only one sentence recorded on the 'real' Roland. Also Bradamante and Ruggiero are mentioned but the footnote says they're from some French novel not Orlando Furioso.

In the Park — a sequel to Creative Work. A fictionalized version of the author moves to the National Park for fictional characters and lives there until he fades out of human memory. Personalmente non mi sono affatto accorto dell'ottimismo che qualche commentatore vede; anzi a me pare che la burocratizzazione spinta da lui narrata vedi "Le nostre belle specificazioni" mostri un'alienazione davvero triste; in aggiunta, i suoi racconti terminano sempre con un anticlimax che almeno per me rovina un po' la storia.

Stefano Bartezzaghi ha raccontato che Levi era riuscito a farsi assegnare per la sua casa di campagna un numero telefonico che era l'anagramma di quello di casa: Sappiamo tutto questo, eppure qualcosa ci protegge e ci sorregge e ci allontana dal naufragio. Another surprising and ingenious collection of science fiction short stories.

Scano, Maria Grazia [WorldCat Identities]

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L'Aquila 6 aprile 2009

Primo Michele Levi Italian: His unique work, The Periodic Table , linked to qualities of the elements, was named by the Royal Institution of Great Britain as the best science book ever written. Levi spent eleven months imprisoned at Monowitz, one of the three main camps in the Auschwitz c Primo Michele Levi Italian: Levi spent eleven months imprisoned at Monowitz, one of the three main camps in the Auschwitz concentration camp complex record number: Of the Italian Jews in his transport, Levi was one of twenty who left the camps alive.

La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)
La memoria visionaria (Italian Edition) La memoria visionaria (Italian Edition)

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