6 resultados para Classical drama
em AMS Tesi di Dottorato - Alm@DL - Università di Bologna
Resumo:
This thesis explores the function of the theatre in Derek Walcott's literary achievements. Focusing on the semiotic theories that characterize the study of drama as a literary text and as a staged text, the initial approach aims at creating a relationship between semiotics and postcolonial theories. In particular Pavis's concept of intercultural semiotics and Peter Brook's innovative visions about the regenerative function of the space of the theatre represent a useful theoretical basis to consider the specificity of postcolonial theatre as an innovative space, where new cultural meanings emerge. Derek Walcott's dramatic production is studied according to this approach, in order to be defined as a new hybrid, syncretic and multicultural space. After considering the development of drama from a postcolonial and Caribbean perspective, this study begins with an insight into Walcott's views on theatre, taking into consideration his linguistic depth, linked to the European tradition, but also his strong concern with the Caribbean public's cultural needs. The double tension characterizing Walcott's cultural identity as well as his art represents an essential element to analyse his dramatic texts. With an ambivalent approach, which takes into consideration language and performance, this thesis offers an insight into Walcott's plays to detect their postcolonial and multicultural elements. The analysis of the different texts are divided into two chapters (third and fourth). The third chapters - mainly focused on postcolonial themes - explores issues such as language, identity and space, whereas the fourth chapter centers on multiculturalism in text and performance. Dealing with interracial interactions, issues like re-writing classical texts and the manipulation of personal and collective memory as a way to re- establish new historical perspectives, the last part of the thesis aims at demonstrating the idea that Walcott has created a new space in the theatre made by the harmonic fusion of different and opposed cultural elements, which are visible in the literary as well as in the staged text. The textual perspective of Walcott's drama fits into Pavis's definition of intercultural semiotics, as the faithful representation of a multicultural creole society: that of the West Indies.
Resumo:
The present thesis is divided into two main research areas: Classical Cosmology and (Loop) Quantum Gravity. The first part concerns cosmological models with one phantom and one scalar field, that provide the `super-accelerated' scenario not excluded by observations, thus exploring alternatives to the standard LambdaCDM scenario. The second part concerns the spinfoam approach to (Loop) Quantum Gravity, which is an attempt to provide a `sum-over-histories' formulation of gravitational quantum transition amplitudes. The research here presented focuses on the face amplitude of a generic spinfoam model for Quantum Gravity.
Resumo:
Since the development of quantum mechanics it has been natural to analyze the connection between classical and quantum mechanical descriptions of physical systems. In particular one should expect that in some sense when quantum mechanical effects becomes negligible the system will behave like it is dictated by classical mechanics. One famous relation between classical and quantum theory is due to Ehrenfest. This result was later developed and put on firm mathematical foundations by Hepp. He proved that matrix elements of bounded functions of quantum observables between suitable coherents states (that depend on Planck's constant h) converge to classical values evolving according to the expected classical equations when h goes to zero. His results were later generalized by Ginibre and Velo to bosonic systems with infinite degrees of freedom and scattering theory. In this thesis we study the classical limit of Nelson model, that describes non relativistic particles, whose evolution is dictated by Schrödinger equation, interacting with a scalar relativistic field, whose evolution is dictated by Klein-Gordon equation, by means of a Yukawa-type potential. The classical limit is a mean field and weak coupling limit. We proved that the transition amplitude of a creation or annihilation operator, between suitable coherent states, converges in the classical limit to the solution of the system of differential equations that describes the classical evolution of the theory. The quantum evolution operator converges to the evolution operator of fluctuations around the classical solution. Transition amplitudes of normal ordered products of creation and annihilation operators between coherent states converge to suitable products of the classical solutions. Transition amplitudes of normal ordered products of creation and annihilation operators between fixed particle states converge to an average of products of classical solutions, corresponding to different initial conditions.
Resumo:
Questo lavoro è imperniato sullo studio di uno dei melodrammi più interessanti della fine del XVII secolo: “Il carceriere di sé medesimo” di Lodovico Adimari (1644-1708) e Alessandro Melani (1639-1703), allestito per la prima volta a Firenze nel 1681, e ripreso nel giro di una ventina d’anni a Reggio (1684), a Bologna (1697) e a Vienna (1702). L’opera vanta un’origine drammatica di spicco: risale infatti alla commedia “Guardarse a sí mismo” di Pedro Calderón de la Barca (1600-1681) mediata dal “Geôlier de soi-mesme” di Thomas Corneille (1625-1709), e presenta qualità poetiche e musicali evidenti, assicurate dai nomi del poeta Lodovico Adimari e del compositore Alessandro Melani. A ciò si aggiungano una tradizione articolata in quattro allestimenti, nonché un elevato numero di testimoni superstiti: cinque edizioni del libretto (testimoniate da numerosi esemplari) e il numero fortunatissimo di tre partiture manoscritte, conservate a Parigi, Bologna e Modena. La tesi contiene l’edizione critica del “Carceriere di sé medesimo” di Adimari con tutte le varianti accumulatesi nella riedizione del libretto e nella copiatura della partitura, l’analisi del dramma, a partire dal confronto tra i testi di Calderón, Corneille e Adimari, e lo studio delle sue componenti drammatiche, formali e contenutistiche. Si aggiunge uno studio sul contesto storico-musicale degli allestimenti di Firenze, Reggio, Bologna e Vienna, nonché l’edizione dei restanti tre drammi di Adimari: la commedia “Le gare dell’amore e dell’amicizia” (1679), e il dramma per musica “L’amante di sua figlia” (1684).