San Martino Del Carso

UNGARETTI, GIUSEPPE; Cambon, Glauco

doi:10.2307/j.ctt1ffjjqb.135

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“…141 He also thought that the national reputation was proportionate to the losses in the battlefield; a lesser "contribution of blood" by Italy, he feared, would have shamed the nation. 142 And a historian has written that the six hundred thousand men who died in the war erased the reputation for cowardice that for centuries had burdened the Italian people. 143 But the soldiers in the field knew better than their leaders and their historians why their lives were being wasted.…”

Section: A Bath Of Black Bloodmentioning

confidence: 99%

Mark of the Beast: Death and Degradation in the Literature of the Great War

Fata¹,

Bonadeo²

1991

Italica

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Section: A Bath Of Black Bloodmentioning

confidence: 99%

Mark of the Beast: Death and Degradation in the Literature of the Great War

Fata¹,

Bonadeo²

1991

Italica

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“…"From these houses/nothing remains/ except some shred of wall./ From the many/ that used to correspond with me/ there remain/ but few." 46 The group of warriors is figuratively dehumanized. The foot in the foreground that assures the support of the shooter who takes aim is of a disproportional dimension.…”

Section: Picassomentioning

confidence: 99%

The Semantics of Beauty

Trupia¹

Beauty’s Appeal

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Aquinas holds that beauty is claritas. This is the Truth in its splendor, purity, and glory. Beauty is not a fictional artifact superimposed upon the features of the ordinary world. Beauty lets the essence of things appear as well as their mutual belonging and, sometimes, their cosmic togetherness. Beauty itself is not performable. It is performable, however, as a mise en scène of even the most ordinary objects. They can make beauty appear only through a perfect textuality that issues from rigorous syntax and semantics. An education in reading beauty is an education in catching reality.The present epoch is characterized by the invasion of the "beautiful"-a beauty that is, strictly speaking, functional. It can be admired by virtue of the capacity of "beautiful things" communicated through the flow of mass media, which is, above all, commercial but also political, religious, and cultural. These media strike the senses in unexpected ways; they stupefy and stir the psyche.This beauty is almost exclusively psychological, an efficient means of communication-communication being the principal instrument of address and governance of the masses.Also, this beauty does not generate the surprise of discovery, but rather the tremor of the unexpected. It triumphs in the scene of public ceremonies, in the tools of the theatre of the social baroque as the project of propagation, today as yesterday, of a prodigious faith, against the insidiousness of austerity and the severity of the reforms of customs that are announced from time to time.A dominant figure of the baroque, beauty was then "strangely" not codified. It lets things appear differently than they are according to nature and culture, "culture" being understood as the organized attempt to discover and represent the true with the personal appropriation of the true. 33

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San Martino Del Carso

Cited by 2 publications

References 0 publications

Mark of the Beast: Death and Degradation in the Literature of the Great War

Mark of the Beast: Death and Degradation in the Literature of the Great War

The Semantics of Beauty

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