The Great Black Spider on Its Knock-Kneed Tripod

Syrimis, Michael

doi:10.3138/9781442698352

Cited by 21 publications

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“…Illness, mental or physical, is a nobleman’s privilege. It extends to an attraction towards death, a delight in the thought of annihilation, but not without its counterforce, the exaltation of life and vitality (Syrimis, 2012: 14).Marja Härmänmaa (2014) explores this dichotomy, the death drive, Thanatos, and its link to Eros, the creative life force of love, in greater depth. Guido Baldi (2008) examines the subconscious relationship between the individual Self and his social context, through narrative techniques and symbolic plots.…”

Section: New Trends Of Study: a Bibliographical Overviewmentioning

confidence: 99%

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Introduction: D’Annunzio’s Beauty, Reawakened

Raffaelli

Subialka

2017

Forum Italicum

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D’Annunzio’s uneven reception both within and outside of Italy is partially due to the close association between his work and Italian fascism. Yet his concept of beauty certainly exceeds the narrow confines of that association. His aesthetics is more than a (fascist) aestheticism. In this article we introduce the special issue on D’Annunzio’s beauty by articulating the complex, multifaceted role of the aesthetic in D’Annunzio’s works and thought. He idealizes art as a refuge against the levelling forces of modern capitalism, bourgeois society, democracy and massification. This positions him in between decadentism and modernism, on the one hand, and between the aestheticism of post-Kantian idealism and a heroic vision of nationalism, on the other. Ever an eclectic thinker and artist, D’Annunzio’s legacy remains rich, challenging, prolific: now, a century from the war in which he became a nationalist hero, is an ideal moment to return to the question of how these complex, conflicting elements emerge in D'Annunzio's seductive picture of beauty.

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Section: New Trends Of Study: a Bibliographical Overviewmentioning

confidence: 99%

Section: New Trends Of Study: a Bibliographical Overviewmentioning

confidence: 99%

Introduction: D’Annunzio’s Beauty, Reawakened

Raffaelli

Subialka

2017

Forum Italicum

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“…30. For discussions of D’Annunzio’s association of the modern with the ancient, see Syrimis (2012) and Valentini (1992; 1995). …”

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The light that blinds: On art in D’Annunzio’s La Gioconda

Syrimis

2017

Forum Italicum

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This article analyzes Gabriele D’Annunzio’s 1898 play La Gioconda as a form of modern tragedy with respect to Friedrich Nietzsche’s duality of the Apollinian and Dionysian, and with particular emphasis on the motif of light as it appears both in the author’s stage directions and in the dialogues. The story of the play revolves around the recurrent Dannunzian theme of the love triangle. A young sculptor of a Nietzschean sensibility struggles with the dilemma between a peaceful family life and the stormy lifestyle of an artist, played out in his relationships with a gentle and caring spouse and his seductive and implacable model, or la nemica. A study of the diverse ways in which the light motif is used and discussed from one act to the next vis-a-vis the Nietzschean duality, while also considering the stylistic contradiction between a bourgeois domestic drama, on the one hand, and a philosophical and lyrical treatise on aesthetic experience, on the other, the article challenges the dichotomy of spouse vs. lover and argues that the artist’s imagination conflates the two figures in formulating the ideal of a modern muse, a new ‘Gioconda’, a timeless figure that synthesizes an ancient primal dynamism, a restrained Renaissance harmony, and a resounding modernity.

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Ovid on Screen

Winkler

2020

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The Great Black Spider on Its Knock-Kneed Tripod

Cited by 21 publications

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Introduction: D’Annunzio’s Beauty, Reawakened

Introduction: D’Annunzio’s Beauty, Reawakened

The light that blinds: On art in D’Annunzio’s La Gioconda

Ovid on Screen

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