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DER NATURBEGRIFF IN GOETHES SCHAUSPIEL TORQUATO TASSO

100%

Zobenica N.

tom 133

7-19

In the dense web of correlations in Goethes classical drama Torquato Tasso the nature plays a significant role. The concept of „nature” covers the material and the human nature, both entangled in the complex relations to each other and to the human mind. However, in the poetic language there has been established the analogy between both concepts of nature and the opposition of nature and mind has been dialectically transcended. The disproportion of talent to life the poet has to overcome on his own, for he has the choice either to surrender completely to the nature, or master it with his own mind.

La discorde concordia dell’animo nella riflessione antropologica e nell’epica di Tasso

87%

Dimke-Kamola J.

nr 1

69-83

The article reconstructs the conception of the soul that emerges from the writings of Torquato Tasso. The analysis of the Allegory of Jerusalem Delivered, of the correspondence which arose from the revision of the poem and of some fragments of other works, centres on the relationship between reason and passions. It shows that Tasso’s concept of the harmony of the soul is analogous to his concept of the epos. Both are founded on two principles: that of unity composed of opposites and that of the functional indispensability of all constitutive parts. There is a relationship of subordination and a relationship of interdependence between reason and the irrational part of the soul. Tasso has a positive view of the intense affetti, as drivers of magnificent actions and as foundations on which a person can develop his/her virtues.

Město jako „zázračný zápisník“: Římské procházky Milady Součkové. K estetice a poetice básnického obrazu

71%

Vojvodík J.

nr 32

109-126

In April 1960, Milada Součková left her exile in America on a trip to Rome, a trip that would inspire the poems collected in her fourth book of poems, Alla Romana, published in exile by a Roman publisher (1966). Součková’s time in Rome had a special significance for the poet — the poet in exile and the poet of exile — representing not only a return to Europe, but more importantly, a revitalizing return to the world-city of cultural memory. While the city’s architecture plays a leading role in Alla Romana, the city (and Italy as a whole) is also evoked by references to painters (Poussin, Angelika Kauffmann, Bronzino, Canaletto, etc.), direct intertextual quotes (Goethe, Chateaubriand, Stendhal, Byron, etc.), and indirect allusions (Ovid, Virgil, Dante, etc.). Součková’s ‘Roman’ poems thus fuse together past and present, real with imagined pictures, and actual sensory experience with aesthetic reflections in mirror-like complementarity. Sense impressions evoke memories, or set in motion aesthetic reflections and intertextual and intermedial relations, in dialogue with foreign texts and images. The city becomes a kind of ‘palimpsest’ and a Freudian ‘Mystic Writing Pad’ (Wunderblock), inscribed with experiences, impressions and memories. The actual architecture of the city, combined with other traces of past epochs, literary works and paintings, and transfigured into poetic images, is again made legible by an aesthetic staging within the poetic text. This poetic strategy is thematically exemplified by two poems: Torquato Tasso and U Via Appia.