Monday, October 18, 2010

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soup freedom: Foscolo, Tacitus, Géricault, Delacroix - IIIA

The question becomes at once in IIIA ... (Your business guys ;-)).

not simple theme that of freedom '...


Let's start with "To Zante" , the sonnet of nostalgia and exile of

Foscolo
...



Foscolo What do you teach beyond the immediate sense of the sonnet, beyond nostalgia for the homeland and the suffering of exile?

Foscolo one of the many answers that I give in front of the limitation of freedom ... ... One of the many self-exile, fleeing.

One of the many, not the only one.


Last year we talked about how
Tacitus (Latin author) spoke of the dictatorship of Nero
and fate, quite different, of Thrasea Peto (aristocrat who preferred suicide to compromise with the Emperor) and
Agricola (Tacitus upright man and father in law ... oh well, we skip the relationship and loyalty - )). Two different ways to react to the dictatorship :

(to revive the memory, a document here
depth
).
  • And now if these considerations be placed alongside Delacroix (who painted the
    • Freedom
, immediately after the French Revolution, and therefore the reflections of contemporary work Foscolo)? What thoughts might draw from this?


Gambling a link (hard?) With The raft of Géricault
(
framework of the story here) that inspired Delacroix:

the n Delacroix woman see the protagonists in the face and pushes them to action
...


  • not find that these two pictures look like some 'contrast Thrasea Peto (titanic that yearns for freedom, hoping that sooner or later it falls down and doing nothing to get it) and agriculture (which perhaps by accepting the compromise Tramples on the poor-women-victims struggle for a better world)?
  • and return to our Foscolo, which of the two paintings .... think more like him? And what to you?

(reference 1-million-dollar-or euro, do vobis-).
----------------------------------
And just to leave you with bright neurons leave you with the of Venus Botticelli (end '400)
fea ... that those islands fertile / with its first smile ...
But that's another story.
Or not?

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