Jedna, żadna i sto tysięcy. Włoszka jako medium

The stake in a heated discussion on reviving tarantism in the Salentian culture by initiators and partcicipants of the project ‘The spider of a dancing god’ was the reinterpretation of the phenomenon itself: tarantism, which was perceived as a thing of the past and an embarrassing social problem, wa...

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Main Author: Katarzyna Woźniak
Format: Article
Language:deu
Published: Wydawnictwo Naukowe Uniwersytetu Pedagogicznego 2019-12-01
Series:Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
Subjects:
Online Access:https://studiahistoricolitteraria.up.krakow.pl/article/view/6838
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author Katarzyna Woźniak
author_facet Katarzyna Woźniak
author_sort Katarzyna Woźniak
collection DOAJ
description The stake in a heated discussion on reviving tarantism in the Salentian culture by initiators and partcicipants of the project ‘The spider of a dancing god’ was the reinterpretation of the phenomenon itself: tarantism, which was perceived as a thing of the past and an embarrassing social problem, was to become artistically modified, namely isolated from life and displayed on stage. Rejecting tarantism as a folk practice and an attempt at representing it could also be interpreted as turning a blind eye to the problem of a woman’s position in society, without proposing anything in turn. Technological and social progress did not go hand in hand with the emancipation of an Italian woman. Luigi Piradnello in his drama, and Franka Rame in her monodrama captured this phenomenon brilliantly.
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spelling doaj.art-0a5002510ca343e680bbd349235a08cf2022-12-22T04:18:27ZdeuWydawnictwo Naukowe Uniwersytetu PedagogicznegoAnnales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria2081-18532300-58312019-12-011910.24917/20811853.19.20Jedna, żadna i sto tysięcy. Włoszka jako mediumKatarzyna Woźniak 0Uniwersytet WrocławskiThe stake in a heated discussion on reviving tarantism in the Salentian culture by initiators and partcicipants of the project ‘The spider of a dancing god’ was the reinterpretation of the phenomenon itself: tarantism, which was perceived as a thing of the past and an embarrassing social problem, was to become artistically modified, namely isolated from life and displayed on stage. Rejecting tarantism as a folk practice and an attempt at representing it could also be interpreted as turning a blind eye to the problem of a woman’s position in society, without proposing anything in turn. Technological and social progress did not go hand in hand with the emancipation of an Italian woman. Luigi Piradnello in his drama, and Franka Rame in her monodrama captured this phenomenon brilliantly.https://studiahistoricolitteraria.up.krakow.pl/article/view/6838Pirandellotarantyzmkobieta w kulturze masowejFranca Ramedramat
spellingShingle Katarzyna Woźniak
Jedna, żadna i sto tysięcy. Włoszka jako medium
Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
Pirandello
tarantyzm
kobieta w kulturze masowej
Franca Rame
dramat
title Jedna, żadna i sto tysięcy. Włoszka jako medium
title_full Jedna, żadna i sto tysięcy. Włoszka jako medium
title_fullStr Jedna, żadna i sto tysięcy. Włoszka jako medium
title_full_unstemmed Jedna, żadna i sto tysięcy. Włoszka jako medium
title_short Jedna, żadna i sto tysięcy. Włoszka jako medium
title_sort jedna zadna i sto tysiecy wloszka jako medium
topic Pirandello
tarantyzm
kobieta w kulturze masowej
Franca Rame
dramat
url https://studiahistoricolitteraria.up.krakow.pl/article/view/6838
work_keys_str_mv AT katarzynawozniak jednazadnaistotysiecywłoszkajakomedium