Paradossi di Afrodite PDF

The biographical data antiquity has bequeathed to us about Phryne, the 4th century b. However, I think raising doubts about the historical authenticity of this fascinating yet disquieting female figure would be excessive. However, it is not unlikely that such brazen exhibitionism has helped create a generally hostile atmosphere around Phryne, nor can the animosity of conformist Athenians be ruled out as one of the causes that might have led the hetaera to risk capital punishment in a trial full of uncertainties and unexpected turns of events, paradoxically ending with the definitive paradossi di Afrodite PDF of this extraordinary woman and of her disturbing appeal.


Författare: Guido Brivio.

Queste pagine raccontano una duplice storia. La storia di Afrodite Celeste e Afrodite Terrestre. Questa storia, che per diverse vie giunge fino a oggi, comincia in un passaggio del Simposio di Platone, ma la sua vita affonda le radici lontano, nel mito e nel culto, nella letteratura e nell’arte, nella religione e nel pensiero greco, da Esiodo a Omero agli orfici. Perché la storia di Afrodite – che è al tempo stesso la storia della bellezza, del potere dell’immagine, dell’origine di eros e del mondo – è la storia dell’Occidente ma anche la storia che l’Occidente ama raccontarci, le cui implicazioni continuano ad agire instancabilmente su di noi.

18th century, and coincided with a wider, more general interest for classics. Turner, Phryne Going to the Public Baths as Venus. Hardly hinted at in Kauffmann’s small paintings, ignored by Turner’s austere muse, the erotic overtones of Phryne’s figure explode in a triumphant parade in the work of the French academic painters of the Second Empire. However, after Gérôme’s successful portrait, Phryne’s figure seemed to become a mere pretext for impressive, as well as purely aesthetic, virtuoso style exercises. It was, however, with the advent of cinema that Phryne was finally set free from the stereotyped academicism where the visual art of the 19th century seemingly relegated her.

In 1952, Italian cinemas showed Alessandro Blasetti’s film Altri tempi , whose eighth, and last, episode bears the title Il processo di Frine . Blasetti’s film fragment, shot at least seventy years after the short story, avoids the most sinister aspects of Scarfoglio’s text, turning the dark story into an irresistible, strapaesana farce, admirably led by Vittorio de Sica in the role of the defending counsel. Despite the unlucky title, the film is one of the most interesting of its genre. The film no doubt contains mistakes and ingenuities. For instance, the use of ancient writing is approximate, to say the least, like in almost all other films of the péplum genre. Leone’s presence was  stronger than the credits could lead us to believe. What is particularly beautiful is the sequence where Phryne runs away in the woods, especially the shot where she bends upon a stream to drink.