Search results

1

A brief excursus on some royal portraits from the Temple of Thotmes III at Deir el-Bahari

100%

Podgórski T.

Studies in Ancient Art and Civilization

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2011

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vol. 15

101-105

EN

The article deals with some important aspects of the royal iconography of the 18th Dynasty, presenting several unique, hitherto unpublished in this form polychromed relief portraits of King Thotmes III from his funerary temple at Deir el-Bahari. The style of these images may herald the style shift from the earlier representations of the King and may provide the link to the subsequent art mannerism in the times of Amenhotep III.

2

‘Ars magica sive utilitas?’ Reflections on the magical and pragmatic aspects of the power of portraits in early modern times

100%

Halászová I.

Umění (Art)

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2019

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vol. 67

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issue 3

168-183

EN

Given the overabundance of portraiture in the modern age, it is somewhat difficult to place ourselves mentally into a position from which we can consider the domestication of this genre. The magical appeal and effects of immediacy which portraits exerted on viewers in the 16th and also for much of the 17th century were very similar to those which were evoked by images from the ‘pre-art’ era and which to a certain extent remain attributes of the portrait-image to the present day. The reins of this potentially magical power of the portrait-image were held in the hands of the artist under the condition that he combine his mental and manual creative abilities to transform three dimensional reality into a two dimensional painted image. A suitably talented and skilled artist was able to achieve not only an unmistakable visual likeness (similitudo) of the image to its subject, but also to evoke the illusion of immediacy (praesentia) and charm from recognition (identificatio). From the perspective of the anthropology of images, the portrait can both ‘pacify’ death and also activate power in the sense of dominating others through ‘imagery politics’, for example in the iconography of official state portraits. A not insignificant role is also played by the spontaneity of memory, that archaic and thus fleetingly intermittent aspect of natural human recollection, which allows portraits to serve as specific places of memory. In considering the pragmatic reasons for the striking success of the portrait in the early modern period it is necessary to pay particular attention to the cultural meaning and social function associated with the form. Portraits found their functional role in a variety of ritual ceremonies connected with both the private and public-official spheres, both in situations of everyday life and of special occasions. They emerged in connection with the birth (with baptism) and death (with the funeral) of an individual, with marriage but also with widowhood; serving as a memento of the fleeting nature of beauty and youth but also as a symbol of the fulfilment of familial, professional, financial and power ambitions and, for example, of idealized heroic ambitions. In other cases, portraits function as ‘proof’ of the subjects’ own importance and family pedigree, of friendship and family connections, of contacts with the world of famous and powerful people and, by no means least, of their own political loyalties.

CS

Vzhledem k dnešní přesycenosti portréty není jednoduché změnit své myšlenkové nastavení a sledovat, jak tento žánr zdomácňuje: magická přitažlivost a zpřítomňující účinky portrétu na diváka byly ještě v 16. století, a dokonce i hluboko v 17. století velmi podobné těm, které vyzařovaly obrazy z „éry před uměním“, v jistém smyslu jsou atributem obrazu-portrétu dodnes. Otěže této potenciální magické moci obrazu-portrétu držel v rukou umělec za podmínky, že byl schopen dosáhnout nejen nezpochybnitelné vzhledové podobnosti (similitudo) obrazu s modelem, ale i navodit iluzi zpřítomnění (praesentia) a okouzlení z rozpoznání (identificatio). Z pohledu antropologie obrazů lze portrétem na jedné straně „zpacifikovat“ smrt, ale na straně druhé rovněž aktivovat moc ve smyslu ovládnutí druhých prostřednictvím „obrazové politiky“, například prostřednictvím ikonografie oficiálního státnického portrétu. V neposlední řadě zde hraje významnou roli spontánní paměť, tedy archaické, a proto přerušovaně se odhalující přirozené lidské vzpomínání, které dělá z portrétů zvláštní místa paměti. Při úvaze o pragmatických důvodech výrazného společenského úspěchu portrétu v raném novověku je jistě nutné zohlednit především kulturní významy a sociální funkce s ním spjaté. Portréty našly své funkční místo v rozmanitých rituálních ceremoniích spjatých s privátní i s oficiální, veřejnou sférou všedních a svátečních situací v lidském životě: vznikaly v souvislosti s narozením (křtem) člověka i jeho smrtí (pohřbem), se svatbou, ale i s ovdovění, staly se mementem prchavé krásy a mládí, ale také symbolem naplněných rodinných, kariérních, ekonomických, mocenských, například ideálních hrdinských ambicí. V jiných případech byly „důkazem“ vlastní důležitosti, původu, přátelských a rodinných vazeb, kontaktů se světem slavných a mocných lidí a také vlastní mocensko- -politické loajality.

3

„Skowronek. Portret Ferdynanda Olesińskiego” Jacka Malczewskiego (1902)

80%

Galantowicz M.

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2013

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vol. 75

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issue 1

115-120

EN

The controversy who served as the model for Jacek Malczewski’s painting ‘Lark’ is tackled. Some scholars claim that it portrayed Antoni Zembaczyński, others that the painter Ferdynand Olesiński. However, on the grounds of the preserved effigies of both artists, the Author has ascertained that the painting features Ferdynand Olesiński.

4

Portret matrony and Starzec. Norwid’s unknown drawings

80%

Chlebowska E.

Studia Norwidiana

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2018

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vol. 36 English Version

193-205

EN

The article aims to present two previously unknown drawings by Norwid which have recently been added to the artistic legacy of the creator of Solo. The first of the discussed sketches is Portret matrony z herbem Pierzchała from 1864, which is most likely the image of Laura Czosnowskanée Górska or Maria Przezdziecka née Tyzenhauz. The second drawing, showing the running old man, comes from Norwid’s sketchbook kept in the collection of the National Museum in Krakow.

5

Portraits of Antun Gustav Matoš by Josip Vaništa and Antun Babić

61%

Kusik V.

Poznańskie Studia Slawistyczne

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2014

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issue 7

PL

This essay deals with two visual art portraits by the painter Josip Vaništa and the sculptor Antun Babić. The subject is Antun Gustav Matoš, whom each artist depicts according to his own artistic vocabulary and visual language. There is a difference in both the form and the motivation. For Josip Vaništa, A.G. Matoš announced the dawn of Croatian modernism, which was his painterly point of departure, while for A. Babić, A.G. Matoš was a literary figure who belonged to s specific physical space.

6

Autoportrait ouvert : de quelques analogies dans la conception de l’image de Mark Rothko et de Jean-Philippe Toussaint

61%

Łukasiak J.

Acta Philologica

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2014

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issue 45

179-185

PL

Autorka analizuje dyptyk Jeana-Philippe’a Toussainta (L’Appareil-photo, Autoportrait) podkreślając rolę licznych odniesień do estetyki Marka Rothki, zawartych w tych dwóch książkach. W obu powieściach narrator podejmuje próbę stworzenia autoportretu, a właściwie uwiecznienia na fotografii pewnej idei portretu. Odrzucenie obiektywnej wizji rzeczywistości i rozumienie obrazu jako nośnika idei stanowi element wspólny koncepcji obrazu u Rothki i u Toussainta. Obydwu artystom bliska jest koncepcja dzieła otwartego, w rozumieniu Umberto Eco. Toussaint koncentruje się na dwóch cechach dzieła otwartego, takich jak ruch i fragmentaryczność. Przerwy w narracji i liczne niedopowiedzenia wymuszają ruch ze strony czytelnika, który zmieniając punkty widzenia, tworzy nowe interpretacje powieści, nowe odczytania wciąż niejasnego portretu.

7

Образ коханої в любовній ліриці Спиридона Черкасенка

61%

Czuj A.

Studia Ucrainica Varsoviensia

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2018

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vol. 6

335-348

PL

Beloved woman’s character in Spyridon Cherkasenko’s love lyric This article focuses on the character of a lyrical hero’s beloved woman. The present study analyzes the features of her appearance and character. It reveals the fact that the author presents only some single details of the portrait with the main focus on the woman’s eyes and lips. To expand the portrait, the author compares her beauty with the beauty of nature. We learn that the character of the beloved woman is changeful but, at the same time, strong and attractive for the lyrical hero. A research shows the meaning of a number of associative images in which the girl appears to the loving man. A little less attention is paid to other personifi cated characters who are witnesses and accomplices of the love stories. The author of this article concludes that landscape is not a mere background, but also an important acting character, utterly depending on the lyrical hero’s mood.

8

Przerażające i satyryczne obrazy czarownic w literaturze łacińskiej

61%

Wołek A. M.

Ogrody Nauk i Sztuk

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2012

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issue 2

EN

This article shows the most important and the most powerful images of witches in the literature of Ancient Rome. The problem of magic and magic practitioners was very common in antiquity. People believed that during the night black magic was practiced, magic which was prohibited by law and the gods, and that harmed living creatures and even caused their death. Interestingly, it was women who predominantly practiced magic in antiquity. Needless to say, they were portrayed in an extremely negative way: witches were ugly, old and lascivious, but at the same time powerful and frightening. It is no wonder that the writers of Ancient Rome willingly touched upon the topic of spells, and presented witches in two ways: either to frighten or amuse the reader. Looking at the works of Apuleius, Lucan, Petronius and Horace, we in the first place see that both modes of representations were equally popular. We also realize how popular this motif was and how often it had been used and transformed.

9

From icon to punk portrait: The iconicity of the ruler image in the context of the transformation of the idea of the Serbian state

61%

Bogusławska M.

Slavia Meridionalis

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2019

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vol. 19

EN

From icon to punk portrait: The iconicity of the ruler image in the context of the transformation of the idea of the Serbian stateThe article describes transformation in the iconographic forms of power representations in Serbian culture as determinants of the evolution of the idea of the State and Serbian political culture. In visual terms, the key stages of their development correspond to the genealogical dynastic image of the religious character (loza) in the middle ages, and the “disenchanted” historical and representative portrait of a ruler that was subordinated to the national idea on the threshold of modernity. These forms not only participate in the establishment of political leadership and the creation of the field of power, but they also stimulate their change. The author examines these issues from the perspective of visual studies, which problematize the phenomenon of the performativity of the image. A particular variation of the performativity of the image is iconicity, understood as drafting and making present reality using esthetic and visual values. The aim of the analysis is to show how the local, namely Serbian, pattern of culture of power models the universal mechanisms of forming and legitimizing the authority of the State. Od ikony do punk portretu. Ikoniczność wizerunku władcy w kontekście przemian idei państwa serbskiegoArtykuł dotyczy przeobrażeń ikonograficznych form reprezentacji władzy w kulturze serbskiej jako wyznaczników ewolucji idei państwa oraz kultury politycznej Serbów. W wymiarze wizualnym kluczowym etapom ich rozwoju odpowiadają: w średniowieczu genealogiczny wizerunek dynastyczny o charakterze religijnym (loza), a u progu nowożytności „odczarowany” portret historyczny i reprezentacyjny władcy, podporządkowany idei narodowej. Formy te uczestniczą w stanowieniu przywództwa politycznego i wytwarzaniu pola władzy oraz stymulują ich zmianę. Autorka rozpatruje te zagadnienia z perspektywy visual studies, które problematyzują zjawisko performatywności obrazu. Jej szczególną odmianą jest ikoniczność, rozumiana jako stanowienie i uobecnianie rzeczywistości za pomocą wartości estetycznych, wizualnych. Celem analizy jest ukazanie, w jaki sposób lokalny, tj. serbski wzór kultury władzy modeluje uniwersalne mechanizmy formowania i legitymizacji autorytetu państwa.

10

Monachijski portret króla Zygmunta Augusta i uwagi o ikonografii ostatniego Jagiellona

61%

Petrus J. T.

Artifex Novus

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2020

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issue 4

24-43

EN

The Bayerische Staatsgemäldesammlungen collection in Munich houses a portrait of King Sigismund Augustus, which was recently discovered and identified by Polish art historians following a quest lasting more than half a century. It sheds important light on the iconography of the last Jagiellonian, as it remains to date the only known representation in pictorial form of the model during his lifetime. It is related to a bust portrait miniature of the monarch, formerly found in the collection of Archduke Ferdinand II of Tirol in Ambras, and nowadays on show in the Münzenkabinett in the Kunsthistorisches Museum in Vienna. Both paintings by the same artist were produced at the Polish court just before the mid-16th century. Their creator was well acquainted with the highly regarded compositional techniques used at the time in portraiture in Italy. All the evidence suggests that the Munich painting found its way into the Bavarian Wittelsbach collections as part of the trousseau of Princess Anna Catherine Konstancja Wazówna, who in 1642 married the Neuburian prince Philip Wilhelm. It was included in the collection of portraits of members of the Jagiellonian family, that Wazówna took with her to Bavaria. However, it was painted in circumstances different from other portraits and is a work with a different artistic genesis. This portrait unearthed in the Munich collection not only greatly enriches the existing iconography of the last Jagiellonian, but it also makes a significant contribution to our knowledge of royal patronage.

PL

W zbiorach Bayerische Staatsgemäldesammlungen w Monachium jest przechowywany portret króla Zygmunta Augusta, który po ponad pół wieku poszukiwań przez polskich historyków sztuki został niedawno odnaleziony i zidentyfikowany. Ma on ogromne znaczenie dla ikonografii ostatniego Jagiellona bowiem, jak dotąd, jest jego jedynym znanym malarskim przedstawieniem w całej postaci, powstałym za życia modela. Wizerunek pozostaje w związku z miniaturowym portretem monarchy w popiersiu, dawniej w kolekcji arcyksięcia Ferdynanda II Tyrolskiego w Ambras, obecnie w Münzenkabinett w wiedeńskim Kunsthistorisches Museum. Oba obrazy, tego samego autora, powstały na polskim dworze tuż przed połową XVI stulecia. Ich twórca był dobrze obeznany ze stosowanymi wówczas we Włoszech i cieszącymi się uznaniem kompozycjami portretowymi. Monachijski obraz trafił do bawarskich zbiorów Wittelsbachów, jak wszystko na to wskazuje, wraz z wyprawą ślubną królewny Anny Katarzyny Konstancji Wazówny, w roku 1642 wydanej za mąż za księcia neuburskiego Filipa Wilhelma. Należał do zespołu wizerunków członków rodziny Jagiellonów, zabranych do Bawarii przez Wazównę, lecz powstał w okolicznościach innych niż pozostałe portrety i jest dziełem o odmiennej genezie artystycznej. Ujawniony w zbiorach monachijskich portret nie tylko w istotny sposób wzbogaca ikonografię ostatniego Jagiellona, lecz ma również znaczenie dla wiedzy o królewskim mecenacie.

11

Portret Ludwika Wejhera w kościele pw. Wniebowzięcia Najświętszej Marii Panny w Skrzatuszu

61%

Fijałkowski M.

Rocznik Skrzatuski

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2017

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vol. 5

77-89

PL

Autor omawia życiorys Ludwika Wejhera (ok. 1611–1656), wojewody pomorskiego, starosty wałeckiego, którego mało znany portret znajduje się kościele skrzatuskim.

EN

The author discusses the biography of Ludwik Wejher (c. 1611–1656), the Pomeranian governor, the starost of Walcz (Wałcz), whose barely known portrait is located in the church in Skrzatusz.

12

Unerzählt - Nieopowiedziane

61%

Sebald W. G., Tripp J. P., Łukasiewicz M.

|

2014

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vol. 68

|

issue 3-4(306-307)

23-31

EN

Seven poems and portraits from a book written jointly by W. G. Sebald and Jan Peter Tripp: Unerzählt (Carl Hanser Verlag, München 2003).

13

Portret matrony oraz Starzec. Nieznane rysunki Norwida

61%

Chlebowska E.

Studia Norwidiana

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2018

|

vol. 36

179-191

PL

Artykuł ma na celu prezentację dwóch rysunków Norwida, dotychczas nieznanych, które zasiliły w ostatnim czasie rejestr spuścizny artystycznej twórcy Solo. Pierwszy z omawianych szkiców to Portret matrony z herbem Pierzchała z 1864 r., będący najprawdopodobniej wizerunkiem Laury z Górskich Czosnowskiej lub Marii z Tyzenhauzów Przezdzieckiej. Drugi rysunek, przedstawiający biegnącego starca, pochodzi z Norwidowskiego szkicownika, przechowywanego w zbiorach Muzeum Narodowego w Krakowie.

EN

The article aims to present two previously unknown drawings by Norwid which have recently been added to the artistic legacy of the creator of Solo. The first of the discussed sketches is Portret matrony z herbem Pierzchała from 1864, which is most likely the image of Laura Czosnowska née Górska or Maria Przezdziecka née Tyzenhauz. The second drawing, showing the running old man, comes from Norwid’s sketchbook kept in the collection of the National Museum in Krakow.

14

Portret matrony and Starzec. Norwid’s unknown drawings

61%

Chlebowska E.

Studia Norwidiana

|

2018

|

vol. 36 English Version

193-205

PL

Artykuł ma na celu prezentację dwóch rysunków Norwida, dotychczas nieznanych, które zasiliły w ostatnim czasie rejestr spuścizny artystycznej twórcy Solo. Pierwszy z omawianych szkiców to Portret matrony z herbem Pierzchała z 1864 r., będący najprawdopodobniej wizerunkiem Laury z Górskich Czosnowskiej lub Marii z Tyzenhauzów Przezdzieckiej. Drugi rysunek, przedstawiający biegnącego starca, pochodzi z Norwidowskiego szkicownika, przechowywanego w zbiorach Muzeum Narodowego w Krakowie.

EN

The article aims to present two previously unknown drawings by Norwid which have recently been added to the artistic legacy of the creator of Solo. The first of the discussed sketches is Portret matrony z herbem Pierzchała from 1864, which is most likely the image of Laura Czosnowskanée Górska or Maria Przezdziecka née Tyzenhauz. The second drawing, showing the running old man, comes from Norwid’s sketchbook kept in the collection of the National Museum in Krakow.

15

Triada retoryczna (logos, etos, patos) a perswazyjność sylwetki prasowej

61%

Worsowicz M., Uniwersytet Łódzki W. F., Monika Worsowicz – prowadzi zajęcia z zakresu gatunków dziennikarskich d. p. i. r. A. m. p. O. d. s. T. r. a. w. p. m. o. p. z. z. d. p., mowors@uni.lodz.pl

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2016

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vol. 31

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issue 1

EN

The article discusses the specificity of character pieces (the journalistic genre for the presentation and recommendation of a person) in the context of the rhetorical triad. Logos, ethos and pathos are three ways of shaping an argument which in a character piece have a persuasive impact on the reader by influencing his intellect, will and emotions. In journalistic practice, this means using facts and commanding direct or indirect inference in relation to the axiology of moral attitudes, as well as showing and engendering feelings, states of emotion and stimulating the imagination. The author discusses these actions based on selected journalistic texts from the magazines „Polityka”, „Gazeta Wyborcza”, „Press” and „Newsweek Polska”.

16

Religione pro Deo, Sapientia pro Patria. Kreacja wizerunku biskupa wileńskiego Konstantego Kazimierza Brzostowskiego w grafice okolicznościowej

51%

Stankiewicz A.

Artifex Novus

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2020

|

issue 4

162-180

EN

The article presents the image creation of Konstanty Kazimierz Brzostowski (1644–1722), bishop of Vilnius, in the light of dedicated to him engravings and panegyrics. Part of the engraved portraits presented him as the bishop of Vilnius and the first ecclesiastic in the Grand Duchy of Lithuania. Some of the engravings were adorned with a graphic decoration conforming with the allegoric meaning of the Strzemię coat-of-arms of Brzostowski and coat-of-arms of other Lithuanian families. This determined not only individual virtues but also, together with the relevant quotations, became a manifestation of his political position in the Grand Duchy of Lithuania. This strategy was very important in the case of the conflict between the bishop of Vilnius and family of Sapieha, especially Kazimierz Jan Sapieha (1642–1720).

PL

W artykule omówiono kreację wizerunku biskupa wileńskiego Konstantego Kazimierza Brzostowskiego (1644-1722) w świetle dedykowanych mu rycin i panegiryków. Część portretów graficznych ukazywała go jako biskupa wileńskiego i pierwszego duchownego w Wielkim Księstwie Litewskim. Niektóre ryciny zdobiące panegiryki zostały ozdobione dekoracją zgodną z symbolicznym znaczeniem herbu Brzostowskiego Strzemię i herbów innych litewskich spokrewionych z duchownym. Symbolika herbu traktowanego jako emblemat nie tylko odwoływała się do przypisywanych duchownemu cnót, ale także, wraz z odpowiednim programem inskrypcji, manifestowała jego rolę polityczną w Wielkim Księstwie Litewskim, co miało duże znaczenie w konflikcie między biskupem wileńskim a rodziną Sapiehów, zwłaszcza Kazimierzem Janem Sapiehą (1642–1720).

17

Muszla, biografia słowa, blizna

51%

Madejski J.

Autobiografia. Literatura. Kultura. Media

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2016

|

issue 2(7)

7–13

PL

Autor przedstawia zasadnicze dylematy współczesnej biografistyki literackiej. Przypominając słowa Czesława Miłosza z Abecadła, przybliża idee biografistyki XX wieku. Odnosząc się zaś do prac najnowszych, m.in. ekokrytycznych, pokazuje przemiany w dziedzinie żywotopisarstwa.

EN

The author exposes the fundamental dilemmas of the contemporary literary biography. By reminding the words by Czesław Miłosz from his Abecadło presents the essence of the 20th century biography. He also points to the essential transformations within life-writing practices in reference to the newest texts among which one can find ecocritical writing as well as other forms.

18

Lekcja portretu. „Do Tytusa M.”

51%

Dąbrowicz E.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2021

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vol. 116

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issue 4

149-162

EN

This article studies "Do Tytusa M." [To Tytus M.], a poem written by Cyprian Norwid in Paris in February 1857 and first published in 1860 by a popular Warsaw columnist as an excerpt from the album of the painter Tytus Maleszewski. The poem is addressed to the latter and discusses the portrait of Norwid that was to be painted by Tytus M. in pastel to preserve the image of the poet who had lived in exile for years. Norwid’s poem constitutes a peculiar ekphrasis of the work that is yet to be composed, outlining differences in both artists’ approaches to the art of portrait. Serving also as the poet’s peculiar self-portrait, it subtly intertwines the biographical references with mythological allusions (to the scene of Orpheus and Eurydice leaving the land of death), everyday life with artistic ideas, a solemn tone with a familiar and playful note. This poetic study of the portrait is confronted with the studies of faces included in Czarne kwiaty [Black Flowers] commemorating Norwid’s last encounters with Stefan Witwicki, Juliusz Słowacki, etc. Another context is provided by the images of contemporary figures, representatives of the world of politics and culture, published in the press at that time.

19

Artysta – emigrant – pielgrzym. O norwidowskim autoportrecie „Ipse ipsum”

51%

Chlebowska E.

Kultura Współczesna. Teoria. Interpretacje. Praktyka

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2021

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vol. 116

|

issue 4

181-193

EN

This article offers an interpretation of Cyprian Norwid’s self-portrait Ipse ipsum created in 1857 in Paris. Given its intriguing approach, references to the poet’s biography and literary works, as well as rich symbolism, the drawing occupies a particular place in the collection of over 20 cartoon self-portraits by the author of Promethidion. Its presentation is accompanied by an outline of its turbulent history and a brief literature overview. The circumstances in which it was drawn prove crucial for the understanding of Norwid’s approach to his own image. Selfcreation is adopted as the pivotal perspective in the light of which the self-portrait is interpreted as an image presenting the author of Vade-mecum as an artist, an emigrant, and a pilgrim, with the historical, biographical, and literary contexts playing important roles in all three representations. The poems Czy podam się o amnestię [Shall I Request Amnesty] and Pielgrzym [The Pilgrim] shed some extra light on the drawing of Norwid standing on the map of the world and surrounded by barking dogs, allowing us to search for deeper meanings in the poet’s spiritual profile.

20

La Medusa decapitata: la donna nel racconto ecfrastico "La ripetizione" di Andrea Camilleri e nel quadro "La Vucciria" di Renato Guttuso

51%

Bartkowiak J.

Italica Wratislaviensia

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2020

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issue 11.2

55-72

EN

The main focus of this article is to find an image of the woman, provided by an ekphrastic work by Andrea Camilleri, "La ripetizione", corresponding to a famous painting by Renato Guttuso, "La Vucciria". The duality of the perception of the woman, in the rich and multi-millennial Sicilian culture, is reflected in the writer’s narrative through a clash of roles and an inversion of the positions commonly assigned to individuals by society. The analysis highlights the mutual exchange of "glazes", defined by Laura Mulvey as “male” and “female,” and the installation within the framework of the observer reflected by the mirror, as proposed by Michel Foucault. The reflections of psychoanalysts, in particular Julia Kristeva and Melanie Klein, provide some explanations regarding the coexistence of the cult of the mother with the desire for matricide. According to these theories, the figure of the male child remains forever burdened by an inconsolable sense of guilt and frustration. Consequently, the male protagonists of Camilleri are tormented by a terror of and a disdain for the female body. In fact, their domination proves to be only illusory: the image of the woman is overwhelming and threatening like that of "Trinacria", the mistress of Sicily. Finally, the male, fighting for his own identity, commits matricide and the Medusa is beheaded.

IT

L’argomento principale su cui verte il presente articolo è quello di fornire un’immagine della donna, analizzando un’opera ecfrastica di Andrea Camilleri: "La ripetizione", e con l’ausilio de "La Vucciria" di Renato Guttuso. La dualità della percezione della donna, nella ricca e multimillenaria cultura siciliana, si rispecchia nel testo dello scrittore tramite uno scontro di ruoli e di un’inversione dei posti comunemente assegnati agli individui dalla società. L’analisi qui proposta evidenzia il mutuo scambio degli sguardi, definiti da Laura Mulvey come “maschili” e “femminili”, e l’insediamento nel quadro dell’osservatore riflesso dallo specchio, come proposto da Michel Foucault. Le riflessioni degli psicoanalisti, in particolare Julia Kristeva e Melanie Klein, forniscono alcune spiegazioni riguardanti la coesistenza del culto della madre con il desiderio del matricidio. Secondo queste teorie, la figura del maschio/figlio viene sempre gravata da un inconsolabile senso di colpa e da un senso di frustrazione. Ne consegue che i protagonisti maschili del racconto di Camilleri vengano tormentati dal terrore a cui è legato il disprezzo nei confronti del corpo femminile. Infatti, la loro dominazione si dimostra essere solo illusoria: il viso della donna risulta travolgente e minaccioso come quello della Trinacria, la padrona della Sicilia. Infine, il maschio, combattendo per la propria identità, commette il matricidio e la Medusa viene decapitata.

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