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La racine *u̯eh2 - en Sanskrit : vāma-, vāra-°, vayati

100%
Jacques G.
Studia Etymologica Cracoviensia
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2013
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vol. 18
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issue 2
69-82
EN
This article discusses the remnants of the root *u̯eh2- ‘to turn’ in Sanskrit. First, vāma- ‘left’, an etymon which we analyse from a typological point of view, bringing comparative data from various languages; the etymology of its synonym savyá- is also discussed. Second, the noun vāra-° ‘prostitute’ which, although isolated in Sanskrit, presents an exact Latin cognate. Third, the verb vayati ‘to weave’, whose paradigm and derived noun include some forms that must originate from *u̯eh2-
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L’anti-cristiana. Sulle attrici professioniste della prima età moderna

84%
Majorana B.
Italica Wratislaviensia
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2019
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issue 10.2
85–101
EN
The profession of the commedia dell’arte actress acquires a markedly visible position in the broad public horizon of Modern-Age Italy. The actress, in that context, places herself both at the borders of the male amateur theatre practices and amongst the virtuous feminine models (nuns, wives, virgins), conflicting with both. These counter-positions must have been very visible, particularly to the spectators, who could easily draw comparisons both with the amateur shows, where only male actors played, and with different kinds of feminine characters. These contrasts are explored in this article using moral essays of the time, including the equivalence between actress and prostitute put forward by a lengthy treatise in 1646 by G.D. Ottonelli.
IT
Il mestiere di comica dell’Arte assume una posizione marcatamente visibile nell’orizzonte pubblico dell’Italia cattolica di età moderna, dove l’attrice si colloca tanto sui confini delle pratiche teatrali maschili edificanti dei dilettanti quanto su quelli dei modelli femminili virtuosi (monache, spose, vergini), confliggendo con gli uni e con gli altri. Queste contrapposizioni dovevano essere ben presenti in primo luogo agli spettatori, i quali potevano operare un confronto sia con spettacoli non professionistici e dunque recitati soltanto da uomini, sia con modelli diversi di donna. I contrasti vengono indagati attraverso la trattatistica morale del tempo, soffermandosi infine sull’assimilazione fra attrice e prostituta proposta in un corposo trattato del 1646 di G.D. Ottonelli.
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