Abstract
The unfinished tragedy Venise sauvée is an enigma and, at the same time, a geometrically perfect crystal. Subject of little interest, to this date, within the weilian studies, the play gathers in verses and pictures the absoluteness of thought of the author, allowing to deepen its shadows and highlights. At the same time, this play allow as well to bring little-known twentieth-century rewritings of tragedy in light, and testing its forms and contents through the eyes of women, lovers of perfection: eyes which are “unforgivable”. Primary objective of this paper is thus to analize the genesis, the dramatic structure and the main theoretical points arising from the dramatic text in order to investigate the conflict and, together, the unexpected displacement which characterizes them. More specifically, through the intersection of the play with other works by the same author or with works taken by the author as model works, we want to show how beauty, which stands as a key concept of the weilian thought, ends up betraying the very fabric of the reality from which it originates (and to which it offers itself as a privileged way of access) when it tends to cancel contradictions. The tragic is not negotiable or redeemable, and beauty springs only from all aporia which are worn down to the bottom: thin line it is, and in constant oscillation between irreconcilable opposites which just ask to be lived.
Translated title of the contribution | [Autom. eng. transl.] The border of beauty: Simone Weil's «Venise sauvée». |
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Original language | Italian |
Pages (from-to) | 96-114 |
Number of pages | 19 |
Journal | Comunicazioni Sociali |
Volume | XXXIV |
Publication status | Published - 2012 |
Keywords
- Aesthetics
- Beauty
- Bellezza
- Contraddizione
- Contradiction
- Estetica
- Novecento
- Teatro
- Theatre
- Tragedia
- Tragedy
- Twentieth