Le Fantôme de l’Opéra by Gaston Leroux: The novel’s evolution and its theatrical and cinematic adaptations in the twentieth century. E-book. Formato PDF Laura Paola Pellegrini   -  Led Edizioni Universitarie, 2012  - 

Le Fantôme de l’Opéra is a multifaceted novel. It is a gothic novel, because it speaks of obscure presences, sadows, ghosts, fate and magic; it is a romantic novel, just as Gaston Leroux’s indolence was romantic, leading the author to a certain gloomy and bittersweet melancholy; it is a decadent novel, because its protagonist is a real dandy, theatrical and excessively elegant, who loves to surround himself with baroque furnishings, mirrors, velvet and gold, just as Wilde or Huysmans would have liked; it is a symbolist novel, filled with countless metaphors dear to fairy-tale narrative, such as the key, the ring, the kiss, the lake, the river; it is a surrealist novel, as Jean Cocteau declared, since it tells of dreams, vast and obsessive spaces, as in Louis Carroll’s Alice in Wonderland; it is a modern novel that narrates the voyage into the inner depths of ourselves, connected to the world of Psychoanalysis and to Sigmund Freud; it is a detective novel, for the language of investigation that appears in certain passages and for its myriad of mysterious crimes; it is a love story that tells of an unhappy, unrequited passion. Le Fantôme de l’Opéra is a novel that contains many novels and many styles, and that touches us deeply because it speaks of emotions and feelings. It is a popular novel that tells stories about each one of us, even if these stories seem incredible. It is an extraordinary novel that inspired many other works: novels, films, television programs, circus performances, ice-skating phantasmagoria. It inspired these from its first appearance in 1910, to this day, and will continue to inspire others in years to come.

L'impero dei sensi. Da Euripide a Oshima. E-book. Formato PDF Roberto Alonge   -  Edizioni Di Pagina, 2014  - 

È difficile parlare di teatro senza toccare la tematica del desiderio, della passione della carne. La spinta pulsionale più audace, e trasgressiva, affiora già nella «Fedra» di Euripide, archetipo illustre di tutta una serie di «variazioni» suggestive (da Seneca a Racine, per finire con il provocante D’Annunzio). Resta però indubitabile che occorre distinguere sagacemente – nel fluire dei secoli – fra «eros» ed «erotismo». Quest’ultimo si dà unicamente là dove c’è oltrepassamento dei limiti del divieto, ebbrezza di sfuggire risolutamente al potere intimidatorio del tabù. «L’impero dei sensi» di Oshima Nagisa – un film del 1976, di più di trent’anni fa, ma che colpisce ancora – allude a questa invadenza erotica della scena nel dare il titolo a un convegno di studi (27-29 novembre 2008) promosso dal DAMS di Torino, di cui il presente volume raccoglie gli atti.