L ’ eroe romantico da byron a burton

2. L’eroe romanticoda byron a burton Attraverso gotico e macabro fino al cinema contemporaneo di daline diwald

3. Introduzione

4. L’eroe romantico è una figura centrale all’interno della letteratura e dell’arte. Introduzione

5. L’eroe romantico è una figura centrale all’interno della letteratura e dell’arte. La tensione emotiva e il disagio interiore propri di questo personaggio si esprimono attraverso una vasta gamma di sfumature caratterizzate da elementi gotici e spesso macabri. Introduzione

6. L’eroe romantico è una figura centrale all’interno della letteratura e dell’arte. La tensione emotiva e il disagio interiore propri di questo personaggio si esprimono attraverso una vasta gamma di sfumature caratterizzate da elementi gotici e spesso macabri. Alla “categoria” di “eroe romantico” appartengono due diverse tipologie di carattere: Introduzione

7. L’eroe romantico è una figura centrale all’interno della letteratura e dell’arte. La tensione emotiva e il disagio interiore propri di questo personaggio si esprimono attraverso una vasta gamma di sfumature caratterizzate da elementi gotici e spesso macabri. Alla “categoria” di “eroe romantico” appartengono due diverse tipologie di carattere: Quello ribelle di colui che si contrappone alla società e alle sue convenzioni, che afferma la propria libertà e individualità distaccandosi da un mondo al quale sente di non appartenere Quello malinconico di colui che a causa della propria diversità è escluso e solo, una vittima che non sa agire concretamente, ma osserva con angoscia la propria impotenza. Introduzione

8. Lord Byron

9. Lord Byron The Byronic Hero

10. Lord Byron The Byronic Hero • Main features: bold, melancholic, solitary, misterious.

11. Lord Byron The Byronic Hero • Main features: bold, melancholic, solitary, misterious. • Main themes: titanism, exoticism, gothicism, passion for nature

12. Lord Byron The Byronic Hero • Main features: bold, melancholic, solitary, misterious. • Main themes: titanism, exoticism, gothicism, passion for nature • He is highly autobiographical, since Byron was a rebel, a courageous and brave man, melancholic at times and a solitary person, as well as his character.

13. Lord Byron The Byronic Hero • Main features: bold, melancholic, solitary, misterious. • Main themes: titanism, exoticism, gothicism, passion for nature • He is highly autobiographical, since Byron was a rebel, a courageous and brave man, melancholic at times and a solitary person, as well as his character. • He is mostly described in ‘Lara’, but he is actually portraited in almost all of Byron’s works.

14. Lord Byron The Byronic Hero • Main features: bold, melancholic, solitary, misterious. • Main themes: titanism, exoticism, gothicism, passion for nature • He is highly autobiographical, since Byron was a rebel, a courageous and brave man, melancholic at times and a solitary person, as well as his character. • He is mostly described in ‘Lara’, but he is actually portraited in almost all of Byron’s works. The romantic hero can be also seen in the characters of the couple Percy Bysshe-Mary Shelley

15. P.B.Shelley Prometheus Unbound

16. P.B.Shelley Prometheus Unbound • From ‘Prometheus Bound’ by Aeschylus.

17. P.B.Shelley Prometheus Unbound • From ‘Prometheus Bound’ by Aeschylus. • He was a titan, punished by Juppiter with a terrible curse.

18. P.B.Shelley Prometheus Unbound • From ‘Prometheus Bound’ by Aeschylus. • He was a titan, punished by Juppiter with a terrible curse. • He was both a rebel and a victim

19. Mary Shelley

20. Mary Shelley Frankenstein

21. Mary Shelley Frankenstein • Inspired by a nightmare.

22. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales.

23. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man.

24. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man. • Style: emotional language and suspence.

25. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man. • Style: emotional language and suspence. The “monster”

26. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man. • Style: emotional language and suspence. The “monster” • He is very clever and intelligent.

27. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man. • Style: emotional language and suspence. The “monster” • He is very clever and intelligent. • He is lonely, rejected by the society.

28. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man. • Style: emotional language and suspence. The “monster” • He is very clever and intelligent. • He is lonely, rejected by the society. • He really appreciates nature.

29. Mary Shelley Frankenstein • Inspired by a nightmare. • Exploits the macabre of the Gothic Tales. • Romantic interest in the effects of science on man. • Style: emotional language and suspence. The “monster” • He is very clever and intelligent. • He is lonely, rejected by the society. • He really appreciates nature. • Rousseau: ”Man is naturally good, and only by instinct is he made bad”

30. Edgar Allan Poe

31. Edgar Allan Poe The Black Cat

32. Edgar Allan Poe The Black Cat • Poe always exploits the inexplicable side of human nature.

33. Edgar Allan Poe The Black Cat • Poe always exploits the inexplicable side of human nature. • It’s a short story (as usual for Poe).

34. Edgar Allan Poe The Black Cat • Poe always exploits the inexplicable side of human nature. • It’s a short story (as usual for Poe). • The black cat has become the symbol of the dark forces present in everyday life.

35. Edgar Allan Poe The Black Cat • Poe always exploits the inexplicable side of human nature. • It’s a short story (as usual for Poe). • The black cat has become the symbol of the dark forces present in everyday life. • There are no rational explanations for certain elements (like in Coleridge’s ‘The Ancient Mariner’)

36. Edgar Allan Poe The Black Cat • Poe always exploits the inexplicable side of human nature. • It’s a short story (as usual for Poe). • The black cat has become the symbol of the dark forces present in everyday life. • There are no rational explanations for certain elements (like in Coleridge’s ‘The Ancient Mariner’) • Macabre elements are frequent

37. Il macabro

38. Il macabro E’ un mezzo attraverso il quale viene esplicata, da parte dell’autore, la sensazione di disagio che contraddistingue la figura dell’eroe romantico.

39. Tim Burton

40. Tim Burton

41. Leonida

42. Leonida • Esistenza povera

43. Leonida • Esistenza povera • Predominanza di epigrammi funerari

44. Leonida • Esistenza povera • Predominanza di epigrammi funerari • Stile: ricerca di esiti macabri

45. Leonida

46. Leonida Il marinaio Tarsis

47. Leonida Il marinaio Tarsis VII,506 […] mentre risalivo dall’abisso, nel momento in cui tendevo le braccia ai compagni di bordo, fui divorato. Feroce, un gigantesco squalo mi sopraggiunse e m’inghiottì sino all’ombelico. I marinai trassero dal mare la metà del mio corpo, inutile bagaglio; L’altra metà la ingoiò il pescecane. […]

48. Leonida

49. Leonida Uno scheletro umano

50. Leonida Uno scheletro umano VII, 472 […] Con una simile struttura d’ossa, tenti di sollevarti tra le nubi nell’aria! Tu vedi, uomo, come tutto è vano: all’estremo del filo, già c’è un verme sulla trama non tessuta della spola. Il tuo scheletro è più tetro Di quello d’un ragno. […]