Ninfa: un paradigma mutante per l’Iconografia della danza

Silvia Mei

doi:10.6092/issn.2036-1599/1619

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Silvia Mei
Researcher on performing arts and especially on dance theatre and its relations with visual art in Renaissance, XIX and XX century.
Beginning in the musical field with several projects on forming of public at Bologna Teatro Comunale, now she's pursuing her research from thesis “Bella figura”. Lineamenti di iconografia della danza tra storiografia ed ermeneutica where interdisciplinary investigation and critic paradigm are exposed.
She signed: Musica: usi e consumi, Pendragon, Bologna, 2008, edited by Fabrizio Festa; “Lacus amoenus/horridus”. Messinscena di storie e immaginari sul “Lago dei cigni”, “Annali on-line Lettere”, 2008, vol. III/2; “Sulle ali della sua intelligenza”. Note in margine all’iconografia dusiana, proceeding of International Congress on Eleonora Duse (Venice, 1-3 october 2008), Bulzoni, Roma, 2009; “Bella figura”. Seduzione e filologia dell’immagine, “Culture Teatrali”, n. 17.
She's a member of “Culture Teatrali” editorial staff and contributes to Soffitta - Centro di promozione teatrale – Bologna University.

DOI:

https://doi.org/10.6092/issn.2036-1599/1619

Abstract

Aby Warburg recognizes and gives name of Ninfa to Pathosformel as epistemological model, typological picture. Influenced by contemporary studies on linguistics and Omero poetry forms (Parry, Curtius, Jolles), this figure shows much more trace of the fin de siècle imagery: the femme fatale and Goethe Ewigweibliches time.
This contribution intends to describe seismography of Ninfa corresponding through short-circuit between Renaissance and Decadentism. A new study impulse and application model to dance Iconography.

Nympha: a changing paradigm for dance iconography

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