There is a condition typical of the interpreters of the texts of others, especially the old classics to the works of the deceased to say what 'who would say that those works. As the impoverished couples entrust their children to more families 'well-off to allow him to have a decent future, so' the performers do with their ideas: the trust to the pages of classic, poor things, can not say no, if not weak voice that must have the trained ear and strained to hear.
And 'certainly understand the very human affection for their' ideas-children 'and their fate. It 'nice to see them in the arms of a Kant or a leopard: they seem more' large, almost already 'grown up! Already we see the 'famous in the books of someone Another speaks of Kant or Leopardi quoting our beloved 'ideas' and showing ennobled by their adoptive parents.
shame that this whole operation goes by the name of 'genuine interpretation of a text' while it is put into the mouth of the dead turn what 'that the poor deceased would never say.
I must admit that often it is fascinating to see how stunts like somersaults that virtual, as we would gladly go to the circus, except that the teaching and doing research is not a show if you do not accidentally: their content can 'dress of spectacular' to attract the public, but can not 'restricted to it, on pain of losing a sense of intellectual training. Unfortunately it seems to me
acrobats to see often and finally the show, frankly, I enjoy it more 'I prefer the old practice of respecting the text and stay within reasonable limits of interpretation "- to quote the title of a' young 'classic.
Basically it's professional ethics and respect for the audience - real or virtual - which is not good for the circus, and if it 'passes for serious intellectual exercise.
And what would these limits of interpretation - the acrobats would say - where you should stop?
Interpret and 'art more' than a science degree and it is necessary to apply the Aristotelian phronesis as you do in investigating a crime, and it 'will, made in a certain way, approaching and you have to rebuild it as much 'as possible to reality', exercising the art of putting the pieces together without distorting the incident.
Deforming a classic "is not a good deal," one would say here, but even in these parts is this: the word of an eyewitness.
Sometimes, in moments of acute self-centeredness, I guess in the shoes of the dead from who knows' where their written notes used as mirrors in which he climbs the interpreter on duty, gesticulating and quoting and dancing in front of an audience that is drunk the show and go home more 'confused and ignorant as before.
