http://www.openstarts.units.it:80/dspace/handle/10077/3223 Fri, 24 May 2013 00:50:33 GMT 2013-05-24T00:50:33Z http://www.openstarts.units.it:80/dspace/retrieve/10452/eut_logo_100_scritta.gif http://www.openstarts.units.it:80/dspace/handle/10077/3223 http://www.openstarts.units.it:80/dspace/handle/10077/3267 Title: «Il commissario Catullo»: il "Carme 56" in "Eccetera" di Emilio Tadini Authors: Ferrario, Marcello Abstract: This paper deals with Enrico Tadini’s last novel, Eccetera, and its relationship with Catullus LVI. Tadini was a well-known painter and writer of the second half of XXth century, author of novels, poems, dramas, critical essays. In a scene of Eccetera the narrator reports the story of a curious experience by one of the characters. Working as carrier, he delivers a book to a couple: the book is an old edition of Catullus’ poems and the male of the couple propose to him to an erotic performance that reproduces the situation of Catullus’ LVI. A close reading of the re-use of the Latin poem shows that Tadini built the scene – and all his novel – on an elaborate system of dichotomies and oppositions: old and new, colors and white, otherness and familiarity, classical culture and contemporary absence of culture, past and present. Such a complexity simply tries to reflect the complexity of the real life, as the analysis of Tadini’s style confirms. The author establishes a dialogue with the reader, that is also a way of reflecting – through the powerful lens of humorism – on the status of the contemporary novel and on our relationships with the past. Type: Articolo Tue, 01 Jan 2008 00:00:00 GMT http://www.openstarts.units.it:80/dspace/handle/10077/3267 2008-01-01T00:00:00Z http://www.openstarts.units.it:80/dspace/handle/10077/3266 Title: Il risveglio del fauno. Il motivo della brocca negli "Idilli" di Salomon Gessner Authors: Santini, Daria Abstract: After acknowledging Salomon Gessner’s important rôle within the culture of his time, this article explores the author’s use of the motif of the jug in his literary works. Through a textual analysis of the idyll The Broken Jug (1756) and a comparison with the idylls Daphne. Chloe and Mycon (1772) the article retraces the classical provenance of the theme (in Theocritus and Vergil), as well as its presence in the Bible and in more recent sources. In so doing, it establishes a symbolic connection between the jug and the idea of the fragility of human existence. Type: Articolo Tue, 01 Jan 2008 00:00:00 GMT http://www.openstarts.units.it:80/dspace/handle/10077/3266 2008-01-01T00:00:00Z http://www.openstarts.units.it:80/dspace/handle/10077/3265 Title: "Une grotte qu’il faut peindre bien romantique". Epillio e ecfrasi nei frammenti poetici di André Chénier Authors: Marinčič, Marco Abstract: Since the posthumous publication of his poetic work in 1819, André Chénier has often tended to be regarded as a spiritual father of French Romanticism. Characteristically, Théophile Gautier referred to the philhellenism of Chénier and to the fragmentary nature of his work as anticipatory of a new era in literature. While reaffirming Chénier’s adherence to the aesthetics of 18th century neo-classicism, this article seeks to link the experimental character of «Le Banquet des Satyres» – its form as a fragmentary ‘prosimetric’ sketch, its generic hybridity, acoustic and visual illusionism, interplay of idyllic and tragic tonalities – with Virgil’s Sixth Eclogue as a study in the ‘implicit poetics’ of the Hellenistic and neoteric epyllion. Type: Articolo Tue, 01 Jan 2008 00:00:00 GMT http://www.openstarts.units.it:80/dspace/handle/10077/3265 2008-01-01T00:00:00Z http://www.openstarts.units.it:80/dspace/handle/10077/3264 Title: Il centone "Europa" (AL 14 R): dubbi sul genere Authors: Fassina, Alessia Abstract: The cento, that belongs to the group of twelve Virgilian centos from the Codex Salmasianus, follows the Ausonian rules (one hexameter is made up of two different vergilian hemistichs, mainly derived from Eneid) in twenty-seven verses (the total is thirty-four verses); the other seven entirely taken from the model without modifications. The cento can be divided into three parts: Jupiter’s passion (vv. 1-5), the different stages of his courtship of Europe (6-29), and the abduction of the maiden (27-34). In the first section we can detecte the presence of a refined intertextual crossing whose auctoritates are Virgil, for the form, and Ovid, for the matter of the story. When the final context, i.e. the context of the cento, is less suitable than the context the model, the literary analysis reveals an analogical proximity of myths. So it seems to be in the cento a sort of twisted mythological line, which links Europe, Io and Pasifae. In Moscus’ Europe such a ‘familiar continuity’ is confirmed by the characteristic ‘taurofilia’’ in Cretan lineage. Our cento gives the opportunity of further consideration on the myth of Europe in the Vandalic Africa of V-VI c. AD. Since two other compositions of codex Salmasianus, AL 143-144 R2, discuss the same subject and the first of them ends with the image of Jupiter 'marauder', which is present also at v. 34 of our cento (taken from Aen. 7,362), it seems possible to assume that there were more strict relationships between the various poems from the Anthologia than usually assumed by scholarship. Type: Articolo Tue, 01 Jan 2008 00:00:00 GMT http://www.openstarts.units.it:80/dspace/handle/10077/3264 2008-01-01T00:00:00Z