Si è tenuta presso l’Università di Ljubljana, a cura di Marko Marinčič, la terza edizione dei Seminari sulla continuità dell’antico dedicata al tema: Beremo življenja avtorjev – Reading Authors’ Lives. Nella sala del Mestni Muzej ha aperto i lavori Kajetan Gantar, Professore emerito del Dipartimento di Filologia classica, tracciando la storia degli studi classici in Slovenia e in particolare nell’ateneo lubianese. Di seguito si è sviluppata la serie delle relazioni scientifiche, che hanno affrontato da prospettive diverse il tema dell’identità – e quindi della biografia e dell’autobiografia – del poeta o del grande intellettuale intesa come ‘costruzione’: l’accento è caduto ora sugli aspetti ideologici e culturali di tali costruzioni (Kokole, Agosti, Weiss, Hanink), ora su quelli legati alla creazione artistica (Laird, Paniagua), con significativi approfondimenti narratologici e poetologici negli ultimi quattro interventi (Whitmarsh, Nùñez, Fucecchi, Ariemma). Stanko Kokole e Tim Whitmarsh hanno reso il loro contributo in forma orale. Al convegno ha partecipato anche Ermanno Malaspina presentando il sito www.tulliana.eu della SIAC (Società Internazionale degli amici di Cicerone).
Gli atti del seminario si leggono ora in CentoPagine 3. La quarta edizione dei Seminari sulla continuità dell’antico si terrà nei giorni 24-25 giugno del 2010 a Venezia, sotto la guida di Luca Mondin.
The distinction between author and narrator is central to narratology, and to modern literary criticism in general. Why is it that ancient critics seem so often to ignore it, and to confuse the narrator's words with authorial autobiography? This chapter argues that antiquity had a different way of understanding first person narration, which was conceived of more in terms of illusionistic role playing: the author is imagined as playing the part of a character in a fiction. As with other varieties of illusionism in ancient thought, fictional autobiography has a double aspect: the author both is and, at once, is not the character in question. The chapter concludes by claiming that the fictional 'I' is metaleptic, in Gerard Genette's sense: it creates a space in which the author shuttles between an internal and an external perspective on narrative action.
Ricardo Reis is one of the most important of Fernando Pessoa's heteronyms. He embodies a
special kind of wisdom, based on passivity and acceptance of the destiny. His style is highly refined
and disciplined, revealing his classical education of cultured man who read Greek and Latin
authors. In particular, Horace's Odes seem to be his major model; this paper aims to recognize, in a
close intertextual analysis, how some themes and topics of high relevance (e. g. carpe diem) has
been received and transformed by the latter poet. The female 'speaking' name of Lidia is another
obvious point of interference of the two writers, and provides a starting point for a brief additional
analysis involving Josè Saramago's novel O ano da morte de Ricardo Reis, published in 1984.
Saramago seeks successfully to generate a striking contradiction between the heteronymic creation
and its recreation in the novel. The 'new' Ricardo Reis is now placed inside the real world that
surrounds him, and involved in a love relationship with the hotel maid Lidia, a woman which
experiments a 'special' form of carpe diem.
Edited as a roman-feuilleton in 1860, Mémoires d’Horace has been collected as a volume
for the first time in 2006 by Claude Aziza. It is the last member of a series consisting of novels,
essays and theatrical pieces, which Alexandre Dumas devoted to the ancient Roman history. This
time, however, the great ‘vulgarisateur’, as the French author often named himself, significantly
chooses the genre of the so-called ‘fictional autobiography’. By assuming the authoritative mask of
the famous Augustan poet, who is given the role of an internal protagonist-narrator, Dumas
manages to enrich his picture of Roman civil wars, and the final fight for power leading to
Augustus’s victory, with stimulating thoughts about relevant issues (literature and its social
function, the author’s relationship with the public of readers, the political establishment etc.) as well
as with the tender evocation of private memories (the beloved figure of his father, in particular).
The synthesis of history and biography results from the confluence of precedent novels by Dumas
himself (e.g. César, another feuilleton of the series Les grands Hommes en robe de chambre,
published on 1855 in Le Mousquetaire) with modern recollections of Horace’s life, e.g. that of
Charles-Athanase (Baron) de Walckenaer (firstly edited in 1840), whose monumental erudite bulk
seems to be literally animated by the brilliant and colourful style of the great storyteller Alexandre
Two specificities distinguish Leucippe and Clitophon from the other sentimental Greek
novels: the narrative is effectuated by the hero himself and includes numerous excursuses by the
narrator and by other figures. Focusing on the narrative digressions by characters, this contribution
proposes a panoramic view of them according to the order in which they appear in the novel. Thus,
various progressive movements are individualized: on the one hand, the digressions characterize,
and even favour Clitophon’s ‘I’ qua character; on the other, it is rather his ‘I’ of narrator which is
given a higher profile; yet, the latter is finally subordinated to the enhancement of Leucippe and
Clitophon, a work by another ‘I’, Achilles Tatius.
The article presents different aspects of the figure of Pythagoras in the biographies from the
3rd century, trying to understand the development of the image of this mysterious and charismatic
character: the renown of a man of great knowledge gave way, when Pythagoras was still living, to
the fame of a sage, magician and god incarnated. In the centuries that followed, this figure,
influenced heavily by the Platonic doctrines, reappears as the prototype of philosopher and teacher
of virtue and of the ideal way of life. In the period of the rising Christianity, the figure of
Pythagoras was offering an alternative salvation, attainable through the cathartic power of the