Il volume n. 5 contiene anche gli Atti del II Convegno Il calamo della memoria. Riuso di testi e mestiere letterario nella tarda antichità (Trieste, 27-28 aprile 2006).
A partire dal IV Convegno i contributi presentati e discussi nell’incontro biennale [vd. ancora «Incontri» n. 3 e 7] sono pubblicati in volume autonomo nella serie Polymnia. Studi di filologia classica.
This paper deals with the De summa temporum, vel origine actibusque gentis Romanorum written between 550-551 by Jordanes, bishop of Croton (but the identification is problematic). The author focuses his attention on the phrase armis et legibus which Jordanes fictitiously attributes to Iamblichus. Mastandrea argues that Jordanes is in fact echoing the opening phrase of the emperor Justinian’s De Institutionibus promulgandis (written in 533), and that the quotation is referred to as a phrase by Iamblichus so as deliberately to constitute his polemical damnatio, given that Justinian was, at the time of the De summa, openly hostile to Pope Vigilius.
This paper presents a close study of three textual variants in the poems of Ausonius. Ausonius' oeuvre is split into two corpora, each with its own independent textual transmission. Mondin compares the Vossianus Latinus F 111 (the most complete manuscript of Ausonius' poems) with the manuscripts of group Z, and shows very effectively that in the three cases under scrutiny the textual discrepancies are due not to scribal interpolations but to Ausonius himself, who intervened with several changes during the various stages of the redaction of his texts.
The Venus of Apuleius is a "cultural cocktail" combining the Greek Aphrodite (the so-called Aphrodite Pandemos) and the Roman Venus. In accordance with the Platonic idea of the existence of two kinds of Venus (the Urania and the Pandemos), Apuleius inserts both reminiscences of the praise of Venus from the prologue of Lucretius' de Rerum Natura and borrowings from Varro’s discussion of the etymology of the name of Venus in his de lingua Latina.
The author discusses the allusive technique of the Cento Probae, in which the pia munera Christi are conveyed by assembling a rich fabric of Vergilian echoes. Fassina compares Proba's text with another late antique cento, the so-called Versus ad gratiam Domini by Pomponius, and demonstrates the superiority of Proba’s technique, who is able to amalgamate, more ably than Pomponius, different quotations of Vergilian units.