CentoPagine 2008

Details

Per la cura di Massimo Gioseffi e con la collaborazione di alcuni giovani studiosi dell’Università di Milano (Isabella Canetta, Elena Dell’Oro, Luigi Pirovano, Martina Venuti) si è tenuta nella Sala Napoleonica di Palazzo Greppi la seconda edizione dei Seminari sulla continuità dell’antico dedicata al tema: Idillio, epillio, bucolica: fortuna di generi minori. Davanti a un pubblico folto, qualificato e attivo, la lectio magistralis di Giuseppe Aricò (“Leues libelli”. Su alcuni aspetti della poetica dei generi) ha aperto la riflessione sull’inquadramento storico ed estetico (Fernandelli, Gatti, Fucecchi), sullo sviluppo entro i confini dell’età antica (Agosti, Fassina, Cristante) e sulla ricezione moderna (Marinčič, Santini, Ferrario) di alcuni - maggiori - tra i generi minori della poesia antica. Danielle van Mal Maeder, Massimo Gioseffi, Giancarlo Mazzoli, Paolo Mastandrea, Luca Mondin, David Paniagua e altri studiosi convenuti al seminario hanno contribuito all’analisi di problemi particolari, ma anche e soprattutto a portare alla luce, per quanto possibile, un quadro d’insieme. La problematica definizione formale e storico-culturale di un sottogenere nato ‘moderno’ come l’epillio ha costituito, si può dire, il filo rosso che ha guidato il dibattito. Gli atti del seminario si leggono ora in CentoPagine 2, che con questo numero conferma il rispetto della sua cadenza annuale. La terza edizione dei Seminari sulla continuità dell’antico si terrà nei giorni 19-20 giugno del 2009 a Ljubljana, sotto la guida di Marko Marinčič.

Gianfranco Agosti, Marco Fernandelli

Browse

Recent Submissions

Now showing 1 - 5 of 9
  • Publication
    «Il commissario Catullo»: il "Carme 56" in "Eccetera" di Emilio Tadini
    (EUT – Edizioni Università di Trieste, 2008)
    Ferrario, Marcello
    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.
      1754  2252
  • Publication
    Il risveglio del fauno. Il motivo della brocca negli "Idilli" di Salomon Gessner
    (EUT – Edizioni Università di Trieste, 2008)
    Santini, Daria
    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.
      1120  1093
  • Publication
    "Une grotte qu’il faut peindre bien romantique". Epillio e ecfrasi nei frammenti poetici di André Chénier
    (EUT – Edizioni Università di Trieste, 2008)
    Marinčič, Marco
    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.
      1152  945
  • Publication
    Il centone "Europa" (AL 14 R): dubbi sul genere
    (EUT – Edizioni Università di Trieste, 2008)
    Fassina, Alessia
    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.
      1323  785
  • Publication
    Visioni bucoliche tardoantiche
    (EUT – Edizioni Università di Trieste, 2008)
    Agosti, Gianfranco
    This paper is to be considered a preliminary approach towards a more general study on the generic consciousness of pastoral in Greek late antique literature and art. While bucolic poetry in its proper meaning and genre is quite rare in Greek late literature, there is a great diffusion of pastoral imagery in other genres, like epic and epigrammatic poetry, according to the general trend of generic deconstruction in Late antique literature. Pastoral images could express traditional erotic themes or even emphasize the distress for political troubles evoking a blissful way of life (in the case of an epigram by Cyrus of Panopolis). The strong presence of bucolic images in Nonnus’ Dionysiacs shows the possibilities of reusing pastoral tradition in an epic poem: a part from the traditional theme of pastoral unhappy love, we find pastoral similitudes in description of battles, or pastoral motifs exploited to show the superiority of Dionysiac song to bucolic poetry. The allegorical meaning of pastoral is, in fact, overspread in late poetry, especially referring to poetic investiture, as some exemples from different genres and authors show (Quintus of Smyrne, an ethopeic poem from Oxyrhynchus, the Christian poem of Nonnus, the orphic poem On Stones).
      1238  857