04. Incontri triestini di filologia classica (2004-2005)



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CONTENTS/SOMMARIO

 

Presentazione

 

Atti del convegno internazionale Phantasia. Il pensiero per immagini degli antichi e dei moderni. Trieste, 28-30 aprile 2005

 

Jacques Boulogne

Le jeu cognitif du muthos et du logos chez Platon

 

Giovanni Ravenna

Per l’identità di ekphrasis

 

Ivan Aurenty

Figures de Cyclopes dans la Rome antique

 

Pascal Balin

Le médecin à l’écoute des rêves

 

François Spaltenstein

Lutatius Catulus et l’épigramme sur Roscius: imaginaire poétique et sentimental

 

Alessandro Linguiti

Immagine e concetto in Aristotele e Plotino

 

Ma Loreto Núñez

Fantaisie d’une voix narrative: Héliodore

 

Marco Fernandelli

Catullo 65 e le immagini

 

Joël Thomas

Une constante de l’imaginaire virgilien: la complémentarité des contraires, comme condition de la complexité

 

Mireille Armisen-Marchetti

Tota ante oculos sortis humanae condicio ponatur: exercice moral et maîtrise des représentations mentales chez Sénèque

 

Jean-Pierre Aygon

Torua Erinys: fantasíai de la colère et des Érinyes dans le De ira et les tragédies de Sénèque

 

Françoise Toulze-Morisset

Théories de la représentation artistique, de l’artiste et de l'imaginaire chez Sénèque

 

Valérie Naas

De la mimesis à la phantasia: le discours sur l’art d’après Pline l’Ancien

 

Alexandre Burnier

Faire voir la Parole: la phantasia dans le 7e Natalicium de Paulin de Nole

 

Juliette Dross

De l’imagination à l’illusion: quelques aspects de la phantasia chez Quintilien et dans la rhétorique impériale

 

Camille Semenzato

Muses, enthousiasmos et phantasia chez Plutarque

 

Danielle Van Mal-Maeder

Mémoire collective et imaginaire bridé. Homère, Phidias et la représentation de la divinité dans la littérature impériale

 

Joëlle & Daniel Delattre

La phantasía des planètes dans la moyenne Antiquité

 

Renzo S. Crivelli

Tra fantastico e meraviglioso: La casa «cubista» di Flann O’Brien

 

Gianfranco Agosti

Immagini e poesia nella tarda antichità. Per uno studio dell’estetica visuale della poesia greca fra III e IV sec. d.C.

 

Lucio Cristante

Spectaculo detinemur cum scripta intellegimus aut probamus. Per un riesame della rappresentazione delle Artes in Marziano Capella

 

Appendice. Incontri triestini di filologia classica

 

Enrico Magnelli

Il proemio della Corona di Filippo di Tessalonica e la sua funzione programmatica

 

Luciano Lenaz

Via Plana

 

Niccolò Zorzi

Niceta Coniata fonte dell’Enrico, ovvero Bisanzio acquistato (1635) di Lucrezia Marinella

 

Agostino Longo

Concezioni e immagini dell’ispirazione poetica in Orazio

 

 

 

Details

Il volume n. 4 contiene anche gli Atti del Convegno internazionale Phantasia. Il pensiero per immagini degli antichi e dei moderni (Trieste, 21-22 aprile 2004), a cura di Lucio Cristante e Marco Fernandelli. L’incontro rientra nell’ambito del Réseau thématique europeénne «Le phénomène littéraire aux premiers siècles de notre ère». Phantasia è la parola con cui l’antichità greco-latina, da Empedocle ai Neoplatonici, designò quel fenomeno psicologico – la visione interiore – grazie al quale l’atto produttivo dell’artista, del retore o del pensatore si salda in dinamica unità con il processo della ricezione.

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  • Publication
    Concezioni e immagini dell’ispirazione poetica in Orazio
    (2006-08-22T07:45:22Z)
    Compared to the traditional connection ars-ingenium, the inspiration is certainly an element nearest to the ingenium, because of its irrational nature. Unlike of the ingenium however, it qualifies more as an event that as a requirement and provides, at least in the traditional conception, the intervention of a deity. Some odes of Horace, especially in books I-III, reflecting in their conduct the dialogue of the poet with the inspiring divine force, a dialogue in which alternating cooperation, conflict, terror and exaltation. Rather than determining the belief of Horace in the reality of the images he created, it is studied the operation in terms of their power of representation of a psychology of the poetic inspiration. In Ode III, 4 there is also a special relationship between the poetic investiture received from Horace and his ability to sing the lene consilium (also a gift of the Muses), with which Augustus ruled the world at peace now. Both the Epistle to Augustus that the Ars poetica extensively develop this correspondence between civilizing Musa and inspiring Musa, so that in the notion of sapientia, as it is configured in the Ars, it is possible to capture the final synthesis of an extensive study linking moral and political function of poetry, art of the good governance and poetic inspiration.
      2772  8290
  • Publication
    Niceta Coniata fonte dell’Enrico, ovvero Bisanzio acquistato (1635) di Lucrezia Marinella
    (2006-08-22T07:43:10Z)
    Per la quarta crociata (1202-1204) l’unica fonte greca contemporanea è la Χρονικὴ διήγησις (Narrazione cronologica) di Niceta Coniata (c. 1150-c. 1217). Tra le opere che testimoniano un interesse storico per la quarta crociata si annovera anche un poema epico-cavalleresco, l’Enrico, ovvero Bisanzio acquistato, pubblicato a Venezia nel 1635, di cui è autrice Lucrezia Marinella, che presenta la vicenda secondo la tradizione veneziana. La conoscenza di Niceta Coniata (II 7,13-14; 8,1), attraverso i suoi tre volgarizzamenti, è particolarmente evidente nel passo in cui Lucrezia Marinella ricorda gli ostacoli frapposti dai Bizantini all’avanzata dei crociati (LXIII-LXV) e soprattutto rievoca la battaglia del Meandro.
      1493  4596
  • Publication
    Via plana
    (2006-08-22T07:41:43Z)
    Prof. Lenaz remember the years of teaching Latin Literature in Padua: he gave great importance to the elements of rhetoric and metric because, although it is risky to harness the interpretation of a literary text by strict rules, however these patterns are essential: those who began their studies need to follow a road, but the road must not be too difficult, as Quintilian said in his proemium to the book VIII: via opus est incipientibus, sed ea plana.
      1176  4101
  • Publication
    Il proemio della Corona di Filippo di Tessalonica e la sua funzione programmatica
    (2006-08-22T07:40:24Z)
    Philip of Thessalonica edited his Στέφανος, an anthology of epigrams, around the mid I century AD, thus imitating the collection that Meleager had produced, with the same title, roughly one hundred and fifty years before. The whole proem to Philip’s Στέφανος is constructed as an aemulatio of Meleager’s first poem, even though somewhere it ostensibly contrasts it: various elements - partly already familiar to the critical debate, partly still to be thoroughly examined - stress a clear programmatic function in AP IV 2. Starting from his proem, Philip provides an example of what the style of the πλότεροι (v. 6) is supposed to be: elaborate and, above all, concise. The poets of this collection speak on several occasions with a virulent anti-Callimacheian tone; but in their overall interpretation of the ‘genre’ and in their detailed use of generic repertoire, they prove to be ‘Alexandrian’ to the utmost.
      2260  10152
  • Publication
    Spectaculo detinemur cum scripta intellegimus aut probamus. Per un riesame della rappresentazione delle Artes in Marziano Capella
    (2006-08-22T07:38:51Z)
    In the organization of Martianus Capella’s De nuptiis Philologiae et Mercurii, the allegorical representation of the seven Artes (liberales) as characters-actors in the plot of the story, eponymous of the seven liberal disciplines, is an element which conveys the comprehensive message of the work as a whole; thus, it is not merely an allegorical process, and furthermore it is strikingly for its originality. The peculiarity of the complex figurative apparatus of the single artes is directly functional to the run of knowledge (or, in a neo-platonic way, of memory) under the philosophical-allegorical fabula of the marriage between Mercury and Philologia; therefore, it contributes to the global exegesis of the poetical and cultural meaning (or meanings) of the work. The description thus provides a unitary historical and epistemological vision of ars and provides the key for its comprehension.
      2692  1768
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