Rivista di Filologia classica
A cura dell'Istituto di Filologia classica e di Papirologia
Fondata nel 1988 da Giovanni Tarditi, "Aevum antiquum" è una rivista di filologia classica. Nella nuova serie, inaugurata del 2001, ogni numero è diviso in due sezioni. La prima ("Forum") è incentrata attorno ad un tema unitario, un testo, un autore, un'idea della cultura antica greca o romana, e ospita un articolo base seguito da una discussione a più voci, o, in alternativa, gli atti di un convegno di particolare interesse. La seconda sezione ("Convivium") consiste in una serie di articoli di diversi autori relativi a specifici problemi posti dai documenti delle letterature classiche. Il Forum di ogni numero è dedicato, ad anni alterni, ad un tema greco o ad uno latino. In entrambe le sezioni la rivista, che intende essere fedele alla tradizione di rigore della migliore filologia classica, è sensibile alla riflessione teorica e metodologica più recente, ed è aperta alla ricerca interdisciplinare.
I contributi presentati a «Aevum Antiquum» sono valutati, in forma anonima, da studiosi competenti per la specifica disciplina (double-blind peer review).
- La rivista è in Fascia A Anvur per 5 settori concorsuali / A Anvur Category for 5 disciplines
- Indicizzata da / Indexed in: European Reference Index for the Humanities - Ulrichsweb - Google scholar
- Presente su / Available on: Torrossa
In questo numero
FORUM - AGAMENNONE
Mortifera vestis. Tracce di una tradizione antica sulla morte di Agamemnon
di Isabella Nova pagine: 31 € 6,00
This article aims at showing that on the Boston krater (Boston, Museum of Fine Arts 63. 1246) Agamemnon was portrayed wearing a finely decorated dress (rather than being trapped in the net described in the Aeschylean trilogy, as it is generally assumed). Such a representation recalls a lesser known mythical tradition, according to which Klytaimestra had weaved a robe without openings for the hands and the head and had offered it as a gift to Agamemnon (cp. Lycophron, Seneca, Dracontius).
Ancora sulle morti di Agamennone (e di Egisto)
di Giuseppe Aricò pagine: 13 € 6,00
The study examines some Etruscan urns, one Apulian oinochoe and a Roman sarcophagus illustrating a peculiar account of Agamemnon’s and Aigisthos’ murder. Subsequently, the difficult issue of identifying some of the characters represented therein is considered, also relying on the comparison with the fragments of Pacuvius’ Dulorestes.
di Luigi Castagna pagine: 8 € 6,00
The article discusses the final part of Seneca’s Agamemnon and, through a critical review of the study of Isabella Nova, attempts to clarify Seneca’s contribution to the topic of the killing of Agamemnon. In fact, Nova did not discuss the text of the Latin author, even though the words she uses as a title are a quotation from Seneca.
La morte di Agamennone dal ciclo epico al teatro romano: tradizioni letterarie e iconografiche
di Lucia Degiovanni pagine: 31 € 6,00
The paper examines the main literary traditions regarding Agamemnon’s death, starting from the Homeric poems and arriving, through Attic and Roman Republican tragedy, to Seneca’s play; its purpose is to show how the choice between different mythical variants is influenced by the general meaning of each work. Iconographic testimonies are brought into discussion when they prove to be useful to clarify some debated questions.
Agamemnon’s Death – a Reply to Nova
di P.J. Finglass pagine: 6 € 6,00
This article considers where Dr Nova’s article fits into the history of scholarship on the relationship between the Boston krater and Aeschylus’ Oresteia, and considers the attestations of the ‘robe without openings’ by means of which, in some accounts, Agamemnon is restrained while he is killed.
La veste/trappola di Agamennone fra realtà drammatica e immaginario pittorico
di Enrico Medda pagine: 11 € 6,00
Taking as a starting point Isabella Nova’s discussion of the scene of Agamemnon’s death painted in the well-known krater Boston, Museum of Fine Arts 63. 1246, the article discusses the nature of the deadly peplos which entangles the king, and the relationship between the vase and Aeschylus’ treatment of the same subject. The two artists, independently, seem to have conceived the cloth in a similar way; it is also possible that the painter tried to represent Agamemnon as still wet after the bath: this remains, however, a controversial point.
Il velo di Agamennone sul Cratere di Boston, Museum of Fine Arts 63. 1246
di Carmela Roscino pagine: 19 € 6,00
The article presents a new analysis of the red-figured Attic calyx-krater in Boston, Museum of Fine Arts 63. 1246, representing the death of Agamemnon, and, on the basis of iconographic and textual records, offers a new interpretation for the transparent veil covering the body of the king, as ἐπίβλημα rather then ἔνδυμα, with reference to the thin shroud employed in the aristocratic funerary ritual depicted in epic poetry.
Comments on Nova, Mortifera vestis
di Alan H. Sommerstein pagine: 3 € 6,00
In her article Mortifera vestis, Nova succeeds in showing that Aeschylus innovates in making Agamemnon’s fatal robe an overgarment rather than a chiton. His objective was probably to associate Agamemnon strongly with the ideas of great wealth and luxury. Nova is also right to argue that Seneca’s version of Agamemnon’s murder is based, directly or indirectly, on a pre-Aeschylean account. Her other propositions are not persuasive.
Gruppo di famiglia in un interno. L’assassinio di Agamennone nel cratere del Pittore della Dokimasia
di Raffaella Viccei pagine: 21 € 6,00
This study discusses the mode of the murder of Agamemnon, involved in the mortifera vestis, and also the murder’s place and their meaning emerging from the entire context. The analysis of image and the semantic reconstruction take into account the Athenian context of production, the function of the vase and the potential recipients.
Per una riconsiderazione di Ov. Met. III 141-142: uno, nessuno e centomila Atteone
di Laura Aresi pagine: 15 € 6,00
The narration of the episode of Actaeon in Ovid’s Metamorphoses is introduced by two verses (Met. III 141-142), in which – strangely enough for the Ovidian style in the poem – the narrative voice gives a judgement about the punishment inflicted by Diana on the innocent Actaeon. The article aims to explore three different hypotheses that can explain such unusual comment on the events: revision during the exile, interpolation, intertextual allusion to a different literary tradition, in which Actaeon was not so innocent.
Classicista malgré soi? Sugli scritti greci di Simone Weil
di Mario Cantilena pagine: 20 € 6,00
The interpretation Simone Weil gives to Greek authors is marked by an unprecedented originality, can’t be cast into any cultural mould, and can’t be traced back to any foregoing author, excepted perhaps some of the Greek Church Fathers. By the same token, it is impossible to qualify her stance towards the ancient civilizations as ‘classicistic’, given her definitely anti-Roman and non-eurocentric attitude. Nevertheless, some idealizing assumptions, shared with classicism, are unmistakable also in Weil’s Greek contributions.
Apollodoro di Atene e la dottrina aristarchea: l’armatura degli eroi omerici e l’uso dei τρόποι. Una rilettura di P.Oxy. 2260 col. I (Περὶ θεῶν)
di Andrea Filoni pagine: 60 € 6,00
In P.Oxy. 2260, col. I (from Apollodorus’ treatise About the Gods, 2nd c. BCE) Athena’s epithet δολιχάορος is rejected, since a correct etymology of it is inconsistent with the iconography of the goddess. A new reading of the papyrus offers a more correct analysis of this very passage. The comment aims also to show how much Apollodorus ows to his teacher Aristarchus, from the antiquarian point of view (the armour of the Homeric heroes) as well as from the rhetorical one (which is confirmed by many Aristonicean scholia). Significantly, P.Oxy. 2260 attests the use of the term τρόπος in a rhetorical sense, thereby predating the hitherto first known occurrences of it (Philodemus and Cicero). The Hellenistic debate on the poetic term ἄορ (Philetas; Callimachus) is also reconstructed, as well as the ancient interpretations of Apollo’s epithet χρυσάορος. Finally, some reflections on the categories used by Apollodorus in interpreting the divine epithets.The comment aims also to show how much Apollodorus ows to his teacher Aristarchus, from the antiquarian point of view (the armour of the Homeric heroes) as well as from the rhetorical one (which is confirmed by many Aristonicean scholia). Significantly, P.Oxy. 2260 attests the use of the term τρόπος in a rhetorical sense, thereby predating the hitherto first known occurrences of it (Philodemus and Cicero). The Hellenistic debate on the poetic term ἄορ (Philetas; Callimachus) is also reconstructed, as well as the ancient interpretations of Apollo’s epithet χρυσάορος. Finally, some reflections on the categories used by Apollodorus in interpreting the divine epithets.
Il fr. 34 B. delle Menippee di Varrone: una dimostrazione dell’inesistenza della provvidenza divina?
di Alessandra Rolle pagine: 6 € 6,00
Fr. 34 B., that belongs to Varro’s Menippean satire Andabatae, presents important exegetical problems, because of its small dimensions and its obscure content. The mention of the divinities Zeus and Athena, as well as the mention of the mystagogi, ‘initiators’, allow us to refer the fragment to the religious sphere. This makes difficult to link fr. 34 B. with the other fragments, that generally seem to refer to the context of a philosophical debate between a Stoic and an Epicurean. However, it is possible to conciliate the text of fr. 34 B. with the wider context of the satire, if we read the passage as a part of the argument developed by the Epicurean philosopher against the Stoic belief in the divine providence.
Propositio e divisio: due termini della teoria retorica latina nelle Interpretationes Vergilianae di Ti.Cl. Donato
di Ilaria Torzi pagine: 26 € 6,00
The article aims at explaining the meaning of propositio and divisio in the Interpretationes Vergilianae of Ti.Cl. Donatus. The first part investigates into the definitions of the these technical terms in the rhetorical literature of the classical period and of Late Antiquity, particularly in Cicero’s and Quintilian’s works. The second part focuses on the use of propositio and divisio in the exegesis of Donatus, both in his preface to Aeneis and in the other passages of the poem.
Per il testo del Ludus septem sapientum di Ausonio
di Giovanni Zago pagine: 14 € 6,00
Critical and metrical notes on Ausonius’ Ludus septem sapientum.