Greek Lyric Poetry

The term entelecheia, coined by Aristotle, is best understood as deriving from the phrase entelōs echein ‘be complete.’  Aristotle may have coined it to provide to clarify his distinction between potentiality (dunamis) and actuality (energeia).  He first employed the latter term to mean ‘activity,’ implying some notion of action and progress; he now needed a term to denote the completion of the process.

En este trabajo me propongo volver sobre un género filosófico particular, la utopía, para mostrar la existencia de verdaderas reflexiones político-filosóficas en los escritos de una mujer de la segunda mitad del siglo XVII francés, Madeleine de Scudéry. En primer lugar, es necesario considerar que esta autora es representante del preciosismo sobre el que es necesario hacer una referencia como verdadero movimiento de reivindicación de derechos para las mujeres. Por otro lado, es indispensable como parte de esta recuperación de otras voces dar cuenta de los géneros literario que eligieron para expresarse. Scudéry fue escritora de novelas, considerada la autora de la primera novela moderna, pero otras, muchas otras, escribían cartas o manuales de comportamiento. Esto significa que el intercambio intelectual y la reflexión filosófica no se reducía en la época a los tratados o publicaciones científicas en actas de asociaciones o revistas especializadas y que, por tanto, debemos ampliar el repertorio de textos donde buscar la filosofía.

Ah, ah! What pride and dignity come from being born of a noble father. Even should he chance to be poor, a worthy man still enjoys a measure of esteem, and, when he is, so to speak, measured, 4 his father's nobility lends him some support. Sources Stob. IV, 29.41 (ὅτι εὐγενεῖς οἱ ἀπὸ χρηστῶν πατέρων…γενόμενοι) (SMA [DTrB])

Tesi di ricerca (PhD) - Scienze dell'Antichità - frontespizio

Il presente elaborato indaga la cronologia delle odi di Pindaro, proponendosi di riesaminare i metodi e le conclusioni dei suoi principali studi complessivi. Dopo un’analisi dei dati biografici antichi, il lavoro affronta nodi metodologici trasversali: dalle oscillazioni tra due possibili datazioni (Pyth. 9, 11 e 12) alla distinzione tra contesti esecutivi (Ol. 13 e fr. 122 M.; Pyth. 4-5; Nem. 5 e Bacchyl. Ep. 13), nonché ‘riflessi’ di avvenimenti storici (Isthm. 8, Ol. 12, Pyth. 7, Isthm. 1), la connotazione politico-sociale del mito (Isthm. 7, Nem. 8) ed elementi di cronologia relativa (le odi per gli Psalichiadi e Isthm. 2-4). Una sezione successiva esamina gli estremi cronologici dell’opera pindarica: Pyth. 10 e 8, oltre alla produzione per Psaumi di Camarina (Ol. 4-5). Seguono due sezioni più approfondite sull’intera produzione per la Siracusa dinomenide e su una selezione di carmi legati a Egina (Nem. 7, Pae. 6, Nem. 6). Viene inoltre fornito un capitolo dedicato al Pae. 2.

This thesis investigates the chronology of Pindar’s odes, aiming to re-examine methodologies and conclusions of seminal comprehensive scholarship. This work addresses ancient biographical data and cross-cutting methodological issues: from the oscillations between divergent dates (Pyth. 9, 11, and 12) to the distinction between different performance contexts (Ol. 13 and fr. 122 M.; Pyth. 4-5; Nem. 5 and Bacchyl. Ep. 13), as well as ‘echoes’ of historical events (Isthm. 8, Ol. 12, Pyth. 7, Isthm. 1), socio-political connotations of mythical narrations (Isthm. 7, Nem. 8) and elements of relative chronology (regarding the odes for the Psalichiadae and Isthm. 2-4). Subsequent sections examine the chronological range of Pindar’s career, focussing on Pyth. 10 and 8, and Ol. 4-5. More in-depth analyses follow regarding the entire corpus for Deinomenid Syracuse and a selection of ‘Aeginetan’ poems (Nem. 7, Pae. 6, Nem. 6), with a chapter on Paean 2.

Review by Alberto Parisi of Burkhard Fehr and Panagiotis Roilos (eds.), Mythogenesis, Interdiscursivity, Ritual: Studies Presented to Demetrios Yatromanolakis (Brill, Leiden and Boston 2024), EIRENE, STUDIA GRAECA ET LATINA, LXI, 2025, I-II, pp. 286-287.

Una lettura della quinta raccolta di Antonio Rossi, nella quale, a partire dall'interpretazione di alcuni testi esemplari, vengono delineati i contorni di un universo poetico in cui prevale la dimensione visiva e il nascondimento dei referenti immediati, invece di rappresentare un ostacolo, rappresenta un modo per intensificare lo sguardo  e per sottrarre gli oggetti del mondo all'utilitarismo e alla fungibilità. Dietro la coltre di mistero che avvolge i testi di Rossi si indovina un universo famigliare in cui le cose della vita quotidiana, i paesaggi delle periferie urbane, le presenze sfuggenti di alcuni animali si impongono allo sguardo e indicano, forse, un “oltre” percorribile.

The paper provides an analysis of the passages of Greek comic playwrights, with the exclusion of Aristophanes, containing mentions of Aesop or references to fables. Anecdotes on Aesop's life circulating between the V and the IV century B.C. are traceable in Plato comicus and Alexis, fables were remembered by Dinolochus, Apollophanes, and perhaps Apollodorus of Carystus. The presence of allusions to fables in some proverbial expressions attested in comedy, especially in Menander, is questionable, and the similarities between the two genres in the depiction of some characters seem to be linked to popular motifs.

Cult places and cities in the Phoenician West. Construction, configuration, symbology. The following notes are devoted to describing and interpreting the role played by sacred places with respect to the organization of spaces in the process of urban organization (also beyond the city’s limits). Specifically, four case studies, belonging to the western Phoenician world, will be at the centre of the discussion.

This guide maps an ongoing theoretical project on Perceptual Misalignment, Field of Access, Presence without Possession, and Field of Force. It is intended as an orientation document rather than a separate theoretical essay. The guide explains the genealogy of the project: Perceptual Misalignment first emerged from a narratological problem in modernist fiction, especially Faulkner, where the perceptual field structured by narrative form does not fully coincide with the subject, consciousness, focalizer, or point of view that appears to sustain it.

From this initial concept, the project later developed two analytical dominants: Field of Force, which describes the production of presence through modernist syntax, rhythm, duration, social voice, and historical pressure; and Field of Access, which describes the availability of presence in archaic Greek poetics, inscription, epic, lyric, epigram, and tragedy through mediated indices such as voice, body, object, gesture, place, formula, performance, memory, and reception.