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Vizi e virtù della manipolazione. Tutto quello che si può fare nel II secolo d.C. (e oltre) secondo Luciano di Samosata
Full text linkNelle opere di Luciano di Samosata tutto è sperimentazione e manipolazione di ogni forma e di ogni materiale. Lo si dice
in una serie di opere programmatiche, lo si pratica un po’ ovunque. Poi quello che fa Luciano, più di mille anni dopo,
diventa la nascita della letteratura europea, lo sappiamo. E ancor oggi non tutto riusciamo a capire. Ci proviamo rileggendo
il Prometheus es in verbis e qualche esperimento concreto tra la manipolazione letteraria e la satira. Con materiali di ogni
sorta, anche i più imbarazzanti, mescolando la letteratura e la vita, il mito e il presente, si può fare di tutto: si possono
perfino scardinare le sicurezze, le fedi e le superstizioni, si possono rovesciare e smascherare il prestigio, l’eccellenza e
il successo con le loro mistificazioni.In Lucian’s works everything is experimentation and manipulation of every shape and every material. This is explained
in a series of programmatic works and is practiced everywhere. Then, more than a thousand years later, Lucian’s
experiments – as we know – become a model for the birth of European literature. And even today we do not understand
everything. We try to understand by rereading the Prometheus es in verbis and other concrete experiments between
literary manipulation and satire. With materials of all sorts, even the most embarrassing, by mixing literature and life,
myth and present, Lucian can do anything: the author can even demolish certainties, beliefs and superstitions. He can
overturn and unmask prestige, excellence and success with all their mystification
L'utopia dell'aldilà in Luciano di Samosata
No full textThe aim of this essay is to analyze and describe the characteristics of the Hereafter in Lucian as a paradoxical utopia with a cynical origin. Specifically in Hades we can find the egalitarian rules of democracy and we hope that the law will be the same for everyone. And the hereafter is the realm of freedom of speech and laugh, where we can meet Menippus, Diogenes and Crates. Of course, as we shall see, not all the problems are eliminated
La satira del successo. La spettacolarizzazione della cultura nel mondo antico (tra retorica, filosofia , religionme e potere)
No full text
Gli occhi e la lingua dello straniero. Satira e straniamento in Luciano di Samosata
Full text linkThe goal of this paper is to analyze the typical features of satire, in particular of estrangement, to be found in Lucian's works. When considering cynic Menippus, trying out impossible travels with the aim of satirical observation, we can observe that he shares the same estrangement with his author, Lucian, a Syrian from the Euphrates and a stranger in the Greek-Roman world as well as an outsider in the Second Sophistic. A good element of comparison is Anacharsis, the Scythian who arrives in Athens and who, being a foreigner, is in a better position to observe Greek institutions and Paideia from a different point of view, in order to exercise his parrhesia, i.e. freedom of speech, in front to Solon and the Athenians
I giorni del sangue. Immagini e codici eroici della violenza per la Ilioupersis
Full text linkThe aim of this paper is to examine and describe the rules of violence and the pride of bloodshed in Greek epic poetry, within the perspectives of oral composition by traditional formulas and themes. There is an intrinsic interrelation between heroes, bloodthirstiness, and the words and the images of blood in fighting scenes. We explore the heroes nature by the function of traditional epithets beginning from the formulaic expression emata d'aimatoenta («the bloody days») as a metonymy of the epic theme of the persis, i.e. the sack of the city. Here we can find the highest degree of savagery and violence: the prey of bloodthirstiness is represented by elders, women and little children. The ostentation of blood and carnage is a typical motif that belongs to heroes' behavior, but together with it we can find other signals: they reveal the ambiguous values and the shady fame of heroic violence. In the memories the pride of heroic bloodshed becomes a shame that is better to remove
Recensione a E. Minchin, Homer and the Resources of Memory. Some Applications of Cognitive Theory to the Iliad and the Odyssey, Oxford 2001, in Lexis 21, 2003, 411-419.
No full textParrhesia. Una parola per i 'Classici contro'
Full text linkStarting from some considerations on the relationship between the Classics and the problems of our modern world, that is at the center of the project "Classici contro", this paper examines the distinctive traits and pragmatic situation of parrhesia, i.e. freedom of speech, in the first texts in which it appears. Parrhesia is regularly connected with citizens' freedom and is always in opposition to tyranny. It is not an easy task and involves risks. It is not only a right but a duty for the life of the polis and democracy
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