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La scuola a teatro : tragedia greca, novità filosofiche e tradizioni omeriche (tra Prometeo, Elettra e Filottete)
No full textHomeric paidea can be described as a sacred form of education, based on the transmission of traditional values through a faithful and lasting relationship between teacher and pupil. The sophists famously brought about a crucial shift in the Greek conception of paideia, resulting in a bewildering ethic relativism and in a secular idea of education: the relationship between teachers and pupils is now reduced to short collective conferences delivered upon payment, regardless of the identity of the pupil. Against this familiar background, the article pinpoints the role of tragedy in such a shift of values.
In the first part, the focus is on tragic characters strongly opposing Sophistic paideia. This form of education is seen as the province of false didakaloi who pretend to be 'teachers': by presenting itself as a 'paideutic' discourse and by promoting the Homeric idea of sacred paideia, tragedy brings on stage the relationship between teachers and pupils and aims to expose and debunk these 'false-didaskaloi'. To this effect, the article discusses some passages featuring examples of antithetical conceptions of paideia (in particular from Sophocles' 'Electra' and 'Philoctetes', and from 'Prometheus Bound').
In the second part, the focus is on good educational paradigms. In particular, the following pairs are examinated: Philoctetes and Neoptolemus, the Paidagodos and Electra, Prometheus and the Oceanids, Prometheus and Ocean. Good tragic paideia appropriates and enhances two aspects of Homeric paideia: the first is the notion of sympatheia (the Aeschylean principle of pathei mathos can be construed as sympatheiai mathos, mediated by the pathos of another character); the second is the figure of the 'Teacher of Truth' (according to the definition of M. Detienne), and of the 'e-ducator', who develops the real physis of the pupil and his inner aletheia
La favola bella della trophé satiresca. Precettori bucolici e prodigi pedagogici : l’infanzia nel mito sulla scena ateniese
No full textDodona versus Delphi in Greek tragedy : the wanderings of the hero between expiation and ties of genos
Full text linkThis study deals with the relations between the oracles of Delphi and Dodona as depicted in 5th-century Greek tragedy. In the first part we consider the wanderings of Io in Prometheus Bound, those of Heracles in Sophocles’ Trachiniae, as well as the wanderings of Odysseus in the fragments of Sophocles’ Odysseus Thorn-Struck. These tragedies are characterized by a harmonious complementarity between the two oracles: Dodona, the ancient oracle guaranteeing the sacred ties of the family, is placed at the end of the hero’s travels, while the Delphic oracle provides the initial motive and aim of the journey, namely expiation. In the second part our focus is on the (failed) wanderings of Orestes and Menoeceus in Euripides’ Andromache and Phoenissae respectively, where the harmonious consonance between the two oracles slides into a dissonant alterity: the goal of the journey is never reached, leading to the dissolution of family ties
L’Euripo sulla rotta di Troia, secondo Euripide : correnti alterne del destino o venti d’opposte doxai?
Full text linkIn his 'Iphigenia at Aulis', Euripides places his characters on the stage of Euripus, a sea strait which - since ancient times - had had a strong symbolic value: it was crossed by opposing currents and so represented the place of change, also in the metaphorical sense of change of mind. As J. Morwood remarked in 'A Note on the Euripus in Euripides' Iphigenia at Aulis', in this tragedy Euripides appropriates this metaphorical interpretation and uses the geographical and mythical context of the Euripus to emphasize the mental changes his characters go through. This article aims to go more deeply into Morwood's brief note, showing how mention of the Euripus is never casual or accidental in 'Iphigenia at Aulis', but always substantial: Euripides wants to stage the changeability not only in his characters' psychology and etichs, but also in their destinies and in the God's actions, and takes advantage of the geographical setting for this specific aim. Thus, every reference to the Euripus in this drama (from Agamemnon's words in the Prologue to Iphigenia's lament in the fourth episode), assumes an allusive value, even if it seems apparently banal, and maybe also refers, implicitly, to sophist attitudes
Fedro e Fedra : sull’amore
No full textPlato and the Theatre: an ancient question that still has much to say. In Phaedrus, for example, we find many interesting references to Euripides’ Hippolytus, on various levels: lexicon, dramatic structure, gestures, speeches, theoretical considerations. In this dialogue we discover in particular clear allusions to the setting of Hippolytus, Phaedra’s negative conception of love, the Nurse’s advice and the dangerous tragic power of writing, but reconsidered and re-elaborated in a different way, suggesting the new idea of the love of Knowledge. The aim of this paper is to stress that Plato is an heir of Classical Theatre, but also carries on its message: tragedy is continually evoked to say something new, through an imitatio cum variatione that creates the new “theatre of philosophy”
“Predicare nel deserto” : buoni e cattivi maestri, tra Lemno e Scizia
No full textThis article aims to highlight some analogies between the protagonists of Sophocles' 'Philoctetes' and 'Prometheus Bound', and the situations in which they are implicated: in particular, the presence of a sophistic or authoritary figure (Odysseus and Zeus) who, by using falsely didactic attitudes, attempts to force himself on the hero; the figure of the marginalized suffering hero, confined in remote places and excluded from civil society; his didactic role and his moral force, by which, even though in a situation of powerlessness, he reveals himself to be ethically superior to oppressive power and changes this periphery into a center of paideia.
From this comparison it is clear that the tragic figure of 'prophet in the desert', placed in a mythical 'elsewhere' but performed in the center of Athens and in the public context of a Dionysiac festival, becomes very important for communicating values that are essential to the identity of the polis
La figura del maestro in Omero
No full textThe book deals with the theme of paideia and the relationship between teachers and pupils in the Homeric Iliad and Odyssey.
The work is divided into two main parts: the first is about the Iliad, analysing in two different chapters the didactic figures of Achilles’ pedagogue, Phoenix, and the old Greek military teacher , Nestor; while the second section is dedicated to the Odyssey, studying separately the 'Telemachia' and the figure of the faithful nurse Eurycleia.
In particular, three main purposes are investigated within each chapter: first of all the 'ways' of teaching (methods, such as exempla or lessons, and the kinds of relationships between teachers and pupils); secondly, the 'contents' of teaching (technical instructions but also moral education, deeds and military action but also words and rhetorical skills); and finally, the 'sense' of teaching, that is the meaning of the figure of didaskalos in Ancient Greek Epic Poetry (paying attention, for example, to the effects of teaching on pupils’ development).
A separate analysis of different Homeric situations leads to coherent answers, drawing a literary picture of an archaic but already rich pedagogy
Un’altra Itaca : Micene ricca d’oro sulla scena tragica
No full textThe 'golden' Homeric city of Mycenae, in Greek Tragedy, is one of the most tragic cities, covered in blood, devasted by murder, pain, deception, injustice... But memory of the ancient epic brilliance can be felt, and, if we look carefully, its recovery is the inner sense of the Mycenaean Tragedies. We find a regular mythical structure around this city: Mycenae, in Tragedy, is first of all the 'stolen city', because the hero has been violently driven out from his homeland, during prior events; but Mycenae is also the 'missed and recovered city' because in the present of drama the hero desires to return home, and something happens (a character arrives from off-stage) that makes this return possible - a return that corresponds to the restoration of the Homeric golden age.
The 'Mycenaean Tragedies' can be divided in two great groups:
1) evil is 'inside' the city: in this situation, the hero has not only to return but also to free Mycenae from its usurpers (this is the case of Sophocles' 'Electra', Euripides' 'Electra', and Euripides' 'Heracleidae'). The model here is that of the 'Telemachia', in particular the case of the royal palace of Ithaca invaded by the Suitors;
2) evil is 'outside' the city, by now free from the usurpers: so, the hero must simply return to his homeland, to recover the ancient Homeric happiness (Euripides' 'Iphigenia in Tauris' and 'Suppliants'). The model can be recognized in Odysseus' painful journay, fraught with vicissitudes, to get back to Ithaca
Omero e l’Egeo settentrionale come “spazio del sacro”: Samotracia e le isole circostanti : a metà strada tra il cielo e i fondali del mare (sulla rotta dei voli degli dei)
Full text linkIL LAGO DEI CIGNI DI DELO: DAL «THRENOS» AL PEANA
Full text linkDalla tragedia di Euripide alla filosofia platonica fino alla dotta poesia callimachea, si riscontra una interessante associazione tra la menzione di Delo e dei suoi cigni e il passaggio dall’espressione trenodica del dolore a quella liberatoria e guaritrice del peana. L’articolo, partendo da una breve incursione nell’epica omerica per rilevare le più antiche attestazioni di una presenza congiunta del threnos e del peana, e nella lirica e innografia arcaiche per recuperare le origini della connotazione del cigno come uccello apollineo della poesia, si concentra su alcuni passi euripidei (Eracle, Ione e Ifigenia in Tauride), platonici (Fedone) e callimachei (Inno a Delo e Inno ad Apollo) in cui il lago dei cigni di Delo viene menzionato, cercando di comprenderne il valore e metterne in luce gli elementi di continuità.</p
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