1916; e quella recente di Splitter 2000 (contenente quasi tutta la bibliograf?a specifica, cui va... more 1916; e quella recente di Splitter 2000 (contenente quasi tutta la bibliograf?a specifica, cui vanno aggiunti almeno i lavori di Snodgrass 1998 e 2001). 2 Punt?ale panor?mica in Splitter 2000, che non rinuncia ad offrire un proprio punto di vista; esso tuttavia, per quanto oculato, non ...
This paper hosts three case-studies that are meant to be representative of paradigm-shifting tren... more This paper hosts three case-studies that are meant to be representative of paradigm-shifting trends in Homeric Studies and to cater to specialists and non-specialists alike. Boosted by new archaeological findings and by an increased awareness of Homer’s Near-Eastern entanglements, the “historicity” of the poems has regained centre stage. Against this backdrop, Andrea Debiasi develops a persuasive interpretation of Homer’s name, whose meaning points to the performative-agonistic dimension of Homeric poetry in the context of the clashes that characterized Euboia in the archaic age. By contrast, George Gazis focuses on the one aspect of the Homeric world that cannot possibly be mapped onto space and history, namely Hades. The underworld is unfathomable even for the gods, which accounts for its potential as a trigger of poetic invention. No less than Debiasi’s, this approach resonates with recent scholarship: a return to “history” is often complemented by an opposite, but fully compatib...
In: AOQU. Forme e modi dell'epica 1, 2020, pp. 9-101, 2020
This paper hosts three case-studies that are meant to be representative of paradigm-shifting tren... more This paper hosts three case-studies that are meant to be representative of paradigm-shifting trends in Homeric Studies and to cater to specialists and non-specialists alike. Boosted by new archaeological findings and by an increased awareness of Homer’s Near-Eastern entanglements, the “historicity” of the poems has regained centre stage. Against this backdrop, Andrea Debiasi develops a persuasive interpretation of Homer’s name, whose meaning points to the performative-agonistic dimension of Homeric poetry in the context of the clashes that characterized Euboia in the archaic age. By contrast, George Gazis focuses on the one aspect of the Homeric world that cannot possibly be mapped onto space and history, namely Hades. The underworld is unfathomable even for the gods, which accounts for its potential as a trigger of poetic invention. No less than Debiasi’s, this approach resonates with recent scholarship: a return to “history” is often complemented by an opposite, but fully compatible, “symbolic” trend, which has unraveled the systematic juxtaposition, in Homer’s world, between “history” and symbolic constructs. Finally, Cecilia Nobili shows that Homeric epics builds on pre-existing poetic genres such as elegy, although the earliest extant examples of the latter date to a later time. The claim that lyric poetry emerges though a confrontation with epics, then, is no less plausible than its opposite. One more important consequence of Nobili’s approach is that the “subjective” turn scholars have long recognized in Hellenistic and Roman epics is in fact firmly grounded in Homer himself.
Dalle sabbie egiziane alcuni frustoli di papiro ci restituiscono la voce coerente di un poeta epi... more Dalle sabbie egiziane alcuni frustoli di papiro ci restituiscono la voce coerente di un poeta epico arcaico, cantore della saga argonautica e di altri miti centrali nell' immaginario dei Greci. È possibile assegnare un nome a questa voce remota che disegna scenari in cui hanno luogo profezie, celebrazioni nuziali, giochi funebri, sacrifici e libagioni? Che ci narra di Pelia, Giasone, Medea, Mopso ed Eagro, ma anche di Ifigenia, Agamennone e Achille, di Chirone, Atteone e Dioniso? Sulla scorta di una articolata premessa che cerca di fare chiarezza su questioni di metodo filologico e sgomberare il campo da opinioni preconcette, alcuni frammenti poetici già noti sono messi in sistema con altri di recente acquisizione, restituendo un quadro di fondo in cui è legittimo scorgere sequenze riconducibili ad Eumelo, l'Esiodo' delle tradizioni corinzie-argonautiche.
The papyrus scraps resurface from the Egyptian sands to bring back to us the voice of an early epic poet who was interested in the Argonautic myth as well as in other legends which are key to Greek imagery. Is it possible to identify such a distant voice singing of prophecies, weddings, funeral games, sacrifices, and libations? Tales where Pelias, Jason, Medea, Mopsus, and Oeagrus are among the manifold characters; and Iphigenia, Agamemnon, and Achilles, as well as Chiron, Actaeon, and Dionysus play a significant role? Based on an articulated premise shedding light on questions of philological method and dispelling some preconceived opinions, this new essay investigates a coherent set of poetic fragments, both already known and of recent acquisition, and provides a scenario in which a prominent role ought to be recognized to Eumelus, the Hesiod' of the Corinthian-argonautic traditions.
1916; e quella recente di Splitter 2000 (contenente quasi tutta la bibliograf?a specifica, cui va... more 1916; e quella recente di Splitter 2000 (contenente quasi tutta la bibliograf?a specifica, cui vanno aggiunti almeno i lavori di Snodgrass 1998 e 2001). 2 Punt?ale panor?mica in Splitter 2000, che non rinuncia ad offrire un proprio punto di vista; esso tuttavia, per quanto oculato, non ...
This paper hosts three case-studies that are meant to be representative of paradigm-shifting tren... more This paper hosts three case-studies that are meant to be representative of paradigm-shifting trends in Homeric Studies and to cater to specialists and non-specialists alike. Boosted by new archaeological findings and by an increased awareness of Homer’s Near-Eastern entanglements, the “historicity” of the poems has regained centre stage. Against this backdrop, Andrea Debiasi develops a persuasive interpretation of Homer’s name, whose meaning points to the performative-agonistic dimension of Homeric poetry in the context of the clashes that characterized Euboia in the archaic age. By contrast, George Gazis focuses on the one aspect of the Homeric world that cannot possibly be mapped onto space and history, namely Hades. The underworld is unfathomable even for the gods, which accounts for its potential as a trigger of poetic invention. No less than Debiasi’s, this approach resonates with recent scholarship: a return to “history” is often complemented by an opposite, but fully compatib...
In: AOQU. Forme e modi dell'epica 1, 2020, pp. 9-101, 2020
This paper hosts three case-studies that are meant to be representative of paradigm-shifting tren... more This paper hosts three case-studies that are meant to be representative of paradigm-shifting trends in Homeric Studies and to cater to specialists and non-specialists alike. Boosted by new archaeological findings and by an increased awareness of Homer’s Near-Eastern entanglements, the “historicity” of the poems has regained centre stage. Against this backdrop, Andrea Debiasi develops a persuasive interpretation of Homer’s name, whose meaning points to the performative-agonistic dimension of Homeric poetry in the context of the clashes that characterized Euboia in the archaic age. By contrast, George Gazis focuses on the one aspect of the Homeric world that cannot possibly be mapped onto space and history, namely Hades. The underworld is unfathomable even for the gods, which accounts for its potential as a trigger of poetic invention. No less than Debiasi’s, this approach resonates with recent scholarship: a return to “history” is often complemented by an opposite, but fully compatible, “symbolic” trend, which has unraveled the systematic juxtaposition, in Homer’s world, between “history” and symbolic constructs. Finally, Cecilia Nobili shows that Homeric epics builds on pre-existing poetic genres such as elegy, although the earliest extant examples of the latter date to a later time. The claim that lyric poetry emerges though a confrontation with epics, then, is no less plausible than its opposite. One more important consequence of Nobili’s approach is that the “subjective” turn scholars have long recognized in Hellenistic and Roman epics is in fact firmly grounded in Homer himself.
Dalle sabbie egiziane alcuni frustoli di papiro ci restituiscono la voce coerente di un poeta epi... more Dalle sabbie egiziane alcuni frustoli di papiro ci restituiscono la voce coerente di un poeta epico arcaico, cantore della saga argonautica e di altri miti centrali nell' immaginario dei Greci. È possibile assegnare un nome a questa voce remota che disegna scenari in cui hanno luogo profezie, celebrazioni nuziali, giochi funebri, sacrifici e libagioni? Che ci narra di Pelia, Giasone, Medea, Mopso ed Eagro, ma anche di Ifigenia, Agamennone e Achille, di Chirone, Atteone e Dioniso? Sulla scorta di una articolata premessa che cerca di fare chiarezza su questioni di metodo filologico e sgomberare il campo da opinioni preconcette, alcuni frammenti poetici già noti sono messi in sistema con altri di recente acquisizione, restituendo un quadro di fondo in cui è legittimo scorgere sequenze riconducibili ad Eumelo, l'Esiodo' delle tradizioni corinzie-argonautiche.
The papyrus scraps resurface from the Egyptian sands to bring back to us the voice of an early epic poet who was interested in the Argonautic myth as well as in other legends which are key to Greek imagery. Is it possible to identify such a distant voice singing of prophecies, weddings, funeral games, sacrifices, and libations? Tales where Pelias, Jason, Medea, Mopsus, and Oeagrus are among the manifold characters; and Iphigenia, Agamemnon, and Achilles, as well as Chiron, Actaeon, and Dionysus play a significant role? Based on an articulated premise shedding light on questions of philological method and dispelling some preconceived opinions, this new essay investigates a coherent set of poetic fragments, both already known and of recent acquisition, and provides a scenario in which a prominent role ought to be recognized to Eumelus, the Hesiod' of the Corinthian-argonautic traditions.
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The papyrus scraps resurface from the Egyptian sands to bring back to us the voice of an early epic poet who was interested in the Argonautic myth as well as in other legends which are key to Greek imagery. Is it possible to identify such a distant voice singing of prophecies, weddings, funeral games, sacrifices, and libations? Tales where Pelias, Jason, Medea, Mopsus, and Oeagrus are among the manifold characters; and Iphigenia, Agamemnon, and Achilles, as well as Chiron, Actaeon, and Dionysus play a significant role? Based on an articulated premise shedding light on questions of philological method and dispelling some preconceived opinions, this new essay investigates a coherent set of poetic fragments, both already known and of recent acquisition, and provides a scenario in which a prominent role ought to be recognized to Eumelus, the Hesiod' of the Corinthian-argonautic traditions.
The papyrus scraps resurface from the Egyptian sands to bring back to us the voice of an early epic poet who was interested in the Argonautic myth as well as in other legends which are key to Greek imagery. Is it possible to identify such a distant voice singing of prophecies, weddings, funeral games, sacrifices, and libations? Tales where Pelias, Jason, Medea, Mopsus, and Oeagrus are among the manifold characters; and Iphigenia, Agamemnon, and Achilles, as well as Chiron, Actaeon, and Dionysus play a significant role? Based on an articulated premise shedding light on questions of philological method and dispelling some preconceived opinions, this new essay investigates a coherent set of poetic fragments, both already known and of recent acquisition, and provides a scenario in which a prominent role ought to be recognized to Eumelus, the Hesiod' of the Corinthian-argonautic traditions.