Parmeno fr. 1 Diehl3 draws inspiration from Hipponax and reveals the deep
engagement of this Hell... more Parmeno fr. 1 Diehl3 draws inspiration from Hipponax and reveals the deep engagement of this Hellenistic choliambic poet with the literary tendencies of his times
This paper examines the metrical and linguistic features of the Hellenistic choliambic song refer... more This paper examines the metrical and linguistic features of the Hellenistic choliambic song referred to as “Anonymus in turpilucrum” (III p. 131 ss. Diehl) and compares it with the choliambic poetry of the same period.
This paper re-evalutes
a Hellenistic papyrus fragment that contains the remains of a choliambic p... more This paper re-evalutes a Hellenistic papyrus fragment that contains the remains of a choliambic poem, the so-called ‘epitaph on Lynceus’. This poem has been almost forgotten by the critics but is a further and important evidence of the revival of the Hipponactean poetry in Hellenistic age.
ΦΙΛΌΤΗΤΙ Studi in ricordo di Bruna Marilena Palumbo Stracca, a cura di Luca Bettarini , 2023
Parody and Boeotian Dialect in Eubulus’ Antiope · This paper discusses the editorial intervention... more Parody and Boeotian Dialect in Eubulus’ Antiope · This paper discusses the editorial interventions on Eubulus, Antiope fr. 11 K.-A. and argues that the manuscript tradition not only indicates a high degree of corrispondence with the Boeotian dialect, but also confirms the parodic interplay with the homonymous Euripidean tragedy.
This study provides a re-examination of some archaic Greek inscriptions of the main types and tri... more This study provides a re-examination of some archaic Greek inscriptions of the main types and tries to highlight the overlapping aims of many of them. This fact is due to the cultural features of archaic Greece and underlines a clear combination of practical and cultural purposes since the most ancient testimonies.
By reviewing the whole exodos of Lysistrata and more specifically the three songs alternatively p... more By reviewing the whole exodos of Lysistrata and more specifically the three songs alternatively performed by Spartans and Athenians, this paper tries to highlight the dramatic framework adopted by Aristophanes in order to promote peace between the two poleis. Il contributo mira a analizzare, tramite una rilettura dell'esodo della Lisistrata e in particolare dei tre canti alternativamente eseguiti da Spartani e Ateniesi, la strategia drammaturgica escogitata da Aristofane per promuovere il processo di pace tra le due poleis.
Nuove volute di versi Poesia e musica nella commedia greca di V e IV sec. a. C., 2022
Our knowledge of Menander’ s!!eophoroumene,is very meager, but PSI 1480 (#rst century
B.C.E./#rst... more Our knowledge of Menander’ s!!eophoroumene,is very meager, but PSI 1480 (#rst century B.C.E./#rst century C.E.) has a good chance of belonging to this comedy: it preserves partial lines in which spoken text is intermingled with a sung section. "is study argues that the sung parts in the papyrus can be two and tries to revalue the ancient sources for the presence of music and song in Menander’ s comedies.
Il fr. 49 Dg. (= 40 W.) di Ipponatte presenta problemi ecdotici ed esegetici che hanno in passato... more Il fr. 49 Dg. (= 40 W.) di Ipponatte presenta problemi ecdotici ed esegetici che hanno in passato indotto più volte gli editori a modificarne il testo e a rimarcarne la sintassi claudicante: il presente contributo mira invece a dimostrare non solo che il testo tràdito può essere genuino, ma anche che la sua struttura sintattica è in realtà regolare e anzi finemente elaborata al fine di realizzare, insieme a elementi lessicali di differente registro, un comico effetto di contrasti, già noto da altri passi ipponattei.
Nella produzione poetica dell’Arcadia di Crescimbeni si registra anche la composizione di carmi g... more Nella produzione poetica dell’Arcadia di Crescimbeni si registra anche la composizione di carmi greci: si tratta di un fenomeno culturale di rilievo, strettamente legato al processo di recupero valorizzazione della tradizione letteraria greca al quale l’Accademia partecipò attivamente dopo la fase di stallo rappresentata dall’età della Controriforma. Un esame anche cursorio di questi carmi – per lo più epigrammi, ma non solo – rivela l’ampiezza delle letture e quindi dei generi letterari e dei modelli tenuti presenti dai pastori arcadi e, sia pure nella diversa abilità compositiva dei singoli autori, conferma l’importanza che alla versificazione in lingua greca fu attribuita in seno all’Accademia fin dalla sua istituzione
This paper presents some new considerations about the wandering poet’ scene in Aristophanes’ Bird... more This paper presents some new considerations about the wandering poet’ scene in Aristophanes’ Birds (904-953) and tries to analyse both the comic devices and the meaning of the references to Homer, Simonides and Pindar made by the poor poet on the stage. At the end, the paper addresses the central issue of Aristophanes’ opinion about the great choral lyric poets of the recent past and argues that they are not blamed nor mocked by the dramatist, in sharp contrast to their inadequate successors.
Recent studies have shown that hyperdialectal forms, well attested
in inscriptions of the Helleni... more Recent studies have shown that hyperdialectal forms, well attested in inscriptions of the Hellenistic age, cannot simply be treated as mistakes when they are transmitted in Hellenistic texts (e.g. the Doric hymns of Callimachus). Moreover, these forms could also be used as a consequence of their presence – rightly or wrongly – in the Hellenistic editions of archaic and classical poets. On this basis, this article surveys the hyper-Doricisms of Greek bucolic poetry and argues that in several cases they could be genuine.
The purpose of this paper is both to detect proverbs behind Hipponax’swords and to outline how th... more The purpose of this paper is both to detect proverbs behind Hipponax’swords and to outline how the poet relates to the Greek proverbial tradition
Questo studio tenta un inquadramento di tre diverse figure di auleti e di un nomos - eseguito con... more Questo studio tenta un inquadramento di tre diverse figure di auleti e di un nomos - eseguito con l'aulo da Mimnermo - che vengono citati nella produzione di Ipponatte.
While Theocritus in his poems seems to know, beyond the syrinx, only a single pipe aulos, in the ... more While Theocritus in his poems seems to know, beyond the syrinx, only a single pipe aulos, in the post-Theocritean bucolic poetry came into use other wind instruments and some stringed instruments too. By reviewing all of these occurrences, the present study tries to reconstruct the history of musical instruments in this literary genre.
In the fr. 49 K.-A. of Strattis an ignote character attacks the Theban dialect and makes a list o... more In the fr. 49 K.-A. of Strattis an ignote character attacks the Theban dialect and makes a list of nine ridicolous Theban words. The present study tries to demonstrate that the comic eπect of these words doesn’t rely first and foremost on their possible double meaning neither on their Boeotian shape. Indeed, some of them are funny nicknames the Athenians clearly don’t use, some have particular meanings in comparison with the Attic dialect; therefore, the real vis comica of the fragment lies in the Attic point of view.
Parmeno fr. 1 Diehl3 draws inspiration from Hipponax and reveals the deep
engagement of this Hell... more Parmeno fr. 1 Diehl3 draws inspiration from Hipponax and reveals the deep engagement of this Hellenistic choliambic poet with the literary tendencies of his times
This paper examines the metrical and linguistic features of the Hellenistic choliambic song refer... more This paper examines the metrical and linguistic features of the Hellenistic choliambic song referred to as “Anonymus in turpilucrum” (III p. 131 ss. Diehl) and compares it with the choliambic poetry of the same period.
This paper re-evalutes
a Hellenistic papyrus fragment that contains the remains of a choliambic p... more This paper re-evalutes a Hellenistic papyrus fragment that contains the remains of a choliambic poem, the so-called ‘epitaph on Lynceus’. This poem has been almost forgotten by the critics but is a further and important evidence of the revival of the Hipponactean poetry in Hellenistic age.
ΦΙΛΌΤΗΤΙ Studi in ricordo di Bruna Marilena Palumbo Stracca, a cura di Luca Bettarini , 2023
Parody and Boeotian Dialect in Eubulus’ Antiope · This paper discusses the editorial intervention... more Parody and Boeotian Dialect in Eubulus’ Antiope · This paper discusses the editorial interventions on Eubulus, Antiope fr. 11 K.-A. and argues that the manuscript tradition not only indicates a high degree of corrispondence with the Boeotian dialect, but also confirms the parodic interplay with the homonymous Euripidean tragedy.
This study provides a re-examination of some archaic Greek inscriptions of the main types and tri... more This study provides a re-examination of some archaic Greek inscriptions of the main types and tries to highlight the overlapping aims of many of them. This fact is due to the cultural features of archaic Greece and underlines a clear combination of practical and cultural purposes since the most ancient testimonies.
By reviewing the whole exodos of Lysistrata and more specifically the three songs alternatively p... more By reviewing the whole exodos of Lysistrata and more specifically the three songs alternatively performed by Spartans and Athenians, this paper tries to highlight the dramatic framework adopted by Aristophanes in order to promote peace between the two poleis. Il contributo mira a analizzare, tramite una rilettura dell'esodo della Lisistrata e in particolare dei tre canti alternativamente eseguiti da Spartani e Ateniesi, la strategia drammaturgica escogitata da Aristofane per promuovere il processo di pace tra le due poleis.
Nuove volute di versi Poesia e musica nella commedia greca di V e IV sec. a. C., 2022
Our knowledge of Menander’ s!!eophoroumene,is very meager, but PSI 1480 (#rst century
B.C.E./#rst... more Our knowledge of Menander’ s!!eophoroumene,is very meager, but PSI 1480 (#rst century B.C.E./#rst century C.E.) has a good chance of belonging to this comedy: it preserves partial lines in which spoken text is intermingled with a sung section. "is study argues that the sung parts in the papyrus can be two and tries to revalue the ancient sources for the presence of music and song in Menander’ s comedies.
Il fr. 49 Dg. (= 40 W.) di Ipponatte presenta problemi ecdotici ed esegetici che hanno in passato... more Il fr. 49 Dg. (= 40 W.) di Ipponatte presenta problemi ecdotici ed esegetici che hanno in passato indotto più volte gli editori a modificarne il testo e a rimarcarne la sintassi claudicante: il presente contributo mira invece a dimostrare non solo che il testo tràdito può essere genuino, ma anche che la sua struttura sintattica è in realtà regolare e anzi finemente elaborata al fine di realizzare, insieme a elementi lessicali di differente registro, un comico effetto di contrasti, già noto da altri passi ipponattei.
Nella produzione poetica dell’Arcadia di Crescimbeni si registra anche la composizione di carmi g... more Nella produzione poetica dell’Arcadia di Crescimbeni si registra anche la composizione di carmi greci: si tratta di un fenomeno culturale di rilievo, strettamente legato al processo di recupero valorizzazione della tradizione letteraria greca al quale l’Accademia partecipò attivamente dopo la fase di stallo rappresentata dall’età della Controriforma. Un esame anche cursorio di questi carmi – per lo più epigrammi, ma non solo – rivela l’ampiezza delle letture e quindi dei generi letterari e dei modelli tenuti presenti dai pastori arcadi e, sia pure nella diversa abilità compositiva dei singoli autori, conferma l’importanza che alla versificazione in lingua greca fu attribuita in seno all’Accademia fin dalla sua istituzione
This paper presents some new considerations about the wandering poet’ scene in Aristophanes’ Bird... more This paper presents some new considerations about the wandering poet’ scene in Aristophanes’ Birds (904-953) and tries to analyse both the comic devices and the meaning of the references to Homer, Simonides and Pindar made by the poor poet on the stage. At the end, the paper addresses the central issue of Aristophanes’ opinion about the great choral lyric poets of the recent past and argues that they are not blamed nor mocked by the dramatist, in sharp contrast to their inadequate successors.
Recent studies have shown that hyperdialectal forms, well attested
in inscriptions of the Helleni... more Recent studies have shown that hyperdialectal forms, well attested in inscriptions of the Hellenistic age, cannot simply be treated as mistakes when they are transmitted in Hellenistic texts (e.g. the Doric hymns of Callimachus). Moreover, these forms could also be used as a consequence of their presence – rightly or wrongly – in the Hellenistic editions of archaic and classical poets. On this basis, this article surveys the hyper-Doricisms of Greek bucolic poetry and argues that in several cases they could be genuine.
The purpose of this paper is both to detect proverbs behind Hipponax’swords and to outline how th... more The purpose of this paper is both to detect proverbs behind Hipponax’swords and to outline how the poet relates to the Greek proverbial tradition
Questo studio tenta un inquadramento di tre diverse figure di auleti e di un nomos - eseguito con... more Questo studio tenta un inquadramento di tre diverse figure di auleti e di un nomos - eseguito con l'aulo da Mimnermo - che vengono citati nella produzione di Ipponatte.
While Theocritus in his poems seems to know, beyond the syrinx, only a single pipe aulos, in the ... more While Theocritus in his poems seems to know, beyond the syrinx, only a single pipe aulos, in the post-Theocritean bucolic poetry came into use other wind instruments and some stringed instruments too. By reviewing all of these occurrences, the present study tries to reconstruct the history of musical instruments in this literary genre.
In the fr. 49 K.-A. of Strattis an ignote character attacks the Theban dialect and makes a list o... more In the fr. 49 K.-A. of Strattis an ignote character attacks the Theban dialect and makes a list of nine ridicolous Theban words. The present study tries to demonstrate that the comic eπect of these words doesn’t rely first and foremost on their possible double meaning neither on their Boeotian shape. Indeed, some of them are funny nicknames the Athenians clearly don’t use, some have particular meanings in comparison with the Attic dialect; therefore, the real vis comica of the fragment lies in the Attic point of view.
Il secondo appuntamento di epigrafia, tra epigrafia e fonetica.
Epigrafia cuneiforme, Micenea, Gr... more Il secondo appuntamento di epigrafia, tra epigrafia e fonetica. Epigrafia cuneiforme, Micenea, Greca, Italica, Arabica e linguistica
Lunedì 23 febbraio, a partire dalle 15.00 e Martedì 24 febbraio a partire dalle 9.00, si terrà pr... more Lunedì 23 febbraio, a partire dalle 15.00 e Martedì 24 febbraio a partire dalle 9.00, si terrà presso l'edificio di lettere della Sapienza in Roma, un workshop dedicato all'epigrafia Cuneiforme, micenea, greca e sudarabica.
Uploads
Papers by Luca Bettarini
engagement of this Hellenistic choliambic poet with the literary tendencies of
his times
a Hellenistic papyrus fragment that contains the remains of a choliambic poem, the so-called ‘epitaph on Lynceus’. This poem has been almost forgotten by the critics but is a further and important evidence of the revival of the Hipponactean poetry in Hellenistic age.
B.C.E./#rst century C.E.) has a good chance of belonging to this comedy: it preserves partial
lines in which spoken text is intermingled with a sung section. "is study argues that
the sung parts in the papyrus can be two and tries to revalue the ancient sources for the
presence of music and song in Menander’ s comedies.
in inscriptions of the Hellenistic age, cannot simply be treated as
mistakes when they are transmitted in Hellenistic texts (e.g. the
Doric hymns of Callimachus). Moreover, these forms could also be
used as a consequence of their presence – rightly or wrongly – in
the Hellenistic editions of archaic and classical poets. On this basis,
this article surveys the hyper-Doricisms of Greek bucolic poetry and
argues that in several cases they could be genuine.
engagement of this Hellenistic choliambic poet with the literary tendencies of
his times
a Hellenistic papyrus fragment that contains the remains of a choliambic poem, the so-called ‘epitaph on Lynceus’. This poem has been almost forgotten by the critics but is a further and important evidence of the revival of the Hipponactean poetry in Hellenistic age.
B.C.E./#rst century C.E.) has a good chance of belonging to this comedy: it preserves partial
lines in which spoken text is intermingled with a sung section. "is study argues that
the sung parts in the papyrus can be two and tries to revalue the ancient sources for the
presence of music and song in Menander’ s comedies.
in inscriptions of the Hellenistic age, cannot simply be treated as
mistakes when they are transmitted in Hellenistic texts (e.g. the
Doric hymns of Callimachus). Moreover, these forms could also be
used as a consequence of their presence – rightly or wrongly – in
the Hellenistic editions of archaic and classical poets. On this basis,
this article surveys the hyper-Doricisms of Greek bucolic poetry and
argues that in several cases they could be genuine.
Epigrafia cuneiforme, Micenea, Greca, Italica, Arabica e linguistica