- Professore a contratto di Letteratura Latina presso l'Università per Stranieri di Perugia. Abilitata al ruolo di Pro... moreProfessore a contratto di Letteratura Latina presso l'Università per Stranieri di Perugia.
Abilitata al ruolo di Professore Associato in Lingua e Letteratura latina (Settore Concorsuale 10/D3, Fascia: II).
Cultore della materia presso l'Università degli Studi di Perugia - Dipartimento di Lettere (Settore Concorsuale 10/D3).
Dottore di ricerca in "Scienze dell'antichità classica e cristiana"edit
The aim of this paper is to examine the famous Virgilian myth of Dido, queen of Carthage, and Aeneas, the legendary ancestor of Rome, as an archetype of the cultural dialogue between different Mediterranean cultures. Not only will this... more
The aim of this paper is to examine the famous Virgilian myth of Dido, queen of Carthage, and Aeneas, the legendary ancestor of Rome, as an archetype of the cultural dialogue between different Mediterranean cultures. Not only will this allow us to underline the preeminent role of the classical heritage in the construction of the European identity, but also to demonstrate how this ancient legend, dealing with very current topic such as interculturality, immigration and hospitality – which appear, on a lexical level, in the insistence on such terms as 'sociare', 'miscere', 'iungere' in the first (as well as in the fourth) book of the "Aeneid" – should be still deserving attention by scholars and European citizens in general.
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The paper concerns the exegesis of some verses of an anonymous poem of the Anthologia Latina based on the allusions to the variants of Dido’s myth in Virgil and Servius.
The poem 255 R (= 249 SB) – Thema vergilianum: ‘Nec tibi, diva parens’ – is one of the three "themata" trasmitted by "Anthologia Latina" which arises from "Aen." IV 365 sgg. (Dido’s speech to Aeneas before his departure). Textual and... more
The poem 255 R (= 249 SB) – Thema vergilianum: ‘Nec tibi, diva parens’ – is one of the three "themata" trasmitted by "Anthologia Latina" which arises from "Aen." IV 365 sgg. (Dido’s speech to Aeneas before his departure). Textual and metrical analysis underlines that the anonimous poet follows the Vergilian model – in form and content – but, at the same time, creates an independent composition of its immediate literary context, adding variations, making explicit what the model doesn’t clearly refer or leaves unexpressed, introducing allusions to alternative mythical traditions (using rhetorical means of expression and language as well).
This paper debates a recent publication (Les “lieux” de l’épigramme latine tardive: vers un élargissement du genre, edited by Luciana Furbetta and Céline Urlacher-Becht, 2020), focusing on the categories of ‘place’ and ‘enlargement’ as... more
This paper debates a recent publication (Les “lieux” de l’épigramme latine tardive: vers un élargissement du genre, edited by Luciana Furbetta and Céline Urlacher-Becht, 2020), focusing on the categories of ‘place’ and ‘enlargement’ as potential exegetic vectors to investigate the most relevant renovation factors of the epigrammatic genre during the Late Antiquity (especially in Vandalic, Gallic and Italian context).
Si propone qui una riflessione congiunta sul volume "La renaissance de l’épigramme dans la latinité tardive. Actes du colloque de Mulhouse (6-7 octobre 2011)". Édités par M.-F. Guipponi-Gineste et C. Urlacher-Becht (Collections de... more
Si propone qui una riflessione congiunta sul volume "La renaissance de l’épigramme dans la latinité tardive. Actes du colloque de Mulhouse (6-7 octobre 2011)". Édités par
M.-F. Guipponi-Gineste et C. Urlacher-Becht (Collections de l’Université de Strasbourg. Études d’archéologie et d’histoire ancienne), Paris, Éditions de Boccard, 2013, pp. 572.
Ciascuno degli autori ha arricchito di osservazioni personali le sezioni passate in rassegna: in particolare, A. Luceri ha esaminato i contributi di Charlet, Guipponi-Gineste, Prioux,
Furbetta, Condorelli, Urlacher-Becht, Di Rienzo, Herbert De La Portbarré-Viard, Chappuis Sandoz, Mori, Beta, Breitenbach e Franzoi. M.N. Iulietto si è invece occupata dei saggi di
Mattiacci, Garambois-Vasquez, Morelli, Floridi, Meyer, Viellard, Cutino, Delmulle, Lubian, Schembra, Nocchi, Kofler, Luceri, Wolff e Stoehr-Monjou.
M.-F. Guipponi-Gineste et C. Urlacher-Becht (Collections de l’Université de Strasbourg. Études d’archéologie et d’histoire ancienne), Paris, Éditions de Boccard, 2013, pp. 572.
Ciascuno degli autori ha arricchito di osservazioni personali le sezioni passate in rassegna: in particolare, A. Luceri ha esaminato i contributi di Charlet, Guipponi-Gineste, Prioux,
Furbetta, Condorelli, Urlacher-Becht, Di Rienzo, Herbert De La Portbarré-Viard, Chappuis Sandoz, Mori, Beta, Breitenbach e Franzoi. M.N. Iulietto si è invece occupata dei saggi di
Mattiacci, Garambois-Vasquez, Morelli, Floridi, Meyer, Viellard, Cutino, Delmulle, Lubian, Schembra, Nocchi, Kofler, Luceri, Wolff e Stoehr-Monjou.
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The paper is a report, given during another international conference on E-philology, of a practical application of the use of digital archives for text analysis on a late latin poem.
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The paper offers an exegesis of a Luxorius’ poem starting by the discussion about the emendation 'pervolet' – proposed by Baehrens in place of the transmitted reading 'pernotes' – and the evocative mention of the 'iocosa theatra' at l. 10.
Through the analysis of some examples from the epigrammatic anthology by the African poet Luxorius (VI cent. A.D.), it is shown how the knowledge of the rhetorical uses of "nomina propria" produces interesting outcomes both on the... more
Through the analysis of some examples from the epigrammatic anthology by the African poet Luxorius (VI cent. A.D.), it is shown how the knowledge of the rhetorical uses of "nomina propria" produces interesting outcomes both on the exegesis and on the "constitutio textus" levels.
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In line 21 of the cento "Iudicium Paridis "("AL" 10 R2) the perplexing reading "nudos" of the "codex Salmasianus" – considered by scholars as an ‘intentional alteration’ introduced by the poet instead of the virgilian reading "fusos" of... more
In line 21 of the cento "Iudicium Paridis "("AL" 10 R2) the perplexing reading "nudos" of the "codex Salmasianus" – considered by scholars as an ‘intentional alteration’ introduced by the poet instead of the virgilian reading "fusos" of "Aen." X 137 (from which the second part of l. 21 is deduced) – should be replaced by "udos", referring to Venus’ hair. With this emendation the text should evocate the classical Venus anadyomene theme that a long literary tradition shows in association with the myth of the judgment of Paris (from the "Anthologia Palatina" to the "Epigrammata Bobiensia") and that had a large iconographic fortune up to late antiquity (also in the north african Provinces).
The aim of this paper is to investigate the humanistic 'Forleben' of a little-known invective poem targeting a "rusticus" ("Anth. Lat." 682 Riese2). This poem is attributed to Ovid but it was probably composed in Late Antiquity. It... more
The aim of this paper is to investigate the humanistic 'Forleben' of a little-known invective poem targeting a "rusticus" ("Anth. Lat." 682 Riese2). This poem is attributed to Ovid but it was probably composed in Late Antiquity. It represents a small-scale repertoire of the traditional literary devices of "vituperium" and "improperium" codified by classical rhetorical treatises and turned out to be useful for the polemical purposes of the 15th century humanists.
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Nel presente contributo si offre una disamina delle Lettere sopra A. Cornelio Celso al celebre ab. Girolamo Tiraboschi di Giovanni Lodovico Bianconi, mettendo in debito rilievo le importanti novità apportate in relazione alla figura e... more
Nel presente contributo si offre una disamina delle Lettere sopra A. Cornelio Celso al celebre ab. Girolamo Tiraboschi di Giovanni Lodovico Bianconi, mettendo in debito rilievo le importanti novità apportate in relazione alla figura e all’opera dell’autore latino, con particolare attenzione alla cronologia, alla questione legata al suo prenome, nonché alla storia ecdotica del "De medicina" celsiano.
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The article shows some interesting intertextual cues, taken from Virgil and Ovid, useful to the reconstruction of the literary background of the so-called Carmen de bello Actiaco (PHerc 817), an interesting text on the Battle of Actium.... more
The article shows some interesting intertextual cues, taken from Virgil and Ovid, useful to the reconstruction of the literary background of the so-called Carmen de bello Actiaco (PHerc 817), an interesting text on the Battle of Actium. The first essay offers new exegetical hints on the col. V (and VI) of the 'Carmen', which shows a strong taste for the macabre and the horridus. The aesthetic attitude of the 'Carmen' might probably be ascribed to the interferences established between the “Erculanensis” poet and Ovid (and the “baroque” spirit which animates his work). The second essay (by Paola Tempone) shows some remarkable consonaces between the description of the character of Cleopatra in the Carmen and that of the Virgilian Dido in the Aeneid.
The aim of this research is to give an overview on the interpretation of Roman Lucretia’s story in the Reinassance age, and to analyse a Latin epigram written by Marco Antonio Casanova (Anth. Lat. 873c Riese2). This epigram gives a... more
The aim of this research is to give an overview on the interpretation of Roman Lucretia’s story in the Reinassance age, and to analyse a Latin epigram written by Marco Antonio Casanova (Anth. Lat. 873c Riese2). This epigram gives a “political” interpretation of the legend of the woman, whose alleged rape and sub- sequent suicide resulted in a war that ended with the fall of the Roman monarchy and the establishment of the Republic.
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The aim of this paper is to analyze the text and the hermeneutic strategies of a poetic riddle from the "Aenigmata Bernensia" – a corpus of poetic riddles composed by an anonimous author (VII-VIII century A.D.) – which involves a... more
The aim of this paper is to analyze the text and the hermeneutic strategies of a poetic riddle from the "Aenigmata Bernensia" – a corpus of poetic riddles composed by an anonimous author (VII-VIII century A.D.) – which involves a mysterious ‘catabasis’: even if the solution is revealed already in the title ("De grano"), it is possible to find further allusions to other famous mythical catabasis as well as christian symbologies which could allow us to discover other potential hidden solutions to the riddle.
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A compilation of 71 poems attributed to some exponents of the Roman aristocracy, the collection named "Epigrammata Bobiensia" (IVex.-Vin. AD) is an emblematic cultural product of Late Antiquity. Through some examples from this collection,... more
A compilation of 71 poems attributed to some exponents of the Roman aristocracy, the collection named "Epigrammata Bobiensia" (IVex.-Vin. AD) is an emblematic cultural product of Late Antiquity. Through some examples from this collection, which contains wordplays on proper names, it will be shown how the written word, in the general absence of polemical undertones, became a rhetorical 'lusus' to escape from the contemporary crisis.
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The aim of this paper is to investigate the “Livian Revival” in Late Antique, by considering the 'Fortleben' of this author in the rich literature produced during the Vandal kingdom at Carthage, at the beginning of the VI century. The... more
The aim of this paper is to investigate the “Livian Revival” in Late Antique, by
considering the 'Fortleben' of this author in the rich literature produced during the
Vandal kingdom at Carthage, at the beginning of the VI century. The paper especially
focuses on a poem from "Anthologia Latina" about the legendary Roman hero Mucius
Scaevola ("Anth. Lat."155 Riese2 = 144 Shackleton Bailey = "Unius Poetae Sylloge" 66
Zurli), showing that the anonymous author of this poem may have had a direct
knowledge of Livius (at least his first books).
considering the 'Fortleben' of this author in the rich literature produced during the
Vandal kingdom at Carthage, at the beginning of the VI century. The paper especially
focuses on a poem from "Anthologia Latina" about the legendary Roman hero Mucius
Scaevola ("Anth. Lat."155 Riese2 = 144 Shackleton Bailey = "Unius Poetae Sylloge" 66
Zurli), showing that the anonymous author of this poem may have had a direct
knowledge of Livius (at least his first books).
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Ecdotic considerations about "Decretum Gelasianum de libris recipiendis et non recipiendis" (496 d.C.) may indicate that the "Centimetrum de Christo, Virgilianis compaginatum versibus", quoted by the same pseudogelasian decree, may not... more
Ecdotic considerations about "Decretum Gelasianum de libris recipiendis et non recipiendis" (496 d.C.) may indicate that the "Centimetrum de Christo, Virgilianis compaginatum versibus", quoted by the same pseudogelasian decree, may not unquestionably be identified with the famous "cento Probae", as many researchers assert.
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The epigram 48 Z (= 137 R = 126 SB) is a scoptic essay about a man with an inguinal hernia which is described, in the first distich, in potter’s terminology: at line 2 the anonymous poet relates the swelling hernia with Notus wind. The... more
The epigram 48 Z (= 137 R = 126 SB) is a scoptic essay about a man with an inguinal hernia which is described, in the first distich, in potter’s terminology: at line 2 the anonymous poet relates the swelling hernia with Notus wind. The reference to Notus wind (misunderstood until now by editors and commentators) as an unhealthy wind which gives birth to diseases and makes worse ailments like hernia was a common belief which was scientifically testified in medical literature since Hippocrates. Many medical authors – like Celsus, Galenus, Oribasius and C. Plinius Secundus – followed Hippocratic ideas and, even on IV-V A.D., african writers as Theodorus Priscianus and Cassius Felix confirmed Notus wind’s dangerous nature. Especially Theodorus Priscianus put together this long tradition and reaffirmed the connection between ventus auster and ailments like hernia (Euporiston 1, 79). Finally we can say that the anonymous poet, obviously learned, mentioned deliberately the connection between Notus and swelling hernia.
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Il presente volume offre uno dei possibili itinerari di riscoperta della figura di Didone - dalle riscritture tardoantiche degli autori latini di area africana (Apuleio, Draconzio, gli autori della "Anthologia Latina") ad una curiosa... more
Il presente volume offre uno dei possibili itinerari di riscoperta della figura di Didone - dalle riscritture tardoantiche degli autori latini di area africana (Apuleio, Draconzio, gli autori della "Anthologia Latina") ad una curiosa declinazione del mito nel secolo XVII (il "Lamento di Didone" del poeta umbro Francesco Melosio) e ad alcune considerazioni intorno al coevo commento virgiliano del gesuita Juan Luis De la Cerda. I criteri su cui si impianta questo studio - e la selezione a monte delle 'riscritture' - sono di natura essenzialmente estetica: in tal senso, il termine 'barocco' viene inteso non tanto nell’accezione vulgata di precisa demarcazione storico cronologica, quanto piuttosto nel valore tipologico di categoria stilistica ed estetica, paradigmatica e fuori dal tempo.
Coerentemente con una delle probabili etimologie del termine - che rinvia al portoghese aljofre barroco (‘perla irregolare’) - ‘barocco’ è ritenuto, infatti, tutto ciò che appa-re lambiccato e concettoso, giocato sul ricorso alla metafora e al paradosso. Di "barocco letterario" si è parlato per certa produzione degli autori latini (dal Seneca tragico ai toni drammatici di Lucano e all'orrido di Stazio), soprattutto tardoantichi: anche alcune sezioni della produzione epigrammatica o enigmistica di "Anthologia Latina", per il fatto di essere poesia breve e generalmente male contestualizzata - e quindi, spesso, oscura -, hanno ricevuto infatti la medesima definizione.
Riscritture ‘barocche’ di Didone saranno quindi le molteplici declinazioni del personaggio all'interno della produzione letteraria del Tardoantico e, in un secondo momento, dell’epoca propriamente barocca (nell’uso storico convenzionalmente attribuito al termine).
Coerentemente con una delle probabili etimologie del termine - che rinvia al portoghese aljofre barroco (‘perla irregolare’) - ‘barocco’ è ritenuto, infatti, tutto ciò che appa-re lambiccato e concettoso, giocato sul ricorso alla metafora e al paradosso. Di "barocco letterario" si è parlato per certa produzione degli autori latini (dal Seneca tragico ai toni drammatici di Lucano e all'orrido di Stazio), soprattutto tardoantichi: anche alcune sezioni della produzione epigrammatica o enigmistica di "Anthologia Latina", per il fatto di essere poesia breve e generalmente male contestualizzata - e quindi, spesso, oscura -, hanno ricevuto infatti la medesima definizione.
Riscritture ‘barocche’ di Didone saranno quindi le molteplici declinazioni del personaggio all'interno della produzione letteraria del Tardoantico e, in un secondo momento, dell’epoca propriamente barocca (nell’uso storico convenzionalmente attribuito al termine).
Research Interests:
Il volume offre un compendio ragionato intorno alle principali questioni e agli studi critici relativi alle 'imagines' di Didone, ovvero alle diverse ‘storie’ del personaggio che, nei secoli successivi a Virgilio, sono state variamente... more
Il volume offre un compendio ragionato intorno alle principali questioni e agli studi critici relativi alle 'imagines' di Didone, ovvero alle diverse ‘storie’ del personaggio che, nei secoli successivi a Virgilio, sono state variamente recuperate e, spesso, ‘combinate’ tra loro. Gli spunti relativi alle sopravvivenze del mito negli autori cristiani d’Africa costituiscono un ulteriore strumento utile allo studio del 'Fortleben' di Didone.
La sezione dei “Materiali” offre inoltre una galleria di testi (con traduzioni in lingua italiana) raccolti allo scopo di fornire un quadro esaustivo non solo delle fonti principali ma anche delle successive riscritture del mito didoniano nella poesia latina classica e tardoantica.
La sezione dei “Materiali” offre inoltre una galleria di testi (con traduzioni in lingua italiana) raccolti allo scopo di fornire un quadro esaustivo non solo delle fonti principali ma anche delle successive riscritture del mito didoniano nella poesia latina classica e tardoantica.