Filologia Classica

Tradução e comentário do primeiro episódio da tragédia Rei Édipo, de Sófocles: notas explicativas pertinentes aos  trechos que apresentam mais problemas de interpretação.  O primeiro episódio deste drama se inicia com um solene pronunciamento de Édipo, que começa por referir-se à dolorosa prece do Coro no párodo recém concluído.(Ver estudo recente de Ordep Serra sobre este párodo, publicado também no Academia. edu). Segue-se um breve diálogo entre Édipo e o corifeu. Este diálogo se interrompe com a chegada de Tiresias, o cego vidente, guiado por uma criança e acompanhado por servos. O núcleo do episódio é o tremendo debate (o agón) que se desenvolve entre Tirésias e Édipo, com uma breve interferência do corifeu. Destaco a primeira fala de Édipo e a primeira resposta do Corifeu, assim como as falas iniciais com que Édipo e Tirésias iniciam seu duro colóquio, mas depois indico os nomes dos personagens só pelas abreviaturas (E. C. T.)

Intervista (intervento personale dal minuto 03:41) con visita all'Olivone/Rivöi dell'abate e statista bleniese Vincenzo Dalberti (1763-1849) : Biblioteca del Teciallo (presso la chiesa parrocchiale di San Martino) ; Casa Soldati a Marzano/Marzài, frazione ai piedi del Sosto in cui sorge la dimora del Dalberti con la targa commemorativa della sua vita e della Riforma della Costituzione del Cantone Ticino del 1830 ; cimitero locale del villaggio montano con il  monumento dell'artista e scultore Vincenzo Vela inaugurato postumo alla morte dell'abate nel 1851 ; Via Vincenzo Dalberti (Comune di Blenio).

Özet: Anlam insan için geçmişten gùnùmùze ônemli gôrùlmùştùr. İnsanoğlu için anlam sadece bu dùnya ile sınırlandırılmamıştır. İnsanlık kôkleriyle geçmişe hayalleriyle geleceğe bağlı yaşamaktadır. İnsanın bedeni şekil, ruhu anlam olarak değerlendirilmektedir. Bedensiz ruh, ruhsuz beden olamayacağı dùşùnùlmektedir. Dilde de anlam ruhla eş değer tutulmaktadır. Bu çalışmada, dilde anlam ve bağlamın ne ifade ettiği değerlendirilecek, anlam-bağlam ilişkisi incelenerek, bağlamın çeviriye ve dil ôğretimine etkisi ùzerinde durulacaktır.
Anahtar Sözcükler: Dil, dilbilim, anlam, anlambilim, bağlam, kùltùr, çeviri, dil ôğretimi.

The main purpose of this thesis is to offer a complete view of the dance in Roman times, from the Republican period to the 4th century A.D., approximately. So far, there are no comprehensive studies about Roman dancing from a general perspective, an important gap that contrasts with the manifold researches developed until the date for the Greek framework.
As a linguistic and philological approach, our work analyses, 4rst, the most common terms belonging to the semantic 4eld of dancing in Latin (salto, saltatio, saltator, chorus, tripudio, ludo, etc.), in order to study, in a proper way, all the ancient texts containing information about the topic and making up the corpus that figures as the Appendix III of this volume. Opposed to an external definition of “dance”, the analysis of this vocabulary provides, on the one hand, important information about the Roman idea of dance and, on the other, it involves a clear guide to organise the contents of the thesis

This paper focuses on late-antique isagogical literature, a point of intersection between philological and philosophical concerns, and a fascinating area attesting to the written beginning of (the teaching of) specific disciplines, works, and authors. My aim is to re-discuss the definition of εἰσαγωγή given by Mario Untersteiner in a wellknown volume, by highlighting how it offers a solution to problems related to literary criticism, philology and philosophy. Starting from this definition, it is possible to include isagogical writings in a precise literary and philosophical genre that can encompass other categories. I will analyse Untersteiner’s definition of εἰσαγωγή and classification of texts with an isagogical function by focusing on the writings he draws upon, in order to verify the coherence of the procedure adopted and the consistency of the final outcome. Based on an observation not only of the form but also of the content and function of such texts, I will demonstrate how a new definition and classification of writings with an isagogical function can help interpret, from the literary point of view, the degree of theoretical and practical complexity attained by the Platonic system.

En este artículo se realizará una comparación entre el discurso que Aquiles, en la Ilíada, dirige ante el cadáver de Patroclo, y algunos epigramas funerarios áticos de época clásica (compilados por Hansen). El objetivo de esta comparación no es de orden estilístico ni sintáctico, sino de rastreo de ideas y conceptos; se pretende lograr un conocimiento más profundo acerca de lo que tanto la sociedad homérica como la clásica tenían en mente cuando se encontraban frente a la muerte. Se partirá del discurso de Aquiles, donde se resaltarán conceptos que aparecen también en los epigramas; así, se verá de qué forma algunas ideas permanecieron a través de los siglos y por qué.

Sobre la base de la consideración de los mitos griegos como textos culturales, este trabajo analiza el Pluto
de Aristófanes como un tratamiento paródico y carnavalesco de las luchas por la sucesión entre los dioses. A
partir de los indicios textuales relacionados con la lexía κεφαλή (cabeza), se establece una inversión cómica
del eje semiótico autoridad/subversión.

SI CONSIGLIA DI LEGGERE LA VERSIONE CORRETTA. Uno studio storico e filologico su un errore di trascrizione, in un episodio del libro quinto delle “Storie”, nel quale Erodoto parla di Dorieo, che ha trasformato per secoli un fiume della Magna Grecia in una città Sicana.
Lo studio vuole inoltre rendere omaggio (in parte anche critico) a Luigi Tirrito e agli studiosi dei tempi nei quali rimanere documentati era una operazione estremamente difficoltosa. Comprare libri era molto costoso (oggi i libri si comprano o si scaricano con poca o nessuna spesa), consultarli richiedeva molto tempo perché ci si doveva spostare tra le poche biblioteche esistenti o rivolgersi a studiosi amici (oggi i libri si leggono online), così come molto tempo richiedeva la ricerca all’interno del testo (oggi questa operazione richiede pochi secondi). Nel caso specifico forse qualche leggerezza è stata commessa ma, considerato il contesto, si può anche comprendere e, in qualche modo, giustificare.

SIMILAR AND DIFFERENT MOTIVES WITH NIZAMI
GANJAVI’S “LEYLA AND MAJNUN” IN KHAGIRI TABRIZI’S
“LEYLA AND MAJNUN” MASNAVI
ABSTRACT
The Khamsa Nizami Ganjavi succeeded to preserve its ascendant
position in Azerbaijani literature for the considerably long period lasting
from 12th to 19th century. During these centuries the representatives of
not only Azerbaijani but also of the whole eastern literature participated
in the poetry competition called as “Panj-i Ganj” by ustad (“master”)
Nizami, contributing to the longevity of this tradition by writing naziras1
to his poems. Haqiri Tabrizi was one of such masters of poetry who lived
in 16th century. He blazed a trail and set the example for next generations
of poets by creating his own “Layla and Majnun” as a nazira to Nizami.
The article deals with Khagiri’s “Leyla and Majnun” which is one of
the next naziras written for Nizami Ganjavi’s “Leyla and Majnun” poem.
Khagiri was first poet who wrote “Leyla and Majnun” in azeri and opened
the door for local followers and broke down the inability barriers of writing
“Khamsa” in azeri-turkish language. During comparetive analysis some
similar and different features with etalon sample have been revealed.
Moreover these case studies it has been proven that Hagiri had benefited
from Azerbaijan folklore. We are also particularly emphasized the
mastership combination of motives and plots which he used from poets
(Khatiphy, Dakhlavy) whose names he mentioned at the begining of his
work. As a result, the study has been found similar signs with works by
poets like Jami, Maktabi, Shahidi, Sevdai and their synthesis with
Hagiri’s personal imaginations.

Der folgende Beitrag hat das Ziel, mögliche didaktische Anwendungen und die möglichen kritischen Punkte eines Verweises auf die Auseinandersetzung zwischen der Schiffskapitänin der Nichtregierungsorganisation (NGO) Sea-Watch, Carola Rackete, und dem damaligen stellvertretenden italienischen Ministerpräsidenten Matteo Salvini, die im Juni letzten Jahres nach der Rettung zahlreicher Mittelmeer-Migranten durch die Sea-Watch stattfand, im Griechischunterricht, der Sophokles’ Antigone gewidmet ist, zu erörtern.

Il seguente articolo ha lo scopo di discutere i possibili impieghi didattici e le eventuali criticità di un riferimento, durante le lezioni di greco dedicate all’Antigone di Sofocle, allo scontro tra la capitana della nave Ong Sea-Watch Carola Rackete e il vice primo ministro italiano Matteo Salvini, avvenuto lo scorso giugno in seguito al salvataggio di numerosi migranti nel Mediterraneo da parte della Sea-Watch.

official website: https://www.dav-bw.de/wp-content/uploads/2020/08/DAVBW2020n1-1.pdf

Bu çalışma Faruk Zeki Perek'in Tercümeli Latince Grameri eserinin ilk bölümündeki tercümelerin cevaplarını, tercüme yapılırken ihtiyaç duyulacak kelimelerin sözlük girişlerini ve ayrıca her tercüme için hazırlanmış ekstra 10 Latince ve 5 Türkçe cümleleri içermektedir. Öğrenciler kendi tercümelerini verilenlerle karşılaştırabilir, tercüme yaparken anlamını bilmedikleri veya anlamından emin olamadıkları kelimelere her tercüme için özel hazırlanmış kelime listesinden kolayca bakabilir.

THE THESIS PROPOSES THE OBJECTIVE OF TRACKING THE ORIGIN OF THE IDEA OF THE TWO CITIES, ANALYZING A SERIES OF TEXTS TAKEN FROM THE COMPLEX OF AUGUSTINE'S WORK, THEN TO IDENTIFY ITS SPECIFIC CHARACTER THROUGH THE DE CIVITATE DEI, AS WELL AS THE ROLE OF WHICH AGOSTINO INVESTS THE TWO MYSTICAL REALITIES IN THE SOCIO-POLITICAL AND INTERNAL DIMENSION OF THE INDIVIDUAL.

This is a thorough classification of all antique mentions of mechanical devices similar
to the Antikythera mechanism, and of techniques for the calculus of the positions of
the planets and of solar and lunar eclipses.
Appendices are included with the relevant, original texts.
Bibliography revised as of february 2019.

“This book, written with the non-Italian reader in mind, addresses a central problem in textual criticism, and one that it is currently fashionable to regard as insoluble, namely, how to reconstruct a text of the past so that it is as close as possible to the lost original, starting from a number of copies more or less full of mistakes.
The idea of writing this book – which I left to age, as one does with wine and cured meats – first occurred to me in 2006-2007, when I had the privilege of being a visiting professor at the Hebrew University of Jerusalem. As the students felt the need to explain to me: ‘Nobody had ever talked to us about these things.’ For decades, very few, if any, Biblical, Germanic and Slavonic philologists, or French Romanists, or German editors of Anglo-American or Medieval Latin texts, have been talking about many of the things this book is about” (from the author’s preface).

“My first essay on editorial methodology concerned the number of branches in family trees, and my latest concerned editing with the aid of computer programmes. On these topics and many another, Paolo Trovato’s combative and richly instructive book leaves me far behind, and it is a privilege to have the opportunity of commending it” (from M.D. Reeve’s foreword).


Table of contents

Foreword, by Michael D. Reeve

Preface
Acknowledgements
How to use this book
General bibliography

Introduction
1. Philology or textual criticism
2. We are all philologists
3. Why do we need textual criticism?
4. Who’s afraid of philology?

Part 1. Theories
1. “Lachmann’s method”
2. Bédier’s schism
3. A more in-depth look at some essential concepts
4. Highs and lows of computer-assisted stemmatics
5. The criticism of linguistic features in multiple-witness traditions
6. The ineluctability of critical judgment (choice out of variants, conjecture)

Part 2. Practical applications
7. A simple tradition. The Tractatus de locis et statu sancte terre jerosolimitane
8. A tradition of average difficulty. Jean Renart’s Lai de l’ombre
9. A very complicated tradition. Dante’s Commedia
Conclusion

General index

List of passages discussed

The Author
Paolo Trovato is a scholarly editor and book historian in the field of medieval and Renaissance Italian literature. Professor of the history of the Italian language at the University of Ferrara since 1994, he was a Fellow at the Harvard Center for Italian Renaissance Studies (VIT) and at the Newberry Library, Chicago, as well as visiting professor in Aix-en-Provence and at the Hebrew University of Jerusalem.
Among his books: Dante in Petrarca. Per un inventario dei dantismi nei “Rerum vulgarium fragmenta” (Olschki 1979); Con ogni diligenza corretto. La stampa e le revisoni editoriali dei testi letterari italiani, 1470-1570 (il Mulino 1991; repr. UnifePress 2009); Storia della lingua italiana. Il primo Cinquecento (il Mulino, 1994; repr. libreriauniversitaria.it 2012); Il testo della Vita Nuova e altra filologia dantesca (Salerno ed.  2000) and the editions of Machiavell’s Discorso intorno alla nostra lingua (Antenore 1982) and Aretino’s Cortigiana (Salerno ed. 2009).
Since 2002 he has been leading a small team on a critical edition of Dante's Commedia.

Abstract: Cicero’s Hortensius, undoubtedly the most famous exhortation to philosophy from the whole of Latin literature, has survived only in fragmentary form, as quotations or paraphrases in the works of different writers of Antiquity, including Seneca, Tacitus, Nonius Marcellus, Lactantius and Augustine. Despite the cautious attempts of different scholars to reconstruct this dialogue, we still do not have a definitive edition of it. Since only a small number of the known fragments can be certainly assigned to one particular place, the attempts to re-establish the plan of the dialogue and the proper order in which the fragments should be arranged still remain a source of quarrel between scholars. In this paper I propose a new arrangement of the frag. 43 from Grilli’s edition of the Hortensius, in an attempt to establish more adequately its place and meaning in the structure of the dialogue.