Marco Fantuzzi
Datos Biográficos
| ID | 692612 |
|---|---|
| NOMBRE | Marco Fantuzzi |
| NOMBRES | Marco |
| APELLIDO | Fantuzzi |
| FIRMA | FANTUZZI M |
| AFILIACIONES | University of Macerata |
| ORCID | 0000-0002-3721-2002 |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 31 |
| TOTAL DE CITAS | 52 |
| TOTAL COMO AUTOR | 27 |
| TOTAL COMO EDITOR | 4 |
| PRIMER AÑO DE PUBLICACIÓN | 1979 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2021 |
| ÍNDICE H | 3 |
Reception in the Greco-Roman World
The embrace of reception theory has been one of the hallmarks of classical studies over the last 30 years. This volume builds on the critical insights thereby gained to consider reception within Greek antiquity itself. Reception, like 'intertextuality', places the emphasis on the creative agency of the later 'receiver' rather than the unilateral influence of the 'transmitter'. It additionally shines the spotlight on transitions into new cultural …
The Rhesus Attributed to Euripides
The tragedy Rhesus has come down to us among the plays of Euripides but was probably the work either of fourth-century BC actors or producers heavily rewriting his original play or of a fourth-century author writing in competition. This edition explores the play as a 'postclassical' tragedy, composed when the plays of Aeschylus, Sophocles and Euripides had become the 'classical' canon. Its stylistic mannerisms, cerebral re-use of the motifs and l…
Epigrammatic Variations/Debate on the Theme of Cybele’s Music
This chapter focuses on a cluster of epigrams connected with Cybele’s cult and her priests and priestesses, in particular her galli (emasculated priests). In most of these poems, the galli make a dedication to Cybele that is related to the restraining of a lion in a cave through music typical of the goddess’ orgiastic rites. The chapter examines the relation of the epigrams to Catullus 63, which intriguingly comes before a string of negative or i…
On the Alleged Bastardy of Rhesus
The literary agenda and ambitions of the Rhesus ascribed to Euripides have not always received as much autonomous consideration as its authorship, a problem that has hindered a serious examination of the specific aspirations of poetics of this text as a late fourth-century play. The first part of this chapter will revisit past evaluations of the Rhesus ’ authorship and quality, in order to ascertain when and how the condemnation of its artistic a…
Dolon Euergetes
In the Rhesus , Hector is convinced that he has the right solution for every problem. He is also eager to impose his views on his peers, like Aeneas, and above all on his subjects or on foreigners, like the watchmen of the chorus and Dolon, or on Rhesus. At the same time, he is ready to change his mind in the course of a debate, and occasionally makes decisions that are in tune with the views of his interlocutors but radically different from his …
Introduction
Kyklos : tracing a metaphor The term kyklos is notorious for its ambiguity. The word encompasses various interpretations, most of them metaphorical: apart from the proper sense ‘circle’, it can designate any circular body like a wheel, a trencher, a place of an assembly or the people standing in a ring, the vault of the sky, the orb or disk of a celestial body, the wall around a city, a round shield, the eyeballs, an olive wreath, a collection of…
The Greek Epic Cycle and its Ancient Reception
The poems of the Epic Cycle are assumed to be the reworking of myths and narratives which had their roots in an oral tradition predating that of many of the myths and narratives which took their present form in the Iliad and the Odyssey. The remains of these texts allow us to investigate diachronic aspects of epic diction as well as the extent of variation within it on the part of individual authors - two of the most important questions in modern…
Tragic smiles
The scholia to the tragedians inform us about the views some ancient critics held concerning the failure of tragic sublimity, i.e., the intrusion of "comic" or "excessively comic" features upon tragic action and heroes. Most of these remarks focus on Euripides, and they complain about his characters’ ethics and their actions. They possibly descend from the Aristotelian (and perhaps quite commonly held) idea that tragedy, unlike comedy, should not…
Achilles and the improba virgo
Greek Comedy and the Discourse of Genres
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of litera…
Epigram
Epigramma and epigraphe were originally almost synonymous: both referred to “en graved” writing on a material that had not been specially constructed to receive writing (such as a waxed tablet, parchment, or papyrus).
Flirting with the Enemy
The contrast between Achilles and Thersites, who according to the “Aethiopis” charged Achilles with falling in love with the Amazon Penthesileia, is interpreted in light of its possible meta-literary implications; this contrast can be seen as a dialogic reaction of epic values to an erotic motif.
Briseis
Achilles' almost consistent silence about his feelings for Briseis is investigated through the lens of the Hellenistic interpreters of Homer, who appear to downplay the few sentimental phrases Achilles utters about Briseis and magnifying her love for him. This perspective of the Hellenistic scholars is also reflected in Ovid's “Heroids” 3, where the loving Briseis is confronted with a completely chilly Achilles, and is later developed by other au…
Achilles at Scyros, and One of His Fans
Achilles in Love
Two of the most famous painters of the ancient world represented Achilles' cross-dressing at Scyros, Polygnotus in the 5th. century BC and Athenion in the late 4th century, each depicting different moments and aspects of this episode. Polygnotus painted Achilles sharing the life of the maidens in Deidameia's women’s quarters, while Athenion emphasized the turbulent moments of the exposure of Achilles' masculine state by Odysseus and Diomedes. Fro…
Speaking with Authority
Polyphony in Callimachus is often a strategy of persuasion: adopting a plurality of points of view in the presentation of an argument makes that argument more authoritative—especially when the authority of at least some of these points of view can be taken for granted. This paper investigates a few examples of the frequent overlapping of the authorial voice of Callimachus with different Callimachean voices impersonating or allusively evoking a se…
The Dream of the Charioteer in the Rhesus ascribed to Euripides (728–803)
When Rhesus' charioteer sees two suspicious shadows around the horses of Rhesus just before the slaughter of his prince, he concludes that they must be friendly soldiers with thievish intentions (777). The two men were actually Odysseus and Diomedes, but the charioteer could not have suspected that Greeks had infiltrated the core of the Trojan camp. The waking vision of the two Greek commandos is followed by a dream in which the charioteer sees w…
Which Magic? Which Eros? Apollonius' Argonautica and the Different Narrative Roles of Medea as a Sorceress in Love
Apollonius' evaluations of the two phases of Medea's magical powers in Apollonius' "Argonautica" are different: positive sympathy for their contribution to the success of the Argonautic enterprise, and progressively negative presentation of her "initiatives" after its conclusion -- and thus, perhaps, opposition between the anticipations of Medea's TRAGIC operation at Corinth and her positive role within the boundaries of the EPIC narrative of Jas…
"Homeric" Formularity in the Argonautica of Apollonius of Rhodes
Despite several decades of studies on the orality of the composition and transmission of the Homeric poems, it is difficult to be sure about the genesis and function of the formulas and of the various semantically marginal and usually repetitive phrases which are characteristic of Homeric diction. Apollonius also uses a wide range of verba dicendi , rather than resorting to the small number of stereotyped forms to which different literary genres …
Epigram and the Theater
Brill's Companion to Greek and Latin Pastoral
Theocritus’ Constructive Interpreters, and the Creation of a Bucolic Reader
Many of traditional genres, and par excellence epos from which Theocritus borrowed metre for almost all of his poems, had their stories and characters arranged according to most coherent structures of mythical-heroic world, so coherent, self-defined and 'expectable' as to be used often as paradigms for understanding real life. Theocritus is moreover permanently concerned with 'quoting' (in fact, most probably inventing or at least fictionalizing)…
Tradition and Innovation in Hellenistic Poetry
Hellenistic poets of the third and second centuries BC were concerned with the need both to mark their continuity with the classical past and to demonstrate their independence from it. In this revised and expanded 2005 translation of Muse e modelli: la poesia ellenistica da Alessandro Magno ad Augusto, Greek poetry of the third and second centuries BC and its reception and influence at Rome are explored allowing both sides of this literary practi…
The Magic of (Some) Allusions
“Homeric” Formularity in the Argonautica of Apollonius of Rhodes
A Companion to Apollonius Rhodius
This volume on Apollonius of Rhodes, whose Argonautica is the sole full-length epic to survive from the Hellenistic period, comprises articles by fourteen leading scholars from Europe and America. Their contributions cover a wide range of issues from the history of the text and the problems of the poet's biography through questions of style, literary technique and intertextual relations to the epic's literary and cultural reception. The aim is to…
Achilles in Love
Two of the most famous painters of the ancient world represented Achilles' cross-dressing at Scyros, Polygnotus in the 5th. century BC and Athenion in the late 4th century, each depicting different moments and aspects of this episode. Polygnotus painted Achilles sharing the life of the maidens in Deidameia's women’s quarters, while Athenion emphasized the turbulent moments of the exposure of Achilles' masculine state by Odysseus and Diomedes. Fro…
Mythological paradigms in the bucolic poetry of Theocritus
Theocritus' treatment of myth has been discussed many times in the last few decades, particularly in connection with the non-bucolic ‘epyllia’. In this paper I will consider whether anything like what has been called the ‘Destruktion der Tradition’ applies to the bucolic idylls as well; my litmus test will be above all Theocritus' exploitation of mythological paradigms, because almost all the mythological stories which enter the shepherds' world …
On the metre of Anacreont . 19W
An . 19 has a metrical form which is quite peculiar and anomalous if compared either with hemiambics or with anaclastic ionic dimeters (anacreontics), i.e. the metres of all the other Anacreontea
Meccanismi narrativi nel romanzo barocco
Varianti d’autore nelle Argonautiche di Apollonio Rodio
Bionis Smyrnaei Adonidis epitaphium
On the metre of Anacreont . 19W
An . 19 has a metrical form which is quite peculiar and anomalous if compared either with hemiambics or with anaclastic ionic dimeters (anacreontics), i.e. the metres of all the other Anacreontea
Mythological paradigms in the bucolic poetry of Theocritus
Theocritus' treatment of myth has been discussed many times in the last few decades, particularly in connection with the non-bucolic ‘epyllia’. In this paper I will consider whether anything like what has been called the ‘Destruktion der Tradition’ applies to the bucolic idylls as well; my litmus test will be above all Theocritus' exploitation of mythological paradigms, because almost all the mythological stories which enter the shepherds' world …
“Homeric” Formularity in the Argonautica of Apollonius of Rhodes
A Companion to Apollonius Rhodius
This volume on Apollonius of Rhodes, whose Argonautica is the sole full-length epic to survive from the Hellenistic period, comprises articles by fourteen leading scholars from Europe and America. Their contributions cover a wide range of issues from the history of the text and the problems of the poet's biography through questions of style, literary technique and intertextual relations to the epic's literary and cultural reception. The aim is to…
The Magic of (Some) Allusions
Tradition and Innovation in Hellenistic Poetry
Hellenistic poets of the third and second centuries BC were concerned with the need both to mark their continuity with the classical past and to demonstrate their independence from it. In this revised and expanded 2005 translation of Muse e modelli: la poesia ellenistica da Alessandro Magno ad Augusto, Greek poetry of the third and second centuries BC and its reception and influence at Rome are explored allowing both sides of this literary practi…
Brill's Companion to Greek and Latin Pastoral
Theocritus’ Constructive Interpreters, and the Creation of a Bucolic Reader
Many of traditional genres, and par excellence epos from which Theocritus borrowed metre for almost all of his poems, had their stories and characters arranged according to most coherent structures of mythical-heroic world, so coherent, self-defined and 'expectable' as to be used often as paradigms for understanding real life. Theocritus is moreover permanently concerned with 'quoting' (in fact, most probably inventing or at least fictionalizing)…
Epigram and the Theater
Which Magic? Which Eros? Apollonius' Argonautica and the Different Narrative Roles of Medea as a Sorceress in Love
Apollonius' evaluations of the two phases of Medea's magical powers in Apollonius' "Argonautica" are different: positive sympathy for their contribution to the success of the Argonautic enterprise, and progressively negative presentation of her "initiatives" after its conclusion -- and thus, perhaps, opposition between the anticipations of Medea's TRAGIC operation at Corinth and her positive role within the boundaries of the EPIC narrative of Jas…
"Homeric" Formularity in the Argonautica of Apollonius of Rhodes
Despite several decades of studies on the orality of the composition and transmission of the Homeric poems, it is difficult to be sure about the genesis and function of the formulas and of the various semantically marginal and usually repetitive phrases which are characteristic of Homeric diction. Apollonius also uses a wide range of verba dicendi , rather than resorting to the small number of stereotyped forms to which different literary genres …
Speaking with Authority
Polyphony in Callimachus is often a strategy of persuasion: adopting a plurality of points of view in the presentation of an argument makes that argument more authoritative—especially when the authority of at least some of these points of view can be taken for granted. This paper investigates a few examples of the frequent overlapping of the authorial voice of Callimachus with different Callimachean voices impersonating or allusively evoking a se…
The Dream of the Charioteer in the Rhesus ascribed to Euripides (728–803)
When Rhesus' charioteer sees two suspicious shadows around the horses of Rhesus just before the slaughter of his prince, he concludes that they must be friendly soldiers with thievish intentions (777). The two men were actually Odysseus and Diomedes, but the charioteer could not have suspected that Greeks had infiltrated the core of the Trojan camp. The waking vision of the two Greek commandos is followed by a dream in which the charioteer sees w…
Epigram
Epigramma and epigraphe were originally almost synonymous: both referred to “en graved” writing on a material that had not been specially constructed to receive writing (such as a waxed tablet, parchment, or papyrus).
Flirting with the Enemy
The contrast between Achilles and Thersites, who according to the “Aethiopis” charged Achilles with falling in love with the Amazon Penthesileia, is interpreted in light of its possible meta-literary implications; this contrast can be seen as a dialogic reaction of epic values to an erotic motif.
Briseis
Achilles' almost consistent silence about his feelings for Briseis is investigated through the lens of the Hellenistic interpreters of Homer, who appear to downplay the few sentimental phrases Achilles utters about Briseis and magnifying her love for him. This perspective of the Hellenistic scholars is also reflected in Ovid's “Heroids” 3, where the loving Briseis is confronted with a completely chilly Achilles, and is later developed by other au…
Achilles at Scyros, and One of His Fans
Achilles in Love
Two of the most famous painters of the ancient world represented Achilles' cross-dressing at Scyros, Polygnotus in the 5th. century BC and Athenion in the late 4th century, each depicting different moments and aspects of this episode. Polygnotus painted Achilles sharing the life of the maidens in Deidameia's women’s quarters, while Athenion emphasized the turbulent moments of the exposure of Achilles' masculine state by Odysseus and Diomedes. Fro…
Achilles and the improba virgo
Greek Comedy and the Discourse of Genres
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of litera…
Tragic smiles
The scholia to the tragedians inform us about the views some ancient critics held concerning the failure of tragic sublimity, i.e., the intrusion of "comic" or "excessively comic" features upon tragic action and heroes. Most of these remarks focus on Euripides, and they complain about his characters’ ethics and their actions. They possibly descend from the Aristotelian (and perhaps quite commonly held) idea that tragedy, unlike comedy, should not…
Introduction
Kyklos : tracing a metaphor The term kyklos is notorious for its ambiguity. The word encompasses various interpretations, most of them metaphorical: apart from the proper sense ‘circle’, it can designate any circular body like a wheel, a trencher, a place of an assembly or the people standing in a ring, the vault of the sky, the orb or disk of a celestial body, the wall around a city, a round shield, the eyeballs, an olive wreath, a collection of…
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