Paola Gagliardi
Biographic Data
| ID | 3871027 |
|---|---|
| NAME | Paola Gagliardi |
| GIVEN NAMES | Paola |
| FAMILY NAME | Gagliardi |
| SIGNATURE | GAGLIARDI P |
| AFFILIATIONS | University of Basilicata |
| ORCID | 0000-0002-1752-5466 |
| VERIFIED | Yes |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 15 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Virgilio e l'elegia latina
La relation de Virgile à l'élégie érotique, développée dans les Bucoliques,trouve son expression ultime dans l'ecl. 10, dédiée à Gallus, dans laquelle le poète exprime sa grande admiration pour le charme que ce genre parvient à produire, même s'il ne remporte pas le même succès sur le plan pratique (pas plus, d'ailleurs, que la bucolique). Le poète revient à nouveau sur le sujet dans l'épyllion d'Orphée à la fin des Géorgiques, réitérant son admi…
Caligantem nigra formidine lucum
The notice in the Scholia Bernensia about Vergil, Georgics 4.468 that links the name of Gallus to the katabasis of Orpheus can be read as a confirmation of the relation between Vergil’s short poem and the elegiac poet’s work. Significant in this sense is the term formido , very elegant as used by Vergil and maybe part of the poetic lexicon of Gallus, as is perhaps suggested by a passage of the Philae stele
Ancora sul processo di Cornelio Gallo
A recent reconstruction of the trial against Cornelius Gallus reopens the debate on this complex case, and leads us to rethink chronology, circumstances and judicial proceedings, reviewing accusations and responsibilities
Blessings and curses in Virgil's Eclogues
In Virgil's Eclogues curses and blessings are the heritage of the Theocritean tradition, which in turn reproduced a common feature in folk poetry. But in comparison to Theocritus, who uses these topics to give his poems a folkloric flavour, the Latin poet treats them in a very different way, removing excessively vulgar phrases from his verses, and using curses and blessings in order to give voice to deep feelings on the part of his characters. So…
Considerazioni sul tema del pianto in Virgilio
On the subject of tears Virgil shares the attitude of the intellectuals, who criticize the exasperated and public manifestations of pain, but on the other hand he gives dignity to the suffering of his characters. In the Aeneid, in which this topic finds a great space, crying is the expression of the impotence of men and gods in front of the inexorable fulfillment of Fate, and above all Aeneas appears divided between the need to remain insensitive…
Carmina tum melius cum venerit ille canemus
Adonis and Augustan Poets
Adonis presents a special case of Romans' wide interest in Eastern religions during the Augustan age: he was brought to Rome by poets, and for this reason his ‘existence’ in Latin culture was exclusively literary. His worship never had the same importance as in Hellenistic Egypt, but the pathos of this figure, and his story of love and death aroused the interest of the elegiac poets, in particular, who used his exemplum to illustrate certain τόπο…
Sollicitos Galli dicamus amores
Amor, a key-word in the last Virgilian eclogue, dedicated to the unhappy love of Gallus for Lycoris, has in the text a great importance, which deserves a careful analysis. The meaning of the term relates to the passion of Gallus for his beloved, but also to his choice of military life, and to the affection of friendship. Particularly interesting are the four occurrences of the word in the plural, perhaps alluding to the title of Gallus’ elegies a…
Tityre, te patulae cecini sub tegmine fagi
Gallo nelle Bucoliche
Nel liber delle Bucoliche Virgilio intrattiene con Cornelio Gallo e la sua elegia d’amore un intenso e complesso dialogo sui limiti della poesia e sulla relazione di essa con il dolore. Questo inizia nell’ecl. 2 con il personaggio e la situazione di Coridone infelice per amore e prosegue nella figura patetica del pastore suicida nell’ecl. 8 ; nell’ecl. 6 si tratta di un altro aspetto della produzione di Gallo, mentre il culmine del confronto si r…
Il caso di Cornelio Gallo
Le difficoltà e le contraddizioni tra le fonti sul processo di Gallo e le reazioni dei contemporanei alla sua morte lasciano intuire un clima politico difficile tra il 27 e il 26 a. C.: Ottaviano, dopo aver accettato un compromesso con il senato ed aver abbandonato Gallo, affrontò critiche e malumori degli amici e dei poeti. Per queste ragioni la sua propaganda cercò di deformare i fatti e minimizzare le sue colpe
Virgil’s ambivalence towards Octavian
There is a clear link between Virgil’s Ecl. 1 and the ending of the Georgics , suggested by the quotation of Ecl. 1. 1 at Georg. 4. 566. Common to the two texts is a dualistic structure, in Ecl. 1 between the different situations of Tityrus and Meliboeus, and in Georg. 4. 559–566 between the different choices of life by Octavian and the poet. But the two texts are also linked by the figure of Octavian, in Ecl. 1 iuvenis deus , but also responsibl…
Il gioco complesso dei modelli
The complex game of the models : Virgil’s 10th Eclogue between Theocrit and Gallus – The structure of Virgil’s ecl. 10 is openly and purposely founded on its two models, Theocritean bucolic and Gallan elegy ; constantly comparing them and referring to them with allusions and quotations, the author reflects on the sense of poetry and on its relationship with the reader
L’ Ecl. 1 E L’ Ecl. 10 Di Virgilio
A comparison between ecl . 1 and ecl . 10 shows not only the deep differences of the new Virgilian pastoral poetry from Theocritus’ bucolic, but confirms that even Virgil lacked confidence in the power of poetry to solace real sorrow, an idea maintained throughout the whole Bucolicon liber . Interesting analogies between the first and the last eclogue help furthermore to explain Virgil’s farewell to his bucolic production
Non omnia possumus omnes
Cornelio Gallo e le Muse nelle Bucoliche virgiliane
Le Muse, non particolarmente importanti nelle Bucoliche virgiliane, compaiono significativamente in punti di esse (ecl. 6, 13 ; ecl. 8, 62-63 ; ecl. 10, 70-72 ; in parte anche ecl. 9, 32-36) segnati dal dialogo del poeta con l'elegia di Cornelio Gallo, come indicano le somiglianze formali e concettuali tra questi passi e i versi di Qaṣr Ibrîm
La stele di Cornelio Gallo a Philae
La recente, importante edizione della stele di Cornelio Gallo a Philae, oltre a raggiungere conclusioni pressoché definitive su questioni specifiche suscitate dal prezioso monumento, sgombrando il campo da radicati pregiudizi, rinnova il dibattito mai interrotto sulle ragioni della disgrazia e della morte di Gallo, escludendo che nella stele vi siano tracce di suoi reati. Anche il riesame delle fonti e la considerazione della cronologia dei fatti…
Dafni e Gallo nell’ ecl. 10 di Virgilio
La stele di Cornelio Gallo a Philae
La recente, importante edizione della stele di Cornelio Gallo a Philae, oltre a raggiungere conclusioni pressoché definitive su questioni specifiche suscitate dal prezioso monumento, sgombrando il campo da radicati pregiudizi, rinnova il dibattito mai interrotto sulle ragioni della disgrazia e della morte di Gallo, escludendo che nella stele vi siano tracce di suoi reati. Anche il riesame delle fonti e la considerazione della cronologia dei fatti…
Gallo nelle Bucoliche
Nel liber delle Bucoliche Virgilio intrattiene con Cornelio Gallo e la sua elegia d’amore un intenso e complesso dialogo sui limiti della poesia e sulla relazione di essa con il dolore. Questo inizia nell’ecl. 2 con il personaggio e la situazione di Coridone infelice per amore e prosegue nella figura patetica del pastore suicida nell’ecl. 8 ; nell’ecl. 6 si tratta di un altro aspetto della produzione di Gallo, mentre il culmine del confronto si r…
Virgil’s ambivalence towards Octavian
There is a clear link between Virgil’s Ecl. 1 and the ending of the Georgics , suggested by the quotation of Ecl. 1. 1 at Georg. 4. 566. Common to the two texts is a dualistic structure, in Ecl. 1 between the different situations of Tityrus and Meliboeus, and in Georg. 4. 559–566 between the different choices of life by Octavian and the poet. But the two texts are also linked by the figure of Octavian, in Ecl. 1 iuvenis deus , but also responsibl…
Dafni e Gallo nell’ ecl. 10 di Virgilio
Non omnia possumus omnes
Cornelio Gallo e le Muse nelle Bucoliche virgiliane
Le Muse, non particolarmente importanti nelle Bucoliche virgiliane, compaiono significativamente in punti di esse (ecl. 6, 13 ; ecl. 8, 62-63 ; ecl. 10, 70-72 ; in parte anche ecl. 9, 32-36) segnati dal dialogo del poeta con l'elegia di Cornelio Gallo, come indicano le somiglianze formali e concettuali tra questi passi e i versi di Qaṣr Ibrîm
La stele di Cornelio Gallo a Philae
La recente, importante edizione della stele di Cornelio Gallo a Philae, oltre a raggiungere conclusioni pressoché definitive su questioni specifiche suscitate dal prezioso monumento, sgombrando il campo da radicati pregiudizi, rinnova il dibattito mai interrotto sulle ragioni della disgrazia e della morte di Gallo, escludendo che nella stele vi siano tracce di suoi reati. Anche il riesame delle fonti e la considerazione della cronologia dei fatti…
Il gioco complesso dei modelli
The complex game of the models : Virgil’s 10th Eclogue between Theocrit and Gallus – The structure of Virgil’s ecl. 10 is openly and purposely founded on its two models, Theocritean bucolic and Gallan elegy ; constantly comparing them and referring to them with allusions and quotations, the author reflects on the sense of poetry and on its relationship with the reader
L’ Ecl. 1 E L’ Ecl. 10 Di Virgilio
A comparison between ecl . 1 and ecl . 10 shows not only the deep differences of the new Virgilian pastoral poetry from Theocritus’ bucolic, but confirms that even Virgil lacked confidence in the power of poetry to solace real sorrow, an idea maintained throughout the whole Bucolicon liber . Interesting analogies between the first and the last eclogue help furthermore to explain Virgil’s farewell to his bucolic production
Tityre, te patulae cecini sub tegmine fagi
Gallo nelle Bucoliche
Nel liber delle Bucoliche Virgilio intrattiene con Cornelio Gallo e la sua elegia d’amore un intenso e complesso dialogo sui limiti della poesia e sulla relazione di essa con il dolore. Questo inizia nell’ecl. 2 con il personaggio e la situazione di Coridone infelice per amore e prosegue nella figura patetica del pastore suicida nell’ecl. 8 ; nell’ecl. 6 si tratta di un altro aspetto della produzione di Gallo, mentre il culmine del confronto si r…
Il caso di Cornelio Gallo
Le difficoltà e le contraddizioni tra le fonti sul processo di Gallo e le reazioni dei contemporanei alla sua morte lasciano intuire un clima politico difficile tra il 27 e il 26 a. C.: Ottaviano, dopo aver accettato un compromesso con il senato ed aver abbandonato Gallo, affrontò critiche e malumori degli amici e dei poeti. Per queste ragioni la sua propaganda cercò di deformare i fatti e minimizzare le sue colpe
Virgil’s ambivalence towards Octavian
There is a clear link between Virgil’s Ecl. 1 and the ending of the Georgics , suggested by the quotation of Ecl. 1. 1 at Georg. 4. 566. Common to the two texts is a dualistic structure, in Ecl. 1 between the different situations of Tityrus and Meliboeus, and in Georg. 4. 559–566 between the different choices of life by Octavian and the poet. But the two texts are also linked by the figure of Octavian, in Ecl. 1 iuvenis deus , but also responsibl…
Sollicitos Galli dicamus amores
Amor, a key-word in the last Virgilian eclogue, dedicated to the unhappy love of Gallus for Lycoris, has in the text a great importance, which deserves a careful analysis. The meaning of the term relates to the passion of Gallus for his beloved, but also to his choice of military life, and to the affection of friendship. Particularly interesting are the four occurrences of the word in the plural, perhaps alluding to the title of Gallus’ elegies a…
Carmina tum melius cum venerit ille canemus
Adonis and Augustan Poets
Adonis presents a special case of Romans' wide interest in Eastern religions during the Augustan age: he was brought to Rome by poets, and for this reason his ‘existence’ in Latin culture was exclusively literary. His worship never had the same importance as in Hellenistic Egypt, but the pathos of this figure, and his story of love and death aroused the interest of the elegiac poets, in particular, who used his exemplum to illustrate certain τόπο…
Considerazioni sul tema del pianto in Virgilio
On the subject of tears Virgil shares the attitude of the intellectuals, who criticize the exasperated and public manifestations of pain, but on the other hand he gives dignity to the suffering of his characters. In the Aeneid, in which this topic finds a great space, crying is the expression of the impotence of men and gods in front of the inexorable fulfillment of Fate, and above all Aeneas appears divided between the need to remain insensitive…
Blessings and curses in Virgil's Eclogues
In Virgil's Eclogues curses and blessings are the heritage of the Theocritean tradition, which in turn reproduced a common feature in folk poetry. But in comparison to Theocritus, who uses these topics to give his poems a folkloric flavour, the Latin poet treats them in a very different way, removing excessively vulgar phrases from his verses, and using curses and blessings in order to give voice to deep feelings on the part of his characters. So…
Ancora sul processo di Cornelio Gallo
A recent reconstruction of the trial against Cornelius Gallus reopens the debate on this complex case, and leads us to rethink chronology, circumstances and judicial proceedings, reviewing accusations and responsibilities
Caligantem nigra formidine lucum
The notice in the Scholia Bernensia about Vergil, Georgics 4.468 that links the name of Gallus to the katabasis of Orpheus can be read as a confirmation of the relation between Vergil’s short poem and the elegiac poet’s work. Significant in this sense is the term formido , very elegant as used by Vergil and maybe part of the poetic lexicon of Gallus, as is perhaps suggested by a passage of the Philae stele
Virgilio e l'elegia latina
La relation de Virgile à l'élégie érotique, développée dans les Bucoliques,trouve son expression ultime dans l'ecl. 10, dédiée à Gallus, dans laquelle le poète exprime sa grande admiration pour le charme que ce genre parvient à produire, même s'il ne remporte pas le même succès sur le plan pratique (pas plus, d'ailleurs, que la bucolique). Le poète revient à nouveau sur le sujet dans l'épyllion d'Orphée à la fin des Géorgiques, réitérant son admi…
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