Luigi Battezzato
Biographic Data
| ID | 5628089 |
|---|---|
| NAME | Luigi Battezzato |
| GIVEN NAMES | Luigi |
| FAMILY NAME | Battezzato |
| SIGNATURE | BATTEZZATO L |
| AFFILIATIONS | Scuola Normale Superiore |
| ORCID | 0000-0002-7883-4182 |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
Plot and Character in the Iliad: Reading the Hero's Mind
In this book, Luigi Battezzato argues that Homer's poem is a tightly woven narrative of motives, misreadings, and reversals. Bringing cognitive 'mind-reading' into dialogue with ancient scholia and close attention to the text, he shows how Achilles, Hector, and Zeus pursue honour and care – yet, through failures of communication, achieve the opposite. The book reframes Zeus's 'plan', the Embassy to Achilles, and Hector's fatal choices as examples…
Pindar, Nemean 3.36: Εγκονητι and Greek Lexica
This paper argues that: (a) the transmitted text of Pind. Nem. 3.35–6 ποντίαν Θέτιν κατέμαρψεν | ἐγκονητί (‘[Peleus] caught the sea-nymph Thetis quickly’) is not the original text of Pindar; (b) ἐγκονητί does not fit the context, is not an attested Greek word and should be eliminated from dictionaries of ancient Greek; (c) Byzantine etymological works, followed by many modern scholars, base their explanations on the late antique form ἀκονητί , wh…
Sappho’s Metres and Music
Chapter 9 of The Cambridge Companion to Sappho sets out the evidence for Sappho’s use of metre, showing its position within the tradition of Greek poetic metre as a whole, as well as the sparse evidence that survives for her music.
The Language of Sophocles
Discussion of the language of Sophocles: morphology, syntax, pragmatics, politeness theory
Textual Criticism
These are two typical problems in textual criticism: deciding whether a passage is authentic, and deciding what the original wording was. In fact, every reader of Greek texts is a textual critic insofar as he makes interpretative decisions: each reader examines the sense and wording of every sentence in order to interpret it. One could say that textual criticism is the branch of literary interpretation which aims at reconstructing the original wo…
The Cambridge Companion to Greek Lyric
Greek lyric poetry encompassed a wide range of types of poem, from elegy to iambos and dithyramb to epinician. It particularly flourished in the Archaic and Classical periods, and some of its practitioners, such as Sappho and Pindar, had significant cultural influence in subsequent centuries down to the present day. This Companion provides an accessible introduction to this fascinating and diverse body of poetry and its later reception. It takes …
Techniques of reading and textual layout in ancient Greek texts
This proverb, attributed to Menander in a Byzantine collection, points to the simple paradox of reading: readers are able to see both the shape of letters and the meaning conveyed by them. How does mind get from visual recognition to the recognition of meaning? The step sounds incredibly simple when we make it, but becomes exceedingly complex to explain. Strangely enough, the step is not executed in the same way for all languages and scripts. The…
Linguistica e figure retoriche: Hysteron proteron e pleonasmo da Omero a Sofocle
La tragedia attica porta le tracce linguistiche dei generi letterari che hanno contribuito alla sua formazione fornendo parole, elementi narrativi, miti, forme, immagini. Le difficoltà dei letton nel capire la complessità della lingua poetica sono anticipate dalle difficoltà esperite dai personaggi della tragedia. Ora sono in pochi a credere che i personaggi siano prigionieri del linguaggio del genere letterario a cui appartengono1, ma certo succ…
Synizesis in Euripides and the Structure of the Iambic Trimeter — The Case of Θɛóς
Journal Article SYNIZESIS IN EURIPIDES AND THE STRUCTURE OF THE IAMBIC TRIMETER — THE CASE OF θɛóς Get access LUIGI BATTEZZATO LUIGI BATTEZZATO Scuola Normale Superiore, Pisa Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 44, Issue 1, December 2000, Pages 41–80, https://doi.org/10.1111/j.2041-5370.2000.tb00598.x Published: 12 March 2010
The Thracian camp and the fourth actor at Rhesus 565–691
Many scholars argue that only three actors were needed in this problematic scene. I believe four are required. The case for a fourth actor can be made much stronger if we take into consideration the location of the Thracian, Trojan, and Greek camps as presented in the play. This argument has been overlooked in previous discussions of the passage
A note on the Vita Aesopi , recension G, 69–70
The recension G of the Vita Aesopi has received a fair amount of attention after the editio princeps by Perry. In recent years, Papathomopoulos and Ferrari have emended scores of corrupt passages in their fine editions. I will offer only one note, dealing with a section that has been left unclear
Techniques of reading and textual layout in ancient Greek texts
This proverb, attributed to Menander in a Byzantine collection, points to the simple paradox of reading: readers are able to see both the shape of letters and the meaning conveyed by them. How does mind get from visual recognition to the recognition of meaning? The step sounds incredibly simple when we make it, but becomes exceedingly complex to explain. Strangely enough, the step is not executed in the same way for all languages and scripts. The…
The Thracian camp and the fourth actor at Rhesus 565–691
Many scholars argue that only three actors were needed in this problematic scene. I believe four are required. The case for a fourth actor can be made much stronger if we take into consideration the location of the Thracian, Trojan, and Greek camps as presented in the play. This argument has been overlooked in previous discussions of the passage
A note on the Vita Aesopi , recension G, 69–70
The recension G of the Vita Aesopi has received a fair amount of attention after the editio princeps by Perry. In recent years, Papathomopoulos and Ferrari have emended scores of corrupt passages in their fine editions. I will offer only one note, dealing with a section that has been left unclear
Synizesis in Euripides and the Structure of the Iambic Trimeter — The Case of Θɛóς
Journal Article SYNIZESIS IN EURIPIDES AND THE STRUCTURE OF THE IAMBIC TRIMETER — THE CASE OF θɛóς Get access LUIGI BATTEZZATO LUIGI BATTEZZATO Scuola Normale Superiore, Pisa Search for other works by this author on: Oxford Academic Google Scholar Bulletin of the Institute of Classical Studies, Volume 44, Issue 1, December 2000, Pages 41–80, https://doi.org/10.1111/j.2041-5370.2000.tb00598.x Published: 12 March 2010
The Thracian camp and the fourth actor at Rhesus 565–691
Many scholars argue that only three actors were needed in this problematic scene. I believe four are required. The case for a fourth actor can be made much stronger if we take into consideration the location of the Thracian, Trojan, and Greek camps as presented in the play. This argument has been overlooked in previous discussions of the passage
Linguistica e figure retoriche: Hysteron proteron e pleonasmo da Omero a Sofocle
La tragedia attica porta le tracce linguistiche dei generi letterari che hanno contribuito alla sua formazione fornendo parole, elementi narrativi, miti, forme, immagini. Le difficoltà dei letton nel capire la complessità della lingua poetica sono anticipate dalle difficoltà esperite dai personaggi della tragedia. Ora sono in pochi a credere che i personaggi siano prigionieri del linguaggio del genere letterario a cui appartengono1, ma certo succ…
Textual Criticism
These are two typical problems in textual criticism: deciding whether a passage is authentic, and deciding what the original wording was. In fact, every reader of Greek texts is a textual critic insofar as he makes interpretative decisions: each reader examines the sense and wording of every sentence in order to interpret it. One could say that textual criticism is the branch of literary interpretation which aims at reconstructing the original wo…
The Cambridge Companion to Greek Lyric
Greek lyric poetry encompassed a wide range of types of poem, from elegy to iambos and dithyramb to epinician. It particularly flourished in the Archaic and Classical periods, and some of its practitioners, such as Sappho and Pindar, had significant cultural influence in subsequent centuries down to the present day. This Companion provides an accessible introduction to this fascinating and diverse body of poetry and its later reception. It takes …
Techniques of reading and textual layout in ancient Greek texts
This proverb, attributed to Menander in a Byzantine collection, points to the simple paradox of reading: readers are able to see both the shape of letters and the meaning conveyed by them. How does mind get from visual recognition to the recognition of meaning? The step sounds incredibly simple when we make it, but becomes exceedingly complex to explain. Strangely enough, the step is not executed in the same way for all languages and scripts. The…
The Language of Sophocles
Discussion of the language of Sophocles: morphology, syntax, pragmatics, politeness theory
Sappho’s Metres and Music
Chapter 9 of The Cambridge Companion to Sappho sets out the evidence for Sappho’s use of metre, showing its position within the tradition of Greek poetic metre as a whole, as well as the sparse evidence that survives for her music.
Pindar, Nemean 3.36: Εγκονητι and Greek Lexica
This paper argues that: (a) the transmitted text of Pind. Nem. 3.35–6 ποντίαν Θέτιν κατέμαρψεν | ἐγκονητί (‘[Peleus] caught the sea-nymph Thetis quickly’) is not the original text of Pindar; (b) ἐγκονητί does not fit the context, is not an attested Greek word and should be eliminated from dictionaries of ancient Greek; (c) Byzantine etymological works, followed by many modern scholars, base their explanations on the late antique form ἀκονητί , wh…
Plot and Character in the Iliad: Reading the Hero's Mind
In this book, Luigi Battezzato argues that Homer's poem is a tightly woven narrative of motives, misreadings, and reversals. Bringing cognitive 'mind-reading' into dialogue with ancient scholia and close attention to the text, he shows how Achilles, Hector, and Zeus pursue honour and care – yet, through failures of communication, achieve the opposite. The book reframes Zeus's 'plan', the Embassy to Achilles, and Hector's fatal choices as examples…
Classical Antiquity Studies (10 works) · Art (8 works) · Philosophy (7 works) · Literature (6 works) · History (5 works) · Byzantine Studies and History (4 works) · Linguistics (4 works) · Philosophy (4 works) · Computer Science (3 works) · History (3 works)