Enrico Emanuele Prodi
I am an Assistant Professor (RTDb) in Greek Language and Literature at the University of Cagliari. I teach Greek language at undergraduate level and Greek literature at both undergraduate and graduate level. My research interests are papyrology in the context of ancient book culture, both on the literary and on the material level; archaic Greek lyric, especially the fragmentary works of Pindar; scholarship on Greek poetry in the Hellenistic and Imperial period; and Greek tragedy, with a particular focus on fragments of Aeschylus and Euripides. I have recently begun to explore my Byzantine interests, starting from the figure of John Tzetzes.
I hold a BA in Classics from Bologna (2007) and an MPhil (2009) and DPhil (2014) in Classical Languages and Literature from Oxford. My doctoral dissertation was a critical edition, with ample introduction and commentary, of the fragments of Pindar's Prosodia. It is now in the laborious and much-procrastinated process of being published with Oxford University Press.
After my doctorate I was a Junior Research Fellow at Christ Church (2012-2016), then a Marie Curie European Fellow at Ca’ Foscari University of Venice (2016-2018) with a project on ancient scholarship on archaic Greek iambos. I returned to Oxford as a Stipendiary Lecturer at Balliol College (2018-2019) and then a Departmental Lecturer at the Classics Faculty and Magdalen College (2019-2022). In this last post I taught all the papers on Greek literature in College, lectured on Greek lyric, and supervised graduate students in Papyrology. After that, I worked as a Research Fellow in Papyrology at UCL within an AHRC-funded project focussing on the diffusion and circulation of non-canonical Greek hexameter poetry in Roman Egypt from the first to the sixth century AD; in that capacity I have edited a number of papyrus fragments from Oxyrhynchus which are now forthcoming.
I have organised or co-organised three international conferences (Sympotic Poetry, Oxford 2011; Framing Hipponax, Oxford 2016; Tzetzes, Venice 2018) and a panel at the annual conference of the Classical Association (Leicester 2018). I have edited or co-edited two conference volumes (The Cup of Song, Oxford 2016; Τζετζικαὶ ἔρευναι, Bologna 2022), a Festschrift (Φαίδιμος Ἕκτωρ, Venice 2021), and a thematic issue of a journal (Didymus and Graeco-Roman Learning, BICS 2020).
** Several of my papers are not here because the publisher forbids free online dissemination, but I will always share my published research with anyone interested: just message me and I will send you a PDF privately. **
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I hold a BA in Classics from Bologna (2007) and an MPhil (2009) and DPhil (2014) in Classical Languages and Literature from Oxford. My doctoral dissertation was a critical edition, with ample introduction and commentary, of the fragments of Pindar's Prosodia. It is now in the laborious and much-procrastinated process of being published with Oxford University Press.
After my doctorate I was a Junior Research Fellow at Christ Church (2012-2016), then a Marie Curie European Fellow at Ca’ Foscari University of Venice (2016-2018) with a project on ancient scholarship on archaic Greek iambos. I returned to Oxford as a Stipendiary Lecturer at Balliol College (2018-2019) and then a Departmental Lecturer at the Classics Faculty and Magdalen College (2019-2022). In this last post I taught all the papers on Greek literature in College, lectured on Greek lyric, and supervised graduate students in Papyrology. After that, I worked as a Research Fellow in Papyrology at UCL within an AHRC-funded project focussing on the diffusion and circulation of non-canonical Greek hexameter poetry in Roman Egypt from the first to the sixth century AD; in that capacity I have edited a number of papyrus fragments from Oxyrhynchus which are now forthcoming.
I have organised or co-organised three international conferences (Sympotic Poetry, Oxford 2011; Framing Hipponax, Oxford 2016; Tzetzes, Venice 2018) and a panel at the annual conference of the Classical Association (Leicester 2018). I have edited or co-edited two conference volumes (The Cup of Song, Oxford 2016; Τζετζικαὶ ἔρευναι, Bologna 2022), a Festschrift (Φαίδιμος Ἕκτωρ, Venice 2021), and a thematic issue of a journal (Didymus and Graeco-Roman Learning, BICS 2020).
** Several of my papers are not here because the publisher forbids free online dissemination, but I will always share my published research with anyone interested: just message me and I will send you a PDF privately. **
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Edited volumes and journal issues by Enrico Emanuele Prodi
Full text available at https://www2.classics.unibo.it/eikasmos/index.php?page=doc_pdf/studi_online/04_tzetze.
Full text available at http://doi.org/10.30687/978-88-6969-548-3.
Full text available at https://academic.oup.com/bics/issue/63/2.
This collection of essays by an international group of leading scholars illuminates the various facets of this relationship, from Greek literature's earliest beginnings through to its afterlife in Roman poetry, ranging from the Near Eastern origins of the Greek symposion in the eighth century to Horace's evocations of his archaic models and Lucian's knowing reworking of classic texts. Each chapter discusses one aspect of sympotic engagement by key authors across the major genres of Greek poetry, including archaic and classical lyric, tragedy and comedy, and Hellenistic epigram; discussions of literary sources are complemented by analysis of the visual evidence of painted pottery. Consideration of these diverse modes and genres from the unifying perspective of their relation to the symposion leads to a characterization of the full spectrum of sympotic poetry that retains an eye to both its shared common features and the specificity of individual genres and texts.
Journal articles by Enrico Emanuele Prodi
Full text at https://www.journals.uchicago.edu/doi/10.1086/718801. I am unable to upload an offprint due to the publisher’s restrictions. If you are interested, please email me or ‘request’ the paper here.
Full text at https://academic.oup.com/bics/article/63/2/21/6307251. I am unable to upload an offprint due to the publisher’s restrictions. If you are interested and lack institutional access, please email me or ‘request’ the paper here.
Full text at https://academic.oup.com/bics/article/63/2/95/6307256. I am unable to upload an offprint due to the publisher’s restrictions. If you are interested and lack institutional access, please email me or ‘request’ the paper here.
I am unable to upload an offprint due to the publisher’s restrictions. If you are interested, please email me or ‘request’ the paper here.
Full text available at https://www2.classics.unibo.it/eikasmos/index.php?page=doc_pdf/studi_online/04_tzetze.
Full text available at http://doi.org/10.30687/978-88-6969-548-3.
Full text available at https://academic.oup.com/bics/issue/63/2.
This collection of essays by an international group of leading scholars illuminates the various facets of this relationship, from Greek literature's earliest beginnings through to its afterlife in Roman poetry, ranging from the Near Eastern origins of the Greek symposion in the eighth century to Horace's evocations of his archaic models and Lucian's knowing reworking of classic texts. Each chapter discusses one aspect of sympotic engagement by key authors across the major genres of Greek poetry, including archaic and classical lyric, tragedy and comedy, and Hellenistic epigram; discussions of literary sources are complemented by analysis of the visual evidence of painted pottery. Consideration of these diverse modes and genres from the unifying perspective of their relation to the symposion leads to a characterization of the full spectrum of sympotic poetry that retains an eye to both its shared common features and the specificity of individual genres and texts.
Full text at https://www.journals.uchicago.edu/doi/10.1086/718801. I am unable to upload an offprint due to the publisher’s restrictions. If you are interested, please email me or ‘request’ the paper here.
Full text at https://academic.oup.com/bics/article/63/2/21/6307251. I am unable to upload an offprint due to the publisher’s restrictions. If you are interested and lack institutional access, please email me or ‘request’ the paper here.
Full text at https://academic.oup.com/bics/article/63/2/95/6307256. I am unable to upload an offprint due to the publisher’s restrictions. If you are interested and lack institutional access, please email me or ‘request’ the paper here.
I am unable to upload an offprint due to the publisher’s restrictions. If you are interested, please email me or ‘request’ the paper here.
I am unable to upload an offprint due to the publisher’s restrictions. If you are interested, please email me or ‘request’ the paper here.
It is now commonly agreed that P.Oxy. 2164 (frr. 168-168b Radt), despite containing two lines attributed to the Ξάντριαι by an ancient commentator (schol. Ar. Ran. 1344b Chantry), is actually a manuscript of the Semele, as first argued by Latte (see e.g. Lloyd-Jones, Mette, Lucas de Dios, Sommerstein). It preserves the end of a choral ode mentioning Hera and Semele, with a prayer in the latter’s favour and apparently a reference to her union with Zeus, followed by a hexameter monody sung by Hera in the disguise of an agyrtis (as several sources recall). These hexameters are a hymn to the Nymphs, listing their beneficial powers over humankind, especially in the context of marriage – an effective strategy if Hera wanted to gain access to the unsuspecting Semele in order to provoke her downfall (cf. Ov. Met. 3.269-74, Apollod. 3.4.3, Nonn. D. 8.171-6, and others).
Two smaller papyrus fragments are also potential candidates for attribution to the Semele: P.Oxy. 2248 (fr. 451e Radt) because of its close physical similarity with P.Oxy. 2164 (Mette after Lobel), and P.Oxy. 2249 (fr. 451f Radt) given its apparent reference to Hera and her arrival (Snell). Their connection with the Semele is uncertain, and their contribution to our understanding of the tragedy is slight, though if fr. 451f belongs to this play we know at least that one character knew of Hera’s presence and warned another accordingly.
A further manuscript can tentatively be related to the Semele. P.Oxy. 2881 (tr. adesp. fr. 659 Kannicht-Snell) consists of two iambic fragments reminiscent of Aeschylus’ style. Fr. a mentions a frightening dream in the first person; fr. b, a bull (Page). The few scholars who have engaged with this fragment so far have attempted to connect it with Europa, Io (Luppe), Pasiphae, or the Minotaur (Kannicht-Snell). However, bulls have well-known Dionysiac associations: Semele may well have dreamed of a bull representing her divine offspring-to-be. Nonnus depicts Semele as experiencing precisely such a dream (D. 7.141-54), though in his poem this happens before Zeus conceives his lust for her. Fr. a may thus represent Semele’s announcement of her dream, and fr. b (whose position respective to fr. a is uncertain) her narrative of its content.
This supposition allows closer investigation of the play’s title. Comparing titles such as Χοηφόροι, one would expect the women of the chorus (presumably house-slaves) to have entered the stage in the act of carrying water. It has been suggested that they were doing so in order to wash the newborn Dionysus (Ahrens, Maass) or for Semele’s purification after childbirth (Latte), but this does not sit well with a myth in which Semele’s delivery was precipitated by her own actions (and probably Hera’s) and thus cannot have been known to be imminent already at the beginning of the play. However, purification with water is widely attested after an ominous dream (A. Pers. 201-2, Ar. Ran. 1339-40, and others, cf. also Nonn. D. 7.175-7). One can therefore suggest that the chorus had been summoned to bring water for Semele’s purification after her dream and entered the stage in this capacity.
Despite its largely speculative nature, a close investigation of the fragments that can be related to the Semele or Water-bearers is well worth attempting in order to shed further light (however tentatively) on what must have been one of Aeschylus’ most tantalising dramas.
Their editors’ reasons for choosing these two poems as a preface for the respective books invite exploration. So does the very act of extrapolating one poem to introduce the collection to which it belongs. This act is an editorial statement (however implicit) both on the book and on the opening poem. Readings of the book will be variously influenced by the suggestions that resonate from the opening poem; the latter finds itself charged with implications broader and more complex than it would have otherwise.
That a poet can invest a poem with a clear paratextual function is far from unusual (see for instance Catullus 1 or Horace, Odes 1.1), but here we see an editor doing the same ex post, paratextualising a text that had no such implications in its original state. Taking Sappho 1 and Pindar’s Olympian 1 as case studies, this paper proposes to scrutinise how an editor can use one piece of an author’s own poetry – alongside other, more obviously paratextual elements – to orient the reception of that poetry (Sappho) or part of it (Pindar’s Epinicians).
The notion that the chorus of the Phoenissae and the odes it sings are unrelated to the plot goes back to antiquity (schol. Ar. Ach. 443 Wilson), and its role within the play has been the object of intense scrutiny in modern scholarship. Among other things, it has been remarked how the chorus’ songs constitute a continuous cycle on the mythical history of Thebes that bridges past and present from the foundation of the city to the time of the drama; how the Phoenician women's journey retraces Cadmus’ while they emphasize their kinship with Thebes and, through their very marginality, express their collective memory of Theban events, thus offering a more effective civic perspective and a broader viewpoint on the play’s events than the other characters can have. The chorus’ envisaged status as a chorus in ll. 234-8 is noted by Foley, but without examining the complexity of its characterisation and its wider implications. Such examination, proceeding from a close reading of the parodos, is the main concern of this paper.
In the first strophic pair, the women describe themselves as an offering to Apollo at Delphi (ll. 202-7, 214f., 220-5), repeatedly emphasising their excellence and beauty (203, 214f., 223f.) and pointedly comparing themselves to ἀγάλματα, votive gifts (220f.). From the evidence of dedicatory inscriptions, where such discourse of attractiveness frequently refers to the objects whose gift the deity is invited to appreciate, I argue that these traits reinforce the chorus’ self-presentation as an offering. I then recall Depew’s remark that both an emphasis on attractiveness and explicit or implicit (self-)construction as an offering frequently occur in reference to ‘hymns’, songs that can be construed as a means of human-divine interaction functionally parallel to dedication and sacrifice. In order to offer further support to Depew’s conclusion and relate it to the Phoenissae I cite Pindar fr. *122.17-20 Snell-Maehler, where the offering of a female performance of sorts is depicted with language that overtly recalls a dedicatory epigram. Therefore I argue that that the established equation between choral performance and cult offering ostensibly underlies the first strophic pair, only to be confirmed by the chorus’ subsequent explicit projection as a Delphic χορός (ll. 234-8).
I further note that the chorus’ journey from Phoenicia to Thebes and Delphi closely recalls a θεωρία, that is, the ritual visitation of a place of worship retracing a mythologically significant route and often including a chorus, one of whose preoccupations can be to express on the mythical level a link between sending community and receiving sanctuary (e.g. Pi. Pae. 5.35-48, Limenius CA p. 149 ll. 11-20). Thus, by way of conclusion I argue that reading the Phoenician women as a (quasi-)theoric chorus is instrumental to a fuller understanding of both their commitment to extended narrative in the stasima, after the fashion of late archaic choral lyric, and more importantly their involvement with the action: not quite the often-remarked distance or “estrangement” (Medda), but engagement of an unusual (for tragedy) yet altogether profound sort, one which enriches the dramatic performance with a strong echo of the familiar traditions of cultic choral song-dance.
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