Videos by Emanuele Cianciulli Vuono
Presentation at Maltese Conference of Contemporary Classics Research 2021.
It is quite common to... more Presentation at Maltese Conference of Contemporary Classics Research 2021.
It is quite common to find the idea that Sappho was an object of derision by Greek comic writers, who would have influenced a branch of the following literature (in particular the 15th epistle of Ovid’s Heroides). Nevertheless, there is no proof of that in the existing comic fragments. 33 views
Papers by Emanuele Cianciulli Vuono
Journal of Hellenic Religion, Sep 2020
According to main studies, Phaon’s figure was somehow connected to the Aphrodite’s cultural spher... more According to main studies, Phaon’s figure was somehow connected to the Aphrodite’s cultural sphere: it was thought to be a solar figure related to Adonis and Phaeton who in turn, were likely to be inserted in aphroditic contexts.
This article analyses these statements and provides a general view about this mythic-religious figure on the basis of a consolidated bibliography (especially Kock 1862, Wilamowitz 1913, Stoessl 1938, Nagy 1973, Bažant & Berger-Doer 1994). Following this introduction I concentrate on the relationship between Phaon and the figure of the poetess Sappho, in particular, the well-known tradition about the leap from Leukas’ Cape and the possible presence of Phaon in Sappho’s work.
However, my focus is on the Attic Comedy, in which most scholars see the origin, the development consequent suicide. Here there is the most significant findings of my work: after the examination of the comedy fragments where Phaon’s and/or Sappho’s presence was verified or supposed (20 plays in total) I concluded that in no case are we sure about the compresence of the two characters in the same play. Therefore, the opinion of most part of scholars is due exclusively to Menander’s Leucadia where clearly neither Phaon nor Sappho are characters.
In conclusion, we need to re-evaluate and reassess the importance of Comedy in the development of the story; in my opinion this genre is not the most likely to be the origin of the legend: consequently, I propose other genres and situations, that are more likely to have been involved into this process.
Melita Classica 7, Dec 2021
In the following pages I will consider the existing comic fragments related to Sappho... more In the following pages I will consider the existing comic fragments related to Sappho, the poetess from Lesbos.2 My aim is to challenge the scholars who have claimed that Sappho was ridiculed in the comic tradition for her licentiousness, for her ugliness, and more generally for her life and habits. I will show that there is no certain evidence for that in the texts that survive and, on the contrary, that some elements indicate the opposite, offering traits that are in common with some Aristophanic female figures.
Thesis Chapters by Emanuele Cianciulli Vuono
Specialization Course in Literary Forms between Ancient and Modern (it. Corso di Perfezionamento ... more Specialization Course in Literary Forms between Ancient and Modern (it. Corso di Perfezionamento in Forme letterarie tra antico e moderno) at the University of Naples Federico II, with a dissertation on an essay I wrote in Classical Philology entitled “Simile a fiori d’oro. Il rapporto madre-figlia in Saffo” (eng. SIMILAR TO GOLDEN FLOWERS. THE MOTHER-DAUGHTER RELATIONSHIP IN SAPPHO); tutor: prof. Giovan Battista D’Alessio.
Bachelor's dissertation (it. Lettere Classiche) at the University of Naples Federico II in Greek ... more Bachelor's dissertation (it. Lettere Classiche) at the University of Naples Federico II in Greek Literature entitled “La tradizione della Saffo epigrammatica. La ricezione della figura di Saffo nell’epigramma greco” (eng. THE TRADITION OF EPIGRAMMATIC SAPPHO. THE RECEPTION OF SAPPHO’S FIGURE IN GREEK EPIGRAM); supervisor prof. Giulio Massimilla.
Introduction to my master dissertation (tesi di laurea magistrale) on Sappho in the Greek comedy,... more Introduction to my master dissertation (tesi di laurea magistrale) on Sappho in the Greek comedy, musicology, epistolography, and Third Sophistic.
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Videos by Emanuele Cianciulli Vuono
It is quite common to find the idea that Sappho was an object of derision by Greek comic writers, who would have influenced a branch of the following literature (in particular the 15th epistle of Ovid’s Heroides). Nevertheless, there is no proof of that in the existing comic fragments.
Papers by Emanuele Cianciulli Vuono
This article analyses these statements and provides a general view about this mythic-religious figure on the basis of a consolidated bibliography (especially Kock 1862, Wilamowitz 1913, Stoessl 1938, Nagy 1973, Bažant & Berger-Doer 1994). Following this introduction I concentrate on the relationship between Phaon and the figure of the poetess Sappho, in particular, the well-known tradition about the leap from Leukas’ Cape and the possible presence of Phaon in Sappho’s work.
However, my focus is on the Attic Comedy, in which most scholars see the origin, the development consequent suicide. Here there is the most significant findings of my work: after the examination of the comedy fragments where Phaon’s and/or Sappho’s presence was verified or supposed (20 plays in total) I concluded that in no case are we sure about the compresence of the two characters in the same play. Therefore, the opinion of most part of scholars is due exclusively to Menander’s Leucadia where clearly neither Phaon nor Sappho are characters.
In conclusion, we need to re-evaluate and reassess the importance of Comedy in the development of the story; in my opinion this genre is not the most likely to be the origin of the legend: consequently, I propose other genres and situations, that are more likely to have been involved into this process.
Thesis Chapters by Emanuele Cianciulli Vuono
It is quite common to find the idea that Sappho was an object of derision by Greek comic writers, who would have influenced a branch of the following literature (in particular the 15th epistle of Ovid’s Heroides). Nevertheless, there is no proof of that in the existing comic fragments.
This article analyses these statements and provides a general view about this mythic-religious figure on the basis of a consolidated bibliography (especially Kock 1862, Wilamowitz 1913, Stoessl 1938, Nagy 1973, Bažant & Berger-Doer 1994). Following this introduction I concentrate on the relationship between Phaon and the figure of the poetess Sappho, in particular, the well-known tradition about the leap from Leukas’ Cape and the possible presence of Phaon in Sappho’s work.
However, my focus is on the Attic Comedy, in which most scholars see the origin, the development consequent suicide. Here there is the most significant findings of my work: after the examination of the comedy fragments where Phaon’s and/or Sappho’s presence was verified or supposed (20 plays in total) I concluded that in no case are we sure about the compresence of the two characters in the same play. Therefore, the opinion of most part of scholars is due exclusively to Menander’s Leucadia where clearly neither Phaon nor Sappho are characters.
In conclusion, we need to re-evaluate and reassess the importance of Comedy in the development of the story; in my opinion this genre is not the most likely to be the origin of the legend: consequently, I propose other genres and situations, that are more likely to have been involved into this process.