Impliciti e nomi parlanti: tradurre gli «Uccelli» di Aristofane

Ritmo, parole e musica: Ettore Romagnoli traduttore dei poeti, a cura di Patricia Salomoni, 2021

Adnotations on selected passages from Ettori Romagnoli's translation of Aristophanes' Birds (Florence 1899)

Aristofane si scaglia contro due uomini del suo tempo: Cleone, guerrafondaio per eccellenza, ed Euripide, al quale rimprovera la tendenza a denigrare i suoi personaggi.

Paroimiakos. Il proverbio in Grecia e a Roma. Vol. 1 ( = Philologia Antiqua 2, 2009), 2010

2019

Nomen Omen (‘A name, A fate’) is a key concept in antiquity, specifically in Iambic poetry and Ancient Comedy, where speaking names, epithets and nicknames are usually coined, distorted or re-invented for personal abuse and mockery. A few examples will show that Aristophanic names symbolically ‘stand for’ their characters’ destiny, but also intertwine with other names and themes and with the entire context of each comedy.

Stratagemmi 29 (2014)

Within Aristophanes’ Clouds, and from a comparative point of view, the article examines what comes out being a gap between what Socrates and the Clouds say happens on stage, and what actually must have happened (i.e. what the udience must have seen). In the section 223-411, most of the stage directions in text give cue to imagine a different scenario from the literal meaning. Not least, a large part of the comic force of the scene seems to spring exactly from that discrepancy. This unusual perspective then casts new light on precious details of the staging (costumes, stage movements, and audio), and leads to consider the Aristophanes’ Socrates definitely not as a naturalist or astronomer parody (as argued in part of the literature), but – what better fits with the historical profile of the philosopher as nowadays known – as a well-rounded and incisive parody of the kind of the sophist, the man whose well-chosen words can effectively (and tragicomically) change the tell and the meaning of the reality.

F. Giacobello (ed.), Savoir-faire antichi e moderni, Pittori e officine ceramiche nell’Apulia di V e IV secolo a.C. Atti della giornata di studi (Vicenza, Gallerie d’Italia-Palazzo Leoni Montanari, 28 marzo 2015), Milano, 2018

Quaderni Urbinati Di Cultura Classica, 2006

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In this paper I investigate the relationship between metatheatrical cases and politic issues in Aristophanes’ Birds. My focus is on the parabasis, where Chorus do not give up their masks and, as birds-characters, invite the audience to come into Nephelococcygia imaginary city (a break in dramatic fi ction). In Aristophanes’ ideal project, the ‘winged spectator’ will be at the same time aware of his theatrical and ‘political’ role: as spectator, he is a citizen, and vice versa. I extend my research to the Spectacular Text, i.e. Birds on modern stage in some European representations, directed by Tiezzi-Lombardi (2005), Conte-Luzzati (2000), Arias (2010) and Koun (1959), each off ering a diff erent approach about some particular aspects (politics, location, specular play, music and Chorus’ dance). I remark metatheatrical eff ects in their productions, the constant dialogue with the audience and the current connection between theatre and polis.

Eikasmos, 2018

Some remarks on arg. Ra. I (c) and Ra. 12-15, 57, 66s., 167-172, 181-184, 188s., 309-311, 369s., 503-507, 580s., 599-601, 637-639, 788-790, 814-829, 888, 937-947, 948-950, 1129-1137, 1183-1186, 1261-1263, 1374-1377, 1435-1466.

Excerpta manoscritti dalle commedie di Aristofane: per una prima recensio * Molteplici aspetti della tradizione, diretta 1 e indiretta, di Aristofane sono stati finora compiutamente indagati 2 . Alla peculiare * Questo lavoro illustra alcuni risultati della tesi di laurea magistrale Excerpta manoscritti dalle commedie di Aristofane: censimento e studio critico (Università degli Studi di Padova, a.a. 2014Padova, a.a. -2015. Ringrazio Margherita Losacco per aver seguito il lavoro dal principio, e Ottavia Mazzon per l'aiuto e i consigli. Si ringrazia, inoltre, la Biblioteca Nazionale Marciana per aver autorizzato la pubblicazione delle riproduzioni del manoscritto nelle tavole 1 e 2.