Giuseppe Aricò
Già professore ordinario di Letteratura latina nell'Università di Palermo (1981-99) e nell’Università Cattolica del Sacro Cuore di Milano (1999-2009).
Coordinatore del “Gruppo interuniversitario di ricerca sulla tragedia romana”.
Coordinatore scientifico dei "Quaderni di cultura e di tradizione classica" (Università di Palermo).
Componente del Comitato direttivo del "Bollettino di studi latini" (1987-), del Comitato di direzione di "Aevum" (2003-2020) e del Comitato redazionale di "Aevum antiquum" (2010-).
Membro del "Centro di Studi Ciceroniani" e del "Comitato Nazionale per le celebrazioni senecane".
Membro del Comitato direttivo del CIT, Centro di cultura e di iniziativa teatrale "Mario Apollonio" (2006-09).
Segretario (1978-1980) e poi presidente (1981-1998) della Delegazione di Palermo dell'Associazione Italiana di Cultura Classica.
Socio corrispondente dell'Accademia Peloritana dei Pericolanti (1987-).
Praemium Classicum Clavarense 2013.
Coordinatore del “Gruppo interuniversitario di ricerca sulla tragedia romana”.
Coordinatore scientifico dei "Quaderni di cultura e di tradizione classica" (Università di Palermo).
Componente del Comitato direttivo del "Bollettino di studi latini" (1987-), del Comitato di direzione di "Aevum" (2003-2020) e del Comitato redazionale di "Aevum antiquum" (2010-).
Membro del "Centro di Studi Ciceroniani" e del "Comitato Nazionale per le celebrazioni senecane".
Membro del Comitato direttivo del CIT, Centro di cultura e di iniziativa teatrale "Mario Apollonio" (2006-09).
Segretario (1978-1980) e poi presidente (1981-1998) della Delegazione di Palermo dell'Associazione Italiana di Cultura Classica.
Socio corrispondente dell'Accademia Peloritana dei Pericolanti (1987-).
Praemium Classicum Clavarense 2013.
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Books and papers by Giuseppe Aricò
In the first note vv. 3-4 of Dracontius’ Orestes are examined; it is suggested to keep the text provided by the manuscript tradition unchanged and to continue interpreting coniugis as referred to Cassandra. The second note addresses the problem regarding the controversial expression Minervales... Athenas in v. 33 and the syntactic context in which it is found; it is suggested to recover Friedrich Haase’s old proposal (1861) to postpone v. 33 after v. 34.
1. Sull'Erigona di Accio. 2. inc. inc. XXXVIII, 73-75 Ribb.1-2-3 = adesp. F 50 TrRF.
La prima nota propone una ricostruzione dell’Erigona di Accio. I momenti cruciali della vicenda dovevano essere l’uccisione di Alete, narrata da un nunzio, e la tentata uccisione di Erigone, rappresentata sulla scena e impedita dall’intervento di Diana. Buona parte del dramma era dedicata al processo di Oreste, che si concludeva con la sua assoluzione. La seconda nota riguarda un frammento tragico adespoto, tramandato da Cicerone, nel quale un personaggio giunto dall’Ade descrive le fatiche del suo viaggio. È probabile che esso appartenesse (come sosteneva già Ribbeck) alle Troades di Accio, piú precisamente a una scena nella quale era rappresentata, come nella Polissena di Sofocle e prima che nelle Troades senecane, l’epifania di Achille.
The first note proposes a reconstruction of Accius’ Erigona. The crucial moments of the plot should have been the killing of Aletes, narrated by a nuntius; and the attempted killing of Erigone, represented on the scene and prevented by Diana’s intervention. A significant portion of the drama was dedicated to Orestes’ trial, which ended with his acquittal. The second note deals with an adespotic fragment, transmitted to us by Cicero, in which a character from Hades describes the hardships of his journey. It is likely that such a fragment belonged to Accius’ Troades (as Ribbeck already stated) and, more precisely, to a scene in which Achilles’ epiphany was represented, as in Sophocles’ Polyxena and before that in Seneca’s Troades.
characterises him in the Greek Iliad, where he does not lack military attitudes, but
chafes against his duties to his country, being committed instead to satisfying his
taste for luxury. This ambiguity is even reinforced in the epitome. The ‘heroic’
aspect of Paris’ personality emerges in a clearer light, expressed in a more mature
awareness of his obligations to his family and country, but the other aspect, his
indolence, is also accentuated: the character becomes a true elegiac lover, immersed
in the experience of an exalted passion that partly distinguishes him from the cliché
of the libertine of the Homeric tradition. It might therefore seem legitimate to interpret
the Paris of the Ilias Latina in a more positive key than the Homeric character.
However, this exegesis is opposed by the judgement expressed by the authorial
voice at many significant points of the story: by his dissolute and unscrupulous behaviour, Paris has started a war that will lead to the ruin of his country; he himself
is thus his own funesta ruina (234), the funesta ... flamma (253) that will burn down
Troy and his own fate.
Keywords: Paride, Ilias Latina, Iliade
This contribution focuses on the reception of the Roman tragedy of the archaic age,
as can be retrieved from Cicero’s testimony, based on the attendance of the atrical
representations and stimulated by the contiguity between the dramatic performance
and that of the orator (as often emphasized by Cicero himself), with regard,
in particular, to vocal and gestural language and to the role played by pathos for the
purpose of capturing the audience. After a quick synthesis on the innovations introduced
by Cicero in rhetorical theory in relation to these aspects, an anthology of
passages illustrates the dramatic techniques adopted by the actors, the use of dramatic
representations for political purposes, and the different responses of the audience to
the ethical and emotional solicitations produced by the texts performed on stage.
For full text: http://aevumantiquum.vitaepensiero.it/
In the first note vv. 3-4 of Dracontius’ Orestes are examined; it is suggested to keep the text provided by the manuscript tradition unchanged and to continue interpreting coniugis as referred to Cassandra. The second note addresses the problem regarding the controversial expression Minervales... Athenas in v. 33 and the syntactic context in which it is found; it is suggested to recover Friedrich Haase’s old proposal (1861) to postpone v. 33 after v. 34.
1. Sull'Erigona di Accio. 2. inc. inc. XXXVIII, 73-75 Ribb.1-2-3 = adesp. F 50 TrRF.
La prima nota propone una ricostruzione dell’Erigona di Accio. I momenti cruciali della vicenda dovevano essere l’uccisione di Alete, narrata da un nunzio, e la tentata uccisione di Erigone, rappresentata sulla scena e impedita dall’intervento di Diana. Buona parte del dramma era dedicata al processo di Oreste, che si concludeva con la sua assoluzione. La seconda nota riguarda un frammento tragico adespoto, tramandato da Cicerone, nel quale un personaggio giunto dall’Ade descrive le fatiche del suo viaggio. È probabile che esso appartenesse (come sosteneva già Ribbeck) alle Troades di Accio, piú precisamente a una scena nella quale era rappresentata, come nella Polissena di Sofocle e prima che nelle Troades senecane, l’epifania di Achille.
The first note proposes a reconstruction of Accius’ Erigona. The crucial moments of the plot should have been the killing of Aletes, narrated by a nuntius; and the attempted killing of Erigone, represented on the scene and prevented by Diana’s intervention. A significant portion of the drama was dedicated to Orestes’ trial, which ended with his acquittal. The second note deals with an adespotic fragment, transmitted to us by Cicero, in which a character from Hades describes the hardships of his journey. It is likely that such a fragment belonged to Accius’ Troades (as Ribbeck already stated) and, more precisely, to a scene in which Achilles’ epiphany was represented, as in Sophocles’ Polyxena and before that in Seneca’s Troades.
characterises him in the Greek Iliad, where he does not lack military attitudes, but
chafes against his duties to his country, being committed instead to satisfying his
taste for luxury. This ambiguity is even reinforced in the epitome. The ‘heroic’
aspect of Paris’ personality emerges in a clearer light, expressed in a more mature
awareness of his obligations to his family and country, but the other aspect, his
indolence, is also accentuated: the character becomes a true elegiac lover, immersed
in the experience of an exalted passion that partly distinguishes him from the cliché
of the libertine of the Homeric tradition. It might therefore seem legitimate to interpret
the Paris of the Ilias Latina in a more positive key than the Homeric character.
However, this exegesis is opposed by the judgement expressed by the authorial
voice at many significant points of the story: by his dissolute and unscrupulous behaviour, Paris has started a war that will lead to the ruin of his country; he himself
is thus his own funesta ruina (234), the funesta ... flamma (253) that will burn down
Troy and his own fate.
Keywords: Paride, Ilias Latina, Iliade
This contribution focuses on the reception of the Roman tragedy of the archaic age,
as can be retrieved from Cicero’s testimony, based on the attendance of the atrical
representations and stimulated by the contiguity between the dramatic performance
and that of the orator (as often emphasized by Cicero himself), with regard,
in particular, to vocal and gestural language and to the role played by pathos for the
purpose of capturing the audience. After a quick synthesis on the innovations introduced
by Cicero in rhetorical theory in relation to these aspects, an anthology of
passages illustrates the dramatic techniques adopted by the actors, the use of dramatic
representations for political purposes, and the different responses of the audience to
the ethical and emotional solicitations produced by the texts performed on stage.
For full text: http://aevumantiquum.vitaepensiero.it/