This brief note discusses the previous interpretations proposed for the list of dishes in Ar. fr. 264 K.-A.. By examining the sources provided by the scholars (Suet. Nero 25; Eratosth. FGrHist 14; Plut. Glor. Ath. 6, 349a 10-13), it is argued that the fragment is neither centered on an unspecified ritual nor on the habit of φυλλοβολία. A figured interpretation of the fragment in a meta-literary sense is eventually recommended.

Análise da commedia dell’arte a partir de uma perspectiva histórico-crítica, enfatizando-se as várias maneiras de sua apropriação no século XX.Partindo de elementos da commedia dell’arte, serão ressaltados os temas da migração do teatro de praça para o teatro fechado e a ampliação do modelo da commedia dell’arte para outras formas artísticas do século XX, como o cinema mudo, o circo e o carnaval.

Dante's Commedia compels readers to confront the mystery of their existence, to seek understanding of their relationship to the living conscious reality from which all possible experience arises. By pursuing these lines of inquiry, says Vittorio Montemaggi, readers can reach an ultimate reality that Dante calls love. Montemaggi offers a detailed theological reading of the Commedia, examining the theme of human interaction, both as it is represented in the poem-the narrator Dante's interaction with other characters-and by the relationship (...) between author and reader. In doing so, he locates a Dante we may not be used to imagining, a man aware both of the spiritual power of his work, and of his profound, essential vulnerability and moral failing. Montemaggi shows that, for this Dante, truth emerges only through human limitation and failure, and not in spite of it.Applying this interpretive framework to a reflection on the methodology of scholarship itself, Montemaggi offers a vision of what the academy could be-not individual scholars in competition with others, but a community that seeks to foster the understanding that can arise through interaction, vulnerability, and love. His vision constitutes a benign challenge to some of the ethos and practices of the modern academy, while simultaneously reflecting on the dynamics of one of the most inspiring and influential texts ever written about the relationship between humanity and divinity. (shrink)

Искусственный интеллект – последняя, хотя и иллюзорная надежда продажных и провалившихся режимов как на Западе, так и на Востоке остаться на плаву: ведь тонущий хватается и за соломинку. Но всё течёт и всё изменяется, и никаким деспотиям и деспотам не удастся остановить ход истории, как бы они этого не желали и тому не противились. Хотя у истории нет конца, но их история и история совершённых ими предательств уже закончилась. Plaudite, cives, plaudite, amici, finita est comoedia: „Рукоплещите, граждане, друзья, комедия окончена.“.

Il rapporto tra Socrate e la commedia è ciò che propongo in questo mio lavoro. Essenziale fu l’importanza di Aristofane nel panorama poetico ateniese della seconda metà del V sec. a.C., ricordo il rilievo della commedia, intesa come (cito Werner Jaeger) lo specchio della vita, sottolineo il valore che il genere comico teatrale aveva nella formazione dell’opinione dei cittadini dell’Atene democratica. In seguito, analizzo le accuse che il poeta rivolge a Socrate nelle Nuvole; quella di essere ateo naturalista, (...) quella di alimentare il disordine sociale, e quella di essere un avido sofista. Tali accuse sono rimaste vive per anni e sono state riprese e riformulate da altri personaggi e, ventiquattro anni dopo, rivolte ancora a Socrate, questa volta in tribunale. Aristofane ha voluto con la sua mise-en-scène fare di Socrate il simbolo della cultura filosofica naturalistica e miscredente di un’epoca, tra questi naturalisti di quell’epoca, Anassagora era il più importante, rimasto ad Atene fino al 431 a.C., il pensatore di Clazomene ha fondato la prima scuola filosofica ad Atene, ed insieme ai suoi discepoli (come Archelao) costituirono un importante movimento razionalistico all’interno dello splendore e del rinnovamento dell’età di Pericle, ma a causa dalla sua visione di un creazionismo scientifico è stato processato per empietà (come Socrate) nel 433 a.C., e, proprio a partire dall’importanza del soggiorno del filosofo ionico ad Atene, concluderò il mio lavoro suggerendo l’influenza che il filosofo di Clazomene potrebbe aver avuto sul poeta nella costruzione della sua immagine di Socrate. (shrink)

Comparisons have frequently been made between the works of Dante and Milton, more often than not by critics with a definite predilection one or the other poet. The author of this systematic comparison has approached the task without partisanship, but with a warm admiration for both poets. It is her contention that, although Dante was generally out of favor during the seventeenth century, even in Italy, Milton had read the Divina Commedia sympathetically and with care by the time he (...) came to write Paradise Lost. In substantiation Professor Samuel cites many parallel uses of language, imagery, theme, and method, while also taking note of divergences. Source materials are given in the appendixes, including Milton's references to Dante and a list of previously published comparisons. (shrink)

Lo studio sul rapporto tra Dante e la tradizione arabo-islamica è solitamente associato a due influenti studiosi del Novecento, Miguel Asín Palacios e Bruno Nardi. Nonostante le differenze, entrambi affermano che la struttura fondamentale della Commedia intende mostrare come la ragione naturale dell’uomo e la filosofia siano inferiori alla rivelazione religiosa e alla teologia. Il contributo, affermando che l’architettura del poema dantesco si fonda sulla classificazione delle scienze formulata dai filosofi islamici, intende mostrare che la struttura allegorica della (...) class='Hi'>commedia non è basata sulla distinzione tra filosofia e teologia ma sulla distinzione, tutta interna alla filosofia, tra praxis e theoria. Come i filosofi razionalisti, Dante nega che ci sia una forma di conoscenza più elevata che non sia raggiungibile attraverso la dimostrazione e il ragionamento filosofico ma solo attraverso il discorso religioso rivelato. Questa classificazione islamica delle scienze può aiutare a rivedere il ruolo giocato da Statius e Matelda nell’allegoria dantesca e identificare con maggior precisione il luogo della religione.The study of Dante in relation to the medieval Arabo-Islamic tradition is most notably associated with two influential twentieth-century scholars, Miguel Asín Palacios and Bruno Nardi. Despite differences, both hold that Commedia’s fundamental structure aims to show natural human reason and philosophy falling short of religious revelation and theology. This essay, arguing that the architectural design of Dante’s poem is based on the classification of the philosophical sciences formulated by the Islamic rationalist philosophers, shows that Commedia’s allegorical structure is not based upon the distinction between philosophy and theology but rather upon a distinction within philosophy between praxis and theoria. Like the Islamic rationalist philosophers, Dante denies that there is a higher human knowledge unattainable through philosophical demonstration but accessible through revealed religious discourse. This Islamic classification of the sciences will also help us see the role played by Statius and Matelda in Dante’s allegory and to identify the locus of religion. (shrink)

Il segreto della commedia dell’arte è stato nel paradosso di Maschera e Improvvisazione, Tipo Fisso e Testo Variabile, Conservazione e Innovazione. Per questo è stato nei secoli esaltata o denigrata: considerata reazionaria dalla Rivoluzione francese e esaltata come rivoluzionaria dai Romantici. Nel Novecento, Copeau, Mejerchol’d, Mnouchkine e Fo hanno dovuto fare i conti con questa ambivalenza. Dunque ciò che oggi si chiama commedia dell’arte è “reazionario” o “rivoluzionario”? “Popolare”o “populista”?

A study of the conflict between philosophy and poetry in four Platonic dialogues: the Ion, the Symposium, the Republic, and the Sophist.

In a sociolinguistic perspective, this paper deals with the Aristophanic use of the technical languages, given that according to some recent research there is no room for them in this author. Our approach to the matter focuses on two technical languages, viz. medical and rhetorical. Methodologically, the main attention must be paid to the philological analysis of the textual evidence, always by means of the contrast of the attested linguistic data related to different sociolects. We also suggest that this analysis (...) must not be limited to the lexical level, as if technical languages were only determined by a special word selection. In both technical languages, medical and rhetorical, the Aristophanic comedies show a conscious borrowing and use of several terms and structures whose specialized function can be proved by texts from the Hippocratic corpus, Antiphon and the Athenian contemporary Kanzleisprache. (shrink)

The paper considers two main cases of how the creative arts can inform a greater appreciation of human dignity. The first case explores a form of theater, Commedia dell’Arte that has deep roots in Italian culture. The second recounts a set of theater exercises done with very minimal direction or self-direction in executive education and MBA courses at the Darden School, University of Virginia, in the United States. In both cases we highlight how the creative arts can be important (...) for promoting human dignity in organizations, and how they can lead to a more authentic conversation about values, ethics, and meaning. (shrink)

In this contribution, I discuss the status of comics particularly through the exemplification of Disney’s Dante parodies, in light of some ideas I take in from aestheticological reflection on improvisational art practices. In particular, L’Inferno di Topolino, the first of the great Italian Disney parodies, is paradigmatic for understanding the character of comics as a metafinational hybrid transmedium, capable of appropriating the contents of literary classics, bringing them to life in relation to the contemporary situation.

This paper examines the relationship between some scholia to the IIId book of Plato’s Republic, Proclus’ commentary on it, and the so-called Chrestomathia, a work that the manuscripts attribute to the Neoplatonic philosopher himself. The conclusion is that the relationship between the three texts is highly problematic, and that we cannot think of a simple and direct derivation from one another. The author of the scholia probably made use of texts different from those that have come down to us, or (...) alternatively he has reworked his sources in a personal way. (shrink)

In this article I reflect on the importance of creation ex nihilo for our understanding of Dante's Commedia. I do so, in particular, by reflecting on the inextricable relationship existing in Dante's poem between creation ex nihilo, contemplation and charity. More specifically, I attempt to outline an understanding of how Dante's idea of the relationship between these three can be seen to underlie the very structure and narrative form of the Commedia. Through reflection on the relationship between contemplation, (...) charity, and creation ex nihilo, I suggest, form and content might be seen, from a theological point of view, to be perfectly at one. Underlying these reflections are also some broader questions. What is the Commedia ultimately about? What is Dante's final end in writing his poem? What bearing does this have on our understanding of the form of Dante's text as a narrative poem? And what, in turn, are the broader theological implications of all this? (shrink)

Scopo del saggio è confrontare alcune tra le principali visiones della letteratura occidentale – tra cui la Visio Pauli e la Commedia – e le diverse redazioni della tradizione islamica dell’ascensione celeste e viaggio oltremondano del profeta Muhammad, nel tentativo di stabilire se le affinità, tematiche e strutturali, osservabili tra i due gruppi di testi siano frutto di semplice poligenesi o vadano piuttosto spiegate con rapporti di effettiva intertestualità.Tra le visiones, la tradizione mirajica e la Commedia si instaura (...) dunque un dialogo a tre voci, o di sinfonia, i cui temi principali si arricchiscono e si richiamano a vicenda. Dante, primo comparatista, è in grado di reinventare, armonizzandoli, elementi strutturali e tematici provenienti sia dalle visiones latine che dalla tradizione islamica del Isra’ wa’ l Mi‘râj.The purpose of this essay is to make a confrontation between the main important visiones of the Occidental Literature – also the Visio Pauli and the Dante’s Commedia – anche the various redactions of the Islamic Isra’ wa-l mi’râj. The confrontation is in order to establish if the remarked affinities are just due to polygenesis or rather caused by concrete intertestuality.Between the visiones, the mirajic tradition and the Commedia we are in front of a three voices dialogue: it’s like a symphony, in which the themes enriches themselves and, at least, the arrive to Dante for being harmonized. Dante is the first comparatist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 521-524 [Access article in PDF] Andrea Capra. Il "Protagora" di Platone tra eristica e commedia. Il Filarete: Pubblicazioni della Facoltà di Lettere e Filosofia dell'Università degli Studi di Milano, 197. Milan: LED, Edizioni Universitarie di Lettere Economia Diritto, 2001. 237 pp. Paper, 22.72. This is a book of two halves and Two Parts, perhaps, respectively, "literary" and "philosophical": one primarily concerned with (...) the form of the Protagoras, the other more concerned with the dialogue's argumentative content and context. More helpful, however, is the author's own subtitles for the Two Parts: "Plato 'persuades' his audience" and "Socrates 'persuades' the sophists." Capra is admirably conscious throughout of the need to distinguish between what Socrates is saying and what Plato is trying to achieve through what Socrates is saying; between the audience for whom the written artifact is composed, on the one hand, and the fictional audience that the character, Socrates, is addressing, on the other. Plato—so Capra claims—has constructed a dialogue for hearers or readers who would have been thoroughly familiar with the dramatic theater and its conventions and who would immediately have recognized the allusions to comedy in setting, action, even characterization. Why construct a dialogue in this extraordinary fashion? No other dialogue is so constructed, even if there are comic touches in many. Here is one of the most interestingly worked parts of Capra's overall thesis: It isn't just any comedy that the Protagoras resembles—it's the Clouds, which figures so centrally in Plato's account of Socrates' accusers in the Apology. Only everything is turned upside down, so that it's Socrates who's outside (the right side?), the sophists inside (the house of Callias), whereas in Clouds, it was Socrates inside (the phrontisterion/pensatoio), and Socrates was a sophist. So here is Plato, as it were, talking over the heads of his characters and replying to Socrates' critics by turning the tables on them.But that is only half of the picture, half of Capra's book (or a pretty inadequate description of half of the book), and, of course, rather less than half of the Protagoras itself. What about the conversation between Socrates and Protagoras that occupies by far the largest proportion of the pages? To say that it resembles a comic agon is of course only a beginning; if it is to be an effective riposte to Aristophanes and to those jurors he so fatally influenced, then Socrates has to win. And that, of course, he does hands down. But then we have the problem, or rather Capra has the problem, that he seems to win by taking over [End Page 521] the very method that his sophistic opponents use, i.e., eristic; and this is bizarre, given the way that the opening dialogue between Socrates (or Strepsiades) and Hippocrates (or Pheidippides) in Socrates' house emphasizes the distance, and difference, between what Socrates has to offer and what his opponents offer. What is afoot here? Capra's answer is that crossing the threshold of Callias' house, into the company of Protagoras and the rest, is like the philosopher's descent into the Cave in the Republic. Being with the prisoners, Socrates takes up their methods, their ways of doing things. But he has no option but to do that with an opponent like Protagoras in the other corner, for Protagoras denies the very basis of Socratic dialectic. There is, for him, no such thing as science, no such thing as objective knowledge; Socrates is therefore forced to fight by Protagoras' rules to get a grip on him at all. What emerges, paradoxically, near the end of the dialogue is the requirement—even on popular (the prisoners' own) premises—for a measuring art, which makes measuring not the prerogative of each and every Protagorean individual but rather a matter of technical expertise. And so (according to Capra's argument) we arrive back at that very realm of knowledge, which in the Republic is the means by which we shall raise... (shrink)

Fabio Acerbi, Il silenzio delle sirene: La matematica greca antica. Rome: Carocci editore, 2010. 445 pp. € 44. ISBN 978-88-430-5579-1.Fabio Acerbi's recent book Il silenzio delle sirene: La matemat...