Oralità, scrittura: una questione ormai fuori moda?

With reference to his experiences of study and research, the A. foregrounds the fundamental role that the recent and always fertile debate on orality and writing and on the ways of composition and reception on the text - characterized by a progressive establishment of a written culture - has exercised and continues to exercise on the understanding of the nature and quality of the expressive 'texture' of the literary product: from the more ancient forms of expression in prose to the texts for the theatre, to medical literature, to the platonic dialogue

Aristofane a simposio: buffoneria o comicità 'urbana'?

The A. points out the inadequacy of the current interpretation, which sees Aristophanes depicted in the Symposium as a bomolochos, and shows and emphasizes the subtle skill displayed by Plato, who does not forges a wholly false character but cleverly exploits, by means of selective and recognizable allusions, authentic features of Aristophanes’ artistic personality

Il discorso di Alcibiade tra elogio e autoritratto (Platone, Symp. 212C4-223A9)

The focus of attention is not represented, as usually, by the function and significance of the speech of Alcibiades within the philosophical and conceptual project of Plato, but by the portrait of his character Plato gives us. Being a highly enthralling tribute to the greatness of the master, his eccentric and paradoxical performance appears as the reflection of a personal and almost idiosyncratic perspective, typical of a self-centered, transgressive and overflowing personality, inclined in words and gestures to amplification and hyperbol

L'ingegno proteiforme di Aristofane: verso la costruzione di un comico letterario

This paper consists of 5 sections. The first (Premessa) includes an analysis of the Aristophanic use of terms related to the root poikil-. The second (Il linguaggio degli oracoli: il disvelamento di un’impostura) is devoted to a detailed analysis of form and function of the imitation of the oracular genre by Aristophanes. The third (Le sperimentazioni liriche dei nuovi tragediografi: ‘deificazione’ della musica e vanificazione del contenuto) proposes a new interpretation of the scene of Agathon singing in Thesm. 101-29, where Aristophanes mocks not only (as it is generally believed) at the melodic and instrumental innovations but also at themes, language and compositive technique of the famous tragic poet. The fourth (Il linguaggio dell’agone politico-giudiziario) investigates a different kind of speech that is equally the object of Aristophanic mimesis, the rhetorically contrived politic-forensic speech, especially as used by female characters. The fifth (Le mille voci del ‘comico’) examines some expressions of Aristophanes’ comic artistry till now scarcely taken into consideration: the pun only conceived as an intellectual divertissement, the literary shaping of the abuse, a lyric approach to the everyday life