Title: ἐκστρέψας ... κακὸς κακῶς (Ar. Nub. 554): Aristofane e un trascurato principio di poetica
Variant title:
- ἐκστρέψας ... κακὸς κακῶς (Ar. Nub. 554) : Aristophanes and an unnoticed poetics principle
Source document: Graeco-Latina Brunensia. 2023, vol. 28, iss. 1, pp. 95-105
Extent
95-105
-
ISSN1803-7402 (print)2336-4424 (online)
Persistent identifier (DOI): https://doi.org/10.5817/GLB2023-1-6
Stable URL (handle): https://hdl.handle.net/11222.digilib/digilib.78221
Type: Article
Language
License: CC BY-SA 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
This paper offers a new interpretation of Ar. Nub. 554. The aim is to stress the dependence of the expression ἐκστρέψας ... κακὸς κακῶς on a principle of ancient literary criticism here called the "poetic identity principle", based on the overlap between the author's nature and the content of his work. This dependence has been neglected until now. Therefore, I shall prove the principle is present in the line by first analysing the structure of the sequence in which the line is found (518–559) and then comparing l. 554 to other of Aristophanes' loci. Moreover, I shall argue that Aristophanes usually recalls the principle to build negative and positive poetic paradigms: such a principle may also concern the author himself within his own work, which had not been noticed before.
References
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[36] Regali, M. (2005). Una metafora fra filosofia e filologia: ΓΝΗΣΙΟΣ e ΝΟΘΟΣ. Würzburger Jahrbücher für die Altertumswissenschaft, 29, 83–97.
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[39] Slater, N. W. (2016). Aristophanes in Antiquity: Reputation and Reception. In P. Walsh (Ed.), Brill's Companion to the Reception of Aristophanes (pp. 3–21). Leiden – Boston: Brill.
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[41] Sonnino, M. (1998). L'accusa di plagio nella commedia attica antica. In R. Gigliucci (Ed.), Furto e plagio nella letteratura del Classicismo (pp. 19–51). Roma: Bulzoni.
[42] Wright, M. (2012). The Comedian as Critic: Old Comedy and Poetics. London: Bristol Classical Press.
[43] Zanetto, G. (2006). Tragodìa versus trugodìa: la rivalità letteraria nella commedia attica. In E. Medda, M. S. Mirto, & M. P. Pattoni (Eds.), Κωμῳδοτραγῳδία: intersezioni del tragico e del comico nel teatro del V secolo a. C. (pp. 307–325). Pisa: Edizioni della Normale.
[44] Zuckerberg, D. (2016). Branding Irony: Comedy and Crafting the Public Persona. In P. Walsh (Ed.), Brill's Companion to the Reception of Aristophanes (pp. 148–171). Leiden – Boston: Brill.
[2] Arrighetti, G. (1977). Fra erudizione e biografia. Studi Classici e Orientali, 25, 13–67.
[3] Arrighetti, G. (1987). Poeti, eruditi e biografi: momenti della riflessione dei Greci sulla letteratura. Pisa: Giardini.
[4] Austin, C., & Olson, S. D. (Eds.). (2004). Aristophanes: Thesmophoriazusae. Oxford: University Press.
[5] Bakola, E. (2008). The Drunk, the Reformer and the Teacher: Agonistic Poetics and the Construction of Persona in the Comic Poets of the Fifth Century. Cambridge Classical Journal, 54, 1–29.
[6] Biles, Z. P. (2011). Aristophanes and the Poetics of Competition. Cambridge: University Press.
[7] Biraud, M. (2005). La syntaxe des «suites» de τοιοῦτος, τοσοῦτος, ὅμοιος, ἴσος et (ὁ) αὐτός: subordination, corrélation et coordination. In P. de Carvalho, & F. Lambert (Eds.), Structures parallèles et correlatives en grec et en latin: actes du colloque de linguistique grecque et latine. Bordeaux, 26–27 septembre 2002 (pp. 75–98). Saint-Étienne: Publications de l'Université de Saint-Étienne.
[8] Buis, E. J. (2021). De plagios, traiciones y vestimentas ajenas. Rivalidad poética y contaminaciones jurídicas en Maricante de Éupolis. Saga, 5, 246–285.
[9] Chirico, M. L. (1990). Per una poetica di Aristofane. La Parola del Passato, 45, 95–115.
[10] Cortassa, G. (1990). Il poeta, la tradizione, il pubblico: per una poetica di Aristofane, II. In M. Vacchina (Ed.), Attualità dell'antico (Vol. 2, pp. 11–28). Aosta: Tipografia Valdostana.
[11] De Sanctis, D. (2018). Rappresentazione e imitazione: la consapevolezza della mimesis nella commedia di Aristofane. Prometheus, 44, 29–48.
[12] Dihle, A. (1970)2. Studien zur griechischen Biographie. Göttingen: Vandenhoeck & Ruprecht (1a ed. 1956).
[13] Dover, K. J. (Ed.). (1968). Aristophanes: Clouds. Oxford: Clarendon Press.
[14] Ercolani, A. (2003). Dikaiopolis: Aristophanes oder Eupolis? Würzburger Jahrbücher für die Altertumswissenschaft, 27, 15–20.
[15] Fairweather, J. (1974). Fiction in the Biographies of Ancient Writers. Ancient Society, 5, 231–275.
[16] Ford, A. (2002). The Origins of Criticism: Literary Culture and Poetic Theory in Classical Greece. Princeton: University Press.
[17] Giordano, D. (Ed.). (1990)2. Chamaeleontis Heracleotae fragmenta. Bologna: Pàtron (1a ed. 1970).
[18] Heath, M. (1990). Aristophanes and his Rivals. Greece and Rome, 37(2), 142–158.
[19] Hubbard, T. K. (1991). The Mask of Comedy: Aristophanes and the Intertextual Parabasis. Ithaca – London: Cornell University Press.
[20] Imperio, O. (2012). Personificazioni dell'arte poetica e metafore parentali: la maternità letteraria tra commedia e filosofia. In G. Moretti, & A. Bonandini (Eds.), Persona ficta. La personificazione allegorica nella cultura antica fra letteratura, retorica e iconografia (Vol. 1, pp. 29–52). Trento: Università degli Studi di Trento.
[21] Kassel, R. (1966). Kritische und exegetische Kleinigkeiten II. Rheinisches Museum für Philologie, 109, 1–12.
[22] Kyriakidi, N. (2007). Aristophanes und Eupolis: Zur Geschichte einer dichterischen Rivalität. Berlin: De Gruyter.
[23] Leo, F. (1901). Die griechisch-römische Biographie nach ihrer litterarischen Form. Leipzig: Teubner.
[24] Martínez, J. (2014). Problemas en la detección de plagios antiguos y modernos. In I. Velázquez, & J. Martínez (Eds.), Realidad, ficción y autenticidad en el mundo antiguo: la investigación ante documentos sospechosos (pp. 35–46). Murcia: Editum.
[25] Mazzacchera, E. (1999). Agatone e la μίμησις poetica nelle Tesmoforiazuse di Aristofane. Lexis, 17, 205–224.
[26] McGlew, J. (2004). "Speak on My Behalf": Persuasion and Purification in Aristophanes' Wasps. Arethusa, 37(1), 11–36.
[27] Micalella, D. (2005). Euripide e Agatone nelle Tesmoforiazuse di Aristofane: due poetiche a confronto. Studi Italiani di Filologia Classica, 98(2), 188–194.
[28] Möller, M. (2004). Talis oratio – qualis vita: Zu Theorie und Praxis mimetischer Verfahren in der griechisch-römischen Literaturkritik. Heidelberg: Winter Verlag.
[29] Moulton, C. (1996). Comic Myth-Making and Aristophanes' Originality. In E. Segal (Ed.), Oxford Readings in Aristophanes (pp. 216–228). Oxford – New York: Oxford University Press.
[30] Muecke, F. (1982). A Portrait of the Artist as a Young Woman. Classical Quarterly, 32(1), 41–55.
[31] Newiger, H.-J. (1957). Metapher und Allegorie: Studien zu Aristophanes. München: Beck.
[32] O'Sullivan, N. (1992). Alcidamas, Aristophanes and the Beginnings of Greek Stylistic Theory. Stuttgart: Franz Steiner Verlag.
[33] Olson, S. D. (Ed.). (2002). Aristophanes: Acharnians. Oxford: University Press.
[34] Orth, C. (2020). Fragmentary Comedy and the Evidence of Vase-Painting: Euripidean Parody in Aristophanes' Anagyros. In A. Lamari, F. Montanari, & A. Novokhatko (Eds.), Fragmentation in Ancient Greek Drama (pp. 481–500). Berlin – Boston: De Gruyter.
[35] Paduano, G. (1996). Lo stile e l'uomo: Aristofane e Aristotele. Studi Classici e Orientali, 46(1), 93–101.
[36] Regali, M. (2005). Una metafora fra filosofia e filologia: ΓΝΗΣΙΟΣ e ΝΟΘΟΣ. Würzburger Jahrbücher für die Altertumswissenschaft, 29, 83–97.
[37] Schorn, S. (Ed.). (2004). Satyros aus Kallatis: Sammlung der Fragmente mit Kommentar. Basel: Schwabe.
[38] Sidwell, K. (1993). Authorial Collaboration? Aristophanes' Knights and Eupolis. Greek, Roman and Byzantine Studies, 34, 365–389.
[39] Slater, N. W. (2016). Aristophanes in Antiquity: Reputation and Reception. In P. Walsh (Ed.), Brill's Companion to the Reception of Aristophanes (pp. 3–21). Leiden – Boston: Brill.
[40] Sommerstein, A. H. (Ed.). (1994). Aristophanes: Thesmophoriazusae. Warminster: Aris & Phillips.
[41] Sonnino, M. (1998). L'accusa di plagio nella commedia attica antica. In R. Gigliucci (Ed.), Furto e plagio nella letteratura del Classicismo (pp. 19–51). Roma: Bulzoni.
[42] Wright, M. (2012). The Comedian as Critic: Old Comedy and Poetics. London: Bristol Classical Press.
[43] Zanetto, G. (2006). Tragodìa versus trugodìa: la rivalità letteraria nella commedia attica. In E. Medda, M. S. Mirto, & M. P. Pattoni (Eds.), Κωμῳδοτραγῳδία: intersezioni del tragico e del comico nel teatro del V secolo a. C. (pp. 307–325). Pisa: Edizioni della Normale.
[44] Zuckerberg, D. (2016). Branding Irony: Comedy and Crafting the Public Persona. In P. Walsh (Ed.), Brill's Companion to the Reception of Aristophanes (pp. 148–171). Leiden – Boston: Brill.