Frammenti sulla Scena (online) <p style="text-align: justify;">La rivista&nbsp;<strong><a href="">Frammenti sulla Scena (online). Studi sul dramma antico frammentario</a></strong>&nbsp;(ISSN 2612-3908) è l'organo scientifico del&nbsp;<a href=""><strong>Centro Studi sul Teatro Classico</strong>&nbsp;<strong>dell'Università degli Studi di Torino</strong></a>.</p> <p style="text-align: justify;">La rivista accoglie contributi dedicati all'indagine degli aspetti letterari, linguistici, filologici, antropologici, filosofici, storico-archeologici e papirologici del dramma frammentario greco-latino e delle tradizioni teatrali minori del Mediterraneo, nonché studi relativi alla permanenza, alla fortuna e all'esegesi dei testi teatrali in epoca antica, tardoantica, bizantina e paleocristiana.</p> <p style="text-align: justify;">I contributi pubblicati dalla rivista sono sottoposti a&nbsp;<em>double-blind peer review</em> e al vaglio definitivo del Comitato editoriale che ne attesta la validità nel rispetto degli standard internazionali di scientificità.</p> <div> <p style="text-align: justify;">La rivista è annuale. I contributi inviati alla Redazione sono pubblicati, previo superamento della valutazione in doppio cieco. Al termine dell'anno solare la Redazione allestisce il numero completo.</p> <div id="focusAndScope"> <div> <p style="text-align: justify;">La rivista è pubblicata dal Centro Studi sul Teatro Classico; direttore scientifico prof. Francesco Carpanelli, direttori editoriali Mattia De Poli, Andrea Giannotti e Francesco Paolo Bianchi.&nbsp;</p> </div> </div> </div> it-IT <p>Gli autori che pubblicano su questa rivista accettano le seguenti condizioni:</p> <ol type="a"> <li>Gli autori mantengono i diritti sulla loro opera e cedono alla rivista il diritto di prima pubblicazione dell'opera, contemporaneamente licenziata sotto una&nbsp;<a href="" target="_new">Licenza Creative Commons - Attribuzione</a>&nbsp;che permette ad altri di condividere l'opera indicando la paternità intellettuale e la prima pubblicazione su questa rivista.</li> <li>Gli autori possono aderire ad altri accordi di licenza non esclusi a per la distribuzione della versione dell'opera pubblicata (es. depositarla in un archivio istituzionale o pubblicarla in una monografia), a patto di indicare che la prima pubblicazione è avvenuta su questa rivista.</li> <li>Gli autori possono diffondere la loro opera online (es. in repository istituzionali o nel loro sito web) prima e durante il processo di submission, poichè può portare a scambi produttivi e aumentare le citazioni dell'opera pubblicata (Vedi&nbsp;<a href="" target="_new">The Effect of Open Access</a>).</li> </ol> (Team editoriale) (Team editoriale) Wed, 30 Aug 2023 14:49:38 +0200 OJS 60 Indice <p>Indice</p> F.P. Bianchi, M. De Poli, A. Giannotti Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 Su una hypothesis del Temeno o dei Temenidi di Euripide: note testuali a P.Oxy. 27.2455, fr. 11 <p>The paper focuses on the analysis of <em>P.Oxy.</em> 27.2455, fr. 11, containing the hypothesis of an Euripidean drama to be identified with <em>Temenus</em> or <em>Temenidae</em>. Starting from a new inspection of the papyrus and from the examination of previous attempts at reconstruction, the author proposes some original readings and conjectures that allow to cast new light on the plot and the aim of the related tragedy.</p> Sabina Castellaneta Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 Storia metrica di un frammento euripideo <p>This paper undertakes an examination of the metrical interpretations concerning fr. 152 Kn. (Euripides, <em>Andromeda</em>) that have been proposed over the past two centuries, as well as their textual implications. While 19th-century scholars were inclined to alter the transmitted text on metrical grounds, the most recent editors tend to assume textual corruptions and/or to abstain from an exhaustive metrical analysis. Taking into consideration the enriched understanding of dochmiacs acquired through both <em>observatio</em> and data provided by the manuscript colometries, it seems viable to preserve the transmitted text (subject to minor emendations that have gained widespread acceptance) and to attempt a somewhat divergent metrical analysis, founded upon the premise that colon-end do not necessarily coincide with syntactical divisions.</p> Lorenza Savignago Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 Osservazioni sul Sileo satirico di Euripide <p>Review of the testimonia of the Euripidean <em>Sileus</em>, with particular attention to the tradition of the drama, to its status as a genre, and to its dating and setting. In closing, two appendices, one relating to the texts discussed, the other to the question of the number of satyr plays surviving in Alexandria.</p> Massimo Magnani Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 Il gelo d’amore negli Amanti di Achille di Sofocle. Una nota a fr. 149 Radt2 <p>In the fr. 149 Radt<sup>2</sup> of Sophocles’ <em>Achilles’ Lovers</em>, included by Stobaeus in the section of the <em>Florilegium</em> dedicated to the destructive effects of <em>eros</em> (4, 20b, 46), the <em>persona loquens</em> describes the illness of love as an ἐφίμερον/ἐφήμερον κακόν (v. 1) that could well be explained by the simile of children who, on sunny winter days, enjoy picking up a piece of ice, but then, despite themselves, are forced to let it go. The paper aims to reconsider the reading ἐφήμερον (“ephemeral”), preserved by the textual tradition and generally rejected by scholars in favour of the correction ἐφίμερον (“desired”) proposed by Arsenius. In the light of the analysis of the fragment, which suggests the idea of a piece of ice that melts on contact with the warmth of the hands, and in view of a medical tradition (Hippocratic and Galenic) – probably known to Sophocles – that assimilates the love sickness to an ephemeral fever, it is possible to suppose that the tragedian intended to convey the image of the transience of the love passion that strikes lovers as a ἐφήμερον κακόν.</p> Gaia Benamati Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 Σάκας ὁ Μυσός. Per un profilo (pseudo)biografico del tragediografo Acestore (TrGF I2 25) <p>The obscure tragic poet Acestor (<em>TrGF</em> I<sup>2 </sup>25) is mentioned in several texts from Old Comedy, where he is mainly described as a foreigner (Ar. <em>Av</em>. 31, <em>Vesp</em>. 1221; Call. Com. fr. 17 K./A. [<em>Pedētai</em>]; Theopomp. Com. fr. 61 K./A. [<em>Teisamenos</em>]; Metag. fr. 14 K./A. [<em>Phylothytēs</em>]), and also as a bad poet (Call. Com. fr. 17 K./A.; Cratin. fr. 92 K./A. [<em>Kleoboulinai</em>]). Despite the total loss of his poetic production, the approximate dating of the comic evidence allows us to establish that Acestor, known as “Sacas” and “Mysian”, was active at least in the last thirty years of the 5<sup>th</sup> century BC. The aim of this paper is to attempt to trace a general “biography” of the <em>kōmōdoumenos</em>, and to determine as far as possible which information is reliable and which is the product of comic invention.</p> Vivian Navarro Martínez Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 La Commedia Antica negli etimologici bizantini: qualche lineamento <p>This paper aims to give an overview of the fragments of Old Comedy (excluding those from Aristophanes) preserved by the four major Byzantine etymologica. It will be shown how these bulky lexica display very different approaches: three of them preserve a comparatively significant number of such fragments, while the other hands down just few remnants, which moreover seem to be characterized by no antiquarian/Atticist interest (if not the other way round). It will be argued that this substantial difference might not rest just on different sources or on the use of different versions of the same work; instead, it might depend on the different purposes and cultural environments that produced the individual etymologica, thus helping to shed light on the obscure dynamics of the textual transmission of comic texts in the Byzantine era.</p> Simone Fiori Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 Orrore e metamorfosi nei frammenti del teatro eschileo <p>The situation relating to the fragments of Aeschylus, despite the valuable studies of recent years, is in difficult conditions to say the least. This work seeks to investigate perhaps one of the author’s most fascinating aspects: his relationship with the supernatural world and with mystery in general (<em>Athamas</em>, <em>Glaucus of Potniae, Ixion </em>and <em>Perrhaebian Women, Phorcides </em>and <em>Polydectes, Phineus, Ghost-Raisers, Glaucus the Sea-God, Archeresses, Daughters of the Sun, Callisto</em>). An attempt has therefore been made to synthesize what derives directly from what remains to us and to hypothesize, where possible, a credible reference plot from a philological point of view. Every little piece that we can place in its rightful place helps us to give new life not only to Aeschylus but also to little-known myths, the subject of dramas considered for centuries as a simple name. It is only a step aimed at identifying the right direction in the Aeschylean corpus.</p> Francesco Carpanelli Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 F. Carpanelli, Vincitori, vinti ed emarginati nel teatro classico: i Persiani, i Sette contro Tebe e le Supplici di Eschilo. Dalle guerre persiane alla morte di Efialte <p>Recensione</p> Mattia De Poli Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100 F. Carpanelli, F.P. Bianchi, P. Boagno, S. Francisetti Brolin, Costumi, macchinari e maschere. Come funzionava il teatro antico secondo Polluce. La crisi del Teatro e dell’Impero. Da Adriano a Commodo (117-192 d.C.) <p>Recensione</p> Andrea Giannotti Copyright (c) Sat, 31 Dec 2022 00:00:00 +0100