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Published By Servicio De Publicaciones De La Universidad De Murcia

1989-4619, 0213-7674

Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 45-60
Author(s):  
Nicola Piacenza

The first part of the article offers a metapoetic interpretation of Herondas’ Mimiamb 3, suggesting that the Hellenistic poet describes Cottalos and his passion for dice with allusion to Alexander Aetolus that wrote Astragalistai. In the second part, starting from some touch points between Mimiamb 3 and Calliamchus’ Iambus 2 (in particular the presence of three mysterious characters with similar names), the author gives some evidence for the identification of that characters with three poets who lived at that time and had undoubted contacts both with Alexander Aetolus and Callimachus: they are Antagoras of Rhodes, Philicus of Corcyra and Timon of Phlius. L’articolo offre nella prima parte un’interpretazione metapoetica del Mimiambo 3 di Eronda, suggerendo che il poeta ellenistico descriva Cottalo e la sua passione per i dadi con allusione ad Alessandro Etolo che scrisse gli Astragalistai. Nella seconda parte, prendendo le mosse da alcuni punti in comune tra il Mimiambo 3 ed il Giambo 2 di Callimaco (in particolare la presenza di tre misteriosi personaggi con nomi simili), vengono fornite alcune prove per l’identificazione di tali personaggi con tre poeti che vissero in quel periodo ed ebbero sicuri contatti sia con Alessandro Etolo che con Callimaco: si tratta di Antagora di Rodi, Filisco di Corcira e Timone di Fliunte.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 76-91
Author(s):  
Guillaume Flamerie de Lachapelle

In the Sententiae associated with Publilius, there are two main characteristics of anger: its brevity and its danger. Such a view was common by the end of the Republic. The moral assessment of anger can vary: when it is the result of a thoughtless impulsion, which occurs most of the time, the anger is blamed, but several verses seem to approve it when it came from a wise man. It is hard to understand whether this fact is influenced by a philosophy (Epicuraneism) or by dramaturgic necessities we do not know because of the fragmentary state of our corpus. It is nevertheless possible to assign a role to anger in several usual mime plots: it can provoke an argument as well as a reconciliation between two people who are in love and, as it appeared in Classical Comedy, it seems to occur often in a father-son relationship. Dans les Sentences attribuées à Publilius, deux traits sont inhérents à la colère: sa brièveté et sa dangerosité, ce qui reflète une vision largement partagée à la fin de la République. L’appréciation morale, elle, est variable: lorsqu’elle procède d’un élan irréfléchi, ce qui est le cas ordinaire, la colère est condamnée, mais plusieurs vers semblent l’approuver quand elle émane d’un sage. Il est difficile de déterminer si ce fait résulte d’une influence philosophique (l’épicurisme) ou de nécessités dramaturgiques qui nous échappent en raison du caractère fragmentaire du corpus. Il est toutefois possible d’assigner un rôle à la colère dans certaines intrigues probablement classiques du mime: elle est susceptible de provoquer aussi bien la fâcherie que la réconciliation entre amoureux et, à l’instar de la comédie classique, paraît fréquente dans les relations entre un père et son fils.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 214-221
Author(s):  
Xaverio Ballester Gómez

Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 222-223
Author(s):  
Lee Fratantuono
Keyword(s):  

Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 158-182
Author(s):  
Teresa Martínez Manzano
Keyword(s):  

Utilizando datos de orden textual, paleográfico, codicológico e histórico se examina en primer lugar la historia del manuscrito platónico Escur. Ψ I 1 desde su confección en Corfú a cargo de Demetrio Triboles en 1461-1462 hasta su adquisición por parte de Antonio Agustín a mediados del s. XVI. Tras analizar las fuentes textuales del códice y la dinámica de la copia, se concluye, a través del examen de los inventarios de la Biblioteca Vaticana, que el manuscrito formó parte de los fondos de esa biblioteca hasta el Saco de Roma de 1527. Se demuestra asimismo que otro códice platónico conservado en El Escorial, Escur. y I 13, procede también de la Biblioteca Vaticana, de donde desapareció igualmente con motivo del Saco antes de ser adquirido por Juan Páez de Castro. Se intenta además demostrar que tanto el Escur. Ψ I 1 como el Escur. y I 13 formaban parte de los fondos de la Vaticana ya desde 1475. Basing on textual, palaeographic, codicological and historic evidence, this paper firstly examines the history of the Platonic manuscript Escur. Ψ I 1 since its making in Corfu by Demetrios Triboles in 1461-62 till its purchase by Antonio Agustín in the middle of the 16th century. The textual sources of this codex and the copying process are also analysed. The conclusion reached through the examination of inventories in the Vatican Library is that the manuscript belonged to that library till the Sack of Rome in 1527. Secondly, this paper proves that another Platonic codex kept in El Escorial, Escur. y I 13, comes as well from the Vatican Library, from where it disappeared on the occasion of the Sack, and was later purchased by Juan Páez de Castro. Additionally, an attempt is made to prove that both Escur. Ψ I 1 and Escur. y I 13 belonged to the Vatican Library as early as 1475.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 9-28
Author(s):  
Paolo Santé

Analizo el texto y la colometría de los mss. Laurentianus plut. 32,2 (L) y Laurentianus conv. soppr. 172 + Palatinus gr. 287 (P) para el canto de entrada del coro de Heracles. Muchos lugares han sido discutidos y corregidos por un autorizado grupo de filólogos. Los discutiré nuevamente, proponiendo una defensa del texto antiguo y la colometría donde creo haber encontrado argumentos adecuados. Las ediciones modernas modifican la colometría en varios lugares, anulando la mezcla de cola yámbicos y trocaicos, que en cambio tiene su propia ratio. La presencia de los ἴαμβοι podría remontarse al género ialemos, una forma de lamento fúnebre, y la mezcla con los τροχαῖοι es típica del estilo de Eurípides, cuando quiere insistir en un tono sombrío y lúgubre. Cuando la atención de los ancianos de sí mismos se desplaza a los niños de Heracles, la versificación se vuelve en hypodochmi y τροχαῖοι como resultado de un tono más trepidante. This work analyzes text and colometry of mss. Laurentianus plut. 32,2 (L) and Laurentianus conv. soppr. 172 + Palatinus gr. 287 (P) for the chorus’ entrance song of Heracles. Many places have been discussed and corrected by an authoritative group of philologists. I will re-discuss them, proposing a defense of the ancient text and colometry, where I believe I have found suitable arguments. The modern editions modify the colometry in several places, cancelling the mixture of iambic and trochaic cola, which instead has its own ratio. The presence of ἴαμβοι could be traced back to ialemos genus, a form of funeral lament, and the mixture with τροχαῖοι is typical of Euripide’s style, when he wants to insist on a sombre and mournful tone. When the attention of the elderly people from themselves shifts to Heracles’ children, the versification turns into hypodochmi and τροχαῖοι as a result of a more trepidating tone.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 29-44
Author(s):  
Esteban Calderón Dorda

Aristófanes resulta ser una pieza clave para el conocimiento del léxico musical griego. La abundancia de testimonios que ofrece, sus apreciaciones técnicas y la creación de nuevos términos musicales le convierten en un importante eslabón en el campo de la música antigua. Su gusto por el detalle se evidencia en la descripción que realiza de los cantos y, sobre todo, de los instrumentos musicales. Aristophanes is a key piece for the Greek musical lexicon. The plenty of testimonies that he gives, his technical appreciations and the creation of new musical terms make him an important link in the scope of the ancient music. His interest in the detail is made evident in the description concerning songs and, especially, musical instruments.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 200-213
Author(s):  
Bartolomé Pozuelo Calero

¿Alcanzó al Quijote el resurgimiento del estoicismo, tan influyente en la cultura de su tiempo? El artículo rastrea la presencia de muchas de sus principales ideas en la novela: la bipartición entre espíritu y cuerpo y, consiguientemente, la división entre individuos espirituales y terrenales; las cualidades del espíritu: inalterabilidad de ánimo (constantia), paciencia, virtud, libertad; las pasiones y afectos terrenales: cólera, esperanza y miedo; la consideración expresa de la divina providencia; la autonomía de la moral; la visión de la adversidad como benéfica. La conclusión es que, al menos en la creación de sus personajes, Cervantes parece utilizar el ideal humano estoico como paradigma de altura moral. To what extent was Don Quixote influenced by the resurgence of Stoicism, which was so influential in the culture of that time? This article traces the presence of many of the principal ideas of Stoicism in the work: the separation between body and spirit and consequently the differentiation between spiritual and earthly individuals; the qualities of the spirit: the inalterability of mood (constantia), patience, virtue, freedom; the earthly passions and emotions: ire, hope and fear; divine providence, autonomy of morals; the idea of adversity as positive. One can conclude that when presenting his characters, Cervantes, at least, uses the Stoic human ideal as a model of high moral ground.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 92-95
Author(s):  
Loriano Zurli
Keyword(s):  

The article disputes the conclusions of Paolo d'Alessandro regarding two metra prototypa called into question in the discussion concerning the constitution of the text of the last verse of Persius' choliambi, as it appears in the critical edition of 2010 by Scivoletto – Zurli, and it mostly rejects the constitutio textus proposed by Paolo d’Alessandro who does not consider the handwritten position of the two readings nectar and melos included by him both in v. 14 with rhetorical and metric forcing. L'articolo confuta le conclusioni di Paolo d'Alessandro riguardanti due metra prototypa chiamati in causa nella discussione relativa alla costituzione del testo dell'ultimo verso dei choliambi di Persio, cosí come appare nell'edizione critica del 2010 di Scivoletto - Zurli, e soprattutto rifiuta la constitutio textus proposta da Paolo d'Alessandro che non considera la posizione manoscritta delle due letture nectar e melos da lui inserite entrambe nel v. 14 con forzature retoriche e metriche.


Myrtia ◽  
2021 ◽  
Vol 36 ◽  
pp. 183-199
Author(s):  
Daniel Río Lago

Las notas marginales, escritas en latín, castellano y griego, encontradas en un ejemplar de la edición de Facta et Dicta Memorabilia realizada por Juan María de Terranova en Salamanca (Archivo Municipal de Gijón, R/1), son el objeto de análisis de este trabajo. El estudio de estos elementos paratextuales supone la muestra de no solo un alto grado de interés por el texto de Valerio Máximo que refleja, sino también de unos sólidos conocimientos de la lengua latina y, además, de las ediciones, comentarios y Annotationes posteriores del mismo autor, lo que deja entrever un profundo esfuerzo por parte del glosador para mejorar su ejemplar. The marginal notes, written in Latin, Spanish and Greek, found in a copy of the edition of Facta et Dicta Memorabilia edited by Juan María de Terranova in Salamanca (Archivo Municipal de Gijón, R/1), are the object of analysis of this work. The study of these paratextual elements reveals not only a high degree of interest in Valerius Maximus text, but also a solid knowledge of the Latin language and, moreover, of the later editions and commentaries on the same author, which shows a great effort by the glossator to improve his copy.


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