Il modello teorico di una poetica rituale proposta da D. Yatromanolakis e O. Roilos fonda una nuova problematica che si basa sulla inscrizione di forme rituali in più vasti sistemi d'espressione culturali e sociopolitici all'interno di varie tradizioni del mondo greco. Il "caso greco", col suo materiale sterminato, contrassegnato da svariate continuità e discontinuità, spesso pieno di rimaneggiamenti ideologicamente ispirati nell'arco di tre millenni, offre un terreno certamente impegnativo ma fecondo per indagini comparative. L'ipotesi è verificata in tre precisi ambiti di ricerca: Saffo e la lirica greca arcaica, il romanzo bizantino del XII secolo e l'opera poetica di Odysseas Elytis.
Schiefsky, Mark. 2014. “Galen and the tripartite soul.” Plato and the Divided Self, edited by Rachel Barney, Tad Brennan, and Charles Brittain, 331–349. Cambridge: Cambridge University Press, 331–349.
The Hippocratic treatise On Ancient Medicine, a key text in the history of early Greek thought, mounts a highly coherent attack on the attempt to base medical practice on principles drawn from natural philosophy. This volume presents an up-to-date Greek text of On Ancient Medicine, a new English translation, and a detailed commentary that focuses on questions of medical and scientific method; the introduction sets out a new approach to the problem of the work's relationship to its intellectual context and addresses the contentious issues of its date, authorship, and reception. The book will be of interest to scholars of ancient medicine and ancient philosophy, as well as anyone concerned with the history of science and scientific method in antiquity.
The festival of the Panathenaia, held in Athens every summer to celebrate the birthday of the city’s goddess, Athena, was the setting for performances of the Homeric Iliad and Odyssey by professional reciters or “rhapsodes.” The works of Plato are our main surviving source of information about these performances. Through his references, a crucial phase in the history of the Homeric tradition can be reconstructed. Through Plato’s eyes, the “staging” of Homer in classical Athens can once again become a virtual reality.
This book examines the overall testimony of Plato as an expert about the cultural legacy of these Homeric performances. Plato’s fine ear for language—in this case the technical language of high-class artisans like rhapsodes—picks up on a variety of authentic expressions that echo the talk of rhapsodes as they once practiced their art.
Highlighted among the works of Plato are the Ion, the Timaeus, and the Critias. Some experts who study the Timaeus have suggested that Plato must have intended this masterpiece, described by his characters as a humnos, to be a tribute to Athena. The metaphor of weaving, implicit in humnos and explicit in the peplos or robe that was offered to the goddess at the Panathenaia, applies also to Homeric poetry: it too was pictured as a humnos, destined for eternal re-weaving on the festive occasion of Athena’s eternally self-renewing birthday.