Poesia degli oggetti e oggetti di poesia nelle favole di Fedro

  title={Poesia degli oggetti e oggetti di poesia nelle favole di Fedro},
  author={Chiara Renda},
Fluctuating between the fantastic character of the Aesopian fable and the concrete nature of the Roman society, Phaedrus gives objects two different roles: in tales about animals, objects are 'foreign bodies', and serve a metaphorical function in line with the moralizing purpose of the story. In tales about humans, on the other hand, objects 'define' characters, and root the story more deeply in a specifically Roman context, closer to the world of satire than to that of narrative literature. 



Fedro, la volpe e la maschera tragica (1,7)

Abstract: Through the reconstruction of the Greek tradition of the fable Aesopic you can grasp the degree of originality of Phaedrus in comparison with the model. The fable of fox and tragic mask is

From Aeschylus to Phaedrus. Fables in tragedy, tragedy in fables

The genres fable and tragedy do not have much in common. The fable was understood as a means of persuasion or illustration but was not held in high esteem. Thus, it is only seldom used in tragedies.

Ad cothurnum ascendere : Fedro, Marziale, Apuleio e le tentazioni del sublime

Analysis of analogies and differences in the ways these three authors justify – often self-ironically – their choice of a “lower” literary genre.

"Sic saepe ingenia calamitate intercidunt." New approaches to Phaedrus. An essay in nine chapters and one preliminary remark

The fables of Phaedrus have long been neglected or have received harsh criticism. If they have been focussed on at all, they were often regarded only as part of the history of motifs or were

Phaedrus, Callimachus and the recusatio to Success

The following article investigates how Phaedrus9 Latin verse fables engage standard Callimachean topoi. When Phaedrus imitates the Hymn to Apollo he fails to banish Envy and when he adopts

Roman Amphorae and the Ager Falernus under the Empire

  • P. Arthur
  • Art
    Papers of the British School at Rome
  • 1982
ANFORE ROMANE E AGER FALERNUS SOTTO L'IMPERO L'articolo illustra alcune forme di anfore fino ad ora sconosciute trovate nell'Ager Falernus in siti provvisti di fornaci. La loro identificazione è

Persona e le origini del teatro romano

L'A. propose une reflexion de type historico-religieux sur les origines du theâtre romain. C'est l'evolution de la signification et de l'emploi inherents a la persona qui sert de fil conducteur a


does not always yield good results. E.g., IV.60 (p. 151): 'That tendons draw towards themselves the following is indication' is almost a word-for-word translation, but the sentence only makes sense

La gestualidad de la barba y el mentón en la Antigüedad romana

Resumen: La barba y el menton son dos partes del cuerpo a los que se asocia un buen numero de gestos. En este trabajo describimos estos gestos a partir de los textos que nos los transmiten e


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