Papers by Anna Beltrametti
Profilo biografico e scientifico di Diego Lanza, professore di Letteratura greca a Pavia
Fisicità e voce, gesto e ornamento nella comunicazione politica greca tra VI e IV secolo a. C.
In Greece, from Herodotus onwards, the ways of representing and therefo-
re also of interpreting... more In Greece, from Herodotus onwards, the ways of representing and therefo-
re also of interpreting power were brought into focus with full awareness.
The performances of the powerful man change in form and register not only
as a result of the different personalities, but also as a reflection and expres-
sion of different and alternative conceptions of power and its symbolism.
The powerful person who hides himself behind the royal mask or closes
himself in the fortress, thus building his own authority on absence and silen-
ce, can be contrasted to forms of power which are exhibited and dramatized
in presence. These reflections aim to draw attention to the language and
images by which Plutarch captures and interprets these oppositions and
these alternations in the biographies of Themistocles and Pericles, Nicias
and Alcibiades.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this p... more The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Storia delle Donne 20, 2024
La paura non è emozione di donne La trappola di Tucidide La iniziarono, questa guerra, Ateniesi e... more La paura non è emozione di donne La trappola di Tucidide La iniziarono, questa guerra, Ateniesi e Spartani, una volta rotta la tregua di trent'anni che era stata conclusa dopo la conquista dell'Eubea. Ho scritto, prima di raccontare della guerra, anche le ragioni e le contese che determinarono questa rottura, perché uno non debba, un giorno, cercare da dove si originò per i Greci una guerra di tale portata. La causa più vera, prophasis, ma meno esplicitamente dichiarata, ritengo che fosse il fatto che gli Ateniesi crescevano in potenza e facevano paura, phobon parechontas, agli Spartani fino a spingerli alla guerra. Ma le cause, aitiai, apertamente addotte, erano per entrambe le parti queste […].
Studies in the history of philosophy of mind, 2021
The theme of fear is a recurrent and relevant one in the great Athenian philosophies of the fourt... more The theme of fear is a recurrent and relevant one in the great Athenian philosophies of the fourth century. In the Platonic corpus, the theme is differently divided between ethics, politics and religion. Aristotle, in Rhetoric and Poetics, extends the theme of fear to discourses and their effects.
Quaderni Urbinati Di Cultura Classica, 2001
... Page 3. Al di l? del mito di Eros 101 ... Fedra ? infatti anche il personaggio simbolo del ra... more ... Page 3. Al di l? del mito di Eros 101 ... Fedra ? infatti anche il personaggio simbolo del rapporto equivoco e inquinato che la cultura politica di V sec?lo intrattiene, anche attraverso il teatro, con i propri miti, della dissonanza tra i miti di cui la cultura si nutre ei comportamenti di cui ...
LE FUNZIONI DEL SILENZIO NELLA GRECIA ANTICA ANTROPOLOGIA, POESIA, STORIOGRAFIA, TEATRO , 2015
In dramaturgical writing, the characters' silence cannot be always traced back to the rhe- torica... more In dramaturgical writing, the characters' silence cannot be always traced back to the rhe- torical devices of practeritio or aposiopesis. nI some dramas, silence si alusion, si hte poctic form of what si secret and unspeakable: scandal and fear in Aeschylus' Agamemnon; dis- respect and shame - aidos - in Euripides' Hippolytus; promise of a new kingdom ni the
Prometheus Bound.
Materiali di Estetica. Terza serie – N. 11.1:, 2024
Dal sogno dell'investitura poetica alle parole ambigue come i sogni Nell'entre-deux, tra parole e... more Dal sogno dell'investitura poetica alle parole ambigue come i sogni Nell'entre-deux, tra parole e cose: le menzogne simili al vero da Esiodo a Luciano
DOAJ (DOAJ: Directory of Open Access Journals), May 1, 2015
L’Antigone di Sofocle puo essere considerata un testo emblematico dei maggiori problemi che un tr... more L’Antigone di Sofocle puo essere considerata un testo emblematico dei maggiori problemi che un traduttore dei classici deve affrontare. Sul piano del linguaggio dialoghi e discorsi argomentati per persuadere si alternano con canti, corali e monodici, costruiti per associazione di immagini e giocati sull’emozione. Molte traduzioni autorevoli della tragedia hanno privilegiato il dolore e l’amore del personaggio di Antigone, facendo perdere di vista il forte tema drammatico, la philia, il legame di coappartenza su cui si fonda la vita collettiva, diversamente inteso da Antigone e da Creonte. Questa riflessione cerca di riportare l’attenzione sul rapporto della traduzione con i contenuti di pensiero del testo drammatico, sulla necessita di restituire prima di tutto la lettera del testo antico e di situarla nella sua storia senza offuscarla con sterili esercizi di stile. Sophocles’ Antigone can be considered as an example of the major problems a translator of the classics has to face. On the level of the language, dialogues and discourses conceived to persuade alternate with songs, choral and monodic, composed by association of images and played on emotions. Many authoritative translations have privileged the pain and the love present in the character of Antigone, obscuring however the powerful dramatic theme – the philia – the bounds on which public life is based, and which are differently understood by Antigone and Creon. This work tries to bring the attention back to the relation between the translation and the contents of the dramatic thought, and to the ne-cessity of first of all restoring the literal meaning of the ancient texts, without obfuscating it with empty academic exercises.
The essay moves from a consideration on whether and how it is legitimate to identify an antigonia... more The essay moves from a consideration on whether and how it is legitimate to identify an antigonian paradigm in the contemporary world, then combines theoretical reflections on present-day reading practices, the need for an ethical redirection of Cultural Studies and the need of adjusting the position of "neglected"; literary texts. There are two crucial points of the analysis that represent two foci of an ellipse: the recognition of (meta)narrative fictionality as an evocation of liminality in Sophocles’ text, which can be recognized as a narrative isotopy and a confirmation of the correctness of the critical approach - also linked to the aesthetic response to the texts - therefore allowing and encouraging the return (also) to “ordinary” reading practices, and the political-philosophical thought linked to the concepts of "open practice"; and "co-presence"; derived from Aldo Capitini, which allows a dialogic conception of critical philosophy and literary critique and a non polarizing attitude towards canon formation. A short reading of Lou Salomé’s Menschenkinder serves as example of the present-day strength of Antigone’s figure as “living symbol”.
ENGRAMMA 200, 2023
Heliodorus’ narration is based on a complex play of subplots that undermines the linearity of the... more Heliodorus’ narration is based on a complex play of subplots that undermines the linearity of the main story, multiplying scenes, figures and characters of extraordinary vividness. This continous overlapping of different stories and images exceeds substantially the poetics and aesthetics of the erudite ékphrasis typical of the Hellenistic- imperial Greek novel. Urging the reader to the theme of otherness from the color of the skin and the different languages spoken by the characters, the novel lands on the image of Cariclea, the Ethiopian princess with snow- white skin stained by an ebony circle on her arm, above the elbow. It is the macro-sign, the strongest among the other signs, through which Heliodorus expresses in words and images the world of the Mediterranean between the third and fourth centuries, an extraordinary, as well as fascinating and distressing, cultural mélange, where contamination operates under the play of apparent differences.
This book collects papers by many eminent scholars and young researchers on the topic of confront... more This book collects papers by many eminent scholars and young researchers on the topic of confrontation and historical, cultural, and economic relationships between East and West, particularly focusing on how the Orient was experienced and interpreted by Western travellers, historians, and scholars (of past and present times) in the light of E. Said's "Orientalism". [Visioni d'Oriente raccoglie una serie di riflessioni su un tema – quello della complessa relazione tra Occidente e Oriente – che è da millenni al centro dell'attenzione di intellettuali e artisti, pacifisti e bellicisti, assolutisti e relativisti, Occidentali e Orientali. Raccoglie le voci di alcuni autorevoli studiosi italiani: voci nuove su argomenti noti, ma così complessi da meritare di essere riconsiderati e riattualizzati; voci esperte su temi nuovi, che emergono da un presente dinamico e in rapidissima evoluzione. Visioni d'Oriente rimette al centro il tema dell'incontro-scontro tra i...
Dionysus ex Machina, 2022
Forme antiche dell'acqua. Il meraviglioso, il verosimile, il fantastico e l'enigma delle Trachini... more Forme antiche dell'acqua. Il meraviglioso, il verosimile, il fantastico e l'enigma delle Trachinie Καὶ γὰρ οὐδὲν πλείων ὁ πᾶς χρόνος φαίνεται οὑτω δὴ εἶναι ἤ μία νύξ (Platone, Apologia di Socrate 40e)
e essay investigates some gures of nurses in Greek tragedy, highlighting their di erence in order... more e essay investigates some gures of nurses in Greek tragedy, highlighting their di erence in order to elicit the transformations required by the dramatic reshaping of the ancient folkloric and epic gure of the character. Starting from Eurycleia, the archetypical gure of the nurse in the Odyssey, the study rst focuses on Cilissa, the nurse of Orestes in Aeschylus' Libation-Bearers, then analyzes the very di erent Euripidean gures of Medea's Nurse, of Phaedra's Nurse in Hippolytus and of Hermione's Nurse in Andromache, highlighting their noble or high origin in contrast with a conventional line of study that classi es them among the humble characters of tragedy. Minor though not humble characters, the tragic nurses interpret from time to time the strong distinctive features of the Homeric Eurycleia: a good substitute mother is Cilissa, in con ict with the bad natural mother of Orestes in Aeschylus; the critical intelligence, almost a dramatic split of the protagonist, is the dominant trait of Medea's nurse; the self-denial of unrequited maternal love connotes Phaedra's nurse; the ambivalence bordering on servile duplicity distinguishes Hermione's nurse. Introducing into tragedy now the language of feelings and bodies, now the voice of the shared and collective ethos in contrast with the passions of the main characters, the Nurses incarnate in the great texts the feminine dimension and, be er than the Pedagogues, recall the common feeling with its principles and its gnomai, o en overcome or transgressed for political reasons.
Il piacere proprio della tragedia: in quale rapporto sta con il piacere proprio delle recite raps... more Il piacere proprio della tragedia: in quale rapporto sta con il piacere proprio delle recite rapsodiche? Emozioni, tecniche e intenzioni: un'impasse aristotelica ABSTRACT: Lo studio si propone di mettere meglio in luce lo snodo che Aristotele, con un'argo mentazione spesso controversa, stabilisce tra piacere proprio della tragedia e piacere proprio della recitazione rapsodica. Mentre la lettura sinottica di alcuni passi della Poetica e dello Ione platonico lasciano immaginare una forte continuità nel segno delle emozioni capitali della paura e della pietà, Aristotele introduce una frattura e valorizza una techne tragica capace di dominare gli effetti istantanei delle emozioni e di tradurle in una forma di piacere, una sola volta definito katharsis, anche cognitivo. Nel trattato, solitamente letto come una morfologia descrittiva e normativa della tragedia, questo studio rintraccia una prima estetica dello spettacolo disturbante. PAROLE CHIAVE: piacere della tragedia; piacere delle rapsodie; tecnica poetica; delirio poetico; il paradosso del piacere molesto
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Papers by Anna Beltrametti
re also of interpreting power were brought into focus with full awareness.
The performances of the powerful man change in form and register not only
as a result of the different personalities, but also as a reflection and expres-
sion of different and alternative conceptions of power and its symbolism.
The powerful person who hides himself behind the royal mask or closes
himself in the fortress, thus building his own authority on absence and silen-
ce, can be contrasted to forms of power which are exhibited and dramatized
in presence. These reflections aim to draw attention to the language and
images by which Plutarch captures and interprets these oppositions and
these alternations in the biographies of Themistocles and Pericles, Nicias
and Alcibiades.
Prometheus Bound.
re also of interpreting power were brought into focus with full awareness.
The performances of the powerful man change in form and register not only
as a result of the different personalities, but also as a reflection and expres-
sion of different and alternative conceptions of power and its symbolism.
The powerful person who hides himself behind the royal mask or closes
himself in the fortress, thus building his own authority on absence and silen-
ce, can be contrasted to forms of power which are exhibited and dramatized
in presence. These reflections aim to draw attention to the language and
images by which Plutarch captures and interprets these oppositions and
these alternations in the biographies of Themistocles and Pericles, Nicias
and Alcibiades.
Prometheus Bound.
Intervengono: Maddalena Bassani, Anna Chiara Bellinato,
Anna Beltrametti, Concetta Cataldo, Monica Centanni,
Maria Grazia Ciani, Francesca Ghedini, Alessandro Grilli,
Roberto Indovina, Ludovico Rebaudo.
Venezia, Palazzo Badoer, Centro studi classicA ore 14.
Seminario a cura di Monica Centanni. Con Monica Baggio, Maddalena Bassani, Anna Beltrametti, Concetta Cataldo, Alessandro Grilli, Roberto Indovina, Ludovico Rebaudo