Papers by Elena Rossi Linguanti

Lexis Supplementi | Supplements 12, 2023
This article investigates two pairs of sonnets that portray Cassandra and Clytaemnestra written b... more This article investigates two pairs of sonnets that portray Cassandra and Clytaemnestra written by Emily Pfeiffer, one of the many neglected Victorian women writers. It explores the intertextual relation with the classical models and the ways in which the new interpretation of the two heroines given by Pfeiffer undermines the traditional one. Keywords Cassandra. Clytaemnestra. Rewriting of classical Myth. Victorian age. Feminism. Sommario 1 Reinterpretare il mito.-2 Il genere letterario e la voce poetica.-3 Il segmento mitologico e la dimensione temporale.-4 La caratterizzazione dei personaggi.-5 Parallelismi e divergenze.-6 Conclusioni. Κλυταιμήστρα. λέξω δὲ... καίτοι δόξ᾽ ὅταν λάβῃ κακὴ γυναῖκα, γλώσσῃ πικρότης ἔνεστί τις. ὡς μὲν παρ᾽ ἡμῖν, οὐ καλῶς. (Eur. El. 1013-15) 3 Cf. Olverson 2010, 84. Sul difficile accesso all'educazione classica per le donne, cf.

Nuova Secondaria Ricerca, 2021
Un approccio comparatistico allo studio del latino che mostri il dialogo fra i classici e il mond... more Un approccio comparatistico allo studio del latino che mostri il dialogo fra i classici e il mondo moderno può permettere di affrontare anche argomenti sensibili e di grande rilevanza quale la violenza contro le donne. Tra i numerosi episodi del repertorio mitologico in cui le donne sono vittime della brutalità maschile, il contributo ne seleziona tre molto noti, che sono alle origini della storia di Roma (Rea Silvia, le Sabine, Lucrezia). Attraverso la lettura e l’esame contrastivo delle varie versioni greche e latine (gli storiografi Dionigi di Alicarnasso, Livio e Plutarco, e i poeti Ovidio e Properzio) e il parallelo con alcune opere artistiche moderne ispirate a quelle vicende (di Colombel, Poussin, Tiziano, Artemisia) è possibile suscitare riflessioni sulle origini del fenomeno e contribuire a generare consapevolezza e a decostruire gli stereotipi di genere.
A comparative approach to the study of Latin that shows the dialogue between classics and modern world can also make it possible to address highly important issues such as violence against women. Among the several episodes of the mythological repertoire in which women are victims of male brutality, this essay selects three well-known stories which are at the origins of Rome (Rea Silvia, the Sabine women, Lucrezia). Through the reading and examination of Greek and Latin versions (the history writers Dionysius of Halicarnassus, Livius and Plutarch, and the poets Ovid and Propertius) and the parallel with some modern artistic works inspired by those episodes (Colombel, Poussin, Titian, Artemisia) it is possible to reflect on the origins of the phenomenon and to generate awareness and deconstruct gender stereotypes.
Humanitas Nova. Rivista internazionale di cultura umanistica, 2021
Attraverso la presentazione di alcune proposte didattiche emerse nell'ambito dell'insegnamento di... more Attraverso la presentazione di alcune proposte didattiche emerse nell'ambito dell'insegnamento di Didattica del Latino, l'intervento si propone di stimolare una riflessione sulle possibilità derivate dall'impiego di approcci e strumenti innovativi in grado di coinvolgere gli studenti e motivare lo studio del latino.
Dalla parte di Giasone. Kashnitz, Seghers, Pavese e la riscrittura del mito a cura di M.S. Mirto (traduzioni di Federica Tedeschi), 2019
In copertina: Particolare della poppa di una nave raffigurata sulla superficie interna di un crat... more In copertina: Particolare della poppa di una nave raffigurata sulla superficie interna di un cratere attico a figure nere (terzo quarto del VI sec. a. C., Museo Archeologico di Thera).
STUDI CLASSICI E ORIENTALI INTERPRETAZIONI STUDI IN ONORE DI GUIDO PADUANO, 2019
In Richard Glover’s Medea the protagonist kills her children in a fit of temporary insanity. Crit... more In Richard Glover’s Medea the protagonist kills her children in a fit of temporary insanity. Critics have always interpreted such innovation as the only possible way to represent a child-murdering mother on the British stage, but in fact it produces a series of effects which end in utterly distancing from the traditional myth. This essay examines the madness scenes in Glover’s tragedy and attempts at identifying the possible source of this innovation in the alternative paradigm of Herakles.

Novom aliquid inventum. Scritti sul teatro antico per Gianna Petrone a cura di Maurizio Massimo Bianco, Alfredo Casamento, Palermo, Palermo University Press , 2018
This essay examines the final scenes of Plautus’ Menaechmi and Shakespeare’s The Comedy of Errors... more This essay examines the final scenes of Plautus’ Menaechmi and Shakespeare’s The Comedy of Errors and tries to identify the patterns of solving the misunderstandings in both comedies. In particular, the analysis focuses on the strategies that are always associated with the theme of the double. The first part of the fifth act is filled by further confusion of identity, many analepses and several recognitions: Shakespeare draws on themes, motives, expressions not only from Menaechmi, but also from Amphitruo, and not only from the ending, but also from other scenes of the latin models. Through the identification of a common syntax of errors and confusion, it is possible to appreciate both Plautus’ influence and Shakespeare’s original appropriation of it.
Dioniso. Rivista di Studi sul Teatro Antico, 2017
The main character of Maricla Boggio’s Medea is a modern Medea which, in a fictitious dialogue wi... more The main character of Maricla Boggio’s Medea is a modern Medea which, in a fictitious dialogue with a psychoanalyst, decides not to kill her rival nor her children. This solution, totally different from the one of the traditional myth, is made possible by the analytical process and the feminist achievements. However, Medea must go through the whole antecedent tradition: Boggio’s text includes the voices of previous Medeas (by Euripides, Seneca, Corneille, Cherubini, Niccolini and Anouilh) from which the modern character distances herself. This essay examines how the intertexts connect and interact with each other and with the modern perspective.

Skené. Journal of Theatre and Drama Studies , 2016
This essay examines the way in which narrative diegesis and dramatic mimesis interact in Browning... more This essay examines the way in which narrative diegesis and dramatic mimesis interact in Browning’s Balaustion’s Adventure, Including a Transcript from Euripides, a long poem in blank verse made of 2705 lines. The complex structure of this poem is made up of four main sections: 1) an opening narrative frame, where Balaustion tells her four friends how she saved herself by reciting Euripides’ Alcestis at Syracuse (ll. 1-357); 2) the full version of Alcestis, which is not only recited by Balaustion but also commented upon (ll. 358-2396); 3) a personal version accompanied by a new interpretation of the play (ll. 2397-2660); 4) a closing narrative frame where Balaustion once again affirms Alcestis’ extraordinary value (ll. 2661-2705). In particular, the essay focuses on the frame with the aim of exploring the structural originality of the poem and its hybrid texture: with regard to the literary genre, the frame blends drama, historical narratives and epics; as for the mood, mimesis and diegesis alternate in almost every section. What lends continuity to the text is Balaustion, narrator and main character, spectator and performer: with her performative speech-acts, it is she who directs the succession of diegesis and mimesis. Finally, the poem has also a metapoetic function, that consists in the glorification of the extraordinary power of poetry.

Pan, 2016
It is well known that Corneille’s Médée shows a close relationship, more than with Euripides’ tra... more It is well known that Corneille’s Médée shows a close relationship, more than with Euripides’ tragedy, with Seneca’s play. However, before adopting Seneca as his prevailing model, in the first scene of Médée - the dialogue between Jason and Pollux that informs the public about the antecedents - Corneille makes use of Ovid’s Heroides and Metamorphoses when he mentions the figure of Hypsipyle (the speaker in Her. VI), and narrates Pelias’ death (Met. VII, 295-351). Corneille explores all the possibilities offered by these two Ovidian episodes: although limited and marginal, Ovid’s texts not only offer the antecedents necessary for understanding Médée, but are also essential for interpreting the characters of Jason and Medea and for assessing Corneille’s originality.
È noto che la Médée di Corneille dipende strettamente, più che dalla tragedia euripidea, da quella senecana. Tuttavia, prima di adottare Seneca come modello prioritario, nella scena iniziale dell’opera - il dialogo fra Giasone e Polluce deputato a informare gli spettatori dell’antefatto -, Corneille attinge al modello ovidiano di Heroides e Metamorfosi. Il primo inserto riguarda la figura di Ipsipile, autrice della sesta delle Heroides, e il secondo consiste nel racconto dell’uccisione di Pelia, sul modello di Met. VII, 295-351, due episodi da cui l’autore ricava il massimo dell’espressività. Per quanto marginale e limitato, il testo ovidiano non soltanto offre le informazioni iniziali necessarie per comprendere l’opera, ma fornisce anche spie preziose per l’interpretazione dei personaggi di Giasone e Medea e permette di comprendere alcuni tratti dell’originalità dell’opera corneliana.
Il Nome nel testo. Rivista internazionale di onomastica letteraria, 2015
The speaker in Balaustion’s Adventure, a character created by Browning, is a Rhodian woman whose ... more The speaker in Balaustion’s Adventure, a character created by Browning, is a Rhodian woman whose name means “wild pomegranate flower”. This essay examines Browning’s choice of the name and analyses its possible meanings. The pomegranate, celebrated in Greek mythology, in the Bible, in ancient and modern poetry and art, has many symbolic implications. In this sense, it is particularly appropriate to Balaustion who blends within herself all the metaphorical dimensions inherent in the pomegranate and is imbued with additional meaning through the identification with poetry. It is only poetry, in fact, that is able to grant salvation and immortality.

Pan, 2014
As is widely known, Shakespeare’s The Comedy of Errors has among its major sources Plautus’ Menae... more As is widely known, Shakespeare’s The Comedy of Errors has among its major sources Plautus’ Menaechmi and Amphitruo. This essay examines the lock-out scene (The Comedy of Errors III, i) in which Antipholus of Ephesus is kept out from his own house because his twin, Antipholus of Syracuse, is already within, with the aim of analysing the interaction between the models and offering an example of Shakespeare’ refined technique of contamination. In actual fact, Shakespeare draws on two episodes from Amphitruo (Amph. 153-462 and 1021-1034 e 1035-1052) and two from Menaechmi (Men. 602-674 and 675-700). Condensing four episodes into a single scene requires a great ability: Shakespeare intermixes the models and, even when using the same model, weaves one scene with another, thus further shuffling the cards. His intent is to explore all the possibilities offered by the lock-out motif, by this only apparently farcical scenic device able to produce, as is the case with Plautus, a series of effects which cannot be easily framed in comical terms or reduced to mere comicality.

Maia, 2013
This essay examines the Vergilian cento Alcesta in relation to its models. It attempts to identif... more This essay examines the Vergilian cento Alcesta in relation to its models. It attempts to identify the impact generated by Virgil’s presence and to highlight both recoveries and changes from Euripides’ Alcestis and consonances and differences from the other Late Antiquity poem on Alcestis’ myth, the Alcestis Barcinonensis. With Euripides, there are similarities in the second part of the cento, the dialogue between Alcestis and Admetus, from the dialogue scene and from the servant’s rhesis in the Greek tragedy; with the Alcestis Barcinonensis there are matches in the representation of the antecedents, even wider in Alcesta, and in the unhappy ending with the heroine’s death not followed by resurrection; the transposition of Virgil’s verses does not seem to be a simple game left to chance, but it is composed with a constant attention to the new meanings generated by the interaction.

Aevum antiquum , 2012
Elizabeth Barrett translated Aeschylus' Prometheus twice: the first version was published in 1833... more Elizabeth Barrett translated Aeschylus' Prometheus twice: the first version was published in 1833 (Prometheus Bound and Miscellaneous Poems), whereas the second in 1850 (Poems). This paper analyzes the preface which Elizabeth Barrett wrote for the 1833 edition and which is a very interesting essay, both erudite and poetical. One of the aims of the preface is to give reasons for her translation: her version of Prometheus is accounted for by her observations on the theory of translation – especially by the defence of individuality and multiplicity –, and by her conception of classics as necessary tools in contemporary aesthetics. Secondly, Barrett recognizes Aeschylus' excellence and, in particular, the Prometheus' superiority upon his other tragedies in the fact that the Titan is the only heroic character with whom the reader identifies emotionally and exclusively. The last and most important contribution of the preface lies in the fact that it provides a justification for Barrett's decision to include , after Aeschylus' translation, her own poems: she accomplishes this in asserting the right of making her personal voice heard.
Dioniso, 2011
The late-antiquity poem Alcestis Barcinonensis shows a close relationship with Euripides’ tragedy... more The late-antiquity poem Alcestis Barcinonensis shows a close relationship with Euripides’ tragedy. The anonymous author intervenes in the spaces left free by Euripides while eliminating the psychological complexities arising from the interaction between characters. Admetus shows his human frailty; of his parents, selfishness is unmasked; Alcestis has heroic stature, although the contamination with Propertius makes her an exemplary model for every bride. The largest feature of differentiation from the Greek model is the unhappy ending. On one side this recalls the endings in Orpheus and Eurydice’s myth, which change from the miraculous coming back to life of the woman to her death. On the other, one may see the influence of the contemporary culture which conceives resurrection only in its miracolistic Christian dimension and can’t claim such power for human love.

Studi offerti ad Alessandro Perutelli, a cura di P. Arduini, S. Audano, A. Borghini, A. Cavarzere, G. Mazzoli, G. Paduano, A. Russo, 2008
Il saggio analizza Qui n’a pas son Minotaure, l’unica delle opere teatrali di ascendenza classica... more Il saggio analizza Qui n’a pas son Minotaure, l’unica delle opere teatrali di ascendenza classica della Yourcenar a non avere un ipotesto di riferimento, e che rappresenta una sequenza narrativa allargata. Forse proprio a causa dell’assenza di un modello, non solo le vicende che precedono, ma anche quelle che seguono nella sequenza mitologica vengono recuperate tramite una rete di analessi e prolessi che hanno la funzione di rimandi intertestuali alla tradizione. Inserendosi nello scenario novecentesco, l’opera ruota attorno alla demistificazione dell’eroismo di Teseo e all’interpretazione psicoanalitica del personaggio. Per quanto riguarda Fedra, prevalgono un abbassamento corrosivo e uno svuotamento etico, mentre Arianna è riscattata da sorella di Fedra a unico personaggio illuminato di una qualche positività.

Maia, 2008
La Phaedra di Swinburne è un testo rimasto marginale nella lunga catena di capolavori sul mito di... more La Phaedra di Swinburne è un testo rimasto marginale nella lunga catena di capolavori sul mito di Fedra: il materiale tematico e linguistico proviene dall’Ippolito di Euripide, dalla Phaedra di Seneca, dalla quarta delle Heroides di Ovidio e dalla Phèdre di Racine, in una trama fitta e intricata di allusioni e prestiti la cui identificazione rende possibile valutare la portata dell’intervento interpretativo di Swinburne. L’autore riutilizza il mito di Fedra, antonomastico dell’amore illecito e ineffabile, per contestare l’ideologia del puritanesimo vittoriano e rifiutarne le mistificazioni moralistiche. Nella sua Phaedra non ci sono censure né reticenze del desiderio erotico: come tutte le figure swinburniane, Fedra si trasforma in una “femme fatale”, in contrasto con i canoni morali, paradigma di un erotismo aggressivo ed ossessivo. Il centro tematico, reiterato lungo tutto il testo, diventa un unico concetto, che costituisce il fulcro di gran parte della lirica swinburniana: l’eros come energia distruttiva, equivalente alla morte.

Myths of Europe, edited by Richard Littlejohns - Sara Soncini, 2007
Dryden’s Amphytrion may be seen as part of a cultural tradition which starts from Plautus and pas... more Dryden’s Amphytrion may be seen as part of a cultural tradition which starts from Plautus and passes through Rotrou’s faithful translation and Molière’s brilliant re-elaboration, to arrive at the modern versions by Kleist and Giraudoux. In this series of masterpieces, the attention reserved for Dryden’s comedy has been largely negative: critical reviews generally only point out the greater influence of Molière, list the structural differences and amplifications of the plot, and formulate overall judgments of censure. The essay shows that in Dryden’s play the textual stratification is far more richer than is usually recognized, and reveals in Dryden an extraordinary capacity for assimilation, not only from Molière and Plautus, but also from Rotrou and Heywood and from the Shakespearean model, Othello and Romeo and Juliet, which offer a solid basis for innovation.

Il saggio esamina la tragedia di Marlowe Tamburlaine e mostra le analogie fra Tamerlano e il pers... more Il saggio esamina la tragedia di Marlowe Tamburlaine e mostra le analogie fra Tamerlano e il personaggio di Ercole nelle due tragedie senecane a lui intitolate. I tratti caratteristici del modello classico che si concentrano in Tamerlano sono il desiderio di potere, l’esercizio della violenza come segnale di valore eroico e la sfida alla divinità. Tuttavia, il valore fondante del modello classico si scontra con un’anomalia che caratterizza l’eroe moderno. Infatti il personaggio senecano è costruito su un’ambiguità: il forte individualismo si accompagna alla consapevolezza della propria diversità ed emarginazione dal mondo umano, il suo orgoglio si alterna al senso di inadeguatezza e al disagio della frustrazione nei confronti del mondo divino. Marlowe sceglie invece per Tamerlano una declinazione che isola la dimensione totalitaria dell’individualismo e le istanze di affermazione egotistica, dando forma a un personaggio privo di conflittualità e incertezze. Tale svolta conferisce a Tamerlano una dimensione di irriducibile monoliticità.
The Ground Beneath Her Feet is the first novel in which Rushdie makes such an extensive use of cl... more The Ground Beneath Her Feet is the first novel in which Rushdie makes such an extensive use of classical mythology: pride of place goes to the story of Orpheus and Eurydice, the myth which represents the relationship between music, love and death.
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Papers by Elena Rossi Linguanti
A comparative approach to the study of Latin that shows the dialogue between classics and modern world can also make it possible to address highly important issues such as violence against women. Among the several episodes of the mythological repertoire in which women are victims of male brutality, this essay selects three well-known stories which are at the origins of Rome (Rea Silvia, the Sabine women, Lucrezia). Through the reading and examination of Greek and Latin versions (the history writers Dionysius of Halicarnassus, Livius and Plutarch, and the poets Ovid and Propertius) and the parallel with some modern artistic works inspired by those episodes (Colombel, Poussin, Titian, Artemisia) it is possible to reflect on the origins of the phenomenon and to generate awareness and deconstruct gender stereotypes.
È noto che la Médée di Corneille dipende strettamente, più che dalla tragedia euripidea, da quella senecana. Tuttavia, prima di adottare Seneca come modello prioritario, nella scena iniziale dell’opera - il dialogo fra Giasone e Polluce deputato a informare gli spettatori dell’antefatto -, Corneille attinge al modello ovidiano di Heroides e Metamorfosi. Il primo inserto riguarda la figura di Ipsipile, autrice della sesta delle Heroides, e il secondo consiste nel racconto dell’uccisione di Pelia, sul modello di Met. VII, 295-351, due episodi da cui l’autore ricava il massimo dell’espressività. Per quanto marginale e limitato, il testo ovidiano non soltanto offre le informazioni iniziali necessarie per comprendere l’opera, ma fornisce anche spie preziose per l’interpretazione dei personaggi di Giasone e Medea e permette di comprendere alcuni tratti dell’originalità dell’opera corneliana.
A comparative approach to the study of Latin that shows the dialogue between classics and modern world can also make it possible to address highly important issues such as violence against women. Among the several episodes of the mythological repertoire in which women are victims of male brutality, this essay selects three well-known stories which are at the origins of Rome (Rea Silvia, the Sabine women, Lucrezia). Through the reading and examination of Greek and Latin versions (the history writers Dionysius of Halicarnassus, Livius and Plutarch, and the poets Ovid and Propertius) and the parallel with some modern artistic works inspired by those episodes (Colombel, Poussin, Titian, Artemisia) it is possible to reflect on the origins of the phenomenon and to generate awareness and deconstruct gender stereotypes.
È noto che la Médée di Corneille dipende strettamente, più che dalla tragedia euripidea, da quella senecana. Tuttavia, prima di adottare Seneca come modello prioritario, nella scena iniziale dell’opera - il dialogo fra Giasone e Polluce deputato a informare gli spettatori dell’antefatto -, Corneille attinge al modello ovidiano di Heroides e Metamorfosi. Il primo inserto riguarda la figura di Ipsipile, autrice della sesta delle Heroides, e il secondo consiste nel racconto dell’uccisione di Pelia, sul modello di Met. VII, 295-351, due episodi da cui l’autore ricava il massimo dell’espressività. Per quanto marginale e limitato, il testo ovidiano non soltanto offre le informazioni iniziali necessarie per comprendere l’opera, ma fornisce anche spie preziose per l’interpretazione dei personaggi di Giasone e Medea e permette di comprendere alcuni tratti dell’originalità dell’opera corneliana.