Frammenti sulla Scena (online) https://www.ojs.unito.it/index.php/fss <p style="text-align: justify;">La rivista scientifica <strong><a href="https://www.ojs.unito.it/index.php/fss/index">Frammenti sulla Scena (online). Studi sul dramma antico frammentario</a></strong>&nbsp;è l'organo scientifico ufficiale del&nbsp;<a href="http://www.teatroclassico.unito.it"><strong>Centro Studi sul Teatro Classico</strong>&nbsp;<strong>dell'Università degli Studi di Torino</strong></a>.</p> <p style="text-align: justify;">La rivista accoglie contributi dedicati all'indagine degli aspetti letterari, linguistici, filologici, antropologici, filosofici, storico-archeologici e papirologici del dramma frammentario greco-latino e delle tradizioni teatrali minori del Mediterraneo, nonché studi relativi alla permanenza, alla fortuna e all'esegesi dei testi teatrali in epoca antica, tardoantica, bizantina e paleocristiana.</p> <p style="text-align: justify;">Lo scopo di questa rivista è pervenire, mediante l'apporto di tutte le discipline afferenti alle Scienze dell'antichità, a delineare una nuova visione di insieme del patrimonio letterario rappresentato dai testi drammatici pervenuti in forma frammentaria o noti per tradizione indiretta.</p> <p style="text-align: justify;">La rivista è pubblicata dal Centro Studi sul Teatro Classico; direttore scientifico prof. Francesco Carpanelli, direttore editoriale Luca Austa.&nbsp;</p> <p style="text-align: justify;">I contributi pubblicati dalla rivista sono sottoposti a&nbsp;<em>double-blind peer review</em> e al vaglio definitivo del Comitato editoriale che ne attesta la validità nel rispetto degli standard internazionali di scientificità.</p> <div> <p style="text-align: justify;">La rivista è pubblicata con cadenza annuale; i contributi inviati alla Redazione sono pubblicati (previo superamento della valutazione in doppio cieco) in due fascicoli (nei mesi di luglio e dicembre). Al termine dell'anno solare la Redazione allestisce il numero completo.</p> </div> Centro Studi sul Teatro Classico - Università degli Studi di Torino it-IT Frammenti sulla Scena (online) 2612-3908 <span>Gli autori che pubblicano su questa rivista accettano le seguenti condizioni:</span><br /><ol type="a"><li>Gli autori mantengono i diritti sulla loro opera e cedono alla rivista il diritto di prima pubblicazione dell'opera, contemporaneamente licenziata sotto una <a href="http://creativecommons.org/licenses/by/3.0/" target="_new">Licenza Creative Commons - Attribuzione</a> che permette ad altri di condividere l'opera indicando la paternità intellettuale e la prima pubblicazione su questa rivista.</li><li>Gli autori possono aderire ad altri accordi di licenza non esclusi a per la distribuzione della versione dell'opera pubblicata (es. depositarla in un archivio istituzionale o pubblicarla in una monografia), a patto di indicare che la prima pubblicazione è avvenuta su questa rivista.</li><li>Gli autori possono diffondere la loro opera online (es. in repository istituzionali o nel loro sito web) prima e durante il processo di submission, poichè può portare a scambi produttivi e aumentare le citazioni dell'opera pubblicata (Vedi <a href="http://opcit.eprints.org/oacitation-biblio.html" target="_new">The Effect of Open Access</a>).</li></ol> Frontespizio, informazioni editoriali e sommario https://www.ojs.unito.it/index.php/fss/article/view/3248 Frontespizio, informazioni editoriali e sommario Giorgia Giaccardi ##submission.copyrightStatement## 2019-04-09 2019-04-09 I V 10.13135/2612-3908/3248 Prefazione https://www.ojs.unito.it/index.php/fss/article/view/3243 Prefazione Francesco Carpanelli ##submission.copyrightStatement## 2019-04-09 2019-04-09 1 3 10.13135/2612-3908/3243 Human and Divine Guilt in Aeschylus’ 'Niobe' https://www.ojs.unito.it/index.php/fss/article/view/3251 In Aeschylus’ fragmentarily preserved <em>Niobe</em>, the concept of human and divine guilt is instrumental, as numerous fragments toy with the concept of guilt and the inheritance of evil, as well as explore the delicate balance between divine causality and human error. Niobe is the daughter of an infamous <em>theomahos</em>, and she herself further provokes the divine wrath, failing to understand her mistakes until it is too late. Building on previous scholarship, the purpose of this paper is to explore the different ways in which Aeschylus approaches and distributes guilt, especially focusing on the interdependence of human and divine causality. Ancestral guilt plays a crucial part in Niobe’s doom, but eventually it is her own actions that set the divine punishment in motion. A close reading of selected fragments of the play helps us understand how this interplay of divine necessity and human responsibility works. Zoe A. Kalamara ##submission.copyrightStatement## 2019-04-09 2019-04-09 4 16 10.13135/2612-3908/3251 L’ 'Ifigenia' sofoclea: analisi delle fonti e ricostruzione della trama drammatica https://www.ojs.unito.it/index.php/fss/article/view/3247 This paper will analyse the scant fragments of Sophocles’ <em>Iphigeneia</em>, not only to point out the <em>status quaestionis</em> on the subject, but also to put forward a hypothetical re-creation of the plot.<br />In the first part, I will examine the myth, highlighting the variants adopted by different authors; in this way, it will be possible to assess whether the choices made by Sophocles are influenced by previous versions of the myth or offer themselves  an original rendittion.<br />In the second part, I will deepen Sophocles’ fragments.<br />My work will then offer a case study on the myth of Iphigeneia and will show the extent of the variations that have been adopted in ancient Greek literature. The spread and fortune of the myth will be exemplified by a comparative table, a useful tool to better understand the genesis of the most peculiar of myths. Giorgia Giaccardi ##submission.copyrightStatement## 2019-04-09 2019-04-09 17 47 10.13135/2612-3908/3247 Quando la censura non fa spettacolo: il 'Crisippo' di Euripide https://www.ojs.unito.it/index.php/fss/article/view/3244 The essay shows that fragmentary tragedies can highlight hidden aspects of an author, but they can also be used instrumentally. This happened for instance for Euripides’ <em>Chrysippus</em>, where several scholars interpreted the few fragments we have of the play in a moralizing way. Read in this perspective, the tragedy becomes then a work aimed at strongly condemning love for boys, which was a favourite activity of Athenian aristocratic classes. My reading of the sources provides ground against this interpretation, which actually overturned more sustained and widespread readings of Euripides’ poetics. Francesco Carpanelli ##submission.copyrightStatement## 2019-04-09 2019-04-09 48 76 10.13135/2612-3908/3244 Frammenti di una tragedia familiare: conflitti generazionali nel 'Fetonte' di Euripide https://www.ojs.unito.it/index.php/fss/article/view/3252 Among the surviving fragments of Euripides’ <em>Phaethon</em>, there are some gnomic and sententious that the scholars have attributed to the agonal scene of the tragedy: the frr. 775-775a-776-777 K. Submitting to a new critical and exegetical analysis these brief fragments, firstly the paper aims to investigate and to define, where available, the topics of the contention between Merops and Phaethon - in particular Phaethon’s reluctance to marry and Merops’ yearning for wealth - and then the character traits of the contenders. Secondly, from a broader perspective, the paper proposes to examine the fragmentary traces of a generational conflict between father and son, old and young, recurring theme in Euripidean drama and peculiar in <em>Phaethon</em>’s domestic tragedy. Silvia Onori ##submission.copyrightStatement## 2019-04-09 2019-04-09 77 100 10.13135/2612-3908/3252 Il primo episodio dell’ 'Ipsipile' di Euripide https://www.ojs.unito.it/index.php/fss/article/view/3253 The first episode of the <em>Hypsipyle</em> begins with the arrival of Amphiaraus, one of the Seven, who has foreseen his own death at Thebes. In the words spoken by the Argive seer, preserved by <em>P. Oxy.</em> 852 (fr. 752h Kannicht, vv. 15-25), the scholars have identified two corruptions, ἐρημίαι at the end of the v. 15 and ἄπορον at the beginning of the v. 18, corrected from ἄποιν(α) probably by a different hand. These terms produce a series of repetitions which are regarded as intolerable for the <em>usus scribendi </em>of Euripides. Several emendations have been suggested, but a new critical analysis induce to conserve the <em>lectiones traditae</em>, which seem to point out the difficult situation of Amphiaraus: he is in an uninhabited place and needs Hypsipyle’s help in finding spring-water to celebrate a sacrifice on behalf of the army on crossing the frontier. Chiara Lampugnani ##submission.copyrightStatement## 2019-04-09 2019-04-09 101 123 10.13135/2612-3908/3253 I frammenti di Epicarmo in Ateneo https://www.ojs.unito.it/index.php/fss/article/view/3254 This essay examines the importance of Athenaeus’ <em>Deipnosophistae</em> in transmitting Epicharmus’ comedies. Athenaeus cites the original comic texts using literal quotations, summaries or paraphrases, and allusions. Here I consider, in particular, the stylistic features of Athenaeus’ quotations and the reasons why he mentions Epicharmus. Sara Tosetti ##submission.copyrightStatement## 2019-04-09 2019-04-09 124 147 10.13135/2612-3908/3254 Il 'Chryses' di Pacuvio nella tradizione indiretta e nelle 'Fabulae' di Igino. Tradizione e innovazione nei modelli di ricerca scientifica e didattica universitaria https://www.ojs.unito.it/index.php/fss/article/view/3255 Pacuvius is a dramatist who portrays family life and the problem of superstition with special ability. His plot of <em>Chryses</em> is the perfect demonstration of this, because it represents a philosophical diatribe about the bearing of the goddess <em>Fortuna</em> on human events. Moreover the dramatist recalls the ruin of Orestes so as to deprecate human temerity and to preach self-control. For this reason the fragments of <em>Chryses</em>appeal to important literary critics (e.g. Argenio, Valsa, D’Anna, Marx, Calboli, Artigas), who would like to reconstruct the plot. But the plot of <em>Chryses</em> is not reconstructable without examining closely the Hyginus's<em> fabulae</em> n. 120 and 121 that tell the story of the tormented Orestes, culprit of matricide. The communicative message that Pacuvius gives with the plot of <em>Chryses</em> is very philosophical and pedagogic. Also his choice for the negative model of Orestes reveals his rationalism and his accordance with the circle of Scipio and the rules of Roman <em>Res Publica</em>. For all these reasons I would propose renewing the didactics of Classical Theatre. First with a listening of the scenic piece and after with a reading and studying of the fragments. Maria Elvira Consoli ##submission.copyrightStatement## 2019-04-09 2019-04-09 148 176 10.13135/2612-3908/3255 Lycurg. 'Leoc'. 97-101 e 'CEG' 594: la παιδεία di un frammento euripideo (fr. 360 K. = 12 Sonnino) sulla scena giudiziaria e funebre https://www.ojs.unito.it/index.php/fss/article/view/3256 <p>In his&nbsp;<em>Against Leocrates</em>&nbsp;Lycurgus quoted a fragment from Euripides’&nbsp;<em>Erechtheus</em>&nbsp;(360 K. = 12 Sonnino) in order to show the judges how Leocrates disobeyed a civic duty which, conversely, was rigorously observed by Euripides’ Praxithea. Indeed, in the monologue of Erechtheus’ wife, one could notice how a citizen — fanatically serving her homeland — could do: sacrificing a daughterfor Athens’ salvation was the right price to pay to protect the πόλις. In this paper, I focus on the reasons why Lycurgus quoted such a fragment, and I highlight the educational and civic value of Euripides’ passage in order to expand upon Peter Siewert’s hypothesis: he demonstrated that several Thucydidean, Aeschylean and Sophoclean passages included allusions to a somewhat mysterious ‘archaic Athenian civic oath’. I show that Euripides’ fragment seems indeed to referto a ‘text’ (perhaps unwritten) on civic duties, and that, being ‘staged’ on the legal scene, it counted as a real legal regulation that Leocrates ignored. Furthermore, I consider a fourth-century BC funerary inscription (<em>CEG</em>&nbsp;594) whose text, by celebrating the dead’s sacrifice and integrity, clearly alludes to Euripides’ fragment. It appears, therefore, that — beyond the inscription, oration and play — a moral code, legally recognised through centuries, existed.</p> Andrea Giannotti ##submission.copyrightStatement## 2019-04-09 2019-04-09 177 200 10.13135/2612-3908/3256 Notes on P. Oxy. XXIX 2506: Comment on Lyric Poems https://www.ojs.unito.it/index.php/fss/article/view/3257 P. Oxy. XXIX 2506 is a manuscript of the first or early second century A.D. It contains a commentary on Greek poetry. This article presents attempts of identifying some new poetic fragments and of reconstructing several parts of the commentary respectively the passages of poetry quoted within it. Martin Reinfelder ##submission.copyrightStatement## 2019-04-09 2019-04-09 201 216 10.13135/2612-3908/3257 Tradizione, ricezione e rivalutazione simbolica del dramma greco-latino nel pensiero di Epitteto e Marco Aurelio. Parte prima: Epitteto https://www.ojs.unito.it/index.php/fss/article/view/3259 In his essay <em>Pagan and Christian in an Age of Anxiety</em> (pp. 8-9), E. R. Dodds briefly highlights the fortune of the ‘comparison […] of the world to a stage and men to actors or marionettes’ in the Greco-Roman philosophical tradition, especially amongst the Stoics.<br />Moving from this intuition and wishing to deepen its assumptions, this paper aims to investigate the relationship between the exponents of late Roman Stoicism (Epictetus and Marcus Aurelius, with some references to Musonius Rufus) and the ancient and contemporary dramatic tradition. It will argue that the Stoics quote and interpret dramatic texts to support and sustain their philosophical arguments, and that the concept of ‘theatre’ has a vast symbolic and metaphorical use in their writings and meditations. The first part of this essay (the second one, concerning the philosophy of Marcus Aurelius, is forthcoming) focuses on the “theatrical aspects” in the thought of Epictetus and his master Musonius Rufus. Luca Austa ##submission.copyrightStatement## 2019-04-10 2019-04-10 217 247 10.13135/2612-3908/3259