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I frammenti di Severo di Antiochia nella catena esegetica al profeta Geremia – p. 1-23. 

Abstract: The paper contains the first critical edition, with introduction and Italian translation, of Severus of Antioch’s Greek fragments taken from the exegetical chain of the prophet Jeremiah (CPG C66; Typus 1 Klostermann; Typus BI Faulhaber; Typus I Karo–Lietzmann; Typus B1 Sütterlin-Aussedat). Every fragment is contextualized in the extant production of Severus, which is mainly preserved just in Syriac translation, and, whenever possible, in his theological and Christological doctrine.



Un recetario médico inexplorado: los Teraupetica (con una tentativa de restitución y traducción del prefacio) – p. 25-65. 

Abstract: The article deals with a late antique book of medical recipes titled Teraupetica (sic). After describing the manuscript tradition, a list of chapters is given, in which two different parts can be distinguished: the first one with chapters organised according to anatomical order (secundum locos), while the second one is organised by kinds of remedies (secundum genera). When taking into account the information given in the preface, the conclusion that emerges is that only the group organised secundum locos is the true Teraupetica. The fact that Theodorus Priscianus is employed as a source in the preface as well as in large initial sections of many chapters hints that it was this African author who inspired the Teraupetica’s author to write this work, while also providing him with the basic architecture of it.



Il crepuscolo degli eroi. La figura di Enea in Ditti Cretese – p. 67-85. 

Abstract: The paper offers a full-scale survey of Aeneas’ presence in Dictys’ alleged eyewitness chronicle Ephemeris belli Troiani. Here the Homeric hero goes through a process of downsizing which makes him the perfect representative of a world where heroism and epic passions have faded out or actually disappeared.



Le latin chrétien existe-t-il ? L’exemple de la langue et du style du Contra Iulianum d’Augustin – p. 87-115.

Résumé : Après un rapide état de la question sur la notion de « latin chrétien », nous souhaitons remettre en question cette notion en étudiant un cas précis : le Contra Iulianum d’Augustin, composé contre un évêque cultivé et lettré. L’étude montre que la langue est classicisante, même si elle présente quelques traits tardifs ; elle ne correspond pas aux attentes d’un « latin chrétien », comme le montre notamment l’étude de l’utilisation de la complétive, alors qu’une proposition infinitive est attendue. Il apparaît alors que la complétive est utilisée par choix, par effet de citation. Il s’agit donc non d’un fait de langue, mais d’un fait de style. Quant à ce dernier, l’étude montre qu’il est varié ; Augustin utilise les différents styles en fonction des buts qu’il se propose. L’étude des clausules montre que l’évêque d’Hippone utilise le cursus mixtus afin de plaire et à un public lettré, encore familier des clausules métriques, et un public plus large, qui ne connaissait plus, d’après Augustin, la longueur des syllabes, mais qui appréciait les clausules rythmiques. C’est donc l’adaptation au lecteur, ici double, qui explique l’utilisation du style varié et du cursus mixtus et qui explique les choix de langue, et donc de style, d’Augustin.



Una citazione euripidea in Cyr., Juln. 5, 31, 32-42 – p. 117-127.

Abstract: A quote from Eur., Tr. 65-71 in Cyr., Juln. 5, 31, 32-42 constitutes further evidence in support of the authenticity of Euripides’ prologue to The Trojan Women. However, its authenticity was questioned in a paper by John R. Wilson back in 1967. First of all, the paper outlines Wilson’s viewpoint, then the dramaturgical objections brought forward by other scholars as well as the witnesses provided by manuscripts and by hypotheseis, to end with the contribution offered by the quote contained in Cyril’s Contra Julianum. He makes use of the Euripidean passage to refute the criticism in Julian’s Contra Galilaeos of the presumed changeable nature of God, who had appeased his wrath against his people thanks only to the murder of just a couple of adulterers perpetrated by the high priest Phinehas (Nm 25). Athena would have done the same – Cyril says – dampening his anger against all the Achaeans for the violence of Ajax the Lesser carried out against Cassandra, if even one of them had punished him.



Il commentario inedito di Adolf Emper a Dione di Prusa (Ms. Leid. BPG 89, ff. 85-91v) : Or. V – Fabula Libyca – p. 129-143.

Abstract: In the short 5th oration (Libyan Myth) Dio tells us a pleasant tale, where monstrous creatures, half-woman and half-snakes, kill and devore those people who have been attracted from the subtle and deceptive artifices of the beasts. The tale is in fact an allegory of the human passions and his fatal effects, but under another point of view, it’s a recycling of a myth, like in others of Dio’s speeches, in primis the Troian, but also the Agamemnon or the Chryseis, as suggested by P. Desideri in his fundamental essay on Dio’s work (Messina-Firenze 1978). In his Commentary Adolf Emper reviews the opinions of scholars as Casaubon and Reiske, while debates a passage of Synesius, which some years after has been also discussed by H. von Arnim and L. François.



La palestra di Draconzio – p. 145-166.

Abstract: The review-article summarises and illustrates Katharina Pohl’s recent edition of the epyllion De raptu Helenae by Dracontius, examining in depth some of its aspects (such as material features of the manuscript N, its copyists, the two draftings of the poem Medea, Tristanus Calchus’ witness, the constitutio textus of various passages) and highlighting the differences between Pohl’s textual choices and Zwierlein’s textual criticism on the same poem. New corrections and original contributions are proposed about vv. 13; 29-30; 84; 93-94; 102; 175; 246-247; 350-354; 370; 414; 459-461; 476-479; 481-484; 555.



L’Empereur Julien et le théâtre. Une rhétorique originale pour un projet littéraire et idéologique nouveau : « rendre à Dionysos un théâtre purifié »  – p. 167-216.

Abstract: The issue of theater in the Emperor Julian’s works has mainly been addressed from the perspective of literary sources and that of the condemnation of performances. The present study, while taking up this problem, also broadens the field of research and more particularly questions two speeches: Against Heracleios and The Misopogon. The aim is to examine in which ways Julian’s culture of theater has influenced the rhetorics he employs in them – reusing quotations, great figures (Orestes, the Dyskolos, Achilles), creating real scenes, depicting the character of Julian himself. Furthermore, polemic is never far away in Julian’s work, and in both texts is based upon the new theater rhetorics he invented. Julian’s relationship to theater thus appears far more profound and complex than at first sight.




Servius Aen. IX-XII. The Edition of C. E. Murgia and R. A. Kaster: considerations and proposals (First part IX-X)  – p. 217-265.