Theatron: Rhetorische Kultur in Spätantike und Mittelalter/Rhetorical Culture in Late Antiquity and the Middle Ages ed. by Michael Grünbart
Abstract
102 RHETORICA brevemente su: a) origine ed evoluzione dei panegirici (pp. 11-13); b) il corpus dei Panegyrici Latiui dei secoli III e IV d. C. (pp. 13-19); c) la Gratiarum actio di Claudio Mamertino a Giuliano, con particolare attenzione al contesto storico (pp. 19-22), all'autore e alia circostanza storica (pp. 22-4), all'immagine dell imperatore Giuliano che emerge dal panegírico (pp. 24-9), al carattere funzionale di alcune figure retoriche a cui fa ricorso Claudio Mamertino (pp. 29—37); d) la tradizione manoscritta del testo dei Panegyrici, con una rapida rassegna di informazioni sulla scoperta in etá umanistica, sui manoscritti e sulle edizioni (pp. 38-43); e) sulla presente edizione (pp. 43-4). Le pp. 48-97 sono occupate dal testo latino con una traduzione in castigliano , che sostanzialmente rispetta le caratteristiche e i moduli espressivi del testo antico; successivamente (pp. 101-56) si sviluppa il commento. Concludono il volume una bibliografía (pp. 157-61) e un indice dei nomi propri (p. 163). Nella presentazione (p. 7) LA. dicbiara di aderire alia convinzione di chi ritiene che, per realizzare un contributo plenamente valido sul piano scientifico , sia necessario affiancare al commento storico quello letterario; in realtá, le pagine dedícate al commento dimostrano come LA. preferisca concentrarsi soprattutto sugli aspetti storici che emergono dal testo della Gratiarum actio; il confronto con le fonti parallele considérate, soprattutto Ammiano Marcellino , forse avrebbe meritato un maggiore approfondimento e una sinossi critica, con cui evidenziare relazioni, affinitá o divergenze. II volume, che in piü di un'occasione presenta non trascurabili erron tipografici e citazionali, dimostra nel suo insieme di nascere da una familiarit á con il testo di Claudio Mamertino e piü in generale con le principali tematiche sviluppate dalla tradizione panegiristica latina. Claudio Buongiovanni Universíta degli Studi Federico IL Napoli Michael Grunbart, ed., Theatron: Rhetorische Kultur in Spatantike und Mittelalter/Rhetorical Culture in Late Antiquity and the MiddleAges (Mil lennium Studien zu Kultur und Geschichte des ersten Jahrtausends n. Chr. 13), Berlin/New York: Walter de Gruyter, 2007. xiii+516 pp. This collection of 23 scholarly papers is a Festschrift marking the eightieth birthday of George Fatouros, a prominent scholar of Byzan tium, whose achievements include editions of the letters of Michael Gabras (Vienna: Ôsterreichische Akademie der Wissenschaften, 1973) and Theodore Studites (Berlin: Walter de Gruyter, 1992), as well as translations into German of some of the imperial orations of Libanios (Stuttgart. Hiersemann, 2002). Two of the papers bear directly on the gatherings of scholars, members of aristocratic families and otherwise literate devotees of the Hochsprache of Byzantine authors that the title of the collection refers to. Przemyslaw Marciniak, in "Byzantine Theatron—A Place of Performance?" (pp. 277-85) Reviews 103 attempts to cast the performance aspect of the theatron in language borro wed from information theory, as a "cybernetic unit" comprised of "feedback between sender and receiver." Such an approach casts little light, I am afraid, on the social dimension of performances that were meant not just as enter tainments, but as a means of gaining upward social mobility and patronage. Ida Toth also sees the theatron as a performance space in "Rhetorical Thea tron in Late Byzantium: The Example of Palaiologan Imperial Orations" (pp. 429-48). Major orations performed in theatron settings for liturgical feasts, commemorative occasions, or even, e.g., on the occasion of the return of the emperor from a military campaign, called for invitations to officially appointed orators such as Nicephoros Gregoras and Demetrios Kydones to compose and deliver speeches marking such occasions. Toth's analysis of a number of autograph manuscript copies of speeches from this period (12611453 ) suggests that they were meant not only to record the performances but to be circulated and commented on as well, thus offering us a peek into the rhetorical network, so to speak. I will return to Toth's paper later. There are several pieces on works that were probably also performed before audiences, although not necessarily in a theatron setting—for instance, speeches delivered by Arethas in the court of Leon VI (see Marina Loukaki's "Notes sur l'activité d'Aréthas comme rhéteur de la cour de L...
- Journal
- Rhetorica
- Published
- 2009-01-01
- DOI
- 10.1353/rht.2009.0027
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