The Medieval and Renaissance Manuscripts of Hesiod's <i>Theogony</i>

West, M. L.

doi:10.1017/s0009838800023739

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“…Genuinum α 589 L.-L. to the Catalogue of  On this ms., see Pertusi (1950) 528 -544; Tsavari (1990) 55; Pontani (2015) 348. On the history of the medieval and humanist manuscript tradition of Hesiod's main works, see West (1964) and; on the Aspis, see Corrales Pérez (1994). On the manuscripts with scholia to the three Hesiodic poems, see (1913), as well as Pertusi (1950, (1952) (Works and Days), Di Gregorio (1971Gregorio ( -1972 Martano (2002Martano ( ), (2005Martano ( ), (2006, (2008) (Aspis).…”

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Hesiod’s Fragments in Byzantium

Cardin¹,

Pontani²,

Filippomaria³

2017

Poetry in Fragments

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confidence: 99%

Hesiod’s Fragments in Byzantium

Cardin¹,

Pontani²,

Filippomaria³

2017

Poetry in Fragments

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“…Botticelli's Graces evoke, or even cite, Alberti's reference to the Graces in the Della Pittura, which in turn expressly cites Hesiod's Theogony, the foundational work of ancient mythography and, as such, well known to 15th-century intellectuals. 107 At the beginning of Hesiod's poem, the Muses warn Hesiod himself, appearing as a character in his own poem, of their capacity to mislead him, if they so wish, as he sets out to articulate mythic accounts of the origins of the world and the gods; 108 there are echoes of this as well in Ovid's Fasti. 109 In dealing with myth, in other words, there are times when the poet cannot rely on authorities but-as if led on by the gods themselves-has to improvise and invent.…”

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The Nymph in the Doorway: Revisiting a Central Motif of Aby Warburg’s Study of Culture

Burroughs¹

2016

California Italian Studies

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Many decades after his death, Aby Warburg's disruptive model of cultural studies has generated extraordinary resonance. In particular, Warburg saw the effort to secure order and rationality, notably through recourse to the "afterlife" of antiquity, as inevitably compromised by upsurges of ecstatic and impulsive action and attitudes that are themselves-this is the crucial pointalready inherent in the classical legacy. As often noted, in his study of an outstanding case of the recovery of classical antiquity, the Florentine Renaissance, Warburg applied the Nietzschean dichotomy of Apollonian and Dionysian principles. 1 This informed his opposition to a unitary conception of classical art as striving for balance and harmony, a conception rooted in the still authoritative formulations of Johann Winckelmann. Instead, Warburg focused on the recurrence, in religious as well as secular imagery, of elements subversive of any such idealizing conception.A recurrent motif in Warburg's researches was the nymph, the ninfa fiorentina, on which he planned a major publication. The project never came to fruition, not least as a result of Warburg's descent into incapacitating mental illness, followed by his death in 1929. 2 With her vehement movement and flying hair and/or ribbons, the nymph motif in fifteenth-century Florentine imagery embodies Warburg's famous concept of the pathosformel ("pathos formula"), evoking or even imitating the ancient motif of the ecstatic young woman, as exemplified in the maenad, a familiar figure in classical art and myth. 3 In a larger and relatively ahistorical perspective, however, the nymph expresses a tension inherent in civilization itself. Indeed, as Kurt Forster noted, this conception of the unsettling presence of the nymph is reminiscent of Sigmund Freud's cultural critiques, though Warburg did not express explicit interest in Freud's ideas. 4 In this paper the focus is more modest. Through an exploration of images that were crucial to Warburg's project and in which nymph figures are included, I address the expressive or even semiotic work that such figures perform within specific pictorial contexts, whether narrative or broadly allegorical in type. Needless to say, such an inquiry requires looking beyond these images to a different order of context, "the social frame," notably in terms of the reference to or even articulation of the self-representational interests of patrons, as well as particular approaches to ancient sources and models on the part of Renaissance artists and Warburg himself. In this connection it is important to note an apparent disjunction between two major dimensions of Warburg's own scholarly work. On the basis of extensive archival researches, Warburg explored 1 The literature on Warburg is enormous. For a brief account of the impact of Nietzsche's Birth of Tragedy, see

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Notes on a Forgotten Manuscript of Hesiod's Theogony

Vioque

2009

Mnemosyne

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The Medieval and Renaissance Manuscripts of Hesiod's Theogony

Cited by 5 publications

References 0 publications

Hesiod’s Fragments in Byzantium

Hesiod’s Fragments in Byzantium

The Nymph in the Doorway: Revisiting a Central Motif of Aby Warburg’s Study of Culture

Notes on a Forgotten Manuscript of Hesiod's Theogony

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