{"id":16,"date":"2018-09-06T12:52:41","date_gmt":"2018-09-06T10:52:41","guid":{"rendered":"https:\/\/dionysusexmachina.it\/services\/"},"modified":"2025-09-22T11:10:34","modified_gmt":"2025-09-22T09:10:34","slug":"home","status":"publish","type":"page","link":"https:\/\/dionysusexmachina.it\/","title":{"rendered":"HOME"},"content":{"rendered":"<p>Dionysus ex machina<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tRivista online di studi sul teatro antico<\/p>\n<p><!-- .container --><br \/>\n\t\t\t\t\t\t\t\t <!-- .overlay --><\/p>\n<p>Referee<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tGli articoli di DeM sono pubblicati a seguito di un processodi double blind peer review affidato a specialisti esterni(non esclusi i componenti del Comitato Scientifico), incaricati dalla redazione.&#8212;Dionysus ex machina resta annuale ma, a partire dal n.XIV (2023), assume la forma \u201caperta\u201d.Ci\u00f2 significa che, anche dopo la pubblicazione online, saranno accolti i contributi pervenutientro l\u2019anno solare e approvati dalla redazione e dai referees<\/p>\n<p><!-- \/row --><\/p>\n<p>Numero 15 del 2024<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tLeggi a rotazione tutti gli articoli del numero in corso.<a href=\"https:\/\/dionysusexmachina.it\/?page_id=12957\">Fai clic per andare all&#8217;indice completo del numero corrente.<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/michele-di-bello-battaglie-di-afroditesulle-perdute-lemnie-di-sofocle-frr-384-389-r\/\">Michele Di Bello: Battaglie di Afrodite: sulle perdute Lemnie di Sofocle (frr. 384-389 R.)\u00a0\u00a0<\/a><\/p>\n<p>Michele Di Bello<\/p>\n<p>This paper focuses on Sophocles\u2019 now lost drama Women of Lemnos (frag. 384-389 R.), relatively neglected by the critics also considering its state of conservation. Yet several aspects of this play make it worthy of a deeper analysis: for example i&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/michele-di-bello-battaglie-di-afroditesulle-perdute-lemnie-di-sofocle-frr-384-389-r\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/vasileios-dimoglidis-battaglie-di-afroditesulle-perdute-lemnie-di-sofocle-frr-384-389-r\/\">Vasileios Dimoglidis: Reflecting upon language on the Greek tragic stage: towards an interpretation of metalanguage in Euripides\u2019 Ion\u00a0<\/a><\/p>\n<p>Vasileios Dimoglidis<\/p>\n<p>In this paper, I argue that Euripides in the Ion deploys his onstage figures to comment, in a self-referential way and in some select moments, on the nature and function of language, thus offering some instances of metalanguage. Euripides grafts&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/vasileios-dimoglidis-battaglie-di-afroditesulle-perdute-lemnie-di-sofocle-frr-384-389-r\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/marcella-farioli-figlie-di-pandora-il-concetto-di-%ce%b3%ce%b3%ce%ad%ce%bd%ce%bf%cf%82-%ce%b3%cf%85%ce%bd%ce%b1%ce%b9%ce%ba-%ce%b3%cf%85%ce%bd%ce%b1%ce%b9%ce%ba%e1%bf%b6%ce%bd-nel-teatro-ateniese-di\/\">Marcella Farioli: Figlie di Pandora. Il concetto di \u03b3\u03ad\u03bd\u03bf\u03c2 \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u1ff6\u03bd nel teatro ateniese di et\u00e0 classica<\/a><\/p>\n<p>Marcella Farioli<\/p>\n<p>The concept of<br \/>\n\u03b3\u03ad\u03bd\u03bf\u03c2 \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u1ff6\u03bd (or \u03b3\u03c5\u03bd\u03b1\u03b9\u03ba\u03b5\u1fd6\u03bf\u03bd \u03b3\u03ad\u03bd\u03bf\u03c2or \u03b8\u1fc6\u03bb\u03c5 \u03b3\u03ad\u03bd\u03bf\u03c2 ) recurs in Athenian theatre<br \/>\nproduction of the 5th and 4th centuries to indicate the social group of women: a \u201clineage\u201d with<br \/>\nnegative connota&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/marcella-farioli-figlie-di-pandora-il-concetto-di-%ce%b3%ce%b3%ce%ad%ce%bd%ce%bf%cf%82-%ce%b3%cf%85%ce%bd%ce%b1%ce%b9%ce%ba-%ce%b3%cf%85%ce%bd%ce%b1%ce%b9%ce%ba%e1%bf%b6%ce%bd-nel-teatro-ateniese-di\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/eleonora-anselmo-sanguineti-e-aristofane-il-gioco-del-lessico\/\">Eleonora Anselmo: Sanguineti e Aristofane: il gioco del lessico\u00a0<\/a><\/p>\n<p>Eleonora Anselmo<\/p>\n<p>\u00a0Edoardo Sanguineti has experienced only once the translation of a classical comedy, namely Aristophanes\u2019 Thesmophoriazousai (La festa delle donne). The ancient playwright allowed him to play with the lexicon and carry out many linguistic experim&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/eleonora-anselmo-sanguineti-e-aristofane-il-gioco-del-lessico\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/virginia-mastellari-a-note-on-alexis-fr-42-ka-and-the-use-of-%ce%ba%ce%b5%cf%81%ce%ba%ce%af%cf%82\/\">Virginia Mastellari: A note on Alexis, fr. 42 KA and the use of \u03ba\u03b5\u03c1\u03ba\u03af\u03c2\u00a0<\/a><\/p>\n<p>Virginia Mastellari<\/p>\n<p>\u00a0This paper presents a new reading of Alexis\u2019 fr. 42 KA from the comedy Gynaikokratia, with a particular focus on the use of the term kerkis. The term, which means \u2018section of the theatre\u2019, also has a polysemic reference to \u2018weaver\u2019s s&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/virginia-mastellari-a-note-on-alexis-fr-42-ka-and-the-use-of-%ce%ba%ce%b5%cf%81%ce%ba%ce%af%cf%82\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/stamatia-kitsou-p-oxy-219-mim-pap-fr-4-cunn-an-allegorical-paraclausithyron-behind-an-untragic-lament\/\">Stamatia Kitsou: P.Oxy.219 (Mim. Pap. fr. 4 Cunn.): an allegorical paraclausithyron behind an untragic lament?\u00a0<\/a><\/p>\n<p>Stamatia Kitsou<\/p>\n<p>\u00a0The outline of the story of the mime contained in P.Oxy. 219 runs as follows: a cock falls in love with a hen and flies away with her. The cock-breeder laments gravely over this erotic adventure and the concomitant loss. However, a range of masterf&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/stamatia-kitsou-p-oxy-219-mim-pap-fr-4-cunn-an-allegorical-paraclausithyron-behind-an-untragic-lament\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/luigi-spina-si-va-in-scena-tersiteapparizioni-teatrali-postomeriche-delloratore-scriteriato\/\">Luigi Spina: Si va in scena, Tersite! Apparizioni teatrali postomeriche dell\u2019oratore scriteriato\u00a0<\/a><\/p>\n<p>Luigi Spina<\/p>\n<p>The character of the Iliadic Thersites doesn\u2019t seem apt to the ancient drama. The evidences of his presence on the scene are very few and fragmentary. On the contrary, the modern theatre, starting with Shakespeare, has introduced Thersites as a signifi&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/luigi-spina-si-va-in-scena-tersiteapparizioni-teatrali-postomeriche-delloratore-scriteriato\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/caterina-barone-aiace-e-fedra-potenza-divina-e-sofferenza-umana\/\">Caterina Barone: Aiace e Fedra: potenza divina e sofferenza umana\u00a0<\/a><\/p>\n<p>Caterina Barone<\/p>\n<p>Madness sent by the gods and a sense of honor which, when wounded, leads to suicide overwhelm the existence of both Ajax and Phaedra, protagonists respectively of Ajax by Sophocles and Phaedra-Hippolytus Crown Bearer by Euripides, on stage at the Gre&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/caterina-barone-aiace-e-fedra-potenza-divina-e-sofferenza-umana\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/nicola-savarese-1945-2024\/\">Nicola Savarese (1945 &#8211; 2024)<\/a><\/p>\n<p>Marco De Marinis<\/p>\n<p>\u00a0La cultura teatrale italiana piange Nicola Savarese, scomparso a Roma il 20 giugno a settantotto anni. Savarese \u00e8 stato uno dei pi\u00f9 importanti studiosi di teatro della seconda met\u00e0 del Novecento, molto notoanche all&#8217;estero. Ma in realt\u00e0, nel s&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/nicola-savarese-1945-2024\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/dioniso-sulla-scena-del-terzo-millennio\/\">Dioniso sulla scena del terzo millennio<\/a><\/p>\n<p>\u00c8 un dato di fatto incontrovertibile che riproposizioni, riscritture, trasposizioni sulla scena, pi\u00f9 o meno fedeli al testo, di tragedie e commedie greche e latine riscuotono ovunque straordinario successo e interesse crescente presso il pubblico contemporaneo. Naturalmente i luoghi di elezione pe&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/dioniso-sulla-scena-del-terzo-millennio\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/luca-fiamingo-for-the-doer-to-suffer-the-combination-of-%ce%b4%cf%81%ce%ac%cf%89-and-%cf%80%ce%ac%cf%83%cf%87%cf%89-as-mark-of-responsibility-in-greek-tragedy\/\">\u00a0Luca Fiamingo\u00a0: \u201cFor the Doer to Suffer\u201d. The Combination of \u03b4\u03c1\u1f71\u03c9 and \u03c0\u1f71\u03c3\u03c7\u03c9 as Mark of Responsibility in Greek Tragedy\u00a0<\/a><\/p>\n<p>Luca Fiamingo<\/p>\n<p>This article discusses certain combinations of \u03b4\u03c1\u03ac\u03c9 and \u03c0\u03ac\u03c3\u03c7\u03c9 in Greek tragedy in the light of the fifth-century debate on responsibility. In some contexts, not only does \u03b4\u03c1\u03ac\u03c9 \u2013 combined with other semantic elements \u2013 mean \u2018to act\u2019&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/luca-fiamingo-for-the-doer-to-suffer-the-combination-of-%ce%b4%cf%81%ce%ac%cf%89-and-%cf%80%ce%ac%cf%83%cf%87%cf%89-as-mark-of-responsibility-in-greek-tragedy\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/stefano-novelli-i-tragici-greci-lettori-dellepica-arcaica-alcuni-casi-studio\/\">\u00a0Stefano Novelli\u00a0: I tragici greci \u2018lettori\u2019 dell\u2019epica arcaica: alcuni casi studio\u00a0<\/a><\/p>\n<p>Stefano Novelli<\/p>\n<p>The volume focuses on the main thematic, linguistic and rhetorical motifs that characterize the relationship between Homer and classical tragedy. From the perspective of intertextuality, each contribution addresses fundamental motifs on which the res&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/stefano-novelli-i-tragici-greci-lettori-dellepica-arcaica-alcuni-casi-studio\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/massimiliano-ornaghi-tra-corinto-e-sicioneuna-eco-esiodea-negli-uccelli-di-aristofane-vv-967-971\/\">\u00a0Massimiliano Ornaghi\u00a0: \u201cTra Corinto e Sicione\u201d:una eco esiodea negli Uccelli di Aristofane (vv. 967-971)?\u00a0<\/a><\/p>\n<p>Massimiliano Ornaghi<\/p>\n<p>At the beginning of the oracle of the chresmol\u00f2gos (vv. 967 ff.), the mention of a place described as \u201cbetween Corinth and Sicyon\u201d can perhaps be better understood if it is linked to the widespread references (in the Birds) to the myth of P&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/massimiliano-ornaghi-tra-corinto-e-sicioneuna-eco-esiodea-negli-uccelli-di-aristofane-vv-967-971\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/giorgia-bandini-viden-pictum-larte-contemporaneasul-palcoscenico-latino-arcaico\/\">\u00a0Giorgia Bandini\u00a0: Viden pictum? L\u2019arte \u2018contemporanea\u2019sul palcoscenico latino arcaico\u00a0<\/a><\/p>\n<p>Giorgia Bandini<\/p>\n<p>Some artistic references to art by Plautus and Terence, particularly to painting, are analysed in an art-historical frame that takes into account the socio-political implications that the theme of art, as a topical issue, may have had for ancient aud&#8230;<br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/dionysusexmachina.it\/giorgia-bandini-viden-pictum-larte-contemporaneasul-palcoscenico-latino-arcaico\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/giuseppe-liotta-alla-ricerca-della-lingua-e-del-rito-perduti\/\">Giuseppe Liotta\u00a0: Alla ricerca della lingua e del rito perduti\u00a0<\/a><\/p>\n<p>Giuseppe Liotta<\/p>\n<p>The paper is focused on Alessandro Serra&#8217; play about Oedipus in the context of contemporary theater and in relation to the tradition of Sophoclean tragedies.<\/p>\n<p><a href=\"https:\/\/dionysusexmachina.it\/giuseppe-liotta-alla-ricerca-della-lingua-e-del-rito-perduti\/\"><br \/>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\tContinua a leggere\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p class=\"excerpt\">Dionysus ex machina Rivista online di studi sul teatro antico Referee Gli articoli di DeM sono pubblicati a seguito di un processodi double blind peer review affidato a specialisti esterni(non esclusi i componenti del Comitato Scientifico), incaricati dalla redazione.&#8212;Dionysus ex machina resta annuale ma, a partire dal n.XIV (2023), assume la forma \u201caperta\u201d.Ci\u00f2 significa che, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"builder.php","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-16","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/PazZ4T-g","jetpack-related-posts":[{"id":11089,"url":"https:\/\/dionysusexmachina.it\/dem-numero-14-anno-2023\/","url_meta":{"origin":16,"position":0},"title":"DeM numero 14 &#8211; Anno 2023","author":"jamesvip65","date":"17 Ottobre 2023","format":false,"excerpt":"Numero 14 - anno 2023 Gli articoli di DeM sono pubblicati a seguito di un processo didouble blind peer review\u00a0affidato a specialisti esterni(non esclusi i componenti del Comitato Scientifico), incaricati dalla redazione. Indice Direttori: Angela Maria Andrisano, Giusto PiconeRedattori: Alice Bonandini, Alessandro Iannucci, Marco De Marinis, Renata Raccanelli, Luigi Spina\u2026","rel":"","context":"Articolo simile","block_context":{"text":"Articolo simile","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":12957,"url":"https:\/\/dionysusexmachina.it\/dem-numero-15-anno-2024\/","url_meta":{"origin":16,"position":1},"title":"DeM numero 15 &#8211; Anno 2024","author":"jamesvip65","date":"18 Ottobre 2024","format":false,"excerpt":"Numero 15 - anno 2024 Gli articoli di DeM sono pubblicati a seguito di un processo di double blind peer review\u00a0affidato a specialisti esterni (non esclusi i componenti del Comitato Scientifico), incaricati dalla redazione. Indice Direttori: Angela Maria Andrisano, Giusto PiconeRedattori: Alice Bonandini, Alessandro Iannucci, Marco De Marinis, Virginia Mastellari,\u2026","rel":"","context":"Articolo simile","block_context":{"text":"Articolo simile","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":13646,"url":"https:\/\/dionysusexmachina.it\/dem-numero-16-anno-2025\/","url_meta":{"origin":16,"position":2},"title":"DeM numero 16 &#8211; Anno 2025","author":"jamesvip65","date":"22 Settembre 2025","format":false,"excerpt":"Numero 16 - anno 2025 Gli articoli di\u00a0DeM\u00a0sono pubblicati a seguito di un processo di\u00a0double blind peer review\u00a0affidato a specialisti esterni (non esclusi i componenti del Comitato Scientifico), incaricati dalla redazione. Slider Title Breve Estratto See More Indice Direttori: Angela Maria Andrisano, Giusto PiconeRedattori: Alice Bonandini, Alessandro Iannucci, Marco De\u2026","rel":"","context":"Articolo simile","block_context":{"text":"Articolo simile","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":261,"url":"https:\/\/dionysusexmachina.it\/numero-7\/","url_meta":{"origin":16,"position":3},"title":"DeM numero 07 &#8211; Anno 2016","author":"jamesvip65","date":"11 Settembre 2018","format":false,"excerpt":"Numero 7 - Anno 2016 Gli articoli di\u00a0DeM\u00a0sono pubblicati a seguito di un processo didouble blind peer review\u00a0affidato a specialisti esterni(non esclusi i componenti del\u00a0Comitato Scientifico), incaricati dalla redazione. Indice Direttore Responsabile: Giusto Picone Testi Redattori: Angela Maria Andrisano (responsabile), Gianni Guastella, Olimpia Imperio La sezione accoglie contributi cheaffrontano con\u2026","rel":"","context":"Articolo simile","block_context":{"text":"Articolo simile","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1927,"url":"https:\/\/dionysusexmachina.it\/dem-numero-1-del-2010\/","url_meta":{"origin":16,"position":4},"title":"DeM numero 01 &#8211; Anno 2010","author":"jamesvip65","date":"4 Dicembre 2018","format":false,"excerpt":"Numero 1 - Anno 2010 Gli articoli pubblicati in questa rivista sono stati valutati, in forma anonima, dal Comitato di Redazione e\/o dal Comitato Scientifico e da valutatori internazionali, anch\u2019essi coperti da anonimato. Indice Direttore Responsabile: Giusto Picone Testi Redattori: Angela Maria Andrisano (responsabile), Olimpia Imperio La sezione accoglie contributi\u2026","rel":"","context":"Articolo simile","block_context":{"text":"Articolo simile","link":""},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1082,"url":"https:\/\/dionysusexmachina.it\/giusto-picone-2\/","url_meta":{"origin":16,"position":5},"title":"Giusto Picone","author":"jamesvip65","date":"28 Settembre 2018","format":false,"excerpt":"Giusto (Ninni) Picone Giusto Picone (Palermo, 1947) ha insegnato Lingua e Letteratura latina all\u2019Universit\u00e0 di Palermo. Tra i suoi temi di ricerca: storiografia, epica, poesia d\u2019et\u00e0 augustea, filosofia, didattica delle culture classiche, retorica. Al teatro, e in particolare alla drammaturgia senecana, ha dedicato numerosi studi; ha anche curato la traduzione\u2026","rel":"","context":"Articolo simile","block_context":{"text":"Articolo simile","link":""},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/dionysusexmachina.it\/wp-content\/uploads\/2023\/11\/PICONE_02.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/dionysusexmachina.it\/wp-content\/uploads\/2023\/11\/PICONE_02.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/dionysusexmachina.it\/wp-content\/uploads\/2023\/11\/PICONE_02.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/pages\/16","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/comments?post=16"}],"version-history":[{"count":274,"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/pages\/16\/revisions"}],"predecessor-version":[{"id":13844,"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/pages\/16\/revisions\/13844"}],"wp:attachment":[{"href":"https:\/\/dionysusexmachina.it\/wp-json\/wp\/v2\/media?parent=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}