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The dissertation is divided into two parts: the first synthesis focused on the definition of the epigram scoptico imperial age, the second analysis concerns the study of the minor poets of Book XI. In the Introduction (I), the attention focuses on the genesis of imperial scoptic epigram: here you try to draw a picture of the satirical Greek literature before the middle of the century AD to identify the debts of the scoptic epigram, especially Lucillius’, in respect of previous authors (from the Middle-up comedy to epigrams of the Crown of Philip), and to emphasize the remoteness of this literary phenomenon from other experiences of ironic and satirical poetry (Catullus). In the chapter on the Themes (II), the study was limited to professional groups and those most targeted (doctors, grammarians, etc..), to that particular type represented by the satire on ethnic groups. The study of minor poets is necessarily preceded by a general discussion on the authors most representative of the greek satiric poetry: Lucillius, Ammianus, Nicarchus and Palladas (III). All the minor poets of the eleventh book, which you can not provide a date, have been regarded by scholars as the ‘poets of Diogenian’: the chapter on Anthologion of Diogenian (IV), which is undergoing critical to the existence (assumed but never proven) of the lost source of Book XI, therefore, serves as an introduction to the commentary of the authors required minors. During the discussion they are not qualified as poets ‘poets of Diogenian’, but are divided into two categories: those included in the string of alphabetically ordered AP XI 388-436 (V), and those who are not part of (VI). Finally, a separate chapter (VII) is devoted to the age-old question of epigrams assigned to Lucian, both in the string of alphabetically ordered epigrams, as well as outside it.

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La dissertazione è suddivisa in due capitoli più tre appendici. Nel I capitolo, Musica e dolore, si indagano i casi di metamusicalità in riferimento al dolore, che si intensificano in Euripide: si nota lo sviluppo di una riflessione sul ruolo della mousike rispetto al dolore, espressa attraverso un lessico medico e musicale. Si dimostra che in Euripide si pone il problema di quale scopo abbia la musica, se sia utile, e in quale forma lo sia. Nella prima produzione si teorizza una mousa del lamento come dolce o terapeutica per chi soffre. Molti personaggi, però, mostrano sfiducia nel potere curativo del lamento. Nell’ultima produzione si intensificano gli interrogativi sulla performance del canto, che si connotano come casi metamusicali e metateatrali. Nell’Elena, nell’Ipsipile e nelle Baccanti, E. sembra proporre una terapia ‘omeopatica’ del dolore attraverso la musica orgiastico-dionisiaca. Nel II capitolo, Natura e musica, si sceglie l’Ifigenia Taurica come esempio di mimetismo orchestico-musicale fondato – oltre che su casi di autoreferenzialità – su un immaginario naturale che, ‘facendo musica’, contribuisce all’espressività della choreia e della musica in scena. Si ipotizza inoltre un accompagnamento musicale mimetico rispetto ai suoni della natura e movimenti di danza lineari accanto a formazioni circolari, che sembrano richiamare la ‘doppia natura’ del ditirambo. L’Appendice I, Gli aggettivi poetici ξουθός e ξουθόπτερος: il loro significato e la loro potenzialità allusiva, affronta un caso particolare e problematico di ‘mimetismo lessicale’, innescato dal termine ξουθός e dal composto euripideo ξουθόπτερος. Si dimostra che l’aggettivo indica originariamente un movimento vibratorio, ma sviluppa anche un senso sonoro, ed è quindi un termine evocativo rispetto alla performance. Nell’Appendice II, Il lessico musicale in Euripide, è raccolto il lessico euripideo coreutico-musicale. Nell’Appendice III, La mousike nei drammi euripidei, sono raccolti i riferimenti alla mousike in ogni dramma. / The dissertation is divided in two chapters and three appendix. In Chapter I, Music and pain, we investigate the cases of metamusicality in reference to pain in Euripides: he elaborates a reflection on the role of mousike compared to the pain, manifested by a medical and musical vocabulary. It is shown that in E. there is the problem of what purpose has the music, whether it is useful, and in what form it is. In the first production E. theorizes a mousa of lament that is sweet or therapeutic for sufferers. Many characters, however, show no confidence in the healing power of lament. In the last production questions about the performance of the song increase, and are characterized as cases of metamusicality and metatheatrality. In the Helen, Hypsipyle and Bacchae E. seems to offer a 'homeopathic' music therapy through Dionysiac music. In Chapter II, Nature and music, we choose the Iphigenia Taurica as an example of orchestic and musical mimesis, based on a natural imagery and on cases of self-referentiality. It contributes to the expressiveness of the music and choreia on stage. We suppose also a musical accompaniment which is mimetic of natural sounds and movements, and combines linear and circular formations (that recall the 'double nature' of dithyramb). Appendix I, The poetic adjectives ξουθός and ξουθόπτερος: their significance and their allusive force, faces a problematic case of 'lexical mimesis', made up of ξουθός and the euripidean compound ξουθόπτερος. It is shown that the word originally means a vibratory movement, but develops a sense of sound, and it is therefore a term able to evoke the performance. In Appendix II, The musical lexicon in Euripides, the musical and dancing lexicon of Euripides is collected. In Appendix III, The mousike in Euripides’ tragedies, the musical references of each drama are collected.

Il lavoro presenta le ricerche svolte ed i risultati ottenuti per consentire alle persone non vedenti lo studio quanto più autonomo del greco antico tramite sintesi vocale. Una introduzione storica ripercorre la prima vicenda professionale dell'esercizio della professione docente delle lettere classiche da parte di un soggetto privo di vista, mentre il riferimento alla legislazione contemporanea tenta di disegnare una cornice capace dei più moderni approdi supportati dalle tecnologie informatiche. La Tesi illustra infine il funzionamento dei vari dispositivi prodotti, mentre una importante appendice ripercorre le pubblicazioni via via curate dal Gruppo di Studio, accogliendo infine le trascrizioni dei codici di programmazione delle sintesi vocali realizzate. Essa affida così all'Università la prosecuzione delle ricerche delineando ulteriori ipotesi di sviluppo. / The paper presents the research carried out and the results obtained to enable people who are blind study ancient greek as autonomous via speech synthesis. A historical introduction traces the first year professional career in the teaching of classics by a person without sight, while the reference to the contemporary legislation attempts to draw a frame capable of the most modern solutions supported by information technology. Finally, the thesis illustrates the operation of the various devices produced, while an important appendix traces the publications gradually prepared by the Study Group, finally accepting transcripts of programming codes made for speech synthesis software. It entrusts the University as a continuation of the research outlining further development hypothesis.

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