In Late Antiquity acclamations played a key role in the imperial ceremony and in the relationship between centre and periphery. Praise and blame were expressed through sound and silence. This paper focuses on the speeches addressed to Roman officials. A selection of the orations of Himerius (Or. 46-47; Or. 39)is here considered in order to revalue the concept of panegyric as "mousike" (poetry, music and song) in the "theatra" as representative of the "singing sophists" criticized by contemporary philosophers. A neglected aspect of this controversy is given by the introduction of Julian's Misopogon, which is here examined in the context of the 'mousike' in the 'theatra".
Raimondi, M., Il suono dell'elogio nella Tarda Antichità: tra la mousiké di Imerio e il Misopogon di Giuliano, in Les sons du pouvoir dans les mondes anciens, (La Rochelle, 25-27 November 2010), Presses universitaires de Franche-Compté, Besancon 2012: 379-396 [http://hdl.handle.net/10807/40132]
Il suono dell'elogio nella Tarda Antichità: tra la mousiké di Imerio e il Misopogon di Giuliano
Raimondi, Milena
2012
Abstract
In Late Antiquity acclamations played a key role in the imperial ceremony and in the relationship between centre and periphery. Praise and blame were expressed through sound and silence. This paper focuses on the speeches addressed to Roman officials. A selection of the orations of Himerius (Or. 46-47; Or. 39)is here considered in order to revalue the concept of panegyric as "mousike" (poetry, music and song) in the "theatra" as representative of the "singing sophists" criticized by contemporary philosophers. A neglected aspect of this controversy is given by the introduction of Julian's Misopogon, which is here examined in the context of the 'mousike' in the 'theatra".
I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
