Rutilius Namatianus opens his second book of De reditu with an apology (ll. 1-10) for dividing his work into two parts. In this article close attention is drawn to the technical feature of the book, highlighting its personification and the prominent role of imagery and metaphors proposed in a triangular relationship among the Author, the Reader and the liber. Taking into account the classical literary tradition (especially Ovid) and the reach nomenclature of the book (volumina, liber, opus, opuscula), to which can be referred also the verb inscriptus (l. 8), even the mention of rubor (l. 9) possibly refers not only to the Author’s embarrassment (the topos of modesty), but also to the red colour used in the carrying out of the paratext of the book.
A. Lagioia, I volumina e un rubor sospetto di Rutilio Namaziano (2, 1-10)
lagioia alessandro
2021-01-01
Abstract
Rutilius Namatianus opens his second book of De reditu with an apology (ll. 1-10) for dividing his work into two parts. In this article close attention is drawn to the technical feature of the book, highlighting its personification and the prominent role of imagery and metaphors proposed in a triangular relationship among the Author, the Reader and the liber. Taking into account the classical literary tradition (especially Ovid) and the reach nomenclature of the book (volumina, liber, opus, opuscula), to which can be referred also the verb inscriptus (l. 8), even the mention of rubor (l. 9) possibly refers not only to the Author’s embarrassment (the topos of modesty), but also to the red colour used in the carrying out of the paratext of the book.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
