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In questa pagina sono riportate calls for papers o le calls for conference proposte all’attenzione della Consulta Universitaria del Greco.

• Call di Sotera Fornaro

Secondo la Thing Theory nelle sue diverse declinazioni (ad es. Brown 2003, 2004, 2015; Bodei 2011; Drügh 2018), incluse le prospettive di genere e queer (Ahmed 2006), il valore emotivo degli oggetti si manifesta con particolare evidenza quando essi interagiscono con l’esperienza umana e mettono in relazione soggettività diverse, venendo trasformati da esse e, a loro volta, trasformando il soggetto. Gli oggetti svolgono infatti un ruolo cruciale nelle relazioni tra umani e non-umani, relazioni che collocano il corpo e le emozioni umane all’interno di una rete più ampia di agenti e di un paesaggio di interazioni, esperienze e memorie culturalmente codificate.
In quanto veicoli e catalizzatori di emozioni, gli oggetti occupano una posizione centrale nelle narrazioni strettamente connesse alla percezione delle emozioni – individuali e collettive – e al tentativo di studiarle e dar loro voce. Nello studio della letteratura greca e latina l’attenzione si è concentrata soprattutto su oggetti legati ai sentimenti dell’amore e del desiderio, anche da prospettive di genere (Harich-Schwarzbauer–Scheidegger-Laemmle 2022); restano tuttavia aperte numerose possibilità di indagine in relazione ad altre emozioni attivate dal rapporto con le cose. Già nella letteratura antica, il coinvolgimento con determinati oggetti, così come la loro assenza, può modificare lo status sociale di un individuo e, di conseguenza, plasmare le risposte emotive, come mostra il caso dell’arco di Filottete nella tragedia sofoclea (Telò–Mueller 2018). In altri casi, gli oggetti stessi diventano depositari di memorie, storie ed emozioni, contribuendo a ciò che studi recenti hanno definito la «biografia delle cose» (Boschung et al. 2015). Questa prospettiva è stata applicata con successo alla letteratura greca antica in relazione al letto di Odisseo e allo scudo di Achille (Grethlein 2019; 2014), ma le sue implicazioni per lo studio delle emozioni restano in larga misura inesplorate.
Letteratura, filosofia, arti visive, antropologia e psicologia affrontano lo studio delle relazioni tra oggetti ed emozioni da molteplici prospettive, tra loro integrabili. Studi recenti, ad esempio (Downes–Holloway–Randles 2018), si concentrano sul rapporto tra materialità ed emozioni, proponendo un aggiornamento del quadro teorico, oppure analizzano la rappresentazione antropomorfica degli oggetti in relazione agli esseri umani (Wen Wan–Peng Chen 2021). Vi sono oggetti che, per funzione e design, rivelano uno stretto legame con le espressioni dell’amore, fino a divenire veri e propri feticci (Moran–O’Brien 2014; Fusillo 2012). Esistono inoltre oggetti obsoleti («desueti»), portatori di memoria, al centro di un libro ormai classico di Francesco Orlando (2015); e oggetti che incarnano la materialità delle emozioni, come le tombe dei poeti – luoghi in cui la memoria assume la materialità di un oggetto – che mettono in relazione emozioni, riflessione sul passato e teoria letteraria (Goldschmidt–Graziosi 2018).
In questo numero Archivi delle Emozioni intende esplorare le possibili articolazioni del rapporto tra oggetti ed emozioni in diversi ambiti di ricerca. Pur mantenendo come fulcro principale la letteratura greca e romana antica, di ogni genere ed epoca, la rivista accoglie anche contributi provenienti dalle letterature moderne, dall’antropologia, dalla filosofia e dalla psicologia.
Possibili ambiti di ricerca (non esclusivi) includono:
  1. Approcci teorici contemporanei allo studio del rapporto tra oggetti della memoria ed emozioni applicati ai campi di interesse della rivista.
  2. Quali emozioni, individuali e collettive, vengono evocate in relazione a specifici oggetti nella letteratura?
  3. Emozioni e oggetti nel tempo: come mutano le emozioni suscitate dallo stesso oggetto nel corso del tempo, negli stessi individui o in determinati gruppi sociali?
  4. Le funzioni narrative di un oggetto in relazione alle emozioni che evoca: come possono le emozioni essere narrate attraverso gli oggetti?
  5. Lo studio delle rappresentazioni di genere di un oggetto e delle emozioni che esso veicola.
  6. L’agentività degli oggetti come veicoli di emozioni individuali o collettive.
Si invita a inviare un abstract di non più di 1000 parole agli indirizzi soterafornaro@gmail.com, padovanifrancesco89@gmail.com e stefano.briguglio@unito.it entro il 31 marzo 2026. Gli articoli accettati per la pubblicazione dovranno essere consegnati entro il 31 luglio 2026 e saranno sottoposti a peer review. La pubblicazione è prevista entro la fine dell’anno in corso.
According to Thing Theory in its various interpretations (e.g. Brown 2003, 2004, 2015; Bodei 2011; Drügh 2018), including gendered and queer perspectives (Ahmed 2006), the emotional value of objects is expressed most clearly when they interact with human experience and connect different subjectivities, being altered by them while in turn altering the subject. Indeed, objects play a crucial role in the relationships between humans and non-humans, relationships that situate the human body and emotions within a broader network of agents and within a landscape of culturally coded interactions, experiences, and memories.
As vehicles and catalysts of emotions, objects occupy a central place in narratives closely tied to the perception of emotions – both individual and collective – and to the attempt to study and give voice to them. In the study of both Greek and Latin literature, emphasis has been placed on objects connected to the feelings of love and desire, also from gender-based perspectives (Harich-Schwarzbauer–Scheidegger-Laemmle 2022); however, many possibilities for exploration remain open in relation to other emotions activated through the relationship with things. Already in ancient literature, particular engagements with specific objects, as well as their absence, can alter an individual’s social status and thereby shape emotional responses, as exemplified by the case of Philoctetes’ bow in Sophocles’ play (Telò–Mueller 2018). In other cases, objects themselves become repositories of memories, stories, and emotions, contributing to what recent studies have termed the “biography of things” (Boschung et al. 2015). This theory has already been successfully applied to ancient Greek literature with regard to Odysseus’ bed and Achilles’ shield (Grethlein 2019; 2014), but its implications for the field of emotions remain to a large extent unexplored.
Literature, philosophy, visual arts, anthropology, and psychology address the study of the relationships between objects and emotions from multiple, mutually integrable perspectives. For instance, recent studies (Downes–Holloway–Randles 2018) focus on the relationship between materiality and emotions, seeking to provide an updated theoretical framework, or explore the anthropomorphic representation of objects in relation to humans (Wen Wan–Peng Chen 2021). There are objects that, by virtue of their function and design, reveal a close relationship with expressions of love, to the point of becoming true fetishes (Moran–O’Brien 2014; Fusillo 2012). There are also obsolete (‘desueti’) objects, bearers of memory, which lie at the center of a seminal book by Francesco Orlando (2015); there are objects that embody the materiality of emotions, such as the tombs of poets – places where memory acquires the materiality of an object – which connect emotions, reflection on the past, and literary theory (Goldschmidt–Graziosi 2018).
In this issue, Archivi delle Emozioni aims to explore the possible articulations of the relationship between objects and emotions across multiple fields of study. While the journal’s main focus remains on ancient Greek and Roman literature of all genres and epochs, contributions from modern literatures, anthropology, philosophy, and psychology are also welcomed.
Possible (but not exclusive) research topics include:
  1. Contemporary theoretical approaches to the study of the relationship between objects of memory and emotions applied to the journal’s relevant fields.
  2. Which emotions, both individual and collective, are evoked in relation to specific objects in literature?
  3. Emotions and objects over time: how do the emotions elicited by the same object change over time in the same individuals or social groups?
  4. The narrative functions of an object in relation to the emotions it evokes: How can emotions be narrated through objects?
  5. The study of gender-based representations of an object and the emotions it conveys.
  6. The agency of objects as vehicles of individual or collective emotions.
Please submit an abstract of no more than 1000 words to soterafornaro@gmail.com, padovanifrancesco89@gmail.com and stefano.briguglio@unito.it by March 31st, 2026. Articles accepted for publication must be submitted by July 31st 2026, and will undergo a peer review process. The publication is scheduled for the end of the current year.

• Call dell’Università di Messina Callimachus in Progress. Per ogni informazione si rimanda al documento Callimachus in Progress

• Call for papers dell’Università di Bergamo

‛Minor’ Female Poets of the Archaic and Classical Age

Workshop of the project PRIN WInGS – Women Intellectuals in Greek Society

29th-30th January 2025

University of Bergamo (Italy)
Department of Lettere, Filosofia, Comunicazione

Scientific committee: Andrea Capra, Lucia Floridi, Cecilia Nobili

Organization: Cecilia Nobili, Tullia Spinedi

Keynote speakers: Giovan Battista D’Alessio, Ettore Cingano

Lyric poetry, as an expressive code and performative mode, seems to characterize the female voice from the earliest literary evidence. In Homer, women are often depicted performing songs that can be interpreted as various forms of lyrical performances. Furthermore, their language often exhibits forms later found in lyric compositions, such as marriage songs and funeral odes.
It has long been demonstrated that female members of society engaged as performers of cultic songs held considerable importance to the community. Famous poets like Alkman, Pindar, and Bacchylides were hired as composers and chorodidaskaloi.
Additionally, ancient sources preserve records of the existence and work of some female poets, active between the 7th and 4th centuries BCE. The surviving poetry of Sappho is a particularly privileged source for reconstructing women’s poetic activity on Lesbos and the subsequent circulation and reception of these poems.
Other female poets were active as early as the Archaic and Classical periods and are remembered in various ways: ποιητρία, λυρική, μελοποιός…
The Life of Pindar, preserved by P.Oxy. 2438, mentions ‘Corinna and the others’, and this workshop is dedicated to them. It aims to investigate the work of female authors such as Corinna, Praxilla, and Telesilla, whose production was significant enough to be identified, recognized, and handed down to future generations.

Research questions include, but are not limited to, the following:
1.      Female poets’ compositions are described in many ways (μέλη, νόμοι…). Is it possible to pin down the literary genres favoured by women authors of lyric poetry? Consequently, is it possible to reconstruct performance occasions and audiences within the broader socio-historical context in which they operated?
2.      The idea of suitability is typical of lyric discourse and inevitably seems to involve the production of female poets as well. How do they address this topic? Is it possible to trace ‘gender markers’?
3.      How did female poetic production fit within the wider poetic tradition? What relationship does it have with literary genres usually practised by male poets, such as epic or epinician odes? And with folk tradition?
4.      The existence of a ‘segregated’ tradition, i.e., exclusively produced by and for women, is a matter of debate. What reflections can be drawn from texts and testimonies?
5.      Who decided to preserve the production of some women authors, and why? Is it possible to investigate the public and private institutions or mechanisms that contributed to transcribing and handing down the compositions of women poets, considering the economic dynamics related to commissions and recognition of women’s professionalism?
6.      Women poets are often credited with legendary biographies: are there typical patterns exclusive to female authors? What clues do they offer about their role in society and the reception of their work? Are there recurring terms used to refer to their intellectual profile?

Proposals in Italian and in English are invited for contributions of about 20 minutes. Please send an abstract of up to 300 words to tullia.spinedi@unibg.it by 10th september 2024.

The outcome of the selection procedure will be announced by 30th September 2024.

For any inquiries, please contact Tullia Spinedi (tullia.spinedi@unibg.it) or Cecilia Nobili (cecilia.nobili@unibg.it)

Selected bibliography

Bastianelli L. 2007, Telesilla e la saga dei Niobidi: testimonianze poetiche e tradizioni locali, in L’epos minore, le tradizioni locali e la poesia arcaica, ed. P. A. Bernardini, Pisa – Roma, 25-35.
Bowman L. 2004, The “Women’s Tradition” in Greek Poetry, «Phoenix» 58.1/2, 1-27.
Cazzato V. 2016, «Glancing seductively through windows»: the Look of Praxilla fr. 8 (PMG 754), in The Look of Lyric: Greek Song and the Visual, ed. V. Cazzato, A. Lardinois, A.E. Peponi, Leiden, 185-203.
Collins D. 2006, Corinna and Mythological Innovation, «CQ» 56, 19-32.
De Martino F. 2006, Poetesse greche, Bari.
Dillon M., Eidinow E., Maurizio L. (eds.) 2017, Women’s Ritual Competence in the Greco-Roman Mediterranean, London – New York.
Ferrari F. 2007, Una mitra per Kleis. Saffo e il suo pubblico, Pisa.
Greene E. (ed.) 2005, Women poets in ancient Greece and Rome, Norman (Okla.).
Hallett J., Natoli B., Pitts A. 2022, Ancient Women Writers of Greece and Rome, London – New York.
Lardinois A., McClure L. (eds.) 2001, Making Silence Speak: Women’s Voices in Greek Literature and Society, Princeton.
Nobili C. 2023, L’Inno ad Adone di Prassilla di Sicione (PMG 747), «Maia» 75.2-3, 199-211.
Palumbo Stracca B. M. 1993, Corinna e il suo pubblico, in Tradizione e innovazione nella cultura greca da Omero all’età ellenistica: scritti in onore di Bruno Gentili, ed. R. Pretagostini, Roma, 403-412.
Prioux E. 2020, Les portraits de poétesses, du IVe siècle av. J.-C. à l’époque impériale, in Féminités hellénistiques: voix, genre, représentations, ed. C. Cusset, P. Belenfant, C.-E. Nardone, Leuven, 223-267.

• Si segnala la call for papers dell’Università di Bologna Ἐν Μούσῃσι ἔξοχος. Greek Intellectual Women in Hellenistic and Imperial Age con scadenza il 30 settembre 2024. Tutte le informazioni necessarie si trovano a questo link

• Dal settembre 2023 si può rispondere alla call di «Vichiana» le cui informazioni sono ricavabili da questa comunicazione