{"title":"当你的下巴弄脏了你的书","authors":"Alessandro Lagioia","doi":"10.47743/cetc-2022-17.2.513","DOIUrl":null,"url":null,"abstract":": When the chin got the papyrus roll dirty: Martial, Winckelmann and the Modern Interpretation. The article examines some pas-sages of Martial ( epigr . 1, 66; 10, 93; 14, 84) and a pederastic epigram by Strato of Sardis (AP 12, 208), to which Perotti, Salmasius, Winckelmann and many other philologists frequently referred in order to explain why the chin is mentioned by those authors in relation with the use of the papyrus roll. The most frequently given explanation for the chin that dirties the roll has so far been that, after the volumen had been read, it was placed by the ancient reader under the chin to hold it firm and then it was rolled up, taking the tips of the roll in both hands. This reconstruc-tion, apart from being unconvincing, because unpracticable, as Skeat has well de-monstrated, does not find any confirmation, neither in poetic contexts nor in figu-rative representations. On the contrary, well known Pompeian frescoes seem to confirm that the ancients used to put the edging of the liber ( frons ), already rolled up, under the chin as a gesture of concentration and meditation. It can be compared to the pose of the thinker (philosopher, poet and actor), who meditates with a hand under the chin, a fairly common posture in the ancient iconographic tradition. The Pompeian portraits suggest that the only useful involvement of the chin relating to the ancient book could be that of levelling the edges of","PeriodicalId":38243,"journal":{"name":"Classica et Christiana","volume":"1 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Quando il mento sporcava i libri: Marziale, Winckelmann e l’esegesi moderna\",\"authors\":\"Alessandro Lagioia\",\"doi\":\"10.47743/cetc-2022-17.2.513\",\"DOIUrl\":null,\"url\":null,\"abstract\":\": When the chin got the papyrus roll dirty: Martial, Winckelmann and the Modern Interpretation. The article examines some pas-sages of Martial ( epigr . 1, 66; 10, 93; 14, 84) and a pederastic epigram by Strato of Sardis (AP 12, 208), to which Perotti, Salmasius, Winckelmann and many other philologists frequently referred in order to explain why the chin is mentioned by those authors in relation with the use of the papyrus roll. The most frequently given explanation for the chin that dirties the roll has so far been that, after the volumen had been read, it was placed by the ancient reader under the chin to hold it firm and then it was rolled up, taking the tips of the roll in both hands. This reconstruc-tion, apart from being unconvincing, because unpracticable, as Skeat has well de-monstrated, does not find any confirmation, neither in poetic contexts nor in figu-rative representations. On the contrary, well known Pompeian frescoes seem to confirm that the ancients used to put the edging of the liber ( frons ), already rolled up, under the chin as a gesture of concentration and meditation. It can be compared to the pose of the thinker (philosopher, poet and actor), who meditates with a hand under the chin, a fairly common posture in the ancient iconographic tradition. The Pompeian portraits suggest that the only useful involvement of the chin relating to the ancient book could be that of levelling the edges of\",\"PeriodicalId\":38243,\"journal\":{\"name\":\"Classica et Christiana\",\"volume\":\"1 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Classica et Christiana\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.47743/cetc-2022-17.2.513\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q4\",\"JCRName\":\"Arts and Humanities\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Classica et Christiana","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.47743/cetc-2022-17.2.513","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q4","JCRName":"Arts and Humanities","Score":null,"Total":0}
引用次数: 0
摘要
当下巴弄脏了纸莎草卷:马夏尔、温克尔曼和现代诠释。本文考察了《武学》中的一些段落。1, 66;10, 93;第14,84页)和斯特拉托(Strato of Sardis, AP 12,208页)的一篇关于性的警句,佩罗蒂、萨尔马西乌斯、温克尔曼和许多其他语言学家经常引用这篇警句,以解释为什么这些作者提到下巴与纸莎草卷的使用有关。迄今为止,对于下巴弄脏书卷的最常见的解释是,在读完这本书之后,古代读者把它放在下巴下面,把它固定住,然后把它卷起来,双手抓住书卷的尖端。这种重建,除了没有说服力,因为不可行,正如斯基特已经很好地证明的那样,没有找到任何证实,无论是在诗歌语境中还是在比喻的表现中。相反,著名的庞贝壁画似乎证实,古人曾经把已经卷起来的鬓角放在下巴下面,作为一种专注和冥想的姿态。它可以与思想家(哲学家,诗人和演员)的姿势相比较,他们把手放在下巴下冥想,这是古代肖像传统中相当常见的姿势。庞贝人的肖像表明,与古书有关的下巴唯一有用的参与可能是平整边缘
Quando il mento sporcava i libri: Marziale, Winckelmann e l’esegesi moderna
: When the chin got the papyrus roll dirty: Martial, Winckelmann and the Modern Interpretation. The article examines some pas-sages of Martial ( epigr . 1, 66; 10, 93; 14, 84) and a pederastic epigram by Strato of Sardis (AP 12, 208), to which Perotti, Salmasius, Winckelmann and many other philologists frequently referred in order to explain why the chin is mentioned by those authors in relation with the use of the papyrus roll. The most frequently given explanation for the chin that dirties the roll has so far been that, after the volumen had been read, it was placed by the ancient reader under the chin to hold it firm and then it was rolled up, taking the tips of the roll in both hands. This reconstruc-tion, apart from being unconvincing, because unpracticable, as Skeat has well de-monstrated, does not find any confirmation, neither in poetic contexts nor in figu-rative representations. On the contrary, well known Pompeian frescoes seem to confirm that the ancients used to put the edging of the liber ( frons ), already rolled up, under the chin as a gesture of concentration and meditation. It can be compared to the pose of the thinker (philosopher, poet and actor), who meditates with a hand under the chin, a fairly common posture in the ancient iconographic tradition. The Pompeian portraits suggest that the only useful involvement of the chin relating to the ancient book could be that of levelling the edges of