Through the comparison with famous statues, Lycinus, in Lucian’s „Imagines“, makes a verbal portrait of a beautiful woman he has caught sight of. The portrait of her virtues is preceeded by a section where she appears with a book in her hands, while talking to some-one. This paper argues that such a description is modelled on a specific iconographic scheme: after Lycinus’ verbal sculpture, the woman has actually become a statue. But she also has the limits of a sculpture: although she is speaking, she cannot be heard. The following revelation of the woman’s identity, conveyed through an allusion to Xenophon’s tale of Panthea, serves the purpose of showing the superiority of literature over the visual arts: Xenophon’s account - a literary work - is said to be able to create what visual arts cannot, i. e. the illusion of sound.
L. Floridi (2015). Un saggio di scultura verbale: a proposito di Luc. Im. 9. HERMES, 143(1), 83-100.
Un saggio di scultura verbale: a proposito di Luc. Im. 9
L. Floridi
2015
Abstract
Through the comparison with famous statues, Lycinus, in Lucian’s „Imagines“, makes a verbal portrait of a beautiful woman he has caught sight of. The portrait of her virtues is preceeded by a section where she appears with a book in her hands, while talking to some-one. This paper argues that such a description is modelled on a specific iconographic scheme: after Lycinus’ verbal sculpture, the woman has actually become a statue. But she also has the limits of a sculpture: although she is speaking, she cannot be heard. The following revelation of the woman’s identity, conveyed through an allusion to Xenophon’s tale of Panthea, serves the purpose of showing the superiority of literature over the visual arts: Xenophon’s account - a literary work - is said to be able to create what visual arts cannot, i. e. the illusion of sound.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
