Ancient horror story about a werewolf in Petronius' novel “Satyricon” and Federico Fellini’s film “A marriage agency”

Бесплатный доступ

The article makes an assumption about a probable reference to Petronius' Satyricon, occurring in Federico Fellini's novel A Marriage Agency (Un'agenzia matrimoniale), which is part of the anthology film Love in the City (L'amore in città, 1953) made by a group of Italian film directors. Many a time did the Italian film maker admit that he had discovered Petronius as early as his years at the lyceum in Rimini. The author of the article adduces arguments testifying to a possible influence Petronius may have had on Fellini; he draws parallels between the ancient horror-story told by a freedman, Niceros, at the feast held by Trimalchio (Sat. 61-62) and the modern story created by Federico Fellini. These parallels in the stories about werewolves (versipellis), found in Petronius' Satyricon and in Fellini's A Marriage Agency, are credible coincidences. Fellini chose the tale about a werewolf, which may have been inspired by Petronius' novel that had had a great influence on him in his green years. And the horror-story about a lycanthrope told by Niceros is undoubtedly one of the most memorable ones at the cena Trimalchionis. If the assumption in the article is true, then the story A Marriage Agency is Fellini's yet another film that, along with Satyricon, features the Petronius subject, and, what is most important, this happened half a decade before his ‘historiographic' masterpiece.

Еще

Petronius arbiter, satyricon, federico fellini, love in the city (l’amore in città, 1953), a marriage agency (un’agenzia matrimoniale), trimalchio’s feast, cena trimalchionis, cinema, insula, werewolf (versipellis), niceros’ story, novel

Короткий адрес: https://sciup.org/147244494

IDR: 147244494   |   DOI: 10.25205/1995-4328-2024-18-1-64-79

Список литературы Ancient horror story about a werewolf in Petronius' novel “Satyricon” and Federico Fellini’s film “A marriage agency”

  • Антонов, Д. И. (ред.) (2015) Оборотни и оборотничество: стратегии описания и интерпретации. Материалы международной конференции (Москва, РАНХиГС, 11–12 декабря 2015), Д. И. Антонов (отв. ред. и сост.). Москва.
  • Доватур А. И., Каллистов Д. П., Шишова И. А. (1982) Народы нашей страны в «Истории» Геродота. Москва.
  • Мерлино Б. (2015) Феллини, пер. с фр. Л. Ф. Матяш. Москва. Серебряная, Д. (2020) “Любовь в городе. Смешанные чувства”, Сеанс 74, 108–111.
  • Синицын, A. A. (2018а) “Рецепт Ф. Феллини в изображении древнего Рима”, в кн. Э. В. Рунг, Е. А. Чиглинцев (ред.) Античное наследие в последующие эпохи: рецепция или трансформация? Российско-германский международный научно-образовательный симпозиум (Казань, 18–20 октября 2018 г.). Казань, 114–123.
  • Синицын, A. A. (2018b) “Опыт (ре)конструкции истории Федерико Феллини: О мотивах и новаторских принципах в «Fellini Satyricon» (К 50-летию создания кино-картины)”, Acta eruditorum 29, 69–93.
  • Синицын, A. A. (2019) “Феллини и Гомер: параллели и пересечения”, Вестник Русской христианской гуманитарной академии 20/3, 326–351.
  • Синицын, A. A. (2020) “Федерико Феллини и античная классика: Вступление. «Вечные темы» и финал в фильме «Огни варьете»”, Вестник Русской христианской гуманитарной академии 21/2, 234–265.
  • Синицын, A. A. (2021a) “Дискуссия о Феллини: по страницам российского журнала, посвященного столетию итальянского режиссера”, Вестник Русской христианской гуманитарной академии 22/1, 318–347.
  • Синицын, A. A. (2021b) “Кино-археология античного Рима в «Сатириконе Феллини»”, в кн. А. А. Синицын (ред.) La strada: Кино и кинематографисты Италии: коллективная монография. Санкт-Петербург, 72–123.
  • Синицын, A. A. (2021с) “Современные вариации на тему Петрония: итальянская «сатирикониана» на рубеже 1960-х – 1970-х годов”, в кн. А. А. Синицын (ред.) La strada: Кино и кинематографисты Италии: коллективная монография. Санкт-Петербург, 194–207.
  • Синицын, A. A. (2021d) “«Историографические» фильмы Феллини и киномифология «Вечного города»”, в кн. А. А. Синицын (ред.) La strada: Кино и кинематографисты Италии: коллективная монография. Санкт-Петербург, 305–327.
  • Феллини, Ф., Чандлер, Ш. (2002) Я вспоминаю… пер. с ит. В. Бернацкой и Н. Пальцева. Москва.
  • Bassano, N. (2020) “Fellini’s Critical Reception in Italy”, in F. Burke, M. Waller, M. Gubareva (eds.) A Companion to Federico Fellini. Chichester, 363–376.
  • Bodel, J. (1999) “The Cena Trimalchionis”, in H. Hofmann (ed.) Latin Fiction: The Latin Novel in Context. London; New York, 38–51.
  • Bonnechère, P. (1994) Le sacrifice humain en Grèce ancienne. Kernos. Suppl. 3. Athènes-Liège.
  • Braccini, T. (2022) “Rev.: Ogden, Daniel (2021). The Werewolf in the Ancient World by. Oxford: Oxford University Press”, Arys 20, 561–570.
  • Bruce, S. “The Werewolf in the Ancient World (Daniel Ogden, The Werewolf in the Ancient World. Oxford; New York: Oxford University Press, 2021)”, Bryn Mawr Classical Review. 2021.12.11. URL: https://bmcr.brynmawr.edu/2021/2021.12.11/.
  • Burkert, W. (1997) Homo Necans: Interpretationen altgriechischer Opferriten und Mythen. 2., um ein Nachwort erweiterte Aufl. Berlin; New York.
  • Corcella, A. (2007) “Book IV”, in O. Murray, A. Moreno (eds.), with a contribution by M. Brosius, A Commentary on Herodotus Books I–IV. Oxford, 543–721.
  • Donecker, S. (2012) “The Werewolves of Livonia: Lycanthropy and Shape‐Changing in Scholarly Texts, 1550–1720”, Preternature: Critical and Historical Studies on the Preternatural 1/2, 289–322.
  • Fellini, F. (1980) Fare un film. Torino.
  • Freni, G. (2021) ”Rev.: Daniel Ogden. The Werewolf in the Ancient World, Oxford: Oxford University Press, 2021”, Classical World 114/4, 481–482.
  • Grossardt, P. (2009) “Die Cena Trimalchionis gelesen als Parodie auf die «Ilias»”, Hermes 137/3, 335–355.
  • Grossardt, P. (2012) “Der Trojanische Krieg in der Darstellung des Trimalchio (Petron, Sat. 59, 4–5)”, Rheinisches Museum für Philologie 155/3–4, 310–363.
  • Herodotus (1921) The Histories, In four volumes, with an English trans. by A. D. Godley, vol. II: Books III and IV. London; New York.
  • Jost, M. (1985) Sanctuaires et cultes d’Arcadie. Paris.
  • Jost, M. (2005) “Deux mythes de métamorphose en animal et leurs interprétations: Lykaon et Kallisto”, Kernos 18, 347–370.
  • Jost, M. (2012a) “Arcadian cults and myths”, in S. Hornblower, A. Spawforth, E. Eidinow (eds.) Oxford Classical Dictionary, 4th ed. Oxford, 134–135.
  • Jost, M. (2012b) “Lycanthrophy (or werewolves)”, in S. Hornblower, A. Spawforth, E. Eidinow (eds.) Oxford Classical Dictionary, 4th ed. Oxford, 868.
  • Harrison, S. J. (1998) “Dividing the Dinner: Book Divisions in Petronius’ Cena Trimalchionis”, Classical Quarterly 48/2, 580–585.
  • Kezich, T. (2006) Federico Fellini: His Life and Work, trans. from the Italian by M. Proctor with V. Mazza. New York.
  • Kezich, T. (2009) Federico Fellini. Das Buch der Filme, aus dem Italienischen ubersetzt von G. Frohlich, R. Heimbucher, S. Marzolff; V. Boarini (hrsg.). München.
  • Lashly, J. M. (2022) “The Werewolf in the Ancient World. Ogden (D.) Pl. XVIII+261, colour pl. Oxford: Oxford University Press, 2021”, The Journal of Classics Teaching 23/45, 93–94.
  • Molyviati, Ou. (2015) “Growing Backwards: The Cena Trimalchionis and Plato’s Aesthetics of Mimesis”, in M. P. Futre Pinheiro, S. Montiglio (eds.) Philosophy and the Ancient Novel. Groningen, 1–18.
  • Ogden, D. (2021) The Werewolf in the Ancient World. Oxford; New York.
  • Parigi, S. (2020) “Neorealism Masked: Fellini of the 1950s”, in F. Burke, M. Waller, M. Gubareva (eds.) A Companion to Federico Fellini. Chichester, 43–58.
  • Pinkham, A. (2022) “Rev.: Daniel Ogden. The Werewolf in the Ancient World. Oxford: Oxford University Press, 2021”, Rosetta 27, 106–110.
  • Plaza, M. (2001) “Derision and Conflict in Niceros’ Story (Petronius, Sat. 61, 3–62, 14)”, Latomus 60/1, 81–86.
  • Rash, J.-A. (2021) “Rev.: Daniel Ogden. The Werewolf in the Ancient World. Oxford: Oxford University Press, 2021”, Ancient History Bulletin Online Review 11, 21–23.
  • Sbragia, A. (2020) “Fellini’s Reception in France”, in F. Burke, M. Waller, M. Gubareva (eds.) A Companion to Federico Fellini. Chichester, 377–389.
  • Sisto, A. (2020) “Sounding Out Fellini: An Aural Continuum of Voices, Musics, Noises”, in F. Burke, M. Waller, M. Gubareva (eds.) A Companion to Federico Fellini. Chichester, 251–265.
  • Slater, N. W. (1994) “From Harena to Cena: Trimalchio’s Capis (Sat. 52. 1–3)”, Classical Quarterly 44/2, 549–551.
  • Slavazzi, F. (2009) “L’immagine dell’antico nel «Fellini-Satyricon»”, in R. De Berti, E. Gagetti, F. Slavazzi (a cura di) Fellini-Satyricon: L’immaginario dell’antico. Scene di Roma antica. L’antichità interpretata dalle arti contemporanee: I Giornata di studio. Milano, 6 marzo 2007. Milano, 59–92.
  • Smith, M. S. (1975) Petronii Arbitri Cena Trimalchionis, ed. with comment. and notes by M. S. Smith. Oxford.
  • Vanelli, M. (2020) “«Io non me ne intend»: Fellini’s Relationship to Film Language”, in F. Burke, M. Waller, M. Gubareva (eds.) A Companion to Federico Fellini. Chichester, 207–221.
  • Warner, M. (2021) “Rev.: The Werewolf in the Ancient World by Daniel Ogden. Oxford University Press”, The New York Review. December 16, 2021. URL: https://www.nybooks.com/articles/2021/12/16/ancient-werewolves-howl/.
  • Zagarrio, V. (2020) “Egli Danza: Fellini’s Contexts and Influece from Before Rossellini to Sorrentino and Beyond”, in F. Burke, M. Waller, M. Gubareva (eds.) A Companion to Federico Fellini. Chichester, 279–292.
  • Antonov, D. I. (ed.) (2015) Werewolves and the practice of werewolves: Strategies of description and interpretation. Proceedings of the International Conference. Моscow.
  • Dovatur, A. I., Kallistov, D. P., Shishova, I. A. (1982) The Peoples of our Country in Herodotus’ “The Histories”. Моscow.
  • Меrlinо, B. (2015) Fellini, trans. by L. F. Matyash. Моscow. Serebryanaya, D. (2020) “Love in the City. Mixed feelings”, Seans 74, 108–111.
  • Sinitsyn, A. A. (2018а) “F. Fellini’s Representation in the Image of Ancient Rome”, in E. V. Rung, Е. А. Chiglintsev (eds.) The Ancient Heritage in Subsequent Epochs: Reception or Transformation? Russian-German International Scientific and Educational Symposium (Kazan, October 18–20, 2018). Kazan’, 114–123.
  • Sinitsyn, A. A. (2018b) “ A (Re)construction of History by Fellini: Motives and Groundbreaking Principles in «Fellini Satyricon» (to commemorate the 50th anniversary of the film creation)”, Acta eruditorum 29, 69–93.
  • Sinitsyn, A. A. (2019) “ Fellini and Homer: parallels and intersections”, Review of the Russian Christian Academy for the Humanities 20/3, 326–351.
  • Sinitsyn, A. A. (2020) “Federicо Fellini and the Ancient Classics: Introduction. «Eternal topics» and finale of the film «Variety Lights»”, Review of the Russian Christian Academy for the Humanities 21/2, 234–265.
  • Sinitsyn, A. A. (2021a) “The Fellini Discourse: Across the pages of the Russian Magazine dedicated to the centenary of the Italian film director ”, Review of the Russian Christian Academy for the Humanities 22/1, 318–347.
  • Sinitsyn, A. A. (2021b) “Film-archeology of Ancient Rome in «Fellini – Satyricon»”, in А. А. Sinitsyn (ed.) La strada: The Cinema and Cinematographers of Italy. St. Petersburg, 72–123.
  • Sinitsyn, A. A. (2021с) “Соntemporary Variations on the Subject of Petronius: The Italian «Satyriconiana» at the Turn of the 1970s”, in А. А. Sinitsyn (ed.) La strada: The Cinema and Cinematographers of Italy. St. Petersburg, 194–207.
  • Sinitsyn, A. A. (2021d) “Fellini’s «Historiographic» Films and the Cinematographic Mythology of the «Eternal City»”, in А. А. Sinitsyn (ed.) La strada: The Cinema and Cinematographers of Italy. St. Petersburg, 305–327.
  • Fellini, F., Chandler, C. (2002) I remember… trans. by V. Bernatskaya, N. Pal’tseva. Moscow.
Еще
Статья научная