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In this book on intertextuality in Pliny the Younger, Professor Marchesi invites an alternative reading of Pliny's collection of private epistles: the letters are examined as the product of an authorial strategy controlling both the rhetorical fabric of individual units and their arrangement in the collection. By inserting recognisable fragments of canonical authors into his epistles, Pliny imports into the still fluid practice of letter-writing the principles of composition and organisation that for his contemporaries characterised other writings as literature. Allusions become the occasion for a metapoetic dialogue, especially with the collection's privileged addressee, Tacitus. An active participant in the cultural politics of his time, Pliny entrusts to the letters his views on poetry, oratory and historiography. In defining a model of epistolography alternative to Cicero's and complementing those of Horace, Ovid and Seneca, he also successfully carves a niche for his work in the Roman literary canon.

Allusions in literature. --- Allusions dans la littérature --- Pliny, --- Criticism and interpretation. --- Correspondence --- Criticism, Textual. --- Allusions dans la littérature --- Allusions in literature --- Caius Plinius, --- Gaĭ T︠S︡et︠s︡iliĭ Pliniĭ Sekund, --- Gaj Plinije, --- Kaĭ Pliniĭ T︠S︡et︠s︡iliĭ Vtoroĭ --- Pline, --- Pliniĭ, --- Plinio, --- Plinius Caecilius Secundus, C. --- Plinius Caecilius Secundus, Caius --- Plinius, Caius, --- Gaius Plinius Secundus Minor --- C. Plini Caecili Secundi --- Pline le Jeune --- Plinius de jongere --- Plinius der Jüngere --- Plinius Caecilius Secundus, Gaius --- Arts and Humanities --- History --- Pline le Jeune (0061?-0114?) --- Lettres --- Allusion (rhétorique) --- Intertextualité --- Critique et interprétation

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What did it mean – in terms of social, cultural, and literary negotiations – to publish one’s own work at Rome at the end of the first century CE? What kinds of traces has the author’s work as editor left on the text as we read it? How can we interpret them? What kind of well-choreographed balancing act was needed to ensure immediate availability and success of one’s work with its contemporary audience, while guaranteeing its long-lasting appeal with a hypothetical one? These are all central questions driving the essays collected here, as they take into consideration the paradigmatic case of Pliny. We know that Pliny the Younger’s nine-book collection of private epistles is a carefully arranged work, designed to address ultimately (and primarily) that peculiar kind of audience that we have come to conceptualize as posterity. The studies collected in this volume reinforce this notion with philological and interpretive arguments, whilst approaching from different points of view Pliny’s self-editorial strategies, suggesting that in the collected form of the Epistles meaning is produced by the interplay of multiple factors. Immediate context, placement in the book, linkage achieved by way of formal or thematic patterns, recurrence of addressees, happenings, dates – all impact upon individual texts in Pliny’s collection and charge them with sense.

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This book is addressed to “lovers of paradoxes” and we have done our utmost to assemble a stellar cast of Neapolitan and American scholars, intellectuals, and artists/writers who are strong and open-minded enough to wrestle with and illuminate the paradoxes through which Naples presents itself. Naples is a mysterious metropolis. Difficult to understand, it is an enigma to outsiders, and also to the Neapolitans themselves. Its very impenetrableness is what makes it so deliriously and irresistibly attractive. The essays attempt to give some hints to the answer of the enigma, without parsing it into neat scholastic formulas. In doing this, the book will be an important means of opening Naples to students, scholars and members of the community at large who are engaged in “identity-work.” A primary goal has been to establish a dialogue with leading Neapolitan intellectuals and artists, and, ultimately, ensure that the “deliriously Neapolitan” dance continues.

Italy. --- Naples.