Ilaria Marchesi – författare

What did it mean - in terms of social, cultural, and literary negotiations - to publish one's own work in 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 for one's work in terms of its historical contemporary audience, while guaranteeing its long-lasting appeal with a hypothetical one? These are the key questions behind the essays in this collection, as they address Pliny the Younger's complex self-editorial strategies, and what they were intended to achieve. The individual studies use philological and interpretive arguments to reveal that Pliny's nine-book collection of private epistles is a carefully arranged work designed, ultimately (and primarily), to address that peculiar kind of audience that we have come to conceptualize as posterity. In doing so, they suggest 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, and dates all impact individual texts in Pliny's collection and charge them with sense. Pliny the Book-Maker is intended as a contribution to the larger recent re-orientation of Pliny studies, which looks to shift the focus of analysis from strictly socio-historical data-mining to a literary re-evaluation of Pliny's texts.

Women in Martial is the first monograph to treat the portrayals of women in Martial's Epigrams in a systematic way. In this volume, Marchesi proposes a new method of exploring the cultural construction of femininity in the Flavian age, presenting an interplay between close readings of Martial's poems and their contextualization through legal, historiographic, rhetorical, and grammatical discussions.This book discusses the social roles assigned to women in Roman society, where they were at once called to represent their fathers and reproduce their husbands, together with the question of to what extent they are depicted as semiotic signifiers in Martial's corpus. Noting socially aberrant behavior by pointedly using the discourse of grammar and its categories to detect and address the social issues of his time, Martial—a poet who distinctively adopts the role of a surrogate censor for Domitian—constructs the women he depicts in both negative and positive ways as signs of their time.Using a wide range of examples from ancient Roman culture, Women in Martial models a way of using literary sources to address the intersection of social and cultural issues in the study of women in the ancient world, ultimately demonstrating the extent to which the social roles and identities of women were constructed and policed through semiotic categories.

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.