Marco Giuman

Repercussa imaginis umbra est. Qualche considerazione su malia e malocchio nel mondo antico.

Introduction

Repercussa imaginis umbra est. Qualche considerazione su malia e malocchio nel mondo antico.. Esplora la paura atavica del malocchio e della malia nel mondo antico. Analizza i meccanismi simbolici e iconografici del potere nefando dello sguardo e di Phthonos.

Abstract

Abstract: Sono poche le vicende culturali che possono vantare una continuità funzionale tanto marcata come quella che, nel corso delle  vicende umane, caratterizza atavicamente la paura del malocchio. Il tema del potere nefando dello sguardo, uno sguardo che incanta ma che all’un tempo può anche essere pericolosamente ammaliante, si rivela una chiave culturale di particolare e duratura fortuna in ambienti  molto distanti per cultura e cronologia. Questo contributo vuole approfondire alcuni aspetti dei meccanismi simbolici e funzionali che, nel mondo classico, rimarcano questo singolare fenomeno di empatia visiva, concentrandosi in particolar modo su alcune dinamiche iconografiche che caratterizzano l’immagine di Phthonos.  [ultima revisione Gennaio 2018] English abstract: The theme of the negative power of the gaze – or baskania – is an enduring topic in the human history. At the same time fascinating and dangerous, the gaze is an important exegetical key that recurs in many situations, often different in culture and chronology. The focus of this paper is to investigate some symbolic mechanisms that in classical world distinguish the image of Evil Eye / Phthonos.

Review

This paper, titled "Repercussa imaginis umbra est. Qualche considerazione su malia e malocchio nel mondo antico," delves into the fascinating and remarkably persistent cultural phenomenon of the evil eye (malocchio or baskania). The abstract effectively highlights the enduring functional continuity of this fear across diverse cultures and chronological periods, establishing its significance as a topic of deep human interest. The chosen title, "The shadow is the image reflected," is particularly evocative and promises a nuanced exploration of perception, power, and the gaze, setting an intriguing tone for the subsequent analysis. The core strength of this contribution appears to lie in its specific focus on the classical world, aiming to unravel the symbolic and functional mechanisms underpinning this "visual empathy." By concentrating particularly on the iconographic dynamics associated with *Phthonos*, the paper promises a detailed and scholarly examination of how this malevolent gaze was conceptualized and represented. This particular emphasis on iconography offers a valuable avenue for understanding the visual culture of the evil eye, moving beyond purely textual analyses to consider the material and artistic expressions of this potent belief. Overall, this paper presents a compelling and timely investigation into a subject of significant cultural and historical importance. The targeted approach to the classical world, coupled with a specific focus on the iconography of *Phthonos*, suggests a work that will offer new insights into a deeply entrenched aspect of ancient belief systems. While the abstract is concise, it clearly outlines a promising research trajectory that should contribute meaningfully to our understanding of ancient superstition, visual culture, and the enduring power of the human gaze. I anticipate that a thorough exploration of the proposed iconographic dynamics will yield valuable contributions to the fields of classical studies, art history, and the anthropology of belief.

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