Pub Date : 2019-02-21DOI: 10.1093/oso/9780190915407.003.0004
S. Frampton
It has long been recognized that one of the governing images of Lucretius’s great natural-philosophical poem De rerum natura is the analogy between letters and atoms, both elementa (“elements”) in Latin. At several points in the poem, Lucretius explains the mystery of atomic composition by saying that the atoms are like letters, coming together into physical bodies just as letters come together into words, and words into poetry. Taking seriously the material-cultural roots of Lucretius’s materialist analogy, this chapter approaches the familiar figure in a new way. Using papyri that provide evidence for the methods by which children in antiquity learned to read and write, this chapter shows the debt that Lucretius’s description of writing—and thus his very ideas of atomism and the ; (clinamen) &#“swerve”—owe to one of the most common tools of ancient literate education: the syllabary.
人们早就认识到，卢克莱修伟大的自然哲学诗《自然》(De rerum natura)的主导意象之一是字母和原子之间的类比，两者在拉丁语中都是elementa(“元素”)。在这首诗的几个地方，卢克莱修解释了原子组成的奥秘，他说原子就像字母一样，聚集在一起形成身体，就像字母聚集在一起形成单词，单词聚集在一起形成诗歌一样。本章认真考虑卢克莱修唯物主义类比的物质文化根源，以一种新的方式来接近这个熟悉的人物。这一章用纸莎草纸证明了古代儿童学习阅读和写作的方法。这一章展示了卢克莱修对写作的描述，以及他的原子论和唯物论的思想;“转向”——这要归功于古代文学教育中最常见的工具之一:音节表。
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190915407.003.0002
S. Frampton
Addressing questions of scholarly background, this chapter finds common ground among the related fields of book history, bibliography, textual criticism, and the Classics, so that readers from each may approach the book on equal footing. It foregrounds the fundamental methodology of Empire of Letters—to study classical texts book historically—and outlines one of the major outcomes of such an approach: that studying the ancient book as “old media” helps to distill the fundamental properties of the “book,” above and beyond the printed codex. Changes in modern media offer an intriguing parallel in the expansion of the conventional Western definition of “book.”
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190915407.003.0003
S. Frampton
What did ancient Romans believe about the origins of their alphabet? Focusing on the fact that the alphabet was recognized by Roman authors to have been borrowed from the Greeks, who in turn had borrowed it from more ancient cultures in the eastern Mediterranean, this chapter shows how those borrowings were used by Romans in the classical period to echo and reinforce popular myths and ideals about their own hybrid cultural identity. Discussion includes a comparison of Greek and Roman myths of alphabetic origins, including those of Herodotus, Plato, Tacitus, and Pliny the Elder, and analysis of Roman theories about the sources for differences between the Greek and Roman alphabets, stemming from histories of transmission from older writing cultures in the Mediterranean, including Etruscans, Phoenicians, Egyptians, and Assyrians.
{"title":"Writing and Identity","authors":"S. Frampton","doi":"10.1093/oso/9780190915407.003.0003","DOIUrl":"https://doi.org/10.1093/oso/9780190915407.003.0003","url":null,"abstract":"What did ancient Romans believe about the origins of their alphabet? Focusing on the fact that the alphabet was recognized by Roman authors to have been borrowed from the Greeks, who in turn had borrowed it from more ancient cultures in the eastern Mediterranean, this chapter shows how those borrowings were used by Romans in the classical period to echo and reinforce popular myths and ideals about their own hybrid cultural identity. Discussion includes a comparison of Greek and Roman myths of alphabetic origins, including those of Herodotus, Plato, Tacitus, and Pliny the Elder, and analysis of Roman theories about the sources for differences between the Greek and Roman alphabets, stemming from histories of transmission from older writing cultures in the Mediterranean, including Etruscans, Phoenicians, Egyptians, and Assyrians.","PeriodicalId":135237,"journal":{"name":"Empire of Letters","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122365063","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-21DOI: 10.1093/oso/9780190915407.003.0006
S. Frampton
After discussing the now famous papyrus fragment discovered in 1979 in Lower Nubia and covered with lines of poetry identified with the elegist Cornelius Gallus, this chapter focuses on reconstructing the material habitus of Latin poetry within the Roman bookroll. Reviewing programmatic passages in Ennius, Plautus, Catullus, Ovid, and especially Horace and Virgil, the chapter shows many of the ways that Roman authors made reference to writing and textual materiality within their work to signal and often to resist intimacy with readers in the world outside of their poems. Focusing on the symbolic importance of the special copies that authors may have had prepared for friends and patrons, known now as “presentation copies,” these readings ultimately help to illuminate the surprising rarity of explicit references to writing in Virgil, an author, like others, exquisitely concerned with managing relationships with elite readers by way of his texts.
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190915407.003.0005
S. Frampton
This chapter focuses on one of the foundational images in Western epistemology: that memory is like a wax tablet. Charting the origins of the figure in the theories of mind of Plato and Aristotle through its development in the Roman practice of an oratorical ars memoriae (“art of memory”) as described by the Auctor ad Herennium, Cicero, and Quintilian, it recovers a variety of ways that writing and thinking were connected in the ancient imagination. Especially within theoretical handbooks of the discipline of Roman oratory, memory was understood fundamentally to be a practice dependent upon and at the service of written texts. From the tabula rasa to the “memory palace,” the tablet functioned as both tool and metaphor for Roman thought.
本章聚焦于西方认识论的一个基本意象:记忆就像一块石碑。在柏拉图和亚里士多德的心智理论中描绘了人物的起源，通过它在罗马实践中的发展，如Auctor ad Herennium, Cicero和Quintilian所描述的，它恢复了写作和思考在古代想象中联系在一起的各种方式。尤其是在罗马演讲学的理论手册中，记忆从根本上被理解为一种依赖于书面文本并为之服务的实践。从白板到“记忆宫殿”，石板既是罗马思想的工具，也是罗马思想的隐喻。
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Pub Date : 2019-02-21DOI: 10.1093/oso/9780190915407.003.0007
S. Frampton
In the year 8 CE, Ovid was exiled to the Black Sea for “a song and a mistake.” This chapter explores a series of iconic poems from the Tristia in which Ovid imagines the state of exile through a variety of textual media: his own books of poetry sent back to the city and rejected from the public libraries; the lapidary inscriptions of Augustus he imagines them to encounter; and, several times over, his own funerary epitaph, formulated in explicit competition with Augustus’s own monumental list of deeds, the Res gestae. It is an examination of the challenges presented to the poet by exile and how he uses writing itself and written forms, real and imagined, to overcome that distance and disgrace, becoming increasingly aware that it was at the level of written language, and only at that level, that he and the emperor were “on the same page.”
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