Within "Leucippe and Cleitophon", Achilles Tatius inserts three extremely detailed ekphraseis of paintings, all of which stand out amongst the many other descriptive passages in the novel. This paper explores the rhetorical background of the author’s use of ekphrasis, and focuses in particular on the artist ‘Euanthes’ who is named at 3,6,3 as the painter of the images of Andromeda and Prometheus. It seeks to prove that Euanthes is entirely a construction of the author and that the name is representative of the world of rhetoric prominent in much of the literature of the 2nd Century AD. The rhetorical nature of the other ekphraseis of paintings in Leucippe and Cleitophon is also explored in order to support the interpretation of Euanthes as being part of an author’s in-joke with his educated readers.
{"title":"Euanthes and the World of Rhetoric in Achilles Tatius’ Leucippe and Cleitophon","authors":"K. Mchugh","doi":"10.21827/an.16.35773","DOIUrl":"https://doi.org/10.21827/an.16.35773","url":null,"abstract":"Within \"Leucippe and Cleitophon\", Achilles Tatius inserts three extremely detailed ekphraseis of paintings, all of which stand out amongst the many other descriptive passages in the novel. This paper explores the rhetorical background of the author’s use of ekphrasis, and focuses in particular on the artist ‘Euanthes’ who is named at 3,6,3 as the painter of the images of Andromeda and Prometheus. It seeks to prove that Euanthes is entirely a construction of the author and that the name is representative of the world of rhetoric prominent in much of the literature of the 2nd Century AD. The rhetorical nature of the other ekphraseis of paintings in Leucippe and Cleitophon is also explored in order to support the interpretation of Euanthes as being part of an author’s in-joke with his educated readers.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130563274","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}
In this paper I intend to revisit the established chronology of the Metamorphoses. I will be arguing that an ellipsis of nearly a year occurs following Charite’s wedding at 7.14, a period presumed to span merely a few weeks heretofore in Apuleian studies. Prompted by this discovery, I will conduct a re-evaluation of how Lucius handles time within his narrative by comparing this ellipsis with similar instances of temporal distortion in the novel. I will conclude by claiming that this ellipsis is a version of a temporal topos familiar from Greek romance novels, which further serves to strengthen the analogies between Lucius’ initiation and the weddings of Charite and Psyche. Both the theoretical approach and terminology employed in this paper draw primarily from Gerard Genette’s Narrative Discourse (1980) and Mieke Bal’s Narratology ([1985]2009). I will be following the scholarly edition by Robertson ([1940-1945]1985-1992), but will also note any discrepancies between scholars which are relevant to my argument.
{"title":"Duped by an ass: Revisiting the chronology of Apuleius’ Metamorphoses","authors":"E. Lewis","doi":"10.21827/AN.16.35715","DOIUrl":"https://doi.org/10.21827/AN.16.35715","url":null,"abstract":"In this paper I intend to revisit the established chronology of the Metamorphoses. I will be arguing that an ellipsis of nearly a year occurs following Charite’s wedding at 7.14, a period presumed to span merely a few weeks heretofore in Apuleian studies. Prompted by this discovery, I will conduct a re-evaluation of how Lucius handles time within his narrative by comparing this ellipsis with similar instances of temporal distortion in the novel. I will conclude by claiming that this ellipsis is a version of a temporal topos familiar from Greek romance novels, which further serves to strengthen the analogies between Lucius’ initiation and the weddings of Charite and Psyche. Both the theoretical approach and terminology employed in this paper draw primarily from Gerard Genette’s Narrative Discourse (1980) and Mieke Bal’s Narratology ([1985]2009). I will be following the scholarly edition by Robertson ([1940-1945]1985-1992), but will also note any discrepancies between scholars which are relevant to my argument.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116948008","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}
First and foremost, this contribution offers (1) a structural and rhetorical reading of the debates on the third day between Clement and Appion in the Pseudo-Clementine Homilies (Hom. 6) and shows that there is a well-considered rhetorical ring structure in their disputes. Connected with this first point (2), the suggested reading will unravel how Clement and Appion use and manipulate their sophisticated rhetoric, linked to this particular structure. This is well worth considering since these debates deal with Greek paideia, which means culture and above all education, of which rhetorical education forms part. The rhetorical features will be displayed as a fine product of the rhetorical and even sophistic background in Late Antiquity. Clement, moreover, will present himself as a master in rhetoric against Appion, who is presented as a sophist and grammarian in the novel. Finally (3), the focus on the narrative structure of and the rhetorical dynamics in Hom. 6. will contribute to a better understanding of these disputes between Appion and Clement (Hom. 4-6) and their function in the novel generally.
{"title":"The Disputes between Appion and Clement in the Pseudo-Clementine Homilies: A Narrative and Rhetorical Approach to the Structure of Hom. 6","authors":"Benjamin De Vos","doi":"10.21827/an.16.35752","DOIUrl":"https://doi.org/10.21827/an.16.35752","url":null,"abstract":"First and foremost, this contribution offers (1) a structural and rhetorical reading of the debates on the third day between Clement and Appion in the Pseudo-Clementine Homilies (Hom. 6) and shows that there is a well-considered rhetorical ring structure in their disputes. Connected with this first point (2), the suggested reading will unravel how Clement and Appion use and manipulate their sophisticated rhetoric, linked to this particular structure. This is well worth considering since these debates deal with Greek paideia, which means culture and above all education, of which rhetorical education forms part. The rhetorical features will be displayed as a fine product of the rhetorical and even sophistic background in Late Antiquity. Clement, moreover, will present himself as a master in rhetoric against Appion, who is presented as a sophist and grammarian in the novel. Finally (3), the focus on the narrative structure of and the rhetorical dynamics in Hom. 6. will contribute to a better understanding of these disputes between Appion and Clement (Hom. 4-6) and their function in the novel generally.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126902011","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}
Divine and religious elements are an important part of Greek novels. For this reason, my paper aims to investigate the description of the sanctuary of Delphi in Heliodorus’ Aethiopica by comparing it with other literary and material sources, in order to distinguish literary elements from ones more closely related to the historical reality of the Imperial age. The paper argues that Heliodorus’ reconstruction of the sanctuary is in line with contemporary material evidence, except for some aspects based on literary sources. Authors of the Classical era, such as Euripides and Pindar, are fruitfully placed alongside authors closer to Heliodorus’ age, such as Plutarch and Philostratus. This overlap reflects the discrepancy between the dramatic date of the novel (4th century BC), to which Heliodorus consistently tries to keep throughout the novel with the aid of his Classical sources, and the date of composition of the novel (4th century AD), which places it in the context of the ‘hellenization’ and ‘paganization’ promoted by Emperor Julian. The result is a dynamic and realistic reconstruction of Delphi that brings the idealized portrait of Classical Greece and its authors to life.
{"title":"The sanctuary of Delphi in Heliodorus’ Aethiopica: Between material culture and intertextuality","authors":"C. Nobili","doi":"10.21827/AN.16.35713","DOIUrl":"https://doi.org/10.21827/AN.16.35713","url":null,"abstract":"Divine and religious elements are an important part of Greek novels. For this reason, my paper aims to investigate the description of the sanctuary of Delphi in Heliodorus’ Aethiopica by comparing it with other literary and material sources, in order to distinguish literary elements from ones more closely related to the historical reality of the Imperial age. The paper argues that Heliodorus’ reconstruction of the sanctuary is in line with contemporary material evidence, except for some aspects based on literary sources. Authors of the Classical era, such as Euripides and Pindar, are fruitfully placed alongside authors closer to Heliodorus’ age, such as Plutarch and Philostratus. This overlap reflects the discrepancy between the dramatic date of the novel (4th century BC), to which Heliodorus consistently tries to keep throughout the novel with the aid of his Classical sources, and the date of composition of the novel (4th century AD), which places it in the context of the ‘hellenization’ and ‘paganization’ promoted by Emperor Julian. The result is a dynamic and realistic reconstruction of Delphi that brings the idealized portrait of Classical Greece and its authors to life.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116079243","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}
The present paper aims to propose the study of Martianus Capella’s De nuptiis Philologiae et Mercurii from a literary perspective, combining Theory of Genres and Functionalist Discourse Analysis. In order to disarticulate previous opinions on the work—which reduce menippean molds to a minimum, considering De nuptiis a didactic text—we state two main categories that work as axes in our interpretation: the unity of the work, and the presence of parody as the dominant register and unifying bond. In this framework, "De nuptiis" is no longer a failed encyclopedia, but a perfect Menippean satire
{"title":"Unity and Parody, or how to read a Menippean Satire: On Martianus’ De nuptiis Philologiae et Mercurii","authors":"Julieta Cardigni","doi":"10.21827/AN.16.35522","DOIUrl":"https://doi.org/10.21827/AN.16.35522","url":null,"abstract":"The present paper aims to propose the study of Martianus Capella’s De nuptiis Philologiae et Mercurii from a literary perspective, combining Theory of Genres and Functionalist Discourse Analysis. In order to disarticulate previous opinions on the work—which reduce menippean molds to a minimum, considering De nuptiis a didactic text—we state two main categories that work as axes in our interpretation: the unity of the work, and the presence of parody as the dominant register and unifying bond. In this framework, \"De nuptiis\" is no longer a failed encyclopedia, but a perfect Menippean satire","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129858904","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}
Apollonius’ performance of lyre-playing, comedy and pantomime in Hist. Apoll. 16 symbolises his status, past and hopes for the future. Not merely an emulation of Nero’s dramatic performances, it uniquely includes comedy. Apollonius’ lack of masks invites the association of his roles with his own life. Especially the unusual comedy performance, possibly intertextually linked to Diphilus and Plautus’ Rudens, allows for his identification as a young man who lost everything in a shipwreck but hopes for an improvement of his fortunes and possibly a love affair. Apollonius’ symposium clothes lend themselves to this kind of identification between role and actor, and his consummate performance suggests that there is a somewhat understated erotic attraction between him and the king’s daughter. The mix of Greek and Roman attitudes to dramatic performances by noblemen seems to suggest our text may have a Greek background but is directed at Roman readers.
{"title":"Theatricality and self-fashioning: Reading Apollonius’ dramatic performance in Historia Apollonii Regis Tyri chapter 16","authors":"R. May","doi":"10.21827/AN.16.35714","DOIUrl":"https://doi.org/10.21827/AN.16.35714","url":null,"abstract":"Apollonius’ performance of lyre-playing, comedy and pantomime in Hist. Apoll. 16 symbolises his status, past and hopes for the future. Not merely an emulation of Nero’s dramatic performances, it uniquely includes comedy. Apollonius’ lack of masks invites the association of his roles with his own life. Especially the unusual comedy performance, possibly intertextually linked to Diphilus and Plautus’ Rudens, allows for his identification as a young man who lost everything in a shipwreck but hopes for an improvement of his fortunes and possibly a love affair. Apollonius’ symposium clothes lend themselves to this kind of identification between role and actor, and his consummate performance suggests that there is a somewhat understated erotic attraction between him and the king’s daughter. The mix of Greek and Roman attitudes to dramatic performances by noblemen seems to suggest our text may have a Greek background but is directed at Roman readers.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114773792","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}
This contribution offers a new, critical bibliography of translations and editions of the five extant Greek romances in the early modern era, from the beginning of printing to the eighteenth century. By consulting catalogues of libraries, digitalised copies, and secondary literature, I expand, update and correct earlier bibliographies. I identify alleged editions and include creative treatments of the texts as well as incomplete versions. As an interpretation of my survey, I give an overview of broad, changing tendencies throughout the era and filter the dispersion over Europe in a wider area and period than was available so far, in order to get a more complete picture of their distribution. Furthermore, I point to some peculiar (tendencies in) combinations, among the lemmata themselves, as well as with other stories.Kirsten Ricquier studied Classical Philology at Ghent University (Belgium). She is currently a researcher at this institution funded by the European Research Council Starting Grant Novel Saints under the supervision of Professor Koen De Temmerman. Her research concerns the afterlife of ancient prose fiction in medieval Greek hagiography and the early modern era, the classical tradition (particularly in the long 18th century), and genre theory.
这一贡献提供了一个新的，重要的参考书目翻译和版本的五个现存的希腊浪漫主义在早期现代，从印刷术开始到十八世纪。通过查阅图书馆目录、数字化副本和二手文献，我扩展、更新和纠正了早期的书目。我确定了所谓的版本，包括对文本的创造性处理以及不完整的版本。作为对我的调查的解释，我概述了整个时代广泛的、不断变化的趋势，并在迄今为止可用的更广泛的地区和时期过滤了欧洲的分散情况，以便获得更完整的分布情况。此外，我还指出了引理本身以及与其他故事的一些特殊(倾向)组合。Kirsten Ricquier在比利时根特大学学习古典语言学。她目前是该机构的研究员，该机构由欧洲研究委员会资助，由Koen De Temmerman教授指导。她的研究涉及中世纪希腊圣徒传记和现代早期古代散文小说的来世，古典传统(特别是在漫长的18世纪)和体裁理论。
{"title":"The early modern transmission of the ancient Greek romances: a bibliographic survey","authors":"Kirsten Ricquier","doi":"10.21827/5c643a2ff2600","DOIUrl":"https://doi.org/10.21827/5c643a2ff2600","url":null,"abstract":"This contribution offers a new, critical bibliography of translations and editions of the five extant Greek romances in the early modern era, from the beginning of printing to the eighteenth century. By consulting catalogues of libraries, digitalised copies, and secondary literature, I expand, update and correct earlier bibliographies. I identify alleged editions and include creative treatments of the texts as well as incomplete versions. As an interpretation of my survey, I give an overview of broad, changing tendencies throughout the era and filter the dispersion over Europe in a wider area and period than was available so far, in order to get a more complete picture of their distribution. Furthermore, I point to some peculiar (tendencies in) combinations, among the lemmata themselves, as well as with other stories.Kirsten Ricquier studied Classical Philology at Ghent University (Belgium). She is currently a researcher at this institution funded by the European Research Council Starting Grant Novel Saints under the supervision of Professor Koen De Temmerman. Her research concerns the afterlife of ancient prose fiction in medieval Greek hagiography and the early modern era, the classical tradition (particularly in the long 18th century), and genre theory.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127739920","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}
Paul in his Letters drew on conventions that would have been familiar to anyone receiving a rudimentary Greek education. The persona used at the end of Romans 1 to denounce the sinners in contemporary culture is based on the alazon or boastful man familiar from satire and the diatribe philosophical style of Bion, Seneca, and later Epictetus. The persona in Romans 7 who prays to be delivered from “this body of death” goes back to Greek tragedy and can be paralleled in the tragic tone of such poets as Ovid and Catullus. The beautiful hymn to love in I Corinthians 13 goes back to Socrates’ speech in Plato’s Symposium and also owes much to the pattern for an encomium used in Aristotle’s Rhetoric and followed by Isocrates and Cicero. Paul’s discussion of “the Married and Unmarried Man” in I Corinthians 7 and “The Weak Man’ in Romans 14 are consistent with stereotypes introduced by Aristotle and Theophrastus and found on stage in comedies such as “The Bad Tempered Man.” All these passages are based on cultural commonplaces that would have made Paul’s arguments come alive to a Greek speaking audience.Warren S. Smith is a retired Professor of Classics at the University of New Mexico. Among his books is Satiric Advice on Women and Marriage from Plautus to Chaucer (Michigan, 2005). His articles on Apuleius and the New Testament have appeared before inAncient Narrative. His church service includes teaching stints in the Philippines and Kenya, and weekly visits to a prison in Los Lunas, N.M.
{"title":"St. Paul’s Letters and Classical Culture","authors":"W. S. Smith","doi":"10.21827/5C643AB42BA9B","DOIUrl":"https://doi.org/10.21827/5C643AB42BA9B","url":null,"abstract":"Paul in his Letters drew on conventions that would have been familiar to anyone receiving a rudimentary Greek education. The persona used at the end of Romans 1 to denounce the sinners in contemporary culture is based on the alazon or boastful man familiar from satire and the diatribe philosophical style of Bion, Seneca, and later Epictetus. The persona in Romans 7 who prays to be delivered from “this body of death” goes back to Greek tragedy and can be paralleled in the tragic tone of such poets as Ovid and Catullus. The beautiful hymn to love in I Corinthians 13 goes back to Socrates’ speech in Plato’s Symposium and also owes much to the pattern for an encomium used in Aristotle’s Rhetoric and followed by Isocrates and Cicero. Paul’s discussion of “the Married and Unmarried Man” in I Corinthians 7 and “The Weak Man’ in Romans 14 are consistent with stereotypes introduced by Aristotle and Theophrastus and found on stage in comedies such as “The Bad Tempered Man.” All these passages are based on cultural commonplaces that would have made Paul’s arguments come alive to a Greek speaking audience.Warren S. Smith is a retired Professor of Classics at the University of New Mexico. Among his books is Satiric Advice on Women and Marriage from Plautus to Chaucer (Michigan, 2005). His articles on Apuleius and the New Testament have appeared before inAncient Narrative. His church service includes teaching stints in the Philippines and Kenya, and weekly visits to a prison in Los Lunas, N.M.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116235607","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}
This study aims to shed new light on the references to the materiality of magic in the description of the witch Pamphile’s laboratory at Apul. Met. 3,17,4-5. Through comparing this passage with earlier descriptions of magical paraphernalia in Horace, Lucan, and Petronius and by drawing parallels with non-literary evidence – especially the Papyri Graecae Magicae and the Defixionum Tabellae – it will be shown how Apuleius borrows from the material culture of magic to provide his readership with an exceptionally realistic and gruesome account. Leonardo Costantini is a postdoctoral research fellow at the Albert-Ludwigs-Universität Freiburg, where he is working on a new commentary on Apuleius’ Metamorphoses 3 to complete the GCA series. His research focuses on the literary and textual aspects of Apuleius’ literary works, the ancient novels, writings of the Second Sophistic, taking into account their socio-cultural background with particular attention to Greco-Roman magic. A reworked version of his doctoral dissertation, devoted to Apuleius’ Apologia and magic, is forthcoming at De Gruyter, series: Beiträge zur Altertumskunde.
这项研究的目的是揭示新的光在描述女巫小册子的实验室在Apul巫术的物质性。满足。3,4 - 5。通过将这段文字与霍勒斯、卢坎和彼得罗尼乌斯早期对魔法用具的描述进行比较，并将其与非文学证据(尤其是《希腊纸莎草》和《解咒表》)进行比较，就可以看出阿普列乌斯是如何借鉴魔法的物质文化，为读者提供一种异常现实和可怕的描述的。Leonardo Costantini是Albert-Ludwigs-Universität Freiburg的博士后研究员，在那里他正在为Apuleius的《变形记3》撰写一篇新的评论，以完成GCA系列。他的研究主要集中在阿普列夫斯的文学作品，古代小说，第二诡辩家的作品的文学和文本方面，考虑到他们的社会文化背景，特别关注希腊罗马魔法。他的博士论文的修改版本，致力于阿普莱乌斯的辩辞和魔法，即将在德格鲁伊特，系列:Beiträge zur Altertumskunde。
{"title":"The Real Tools of Magic: Pamphile’s Macabre Paraphernalia (Apuleius, Met. 3,17,4-5)","authors":"L. Costantini","doi":"10.21827/5C643A8F3AE8F","DOIUrl":"https://doi.org/10.21827/5C643A8F3AE8F","url":null,"abstract":"This study aims to shed new light on the references to the materiality of magic in the description of the witch Pamphile’s laboratory at Apul. Met. 3,17,4-5. Through comparing this passage with earlier descriptions of magical paraphernalia in Horace, Lucan, and Petronius and by drawing parallels with non-literary evidence – especially the Papyri Graecae Magicae and the Defixionum Tabellae – it will be shown how Apuleius borrows from the material culture of magic to provide his readership with an exceptionally realistic and gruesome account. Leonardo Costantini is a postdoctoral research fellow at the Albert-Ludwigs-Universität Freiburg, where he is working on a new commentary on Apuleius’ Metamorphoses 3 to complete the GCA series. His research focuses on the literary and textual aspects of Apuleius’ literary works, the ancient novels, writings of the Second Sophistic, taking into account their socio-cultural background with particular attention to Greco-Roman magic. A reworked version of his doctoral dissertation, devoted to Apuleius’ Apologia and magic, is forthcoming at De Gruyter, series: Beiträge zur Altertumskunde.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128899692","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}
This article analyzes the performative strategies employed by Favorinus in his Corinthian Oration. Previous scholarship has focused on two aspects of this speech: on the ways in which Favorinus agonistically alludes to Corinthian history, thereby challenging the city’s authority to dismantle his statue; and second, on his insistence that identity is constructed by paideia, a claim that is representative of second century Greek elite culture. I follow the general line of interpretation elaborated in these readings but draw out an aspect of Favorinus’ rhetorical strategy that has been overlooked. Inspired by recent feminist critiques of rectitude and straightness, I argue that Favorinus relies on an orientating rhetoric in order to both resurrect his statue and assert his masculinity against imputations of effeminacy.Artemis Brod is a Visiting Assistant Professor in the Classical Studies department at Indiana University, Bloomington. Currently, she is working on a book project called As Myself: Recognition and Performance in Greek Imperial Oratory in which she investigates techniques of self-presentation used by sophists to gain recognition—aesthetic and social—from their audiences. More broadly, she is interested in representations of the body and narrative form in second century CE literature. She received her PhD from Stanford University in 2016.
{"title":"The Upright Man: Favorinus, his Statue, and the Audience that Brought it Low","authors":"A. Brod","doi":"10.21827/5C643AAA4CC86","DOIUrl":"https://doi.org/10.21827/5C643AAA4CC86","url":null,"abstract":"This article analyzes the performative strategies employed by Favorinus in his Corinthian Oration. Previous scholarship has focused on two aspects of this speech: on the ways in which Favorinus agonistically alludes to Corinthian history, thereby challenging the city’s authority to dismantle his statue; and second, on his insistence that identity is constructed by paideia, a claim that is representative of second century Greek elite culture. I follow the general line of interpretation elaborated in these readings but draw out an aspect of Favorinus’ rhetorical strategy that has been overlooked. Inspired by recent feminist critiques of rectitude and straightness, I argue that Favorinus relies on an orientating rhetoric in order to both resurrect his statue and assert his masculinity against imputations of effeminacy.Artemis Brod is a Visiting Assistant Professor in the Classical Studies department at Indiana University, Bloomington. Currently, she is working on a book project called As Myself: Recognition and Performance in Greek Imperial Oratory in which she investigates techniques of self-presentation used by sophists to gain recognition—aesthetic and social—from their audiences. More broadly, she is interested in representations of the body and narrative form in second century CE literature. She received her PhD from Stanford University in 2016.","PeriodicalId":193009,"journal":{"name":"Ancient narrative","volume":"93 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124542045","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}
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