Two dialogues of Lucian are discussed in order to further evaluate the critique of contemporary philosophy that so often pervades the author’s satirical works. In Lucian’s Zeuxis and Symposium, the reader is offered two distinct ‘versions’ of the hybrid animal. In the first instance, the traditionally uncivilised centaur is portrayed as almost human in nature and representative of successful hybridity, while the hybrid philosopher-sophist is a corruption of the ideal form.Megan Hancock is a PhD candidate at the University of Tasmania, and her research interests are primarily focussed around the figure of Lucian. Her doctoral thesis assesses the role of hybridity throughout Lucian’s works, and to demonstrate the means by which this theme informs his critique of the philosophers of the Second Sophistic. She is the 2018 recipient of the Tasmanian Friends of the Australian Archaeological Institute at Athens Greek Scholarship, allowing her to study in Greece in the later part of the year.
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Iamblichos’ lost novel of love and horror, as we know it from its Byzantine summary and a few manuscript fragments, is firmly footed in the tradition of the Greek romance, as well as possessing an oriental flair. The present article summarises the similarities of the Babyloniaka (2nd c. AD) to the extant romances and draws attention to a number of hitherto unnoticed points of contact between this novel and Achilles Tatios’ Leukippe and Kleitophon (also 2nd c. AD). It is then argued that, like Achilles’ novel, the Babyloniaka plays with humour and parody in the characterisation of its heroes, its erotic ideology and its exaggerated presentation of the horrific and the supernatural.Nikoletta Kanavou holds a research fellowship of the German Research Foundation (DFG) at the University of Heidelberg. Her most recent publications include an article on the short fragmentary narrative Panionis (Archiv für Papyrusforschung 64/1, 13-31), as well as a monograph on the fictitious biography of Apollonius of Tyana by Philostratus (Philostratus’ Life of Apollonius of Tyana and its Literary Context, C.H. Beck 2018).
我们从其拜占庭式的摘要和一些手稿片段中了解到，伊姆布利科斯这部遗失的爱情与恐怖小说牢固地立足于希腊浪漫主义的传统，同时也具有东方的风格。本文总结了《巴比伦记》(公元2世纪)与现存浪漫小说的相似之处，并提请注意这部小说与阿基里斯·塔提奥斯的《洛伊基普和克莱托丰》(也是公元2世纪)之间一些迄今为止未被注意到的联系点。然后有人认为，就像阿喀琉斯的小说一样，《巴比伦记》在塑造英雄人物、情色意识形态以及对恐怖和超自然现象的夸张表现方面，运用了幽默和模仿。Nikoletta Kanavou拥有海德堡大学德国研究基金会(DFG)的研究奖学金。她最近的出版物包括一篇关于短片段叙事帕尼尼奥斯的文章(Archiv f r Papyrusforschung 64/ 1,13 -31)，以及菲洛斯特拉图斯关于提亚纳阿波罗尼乌斯的虚构传记的专著(菲洛斯特拉图斯的提亚纳阿波罗尼乌斯的生活及其文学背景，C.H. Beck 2018)。
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The paper presents a 17th-century translation of the Satyricon into Italian transmitted in manuscript. The translation is anonymous and presumably was intended for the illegal market of clandestine manuscripts. Material evidence shows that the translation actually circulated across time and among popular readers. The comparison between the Italian translation and 16th – and 17th editions of Petronius has revealed that the translator started his work on the obsolete text of the excerpta brevia (that is, the Satyricon as published before1575) and then shifted to the the excerpta longiora tradition, likely using the Satyricon edition published in 1601 (reprinted in 1608). Such a mixture of source texts proves the translator’s total lack of philological accuracy. In addition, he made several translation errors. However, surprisingly enough, the Italian translation underpins an excellent work of textual criticism on Petronius’ text. The suggested explanation is that the translator or a later reviser emendated the translation following a highly specialised commentary. Some translation errors, in fact, can be explained only as critical indications that have been completely misunderstood. The papers concludes putting in relation the success of the Satyricon among 17th-century popular readers with its reception as a subversive parody of the Greek novel and its traditional values.I have a PhD in Italian Studies (2006) from the Università RomaTre of Rome. Currently, I am a Marie Curie Research Fellow at the EHESS in Paris. My recent research interests are focused on the Early Modern Period; more specifically, on the translation and receptions of Classics and the circulation of heterodox texts. I am working at the research project Popular readers and clandestine literature: the case of an early modern translation of Petronius’ Satyricon into Italian (17th C.) funded by Marie Skłodowska-Curie Actions, and, more broadly, I am exploring the 17th-c. success of the Satyricon and its reception as a novel and as a satire.Affiliation: Post-doctoral Research Fellow at the Centre des Recherches Historiques of the EHESS in Paris (research group: Grihl – Groupe de Recherches Interdisciplinaires sur l’Histoire du Littéraire ).Relevant publications:‘La retorica dell’esperimento: per una rilettura delle Esperienze intorno alla generazione degl’insetti di Francesco Redi (1668)’, Italian Studies (2017), 72, 1, 41-56.Bartolomeo Beverini (1629-1686) e una versione inedita della Metafisica di Aristotele’, in L. Bianchi, J. Kraye and S. Gilson (eds), Vernacular Aristotelianism in Italy from the Fourteenth to Seventeenth Century, London, The Warburg Institute, 2016, 183-208.‘Freedom and censorship: Petronius’ Satyricon in seventeenth-century Italy’, Classical Receptions Journal (2014), 6. 1, 104-130.‘Con oscurità mutando in nomi: Napoli epicurea nei Successi di Eumolpione (1678)’, California Italian Studies (2012), 3. 1, https://escholarship.org/uc/item/2tr7x1nd.
本文介绍了一份17世纪的萨提里康翻译成意大利语的手稿。翻译是匿名的，可能是为了秘密手稿的非法市场。有证据表明，这一译本确实流传了很长一段时间，并受到广大读者的欢迎。意大利译本与彼得罗尼乌斯的第16和17版的比较表明，译者从过时的摘录文本开始他的工作(即1575年之前出版的萨特里康)，然后转向了摘录longiora传统，可能使用了1601年出版的萨特里康版本(1608年重印)。这种来源文本的混杂证明了译者完全缺乏语言学准确性。此外，他还犯了几个翻译错误。然而，令人惊讶的是，意大利语翻译支撑了对彼得罗尼乌斯文本的优秀文本批评工作。建议的解释是，译者或后来的修订者在高度专业化的评论之后修改了翻译。事实上，有些翻译错误只能解释为被完全误解的关键指示。论文最后将《萨提里翁》在17世纪大众读者中的成功与它作为对希腊小说及其传统价值观的颠覆性模仿的接受联系起来。我在罗马罗马大学获得意大利研究博士学位(2006)。目前，我是巴黎EHESS的玛丽·居里研究员。我最近的研究兴趣集中在近代早期;更具体地说，关于经典的翻译和接受以及异端文本的流通。我正在从事一个研究项目，通俗读者和秘密文学:由Marie Skłodowska-Curie Actions资助的Petronius的Satyricon早期现代翻译成意大利语(17世纪)的案例，更广泛地说，我正在探索17世纪。《撒特利翁》的成功以及它作为小说和讽刺作品的受欢迎程度所属单位:巴黎高等社会科学院历史研究中心博士后研究员(研究小组:Grihl - Groupe de Recherches Interdisciplinaires sur l 'Histoire du litetraire)。相关出版物:《实验的改革:Francesco Redi(1668)》，《意大利研究》(2017)，72,1,41-56。巴托洛梅奥·贝弗里尼(1629-1686)，《亚里士多德的新版本》，见L. Bianchi, J. Kraye和S. Gilson(编)，《14至17世纪意大利的方言亚里士多德主义》，伦敦，the Warburg Institute, 2016, 183-208。《自由与审查:佩特罗尼乌斯在17世纪意大利的萨特利康》，《古典接待杂志》(2014)，第6页。1, 104 - 130。“conoscuritcommutando in nomi: Napoli epicurea nei Successi di umolpione(1678)”，《加州意大利研究》(2012)，第3期。1, https://escholarship.org/uc/item/2tr7x1nd。
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Pub Date : 2015-02-09DOI: 10.1515/9783110210309.2.4.884
Richard Hunter
This essay examines some of the ways in which ancient novelists exploit and dramatise the polypragmosyne and curiosity of their characters, thus also suggesting a link between such curiosity and the practice of reading novels itself. The principal texts considered are the Life of Aesop , in which the search for a man completely without curiosity is an important episode, the Satyrica of Petronius in which ‘curiosity' runs riot at Trimalchio's dinner-party, and Apuleius' Metamorphoses , where the central character suffers for his curiosity and the whole novel advertises the polypragmosyne of the literary interpreter. The investigation is set within the context of Plutarch's essay ‘On polypragmosyne '. Richard Hunter is Regius Professor of Greek at the University of Cambridge and a Fellow of Trinity College. His research interests include ancient comedy, the novel, Hellenistic poetry and its reception in Rome, and ancient literary criticism. His most recent books are The Shadow of Callimachus (Cambridge 2006) and Critical Moments in Classical Literature (Cambridge 2009). Many of his essays have been collected in On Coming After: Studies in Post-Classical Greek Literature and its Reception (Berlin 2008).
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Apuleius’ novel Metamorphoses draws on a wide range of literary models and especially on Homer’s Odyssey . This article shows that the Phaeacians episode functions as a subtext for Lucius’ encounter with Isis in chapters 1–15 of Met. 11. By its extension this literary model provides a narratological structure for the description of Lucius’ re-transformation into human figure. It furthermore elucidates several questions in Met . 11 that hitherto have been difficult to explain, among them Lucius’ bath in the sea, his lament about a goddess’ wrath or the celebration of the ploiaphesia . The Phaeacians episode by its nostos motif in conclusion allows us to interpret Met. 11 as Lucius’ return to human shape. Beate Beer is currently assistant at the institute of Classics at the University of Zurich. She has worked on Epicureanism and published on Lucretius and Philodemus. In her recently published monograph she investigates Lucretius’ poetics in the context of Philodemus’ poetological theory ( Lukrez und Philodem: Poetische Argumentation und poetologischer Diskurs , Basel: Schwabe 2010).
阿普列夫的小说《变形记》借鉴了广泛的文学模式，尤其是荷马的《奥德赛》。这篇文章表明，《费阿契亚人》的情节是《Met》第11章第1-15章卢修斯与伊希斯相遇的潜台词。这一文学模式的延伸为卢修斯重新转化为人物提供了一种叙事结构。它进一步阐明了Met中的几个问题。其中包括卢修斯的海浴，他对女神愤怒的哀叹，以及对重癖症的庆祝。斐阿契斯的那一章，以其怀旧的主题结尾，让我们可以将第11章解释为卢修斯回归人形。比阿特·比尔目前在苏黎世大学古典文学研究所担任助理。她研究过伊壁鸠鲁主义并发表过关于卢克莱修和菲洛德摩斯的著作。在她最近出版的专著中，她在菲洛德摩斯的诗学理论的背景下研究卢克莱修的诗学(Lukrez und Philodem: Poetische argumationund poeetologischer Diskurs，巴塞尔:Schwabe 2010)。
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In this paper I argue that the description of literary narrative in ancient rhetoric could have provided Greek and Roman novelists with a critical vocabulary, and that this vocabulary is reflected in their works. The major category by or against which novelists define their writing turns out to be μῦθος / fabula , which implies the idea of an unreal and unlikely narrative. I analyze the most significant passages and conclude that the first novels, which were posing as history, avoided looking unreal and unlikely, while later novelists were free to play with the concept of μῦθος / fabula on an individual basis. Given that exactly the Roman novels (and Achilles Tatius) are most defined by μῦθος / fabula , my result also questions our modern critical vocabulary according to which these novels are often called ‘realistic’. Stefan Tilg holds an Ambizione scholarship of the Swiss National Science Foundation and is hosted by the Klassisch-Philologisches Seminar of the University of Zurich. He is the author of Chariton of Aphrodisias and the Invention of the Greek Love Novel (Oxford 2010) and is currently writing a monograph on Apuleius’ Metamorphoses .
本文认为，古代修辞学对文学叙事的描述可以为希腊和罗马小说家提供一种批判性词汇，这种词汇在他们的作品中得到反映。小说家定义其作品的主要类别是μ ο ος / fabula，这意味着一种不真实和不可能的叙事。我分析了最重要的段落，得出的结论是，作为历史的第一部小说避免了看起来不真实和不太可能，而后来的小说家则可以自由地在个人基础上玩μ ο ος / fabula的概念。考虑到罗马小说(以及阿基里斯·塔提乌斯)的大部分定义都是由μ ο θος / fabula定义的，我的结果也质疑了我们现代的批评词汇，根据这些词汇，这些小说通常被称为“现实主义”。Stefan Tilg拥有瑞士国家科学基金会Ambizione奖学金，并由苏黎世大学古典语言学研讨会主持。他是《爱欲的查里顿》和《希腊爱情小说的发明》(牛津2010)的作者，目前正在撰写关于阿普列夫斯的《变形记》的专著。
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Pub Date : 2009-02-11DOI: 10.1515/9783110210309.2.4.829
R. Hunter
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Pub Date : 1900-01-01DOI: 10.3138/9781442688384-009
K. Bradley
Sporadic evidence of the impact of the rise of Christianity on traditional family relationships in the Roman world is detectable in the Acts of the Christian Martyrs . The evidence is examined in this essay, which concludes that Christianity required of those prepared to die for their beliefs a willingness to abandon family obligations and to embrace spiritual bonds of a new kind that threatened to subvert conventional family structures, as individualistic concerns gradually came to predominate over communal family ties.
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