{"title":"The Analogue of the Hero of Heliodorus' Aethiopica","authors":"Edmund P. Cueva","doi":"10.1353/SYL.1998.0004","DOIUrl":"https://doi.org/10.1353/SYL.1998.0004","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122371352","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}
After the Persian, Greek, and Roman conquests of Lydia, a separate Lydian culture and language gradually disappeared under the influence of the kind of socioeconomic and sociolinguistic forces that have more recently reduced the diversity of the world’s cultures and languages. There is evidence, however, that a convergence between Greek and Anatolian (particularly Lydian) cultures stretched back into the Bronze Age. This kind of convergence would explain Herodotus’ remarkable statement that Greeks and Lydians follow much the same customs.
{"title":"Greek and Lydian Evidence of Diversity, Erasure, and Convergence in Western Asia Minor","authors":"J. Kearns","doi":"10.1353/SYL.2003.0010","DOIUrl":"https://doi.org/10.1353/SYL.2003.0010","url":null,"abstract":"After the Persian, Greek, and Roman conquests of Lydia, a separate Lydian culture and language gradually disappeared under the influence of the kind of socioeconomic and sociolinguistic forces that have more recently reduced the diversity of the world’s cultures and languages. There is evidence, however, that a convergence between Greek and Anatolian (particularly Lydian) cultures stretched back into the Bronze Age. This kind of convergence would explain Herodotus’ remarkable statement that Greeks and Lydians follow much the same customs.","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132895208","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}
Although Achilles is fated to be the greatest warrior the Greeks had ever known, his mother tries to keep him out of the Trojan war by disguising him as a girl. Her plan is foiled only by Odysseus’ clever use of what we now call “game theory,” a sub-field of economics that often deals with truth-telling and truth-inducement. Odysseus pierces Achilles’ disguise by employing what is known as a “separating equilibrium.” Odysseus himself is recruited to fight at Troy only after a separating equilibrium establishes his own sanity. In game theory, separating equilibria can be used to induce truth. For example, assume that a person is either of type X or type Y. No one but this person initially knows his type and this person wants people to think he is of type X. If the individual is rational, asking him what his type is will provide no useful information. To achieve truth-inducement, one would have to create circumstances in which type X and type Y would act differently or have different characteristics. Separating equilibria, commonly taught in undergraduate economics courses, provide a unique and useful approach to studying truth-inducement in Greek myth.1 Such an econom-
{"title":"Truth-Inducement in Greek Myth","authors":"D. Felton, James D. Miller","doi":"10.1353/SYL.2002.0008","DOIUrl":"https://doi.org/10.1353/SYL.2002.0008","url":null,"abstract":"Although Achilles is fated to be the greatest warrior the Greeks had ever known, his mother tries to keep him out of the Trojan war by disguising him as a girl. Her plan is foiled only by Odysseus’ clever use of what we now call “game theory,” a sub-field of economics that often deals with truth-telling and truth-inducement. Odysseus pierces Achilles’ disguise by employing what is known as a “separating equilibrium.” Odysseus himself is recruited to fight at Troy only after a separating equilibrium establishes his own sanity. In game theory, separating equilibria can be used to induce truth. For example, assume that a person is either of type X or type Y. No one but this person initially knows his type and this person wants people to think he is of type X. If the individual is rational, asking him what his type is will provide no useful information. To achieve truth-inducement, one would have to create circumstances in which type X and type Y would act differently or have different characteristics. Separating equilibria, commonly taught in undergraduate economics courses, provide a unique and useful approach to studying truth-inducement in Greek myth.1 Such an econom-","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132930351","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}
Recently, the question of Corinna’s date has been raised yet again by Andrew Stewart, who observes that Tatian’s list of statues of the female poets, including one of Corinna by the fourthcentury sculptor Silanion, is supported by archaeological evidence. In his Oratio ad Graecos (33–4), the Christian apologist Tatian provides a list of thirty-six statues and their sculptors that, in his opinion, demonstrates the moral inferiority of the pagan Greeks. Art historians have long suspected that these statues, especially the fourteen female subjects whom Tatian groups together at the beginning of chapter 33, once stood in the area of Pompey’s theater at Rome. Literary historians, on the other hand, have followed Kalkmann’s 1887 essay in arguing that Tatian’s list is a complete fabrication, in spite of his claim to have seen the statues first-hand.1 In 1972, however, Coarelli published a statue base from the theater complex, inscribed with the title “Mystis” and the name of the artist, Aristodotos. This corresponded exactly to one of Tatian’s statues. But because neither Mystis nor her sculptor were known from other sources, editors of Tatian, including Whittaker (1982) and Marcovich (1995), have emended the manuscript reading of Mystis to Nossis, ignoring Coarelli’s discovery. They
最近，安德鲁·斯图尔特(Andrew Stewart)再次提出了科琳娜的创作年代问题，他注意到塔提安(Tatian)列出的女性诗人雕像清单，包括四世纪雕塑家西拉尼翁(Silanion)为科琳娜创作的雕像，都有考古证据支持。基督教护教家塔提安在他的《希腊论》(Oratio and Graecos, 33-4)中列出了36座雕像及其雕刻家的名单，在他看来，这些雕像证明了希腊异教徒的道德低下。艺术史学家长期以来一直怀疑这些雕像，尤其是塔天在第33章开始时聚集在一起的14个女性主题，曾经矗立在罗马庞培剧院的区域。另一方面，文学史学家追随卡尔克曼1887年的文章，认为塔提安的名单完全是捏造的，尽管他声称自己亲眼看到了这些雕像然而，在1972年，科雷利从剧院建筑群中出版了一个雕像底座，上面刻有“神秘主义者”的标题和艺术家亚里士多德的名字。这恰好与塔提安的一尊雕像相符。但是由于《神秘主义者》和她的雕刻家都没有从其他资料中得知，《塔蒂安》的编辑，包括惠特克(Whittaker, 1982)和马科维奇(Marcovich, 1995)，修改了《从神秘主义者到神秘主义者》的手稿，忽略了科雷利的发现。他们
{"title":"Corinna and the Daughters of Asopus","authors":"Jennifer Larson","doi":"10.1353/SYL.2002.0006","DOIUrl":"https://doi.org/10.1353/SYL.2002.0006","url":null,"abstract":"Recently, the question of Corinna’s date has been raised yet again by Andrew Stewart, who observes that Tatian’s list of statues of the female poets, including one of Corinna by the fourthcentury sculptor Silanion, is supported by archaeological evidence. In his Oratio ad Graecos (33–4), the Christian apologist Tatian provides a list of thirty-six statues and their sculptors that, in his opinion, demonstrates the moral inferiority of the pagan Greeks. Art historians have long suspected that these statues, especially the fourteen female subjects whom Tatian groups together at the beginning of chapter 33, once stood in the area of Pompey’s theater at Rome. Literary historians, on the other hand, have followed Kalkmann’s 1887 essay in arguing that Tatian’s list is a complete fabrication, in spite of his claim to have seen the statues first-hand.1 In 1972, however, Coarelli published a statue base from the theater complex, inscribed with the title “Mystis” and the name of the artist, Aristodotos. This corresponded exactly to one of Tatian’s statues. But because neither Mystis nor her sculptor were known from other sources, editors of Tatian, including Whittaker (1982) and Marcovich (1995), have emended the manuscript reading of Mystis to Nossis, ignoring Coarelli’s discovery. They","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128997580","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 first part of this paper discusses several effects Virgil achieves by delaying the decisive encounter between Aeneas and Turnus for the greater part of Aeneid 12: these include multiple indirect encounters between the two characters, a dense web of allusions casting Turnus and the Latins in roles that recall the doomed Trojans, and several anticipations of events that lie beyond the end of the narrative proper. The second part re-examines the end of the book against this background and in the light of recent discussions, emphasizing Virgil’s complex view of Aeneas’ actions and of human action in general.
{"title":"The Last Book of the Aeneid","authors":"R. Tarrant","doi":"10.1353/SYL.2004.0009","DOIUrl":"https://doi.org/10.1353/SYL.2004.0009","url":null,"abstract":"The first part of this paper discusses several effects Virgil achieves by delaying the decisive encounter between Aeneas and Turnus for the greater part of Aeneid 12: these include multiple indirect encounters between the two characters, a dense web of allusions casting Turnus and the Latins in roles that recall the doomed Trojans, and several anticipations of events that lie beyond the end of the narrative proper. The second part re-examines the end of the book against this background and in the light of recent discussions, emphasizing Virgil’s complex view of Aeneas’ actions and of human action in general.","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121398160","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}
{"title":"2006 Panel: Classical Drama as Political Drama","authors":"E. Dugdale","doi":"10.1353/SYL.2008.0007","DOIUrl":"https://doi.org/10.1353/SYL.2008.0007","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116669081","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}
{"title":"Beyond the Rhetoric (Part 1): Juvenal and the Roman Élite in Satires 1–3","authors":"P. Tennant","doi":"10.1353/SYL.2001.0003","DOIUrl":"https://doi.org/10.1353/SYL.2001.0003","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114485594","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}
Carmen 45 is a remarkable poem in the Catullan corpus. An erotic dialogue between two lovers who appear only here in the collection, the duet of Acme and Septimius stands apart from Catullus' other amatory epigrams. Belonging neither to the Lesbia cycle nor to the Juventius cycle, die idylUc account of this hyperbolically blissful couple contrasts sharply with the emotional intensity and earnestness of Catullus' other expressions of love. As E. Havelock observes, this "little lovedrama" is one of only two poems in the entire corpus which "are detached from the immediate concerns of [the poet's] daily Ufe."1 A. Wheeler classifies the piece with the few Catullan "ideal or purely fanciful poems . . . which have no basis in reaUty."2 In a similar vein, M. Skinner reads this "cool, stylized, and detached" idyll as "differ[ing] radically from the Lesbia sequence."3 But the poem is remarkable also for its careful and meticulous form. Its tripartite structure, consisting of two stanzas of nine Unes each followed by a closing stanza of eight lines, has been Ukened to die arrangement of verses in Greek tragic choruses: critics have applied the terms strophe, antistrophe, and epode to the piece.4 Especially remarkable is the arrangement of the nine occurrences of the names of Acme and Septimius. The opening sequence "Acmen-Septimius-Acme" in lines 1-2 is repeated in the final
{"title":"Acme and Septimius Recounted: Catullus 45","authors":"Rick M. Newton","doi":"10.1353/SYL.1996.0017","DOIUrl":"https://doi.org/10.1353/SYL.1996.0017","url":null,"abstract":"Carmen 45 is a remarkable poem in the Catullan corpus. An erotic dialogue between two lovers who appear only here in the collection, the duet of Acme and Septimius stands apart from Catullus' other amatory epigrams. Belonging neither to the Lesbia cycle nor to the Juventius cycle, die idylUc account of this hyperbolically blissful couple contrasts sharply with the emotional intensity and earnestness of Catullus' other expressions of love. As E. Havelock observes, this \"little lovedrama\" is one of only two poems in the entire corpus which \"are detached from the immediate concerns of [the poet's] daily Ufe.\"1 A. Wheeler classifies the piece with the few Catullan \"ideal or purely fanciful poems . . . which have no basis in reaUty.\"2 In a similar vein, M. Skinner reads this \"cool, stylized, and detached\" idyll as \"differ[ing] radically from the Lesbia sequence.\"3 But the poem is remarkable also for its careful and meticulous form. Its tripartite structure, consisting of two stanzas of nine Unes each followed by a closing stanza of eight lines, has been Ukened to die arrangement of verses in Greek tragic choruses: critics have applied the terms strophe, antistrophe, and epode to the piece.4 Especially remarkable is the arrangement of the nine occurrences of the names of Acme and Septimius. The opening sequence \"Acmen-Septimius-Acme\" in lines 1-2 is repeated in the final","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115393522","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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