{"title":"Selections from a Translation of Homer's Iliad Book 18","authors":"N. Austin","doi":"10.1353/SYL.1996.0022","DOIUrl":"https://doi.org/10.1353/SYL.1996.0022","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"1 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":"128496607","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}
Open access literature is digital, online, free of charge, and free of most copyright and licensing restrictions. It gives readers wider and easier access to the research they need and gives authors a larger audience and greater impact. It is desirable and attainable in the humanities, but it is less urgent and harder to subsidize than in the sciences. This article briefly explains what open access is, identifies nine reasons why progress is slower in the humanities than in the sciences, and makes eight recommendations for accelerating that progress.
{"title":"Promoting Open Access in the Humanities","authors":"Peter Suber","doi":"10.1353/SYL.2005.0001","DOIUrl":"https://doi.org/10.1353/SYL.2005.0001","url":null,"abstract":"Open access literature is digital, online, free of charge, and free of most copyright and licensing restrictions. It gives readers wider and easier access to the research they need and gives authors a larger audience and greater impact. It is desirable and attainable in the humanities, but it is less urgent and harder to subsidize than in the sciences. This article briefly explains what open access is, identifies nine reasons why progress is slower in the humanities than in the sciences, and makes eight recommendations for accelerating that progress.","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"20 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":"124568147","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}
Book 1 1 of the Iliad, standing nearly at the half-way point of the poem, has a particularly complex relationship bom to what precedes and follows. On the new day of battle that begins here, the plan of Zeus, mentioned first in Book 1, is explicitly laid out. Zeus proclaims that Hector will have power to kill until he reaches the ships of the Achaeans (11.186-94). Also in this book Achilles sends Patroclus to Nestor, "and this was the beginning of his doom" (11.604).1 The Janus-face of the book manifests itself not only in the content of the narrative but also in the accompanying similes. Carroll Moulton has demonstrated convincingly that a number of the similes of Book 1 1 possess clear connections with the long-range movement of the action. Thus the simile likening the movements of Hector to the intermittent light of the Dog Star (1 1.62-64) looks backward to a description of Diomedes (5.5-6) and forward to the climactic charge of Achilles against Hector in Book 22 (26-32). Likewise, the simile comparing the serpents on Agamemnon's armor to rainbows (11.27-28) looks forward to the simile at 17.547-50, where Athena's cloud is also compared to a rainbow; both signs are portents from Zeus.2 The pivotal role of Book 1 1 of the Iliad is reflected through the complexity with which its plot reflects the past and future through the present poetic moment. In this paper I will study in detail the imagery and the density of temporal references in one brief episode of the aristeia of Agamemnon (11.101-21) in order to demonstrate the artful complexity attainable through a Homeric multiple-correspondence simile both in relation to its immediate narrative context and to incidents of the past and future to which it is related.3 An
{"title":"Agamemnon's Aristeia: Iliad 11.101-21","authors":"R. Rabel","doi":"10.1353/SYL.1990.0003","DOIUrl":"https://doi.org/10.1353/SYL.1990.0003","url":null,"abstract":"Book 1 1 of the Iliad, standing nearly at the half-way point of the poem, has a particularly complex relationship bom to what precedes and follows. On the new day of battle that begins here, the plan of Zeus, mentioned first in Book 1, is explicitly laid out. Zeus proclaims that Hector will have power to kill until he reaches the ships of the Achaeans (11.186-94). Also in this book Achilles sends Patroclus to Nestor, \"and this was the beginning of his doom\" (11.604).1 The Janus-face of the book manifests itself not only in the content of the narrative but also in the accompanying similes. Carroll Moulton has demonstrated convincingly that a number of the similes of Book 1 1 possess clear connections with the long-range movement of the action. Thus the simile likening the movements of Hector to the intermittent light of the Dog Star (1 1.62-64) looks backward to a description of Diomedes (5.5-6) and forward to the climactic charge of Achilles against Hector in Book 22 (26-32). Likewise, the simile comparing the serpents on Agamemnon's armor to rainbows (11.27-28) looks forward to the simile at 17.547-50, where Athena's cloud is also compared to a rainbow; both signs are portents from Zeus.2 The pivotal role of Book 1 1 of the Iliad is reflected through the complexity with which its plot reflects the past and future through the present poetic moment. In this paper I will study in detail the imagery and the density of temporal references in one brief episode of the aristeia of Agamemnon (11.101-21) in order to demonstrate the artful complexity attainable through a Homeric multiple-correspondence simile both in relation to its immediate narrative context and to incidents of the past and future to which it is related.3 An","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"2 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":"129481216","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}
So Byron, enough of a seasoned campaigner himself to recognize smut when he came across it. Any moral objection to literature proffered by an arch-libertine should be taken, of course, with a grain of salt. Yet in that very parody of prudish cant we may hear the ghostly echo of sentiments voiced by some genuine prig— Annabella, Lady Byron, for example. In any case, Byron's observation about the exceptional amount of obscenity in the Catullan corpus still holds good and has recently been seconded by other, more sober, critics. B. Arkins calculates that two out of three poems of Catullus deal with some form of sexual behavior, and A. Richlin concurs: "Out of all the polymetrics and epigrams, sixty-two—well over half—include invective or sexual material, some of the coarsest in Latin verse."1 No one who has read this poet through once will challenge D. Lateiner's contention that obscenity "has made a significant contribution to the work of Catullus," or dispute W.R. Johnson's belief in its being "somehow central to Catullus's art."2 For most readers of Catullan texts, the mere presence of such obscene matter no longer poses a moral problem. Yet its literary purpose is still hotly debated. Why does this "foul-mouthed young man," as Johnson calls him, persist in battering our ears with toilet-stall expressions? Different lines of critical response to that question can be traced. Johnson himself argues for an iconoclastic intent: Catullus' shocking language allegedly encapsulates a rejection of old-fashioned Roman cultural values that regarded art as a vehicle of patriotic inspiration or dismissed it as a frivolous
{"title":"The Dynamics of Catullan Obscenity: cc. 37, 58 and 11","authors":"M. Skinner","doi":"10.1353/SYL.1992.0001","DOIUrl":"https://doi.org/10.1353/SYL.1992.0001","url":null,"abstract":"So Byron, enough of a seasoned campaigner himself to recognize smut when he came across it. Any moral objection to literature proffered by an arch-libertine should be taken, of course, with a grain of salt. Yet in that very parody of prudish cant we may hear the ghostly echo of sentiments voiced by some genuine prig— Annabella, Lady Byron, for example. In any case, Byron's observation about the exceptional amount of obscenity in the Catullan corpus still holds good and has recently been seconded by other, more sober, critics. B. Arkins calculates that two out of three poems of Catullus deal with some form of sexual behavior, and A. Richlin concurs: \"Out of all the polymetrics and epigrams, sixty-two—well over half—include invective or sexual material, some of the coarsest in Latin verse.\"1 No one who has read this poet through once will challenge D. Lateiner's contention that obscenity \"has made a significant contribution to the work of Catullus,\" or dispute W.R. Johnson's belief in its being \"somehow central to Catullus's art.\"2 For most readers of Catullan texts, the mere presence of such obscene matter no longer poses a moral problem. Yet its literary purpose is still hotly debated. Why does this \"foul-mouthed young man,\" as Johnson calls him, persist in battering our ears with toilet-stall expressions? Different lines of critical response to that question can be traced. Johnson himself argues for an iconoclastic intent: Catullus' shocking language allegedly encapsulates a rejection of old-fashioned Roman cultural values that regarded art as a vehicle of patriotic inspiration or dismissed it as a frivolous","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"31 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":"126996293","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":"La Νοϵρὰ Θϵωρία di Giamblico, come Chiave di Lettura delle Categorie di Aristotele: alcuni esempi","authors":"R. L. Cardullo","doi":"10.1353/SYL.1997.0016","DOIUrl":"https://doi.org/10.1353/SYL.1997.0016","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"7 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":"123848879","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 future imperative is not the language of Roman elegy. No other Roman elegy contains three future imperatives. There are six future imperatives in all of Tibullus, five in Propertius, and five future imperatives in Amores 1 .4. Amores 1.4 is a poem in which Ovid is trying to explain to his current lover how she is to behave at a party, which she is attending with someone other than himmaybe her husband—maybe not. (In any case, she is certainly not Ovid's wife.) In
{"title":"Thou Shalt Not Cuddle: Amores 1.4 and the Law","authors":"John T. Davis","doi":"10.1353/SYL.1993.0003","DOIUrl":"https://doi.org/10.1353/SYL.1993.0003","url":null,"abstract":"The future imperative is not the language of Roman elegy. No other Roman elegy contains three future imperatives. There are six future imperatives in all of Tibullus, five in Propertius, and five future imperatives in Amores 1 .4. Amores 1.4 is a poem in which Ovid is trying to explain to his current lover how she is to behave at a party, which she is attending with someone other than himmaybe her husband—maybe not. (In any case, she is certainly not Ovid's wife.) In","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":"123881980","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}
While the culpability of the rich élite is a prominent feature of Umbricius’ catalogue of complaints in the first three Satires, it is the subject of a far more focused and penetrating attack in the fourth Satire, where the corruption of the system of patronage and the decadence of the upper classes are shown to pervade the top echelon of Roman society. And how better to demonstrate the truth of these convictions than by focusing, at the outset, on the despicable Crispinus, who wielded influence at the highest level of government? This pars Niliacae plebis, ... verna Canopi (1.26), who had the nerve to wear the apparel of the Roman nobility in ostentatious fashion, was the reason par excellence for Juvenal’s initial justification of his choice of genre: difficile est saturam non scribere (1.30). What a comment on the mores of the upper echelons of Roman society, to think that they stooped so low as to be on intimate terms with this monstrum nulla virtute redemptum / a vitiis (4.2–3)—a sickly fop, lecher and seducer of Vestal Virgins, whose inordinate wealth enabled him to own huge properties in the most expensive region of the city. Equally reprehensible was his “sin” of gross extravagance, when he lavished 6,000 sesterces on a single mullet—
富人的罪责是乌姆布里西乌斯在前三部讽刺作品中抱怨的一个突出特征，而在第四部讽刺作品中，这是一个更加集中和深入的攻击的主题，在那里，庇护制度的腐败和上层阶级的颓废被证明弥漫在罗马社会的顶层。要证明这些信念的真实性，还有什么比从一开始就把重点放在卑鄙的克里斯皮努斯身上更好呢?他在政府最高层施加了影响。这段话是关于尼尼雅的……verna Canopi(1.26)有勇气以炫耀的方式穿着罗马贵族的服装，这是Juvenal最初选择体裁的理由:difficile est saturam non scribere(1.30)。想想看，罗马社会上层阶级的风俗习惯，竟然堕落到如此低级的地步，竟与这个妖艳的、好色的、引诱维斯塔贞女的病态的上层人物保持亲密关系(4.2-3节)，他的巨额财富使他能够在城市最昂贵的地区拥有巨额财产。同样应该受到谴责的是他极度奢侈的“罪恶”，他在一条鲻鱼鱼身上挥霍了6000英镑
{"title":"Beyond the Rhetoric (Part 2): Juvenal and the Roman Elite in Satires 4-6","authors":"P. Tennant","doi":"10.1353/SYL.2002.0001","DOIUrl":"https://doi.org/10.1353/SYL.2002.0001","url":null,"abstract":"While the culpability of the rich élite is a prominent feature of Umbricius’ catalogue of complaints in the first three Satires, it is the subject of a far more focused and penetrating attack in the fourth Satire, where the corruption of the system of patronage and the decadence of the upper classes are shown to pervade the top echelon of Roman society. And how better to demonstrate the truth of these convictions than by focusing, at the outset, on the despicable Crispinus, who wielded influence at the highest level of government? This pars Niliacae plebis, ... verna Canopi (1.26), who had the nerve to wear the apparel of the Roman nobility in ostentatious fashion, was the reason par excellence for Juvenal’s initial justification of his choice of genre: difficile est saturam non scribere (1.30). What a comment on the mores of the upper echelons of Roman society, to think that they stooped so low as to be on intimate terms with this monstrum nulla virtute redemptum / a vitiis (4.2–3)—a sickly fop, lecher and seducer of Vestal Virgins, whose inordinate wealth enabled him to own huge properties in the most expensive region of the city. Equally reprehensible was his “sin” of gross extravagance, when he lavished 6,000 sesterces on a single mullet—","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"46 8","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114096750","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":"Etymology and Plot in Senecan Tragedy","authors":"J. Stevens","doi":"10.1353/SYL.2002.0009","DOIUrl":"https://doi.org/10.1353/SYL.2002.0009","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"7 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":"121535881","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":"The Character of Anchises and Aeneas' Escape from Troy: Virgil's Criticism of Heroic Values","authors":"F. Fajardo-Acosta","doi":"10.1353/SYL.1990.0000","DOIUrl":"https://doi.org/10.1353/SYL.1990.0000","url":null,"abstract":"","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"3 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":"114826927","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}
Sometimes a writer feels called upon to denounce a religious leader as a hypocrite and a fraud. The target is sometimes a specific person, sometimes a generic fictional type. The methods of attack have changed very little from ancient times to the present, as may be seen from a comparison oí Alexander the False Prophet by Lucian of Samosata (composed about 180 A.D.) with Sinclair Lewis' Elmer Gantry (published in 1927).1 The subject of Lucian's diatribe is an actual historical figure, Alexander of Abonutichus, who flourished in Asia Minor from c. 150 to c. 170 A.D.2 His influence was great for a generation, as is attested by inscriptions and coins of the era; but since he is almost forgotten today (except by those specialists whose works are mentioned in notes 2 and 3), a brief sketch of his career is in order.3
{"title":"False Prophets in Lucian and Lewis","authors":"Robert Edgeworth","doi":"10.1353/SYL.1990.0008","DOIUrl":"https://doi.org/10.1353/SYL.1990.0008","url":null,"abstract":"Sometimes a writer feels called upon to denounce a religious leader as a hypocrite and a fraud. The target is sometimes a specific person, sometimes a generic fictional type. The methods of attack have changed very little from ancient times to the present, as may be seen from a comparison oí Alexander the False Prophet by Lucian of Samosata (composed about 180 A.D.) with Sinclair Lewis' Elmer Gantry (published in 1927).1 The subject of Lucian's diatribe is an actual historical figure, Alexander of Abonutichus, who flourished in Asia Minor from c. 150 to c. 170 A.D.2 His influence was great for a generation, as is attested by inscriptions and coins of the era; but since he is almost forgotten today (except by those specialists whose works are mentioned in notes 2 and 3), a brief sketch of his career is in order.3","PeriodicalId":402432,"journal":{"name":"Syllecta Classica","volume":"120 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":"128057978","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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