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The Role of Socrates in the Arginusae Affair 苏格拉底在阿尔金萨伊事件中的作用
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0002
Orestis Karatzoglou
Sources provide conflicting accounts of the role of Socrates during the trial of the generals after the Battle of Arginusae: in Plato’s Apology and Xenophon’s Hellenica he is presented as the only πρύτανις that opposed the will of the crowd to judge the generals in a single vote. In the Gorgias and Xenophon’s Memorabilia he is elevated to the status of chairman (ἐπιστάτης). This paper revisits the possible interconnections among the sources and re-examines the suggestion that Xenophon’s version in the Memorabilia is influenced by Plato’s Gorgias, while also considering Diodorus Siculus’ narrative of these same events. It is argued that Xenophon’s agenda at Hellenica 1.7.1–16 is driven by the political aim of highlighting the deficiencies of Athenian democracy, whereas similarities between Plato’s Apology and Euryptolemus’ speech at Hellenica 1.7.16–35 encourage the inference that the latter text should be viewed against the backdrop of Socratic literature. The conclusion reached is that Socrates cannot have served as chairman and that the performance of his civic duties may not have been of such overriding importance as might initially appear.
关于苏格拉底在阿尔基努萨战役后审判将领时的角色,各种资料的说法不一:在柏拉图的《申辩》和色诺芬的《希腊篇》中,苏格拉底是唯一反对群众以单一投票方式审判将领的πρύτανις。在《高尔吉亚》和色诺芬的《回忆录》中,他被提升为主席(ἐπιστάτης)。本文重新审视了这些来源之间可能存在的相互联系,并重新审视了色诺芬在《大事记》中的版本受到柏拉图《高尔吉亚》影响的说法,同时也考虑了狄奥多鲁斯-西库卢斯(Diodorus Siculus)对这些相同事件的叙述。该书认为色诺芬在《希腊纪事》1.7.1-16 中的议程是出于强调雅典民主缺陷的政治目的,而柏拉图的《申辩》和欧律普托勒密斯在《希腊纪事》1.7.16-35 中的演讲之间的相似性则促使人们推断后一文本应在苏格拉底文学的背景下加以审视。得出的结论是,苏格拉底不可能担任过主席,而且他履行公民职责的重要性可能不像最初看起来的那样压倒一切。
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引用次数: 0
The scripted audience in Roman comedy 罗马喜剧中的剧本观众
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0006
Matthew Wright
Despite the prevalence of audience-centred drama criticism, very little is actually known about the composition or nature of theatre audiences in antiquity. Metatheatrical passages in Plautus’ and Terence’s comedies in which the audience is described or addressed are usually treated as historical evidence for real-life theatre audiences in Republican Rome. This article argues that it is preferable to treat the comic audience as a fictional character. The scripted audience is recurrently portrayed by the comedians in a far-fetched and anti-realistic manner: it can be treated as a stereotype, along the other ‘stock’ characters of Roman comedy.
尽管以观众为中心的戏剧批评盛行,但人们对古代戏剧观众的构成或性质却知之甚少。在普劳图斯(Plautus)和特伦斯(Terence)的喜剧中描述或提到观众的元戏剧段落通常被视为罗马共和国时期真实戏剧观众的历史证据。本文认为,最好将喜剧观众视为虚构人物。喜剧演员经常以牵强附会和反现实的方式来描绘剧本中的观众:可以将其与罗马喜剧中的其他 "典型 "人物一起视为一种刻板印象。
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引用次数: 0
Archilochus frs. 23, 93a–94, 98, 112–113 W.: New readings and interpretations Archilochus frs. 23, 93a-94, 98, 112-113 W.: 新的解读和解释
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0001
K. Tsantsanoglou
Various interpretative proposals in Archilochean fragments, transmitted either in inscriptions or papyri or a combination of the two, are collected in this paper. The notes attempt to introduce some different readings or supplements, occasionally conjectural, in order to show how, in the author’s view, the narrative should have progressed in a reasonable way. Naturally, to the extent that no new pieces are attached to the old ones, a definitive edition of these fragments is bound to remain more or less elusive.
本文收集了碑文、纸莎草纸或两者结合的阿契洛什碎片中的各种解释建议。这些注释试图介绍一些不同的解读或补充,有时是猜测性的,目的是说明在作者看来,叙事应该如何以合理的方式进行。当然,如果没有新的片段附在旧的片段上,那么这些片段的最终版本或多或少都会难以确定。
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引用次数: 0
The Περὶ ποιητῶν Literature. A General Outline and Survey of the Extant Fragments Περὶ ποιητῶν 文献。现存片段总纲和概览
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0004
Marco Pelucchi
The Greek manuscript tradition transmits various fragments of works with the title Περὶ ποιητῶν, composed by both philosophers and grammarians from the Classical to the Imperial periods. The aim of this paper is to analyse these surviving fragments with a view to delineating the contents, forms, and characteristics of this type of literature. In the first part, I propose a survey of all authors and fragments of ancient Greek works On Poets. The second section outlines their literary-historical profile. Based on comparison with ancient works treating similar topics, I suggest a unitary reading of the writings Περὶ ποιητῶν. Through a combination of biographical, exegetical, theoretical, and (perhaps) technical information, this type of literature appears to have comprised the earliest “histories” of ancient poetry.
希腊手稿传统中流传着各种标题为Περὶ ποιητῶν 的作品片段,作者既有哲学家也有语法学家,时间跨度从古典时期到帝国时期。本文的目的是分析这些现存的片段,以描述这类文学作品的内容、形式和特点。在第一部分,我将对古希腊《论诗人》作品的所有作者和片段进行调查。第二部分概述了这些作品的文学史概况。在与处理类似主题的古代作品进行比较的基础上,我建议对作品 Περὶ ποιητῶν 进行统一解读。通过传记、训诂、理论和(也许)技术信息的结合,这类文献似乎构成了古代诗歌最早的 "历史"。
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引用次数: 0
χὠς ἴδον, ὣς ἐμάνην. Space, Desire and the Female Gaze in Hellenistic Poetry χὠς ἴδον, ὣς ἐμάνην。希腊诗歌中的空间、欲望和女性凝视
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0005
Evina Sistakou
This paper studies the female gaze at the intersection of space, genre and gender in three Hellenistic poets who have explored the female viewpoint in their works, namely Apollonius of Rhodes, Theocritus and Herodas. The female gaze covers all the stages of desire from erotic fantasy to sexual fulfillment, and is contingent on both aesthetic factors and the sociocultural background of gender roles. It reflects the power dynamics between male and female and also becomes a means of subverting male authority by the gazing female. In Hellenistic poetry, the various degrees of female liberation through the control of the gaze vary depending on the spaces occupied by women. I argue that women, initially confined in the oikos according to the conventions of epic poetry, are represented as being gradually liberated in natural and urban spaces, the emblematic spaces of the neoteric genres of the bucolic idyll and the mime; this shift in gender dynamics is conveyed through the illustration of the female gaze in distinct genres of poetry and their respective symbolic spaces, namely the house, the natural landscape, and the city.
本文研究了三位希腊化时期诗人(即罗德斯的阿波罗尼乌斯、提奥克里托斯和希罗达斯)在其作品中探索女性视角时在空间、体裁和性别交叉点上的女性凝视。女性视角涵盖了从色情幻想到性满足的所有欲望阶段,既取决于审美因素,也取决于性别角色的社会文化背景。它反映了男女之间的权力动态,也成为凝视女性颠覆男性权威的一种手段。在希腊化诗歌中,女性通过控制凝视获得解放的程度因其所处空间的不同而不同。我认为,按照史诗的惯例,女性最初被禁锢在 "奥伊科斯"(Oikos)中,但在自然和城市空间中,即在田园诗和哑剧等新体裁的象征性空间中,女性逐渐获得了解放;性别动态的这种转变是通过在不同的诗歌体裁及其各自的象征性空间(即房屋、自然景观和城市)中对女性凝视的阐释来传达的。
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引用次数: 0
“What is ‘the tradition overall’?”: Theorising Classical Reception through the Lens of Memory Studies 什么是 "整体传统"?通过记忆研究的视角理论化经典接受
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0007
Madeleine Scherer, Jakob Schneider
Memory is the topic of many modern engagements with antiquity, and it is also the modus operandi of many modern adaptations of antiquity, driven and shaped by the ever-changing ways in which ‘the classics’ are conceptualised within different time-periods and socio-cultural contexts. Popular awareness of classical materials, their socio-economic status, how famous characters and stories are perpetuated through mnemonic adaptation – these are important factors of memory-driven reception that deserve to be investigated as part of classical reception studies. In this article, we thus propose ways in which interdisciplinary connections between memory studies and classical reception studies can be established.
记忆是许多现代人与古代接触的主题,也是许多现代人改编古代作品的惯用手法,它受到不同时期和社会文化背景下 "经典 "概念化方式不断变化的推动和影响。大众对经典材料的认识、其社会经济地位、著名人物和故事如何通过记忆性改编得以延续--这些都是记忆驱动接受的重要因素,值得作为经典接受研究的一部分加以研究。因此,我们在本文中提出了在记忆研究和古典接受研究之间建立跨学科联系的方法。
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引用次数: 0
Mythos and catharsis in Aristotle’s Poetics 亚里士多德《诗学》中的神话与宣泄
IF 0.2 3区 历史学 N/A CLASSICS Pub Date : 2024-07-01 DOI: 10.1515/tc-2024-0003
P. Kyriakou
The paper argues that catharsis in Aristotle’s Poetics is a two-pronged process, which applies both to the construction of the mythos by the poet and its reception by the audience. Catharsis may plausibly be taken as the poet’s distillation of events that constitute a mythos so as to clear away anything that might undermine its coherence or disturb its unity. The sequencing of fearful and pitiable events in the plot according to probability or necessity allows the audience to evaluate or reevaluate properly the relative importance of factors that determine or influence the behavior of the tragic characters and the fulfilment of their fate. In several cases at least, the plot also leads the audience to realize that other features such as the heroes’ social and intellectual advantages, which they and/or the characters may have considered important in principle, because of their cultural or social background, and/or in the early stages of the plot, were not involved in the downfall (or salvation) of the heroes. This gradual and plot-induced shift in the audience’s appreciation of the relative importance of various factors constitutes the catharsis experienced by the audience. They gain a clear(er) understanding of the reason(s) why the heroes suffer and how they bring about (or escape) disaster. Sophocles’ OT and Euripides’ IT, which Aristotle praises highly in the Poetics, are discussed as examples that illustrate how their plots lead the audience to experience catharsis.
本文认为,亚里士多德《诗学》中的宣泄是一个双管齐下的过程,既适用于诗人对神话的构建,也适用于听众对神话的接受。宣泄可以被理解为诗人对构成神话的事件进行提炼,以清除任何可能破坏神话一致性或破坏神话统一性的东西。根据可能性或必然性对情节中令人恐惧和可怜的事件进行排序,可以让观众正确评估或重新评估决定或影响悲剧人物行为及其命运实现的各种因素的相对重要性。至少在某些情况下,情节也会引导观众认识到,他们和/或剧中人物由于其文化或社会背景,和/或在情节的早期阶段,可能原则上认为重要的其他特征,如主人公的社会和智力优势,与主人公的堕落(或得救)无关。这种由情节引起的观众对各种因素相对重要性的认识的逐步转变,构成了观众所经历的宣泄。他们对主人公受难的原因以及他们如何带来(或逃脱)灾难有了清晰的认识。我们将以亚里士多德在《诗学》中高度赞扬的索福克勒斯的《加时赛》和欧里庇得斯的《IT》为例,讨论它们是如何引导观众体验宣泄的。
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引用次数: 0
Area G and the Digging of Kom Aushim G 区和 Kom Aushim 挖掘工程
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2024-01-01 DOI: 10.1515/tc-2023-0023
C. M. Sampson
Abstract An analysis of the early history of digging at Kom Aushim and the Museum archaeology of Karanis papyri purchased on the Egyptian antiquities market is combined with archaeological data from the University of Michigan’s excavations to locate purchased papyri in the archaeological record.
摘要 结合密歇根大学发掘的考古数据,对 Kom Aushim 的早期挖掘历史和在埃及文物市场上购买的 Karanis 纸莎草纸的博物馆考古学进行了分析,以确定考古记录中购买的纸莎草纸的位置。
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引用次数: 0
Critical and Utilitarian Sigla in the Adespota Greek Hexameter Texts on Papyri 纸莎草纸上阿德斯波塔希腊六音节文本中的批判性和功利性西格拉
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2024-01-01 DOI: 10.1515/tc-2023-0019
Antonio Ricciardetto
Abstract Within the framework of the preparation of the first edition of P.Fouad inv. 220 (unknown provenance, 3rd c. AD), an anonymous Greek hexametric poetry fragment accompanied by a critical siglum, and following my previous work on scribal practices in Greek literary papyri, especially on the graphic signs that accompany these texts, this paper lists all the critical and utilitarian signs attested in the 247 Greek surviving hexametric papyri of the Ptolemaic, Roman and Byzantine periods. These sigla are either directly associated with editorial work or were added by the scribe or corrector to provide the reader with practical information about the text. In doing so, the paper aims to better understand how the ancients conceived the writing of poetic works, and how they read, cited, and used them.
摘要 在《P.Fouad inv.220》(出处不详,公元 3 c.a.)第一版(这是一个匿名的希腊六行诗歌片段,附有一个批判性符号)的准备工作框架内,根据我之前关于希腊文学纸莎草纸的抄写实践,特别是关于这些文本附带的图形符号的工作,本文列出了托勒密、罗马和拜占庭时期现存的 247 个希腊六行纸莎草纸中的所有批判性和功利性符号。这些符号或与编辑工作直接相关,或由抄写员或校正员添加,为读者提供有关文本的实用信息。本文旨在借此更好地了解古人如何构思诗歌作品的写作,以及他们如何阅读、引用和使用这些作品。
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引用次数: 0
Reconstructing a Book Collection Through the Identification of a Copyist: Reused Rolls in Context 通过识别抄写员重建藏书:背景下的重复使用卷轴
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2024-01-01 DOI: 10.1515/tc-2023-0015
Bianca Borrelli
Abstract The article focuses on a group of five literary papyri dated to the second half of the second century BC that have been scattered among three different collections (Berlin, Manchester and Paris). Based on a thorough analysis of their material aspects, I attempt to define the context and purpose of their production.
摘要 这篇文章的重点是公元前二世纪下半叶的一组五张文学纸莎草纸,它们分散在三个不同的收藏馆(柏林、曼彻斯特和巴黎)中。基于对其材料方面的全面分析,我试图确定其制作背景和目的。
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引用次数: 0
期刊
Trends in Classics
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