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Bibliography 参考书目
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-15 DOI: 10.1515/tc-2019-0009
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引用次数: 0
Index Locorum 索引位置
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-15 DOI: 10.1515/tc-2019-0010
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引用次数: 0
Monumental Absences in Ancient Historiography 古代史学中的古迹缺席
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0004
L. Spielberg
Abstract This article demonstrates that ancient historians did not simply draw upon inscriptions and statues as sources, but also subverted the original messages of these artefacts by placing their own spin on events. These readings ‘against the grain’ take place both where the historical monument exists and has been seen by the historian, as in Thucydides’ digression on the Peisistratids’ inscriptions and decrees, and where the monument is either inaccessible or nonexistent (e. g. Livy’s discussion of the 493 BC Latin treaty and Tacitus’ analysis of the senate-decrees issued for Germanicus’ funeral). By reinterpreting monuments, historians enable sources to transcend their semiotic function and elevate them into commemorative objects. However, this process of reframing and negotiation does not only occur to individual monuments; as this chapter demonstrates, Classical historiography also includes more general commentary on the usefulness of material sources as transmitters of the past.
摘要本文论证了古代历史学家并非简单地将碑文和造像作为史料来源,而是通过对事件进行自己的解读来颠覆这些文物的原始信息。这些“不合惯例”的解读既发生在历史纪念碑存在的地方,也发生在历史学家已经看到的地方,如修昔底德关于庇西特拉德的铭文和法令的题外话,也发生在纪念碑不可接近或不存在的地方。李维对公元前493年拉丁条约的讨论以及塔西佗对为日耳曼尼克斯葬礼而颁布的元老院法令的分析)。通过对纪念碑的重新诠释,历史学家使史料超越了其符号学功能,并将其提升为纪念对象。然而,这种重构和协商的过程不仅发生在个别的纪念碑上;正如本章所展示的,古典史学还包括更多关于材料来源作为过去传递者的有用性的一般性评论。
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引用次数: 0
Introduction 介绍
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0001
Martin T. Dinter, B. Reitz-Joosse
Abstract This introduction outlines the meaning of ‘intermediality’, both with respect to the prefix ‘inter’, which does not only hint at interactions ‘between’ media but also at commentary about and phenomena within media, as well as to the concept of ‘media(lity)’. In so doing, it explains and critiques, for those new to intermedial analysis, the major schools of thought which define this field, drawing on Rajewsky, Elleström, Bruhn, Wolf, and their peers. It also demonstrates why intermediality is a useful framework for Classics research using Roman comedy as a case study, and contains chapter summaries for the special issue as a whole.
摘要本引言概述了“中间性”的含义,包括前缀“inter”,它不仅暗示了“媒体之间”的互动,还暗示了对媒体内部现象的评论,以及“媒体(lity)”的概念。在这样做的过程中,对于那些新的中间分析,它解释和批评了定义这一领域的主要学派,借鉴了拉杰夫斯基、埃勒斯特罗姆、布鲁恩、沃尔夫和他们的同行。它还以罗马喜剧为个案研究,说明了为什么中间性是经典研究的有用框架,并包含了整个特刊的章节摘要。
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引用次数: 0
Inscriptional Intermediality in Livy 李维的铭文中介
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0005
Morgan E. Palmer
Abstract The term monumentum is used in Latin literature to describe a range of monuments across media, including temples, literary works, statues, and inscriptions. This article surveys the variety of monumenta in Livy’s Ab urbe condita, which range from the text itself to victory inscriptions and bronze sculptures meant to commemorate military as well as political achievements. The borders between historiography and physical artefacts are often blurred by Livy through inscriptional intermediality, a phenomenon defined as the mixing of visual and textual media. By outlining how Livy achieves this combination, and demonstrating how the specific ratio of literary, linguistic, and topographical features in his ekphrases generate unique impressions of real-world monuments, this chapter re-reads Livy’s history from the perspective of intermedial theory. This process not only advances our understanding of the Ab urbe condita as a literary work, but also thrusts individual aspects of Livy’s narrative technique – including visuality and unique formulae such as the introductory formula tabula … cum indice hoc posita est (Livy 41.28.8) – into the spotlight.
摘要“纪念碑”一词在拉丁文学中用于描述媒体上的一系列纪念碑,包括寺庙、文学作品、雕像和铭文。本文调查了利维的《阿布贝条件》中的各种纪念碑,从文本本身到纪念军事和政治成就的胜利铭文和青铜雕塑。Livy经常通过书写媒介模糊史学和实物之间的界限,这种现象被定义为视觉和文本媒介的混合。本章通过概述利维是如何实现这一结合的,并展示了他的ekphrases中文学、语言和地形特征的特定比例如何产生对现实世界纪念碑的独特印象,从中介理论的角度重新解读了利维的历史。这一过程不仅促进了我们对Ab urbe条件作为一部文学作品的理解,还将Livy叙事技巧的各个方面——包括视觉性和独特的公式,如介绍性公式tabula…cum indice hoc posita est(Livy 41.28.8)——推到了聚光灯下。
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引用次数: 0
Stories from the Frontier: Bridging Past and Present at Hadrian’s Wall 来自边疆的故事:哈德良长城的过去和现在的桥梁
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0008
C. Stocks
Abstract A corn modius, excavated in 1915 at Carvoran Roman fort, survives as an enduring testament to the memory sanctions applied to the emperor Domitian after his death. Domitian’s name has been hammered out, even though the rest of the engraved text – which reveals the capacity of this measuring vessel – has been preserved. Taking this case study as its springboard, this article reflects on how artefacts act as battlegrounds for the parallel processes of commemoration and censorship. It exemplifies, moreover, how a modern video-game for school-aged children which Stocks co-designed about Vindolanda, an Imperial-era Roman fort at Hadrian’s Wall, can serve a similar function. By translating the physical realities of that site into virtual images, and challenging players to solve a fictional murder mystery within this simulated environment, the game creates a new means through which students might be led into the past: it allows them to co-create history by selecting narrative paths and engaging intermedially with ancient Vindolanda. Far from being all ‘fun and games’, this process is especially effective as a pedagogical tool: players experience history not as readers, spectators, or listeners, but as visitors, endowed with first-person access to the stories and places of Britain’s Roman past.
1915年在卡沃兰罗马堡垒出土的一处玉米遗迹,作为罗马皇帝多米提安死后对其实施记忆制裁的永久证据而保存了下来。多米提安的名字已经被敲出来了,尽管其余的雕刻文字——揭示了这个量器的容量——被保留了下来。本文以这个案例研究为出发点,思考文物如何在纪念与审查的平行过程中扮演战场的角色。此外,这款游戏还展示了斯托克参与设计的一款面向学龄儿童的现代电子游戏是如何发挥类似功能的。这款游戏的主题是位于哈德良长城(Hadrian’s Wall)的罗马帝国时期堡垒Vindolanda。通过将该网站的物理现实转化为虚拟图像,并挑战玩家在这个模拟环境中解决虚构的谋杀之谜,游戏创造了一种新的方式,通过这种方式,学生们可以进入过去:它允许他们通过选择叙事路径和与古老的Vindolanda互动来共同创造历史。这一过程并不是一种“有趣的游戏”,而是一种特别有效的教学工具:玩家不是作为读者、观众或听众来体验历史,而是作为访客,以第一人称的身份接触英国罗马历史的故事和地点。
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引用次数: 1
Sensorial Intermedialities in Roman Letters: Cicero, Horace, and Ovid 罗马文学中的感官中介:西塞罗、贺拉斯和奥维德
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0002
Jonathan E. Mannering
Abstract In recent years, much progress has been made towards elucidating the function of ekphrasis in Roman epistolography, especially with relation to the writings of Seneca and Pliny. Following on from these precedents, this article mines the epistles of three prominent Roman letter-writers, Cicero, Horace, and Ovid, for their intermedial elements. The motifs of oral quotations, handwriting, and human tear stains, which interweave the sources analysed, are shown not only to straddle the borders between distinct media, but also to engage with multiple senses as a result of their multiple medialities. Oral quotations integrate speech into written texts and thus necessitate both sight and hearing. Handwriting likewise consists of both a ‘basic mediality’ – the visual – and a ‘qualified mediality’ of chirographic distinctiveness, and thus necessitates not only perception via sight but also recognition. Tear stains, which range from the actual smudges in Cicero’s missives to metaphorical ones in Tears don’t feature in Horace’s letters. Ovid’s epistles, are in turn geared both towards sight and touch, since they simultaneously alter the letter’s appearance and surface. However, these intermedial connections have different effects in prose and poetry epistles: they enable the former to transcend the very category of ‘letter’, but confine the latter within the epistolary genre by characterising them in material terms.
近年来,在阐发短语在罗马书信学中的作用方面取得了很大进展,特别是与塞内加和普林尼的著作有关。在这些先例的基础上,本文挖掘了三位杰出的罗马书信作家,西塞罗,贺拉斯和奥维德的书信,寻找他们的中间元素。口头引语、笔迹和人类泪痕的主题交织在分析的来源中,不仅跨越了不同媒介之间的边界,而且由于它们的多重媒介而与多种感官互动。口头引语将言语与书面文本相结合,因此需要视觉和听觉的结合。手写同样由“基本媒介”——视觉——和书法独特性的“合格媒介”组成,因此不仅需要通过视觉感知,还需要识别。从西塞罗书信中真实的污点到《眼泪》中隐喻的泪痕,都没有出现在贺拉斯的书信中。奥维德的书信,反过来又面向视觉和触觉,因为它们同时改变了信件的外观和表面。然而,这些中间联系在散文和诗歌书信中有不同的作用:它们使前者超越了“信件”的范畴,但将后者限制在书信类型中,以物质的方式描述它们。
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引用次数: 1
The Touch and Taste of War in Latin Battle Narrative 拉丁战争叙事中的战争触感与味道
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0007
A. Ambühl
Abstract Latin battle narratives exhibit visual, auditory, and even olfactory phenomena: swords glint, steel clangs, and the stench of blood permeates battlefields. These manifestations of multisensoriality are often implicit, as exemplified by the prominence of the ‘gaze’ in epic poetry. This article focuses on the two other senses, which have received less scholarly attention in discussions of battle narrative: touch and taste. In the former category are expressions such as ‘biting the dust’ (Hom. Il. 2.418) along with depictions of cannibalism in epic and historiographic texts. In the latter category are experiences such as Jocasta’s breast being scratched by Polynices’ armour (Stat. Theb. 7), along with a pervasive discourse on the ‘roughness’ of war and the ‘handling’ of casualties in aftermath episodes; these conceptual metaphors generate ‘partial altermedial illusions’ by enhancing, but not replacing, the primary medium of the literary text which they inhabit. As this chapter highlights, therefore, appeals to sensory perception are ambivalent in character: on the one hand, they facilitate audience engagement with the text via immersion, enactivism, and embodiment, but on the other hand they alienate readers by underscoring the fundamental ‘untellability’ of war.
抽象的拉丁战争叙事表现出视觉、听觉甚至嗅觉上的现象:刀剑闪闪发光,钢铁铿锵作响,战场上弥漫着血腥的恶臭。这些多感官性的表现通常是隐含的,例如史诗中“凝视”的突出。本文主要关注另外两种感官,即触觉和味觉,这两种感官在讨论战斗叙事时较少受到学术关注。在前一类中有一些表达,如“咬灰尘”(Hom.)。在史诗和历史文献中对同类相食的描述。后一类是诸如约卡斯塔的乳房被波利尼斯的盔甲划伤的经历(Stat. Theb. 7),以及关于战争的“粗暴”和事后对伤亡的“处理”的普遍论述;这些概念隐喻通过增强而不是取代它们所居住的文学文本的主要媒介,产生了“部分替代幻觉”。因此,正如本章所强调的那样,对感官知觉的呼吁在性质上是矛盾的:一方面,它们通过沉浸、参与和具体化促进了观众对文本的参与,但另一方面,它们通过强调战争的基本“不可言说性”而疏远了读者。
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引用次数: 1
Intermediality in the Metamorphoses 变态的中间性
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0006
Martin T. Dinter
Abstract This article provides an intermedial re-reading of Ovid’s Metamorphoses, treating a wide range of passages from Echo and Narcissus in Book 2 to the final sphragis which rounds off Book 15. As its title indicates, the Metamorphoses is at heart a poem about transformations. It is therefore imbued with a sense of dynamism and volatility, which in turn renders it a fertile source of represented intermedial transposition. This chapter explores three processes relating to this wider concept: ‘creation’, where a medial product is woven, painted, or sculpted, ‘human-to-media transformations’, which provide a subversive take on intermediality due to their negative connotations, and ‘meta-intermediality’, through which Ovid comments on media and their narratological potential within the wider poem. By thus problematising medial communication, Ovid identifies and advocates a hierarchy of art forms based on their effectiveness as monumentalising devices: within this system, engravings – owing to their permanence – take precedence over woven or written products. This tendency comes to the fore in the final book of the Metamorphoses, in which Ovid links his poetry to the Fates’ records on ‘brass and solid iron’ (Ov. Met. 15.808–815). In so doing, he does not only assert the authority which his work possesses as a prophecy for Rome’s greatness, but also appoints himself as a renowned bard for the ages.
摘要这篇文章对奥维德的《变形记》进行了中间重读,处理了从第2本书中的《回声》和《水仙》到第15本书最后的《sphragis》的一系列段落。正如其标题所示,《变形记》本质上是一首关于转变的诗。因此,它充满了活力和波动感,这反过来又使它成为代表性中介换位的肥沃来源。本章探讨了与这一更广泛概念相关的三个过程:“创作”,即编织、绘画或雕刻媒介产品;“人与媒介的转变”,由于其负面含义,对媒介性进行了颠覆性的研究;“元媒介性”,奥维德通过它评论媒介及其在更广泛诗歌中的叙事潜力。因此,通过将媒体传播问题化,奥维德确定并倡导了一种基于其作为纪念装置的有效性的艺术形式层次:在这个体系中,版画——由于其永久性——优先于编织或书写的产品。这种倾向在《变形记》的最后一本书中凸显出来,在书中,奥维德将他的诗歌与命运女神关于“黄铜和实心铁”的记录联系起来(Ov.Met.15.808-815)。在这样做的过程中,他不仅宣称自己的作品具有预言罗马伟大的权威,而且还将自己任命为历代著名的吟游诗人。
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引用次数: 0
Quotations in Roman Prose as Intermedial Phenomena 作为中介现象的罗马散文语录
IF 0.2 3区 历史学 Q3 Arts and Humanities Pub Date : 2019-09-01 DOI: 10.1515/tc-2019-0003
Ute Tischer
Abstract This article takes as its starting point the observation that quotations in Latin prose are largely characterised by features of oral communication. It analyses four passages from Cicero, Suetonius, Gellius, and Servius so as to outline how these quotations bridge the verbal and the written, and can therefore be classified as covert intermedial representations. Specific formulae which shape text passages as quotations include both explicit markers such as ferunt (‘they say’) and dixit (‘he said’), as well as implicit hints ranging from demonstrative pronouns (illud, haec) to conjunctions (ut, sicut). These linguistic tags are read within the frameworks of ‘intermedial reference’ and ‘remediation’, thereby yielding insights on how oral and written features meld into the literary quotations of Roman prose. What is more, this chapter demonstrates the merits of its approach to Classical literature by showing that an awareness of media and medialities is conducive to original interpretations of well-studied ancient texts.
摘要本文从观察拉丁散文中的引语在很大程度上具有口头交际的特点入手。它分析了西塞罗、苏托尼乌斯、盖里乌斯和塞尔维乌斯的四段话,以概述这些引文是如何将口头和书面联系起来的,因此可以将它们归类为隐蔽的中间表述。将文本段落塑造为引语的特定公式既包括明确的标记,如ferunt(“他们说”)和dixit(“他说”),也包括隐含的暗示,从指示代词(illud, haec)到连词(ut, sicut)。这些语言标签是在“中间参考”和“补救”的框架内阅读的,从而产生了口头和书面特征如何融入罗马散文的文学引文的见解。更重要的是,本章展示了其古典文学研究方法的优点,表明对媒介和媒介的认识有助于对经过充分研究的古代文本进行原创解释。
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引用次数: 0
期刊
Trends in Classics
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