Abstract A combined investigation of Herod. Mim. 8 (Ἐνύπνιον) with Callim. Ia. 1, 13, and Ep. 8, reveals that they all relate to a certain poetic contest that took place in Alexandria under the auspices of Ptolemy I, in one of the last years of his reign. The contest, must have been co-ordinated by the Mouseion and its director at the time, Zenodotus. The two poets took part in the contest, together with a host of other poets. Callim. Ia. 1 gives a figurative account of the contest’s course of action. Herodas, awaiting the results, writes Mim. 8, where he expresses his hopes for a prize, though he suspects foul play on behalf of the poets employed at the Mouseion by the king who was supposed to decide the prize. Callim. Ep. 8 is a sarcastic reply to Herodas’ fears, while Ia. 13 narrates the harsh criticism Callimachus received from Zenodotus and his proud reaction in response, obviously after his contribution was rejected.
{"title":"Contest of Poetry in Alexandria: Call. Ia. 1, 13, Herod. Mim. 8, al.","authors":"K. Tsantsanoglou","doi":"10.1515/tc-2019-0015","DOIUrl":"https://doi.org/10.1515/tc-2019-0015","url":null,"abstract":"Abstract A combined investigation of Herod. Mim. 8 (Ἐνύπνιον) with Callim. Ia. 1, 13, and Ep. 8, reveals that they all relate to a certain poetic contest that took place in Alexandria under the auspices of Ptolemy I, in one of the last years of his reign. The contest, must have been co-ordinated by the Mouseion and its director at the time, Zenodotus. The two poets took part in the contest, together with a host of other poets. Callim. Ia. 1 gives a figurative account of the contest’s course of action. Herodas, awaiting the results, writes Mim. 8, where he expresses his hopes for a prize, though he suspects foul play on behalf of the poets employed at the Mouseion by the king who was supposed to decide the prize. Callim. Ep. 8 is a sarcastic reply to Herodas’ fears, while Ia. 13 narrates the harsh criticism Callimachus received from Zenodotus and his proud reaction in response, obviously after his contribution was rejected.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"256 - 284"},"PeriodicalIF":0.2,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41740987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract The paper examines the aesthetics of the pseudo-Theocritean idylls and of the later additions to the bucolic corpus, which can be viewed as a ‘sensualized’ version of Theocritus’ poetics. Based on readings of some of the pseudo-Theocritean Idylls (19 Love Stealing Honey, 23 The Lover), the fragments ascribed to Bion and his Epitaph on Adonis, and the anonymous poem To the Dead Adonis, the paper argues that post-Theocritean aesthetics may be defined by reference to two images, ‘the wound’ and ‘the kiss’, where two concepts converge: morbidity and sensuality. This poetic style stands in stark contrast to the sophisticated and balanced ideal of leptotēs and it is un-Callimachean in tone and taste; this aspect of post-Theocritean aesthetics, which tends towards pathos and aestheticism, mainly looks forward to romanticism and decadence.
摘要本文考察了伪神田园诗的美学，以及后来添加到田园诗语料库中的美学，这些田园诗可以被视为神诗学的“感性化”版本。基于对一些伪神派Idylls（19 Love Stealing Honey，23 the Lover）、Bion及其《阿多尼斯墓志铭》的片段以及匿名诗歌《致死去的阿多尼斯》的解读，本文认为后神派美学可以通过参考“伤口”和“亲吻”两个图像来定义，在这两个图像中，两个概念交汇：病态和性感。这种诗歌风格与leptıs复杂而平衡的理想形成鲜明对比，在音调和品味上都不属于卡利马赫风格；后神学美学的这一方面，倾向于悲情和唯美主义，主要期待浪漫主义和颓废主义。
{"title":"The Wound and the Kiss: The Morbid Pleasures of Post-Theocritean Aesthetics","authors":"Evina Sistakou","doi":"10.1515/tc-2019-0016","DOIUrl":"https://doi.org/10.1515/tc-2019-0016","url":null,"abstract":"Abstract The paper examines the aesthetics of the pseudo-Theocritean idylls and of the later additions to the bucolic corpus, which can be viewed as a ‘sensualized’ version of Theocritus’ poetics. Based on readings of some of the pseudo-Theocritean Idylls (19 Love Stealing Honey, 23 The Lover), the fragments ascribed to Bion and his Epitaph on Adonis, and the anonymous poem To the Dead Adonis, the paper argues that post-Theocritean aesthetics may be defined by reference to two images, ‘the wound’ and ‘the kiss’, where two concepts converge: morbidity and sensuality. This poetic style stands in stark contrast to the sophisticated and balanced ideal of leptotēs and it is un-Callimachean in tone and taste; this aspect of post-Theocritean aesthetics, which tends towards pathos and aestheticism, mainly looks forward to romanticism and decadence.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"285 - 306"},"PeriodicalIF":0.2,"publicationDate":"2019-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49397969","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bibliography","authors":"","doi":"10.1515/tc-2019-0009","DOIUrl":"https://doi.org/10.1515/tc-2019-0009","url":null,"abstract":"","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48973341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Monumental Absences in Ancient Historiography","authors":"L. Spielberg","doi":"10.1515/tc-2019-0004","DOIUrl":"https://doi.org/10.1515/tc-2019-0004","url":null,"abstract":"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.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"51 - 73"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43917626","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Introduction","authors":"Martin T. Dinter, B. Reitz-Joosse","doi":"10.1515/tc-2019-0001","DOIUrl":"https://doi.org/10.1515/tc-2019-0001","url":null,"abstract":"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.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"1 - 10"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47963181","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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。
{"title":"Inscriptional Intermediality in Livy","authors":"Morgan E. Palmer","doi":"10.1515/tc-2019-0005","DOIUrl":"https://doi.org/10.1515/tc-2019-0005","url":null,"abstract":"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.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"74 - 95"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49288760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Stories from the Frontier: Bridging Past and Present at Hadrian’s Wall","authors":"C. Stocks","doi":"10.1515/tc-2019-0008","DOIUrl":"https://doi.org/10.1515/tc-2019-0008","url":null,"abstract":"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.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"139 - 160"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47242885","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"Sensorial Intermedialities in Roman Letters: Cicero, Horace, and Ovid","authors":"Jonathan E. Mannering","doi":"10.1515/tc-2019-0002","DOIUrl":"https://doi.org/10.1515/tc-2019-0002","url":null,"abstract":"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.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"11 - 33"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41890692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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.
{"title":"The Touch and Taste of War in Latin Battle Narrative","authors":"A. Ambühl","doi":"10.1515/tc-2019-0007","DOIUrl":"https://doi.org/10.1515/tc-2019-0007","url":null,"abstract":"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.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":"11 1","pages":"119 - 138"},"PeriodicalIF":0.2,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/tc-2019-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42292189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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