Pub Date : 2021-01-01DOI: 10.1080/00397679.2022.2042966
R. Cowan
Calchas’ prophecy in Sophocles’ Aias that Athena’s anger will pursue Aias for only “this one day” evokes the Hippocratic concept of the critical day, on which the patient might either die or survive. This is part of the wider engagement with Hippocratic ideas in Attic tragedy and has significant implications for the depiction of Aias’ “second”, metaphorical illness in the play. It places divine and physical explanations of illness in tension with each other. It also constructs the second illness as one of alienation that can be cured by reintegration into society, in contrast to Aias’ own interpretation of it as one of shame that can only be cured by death.
{"title":"Aias’ Critical Day","authors":"R. Cowan","doi":"10.1080/00397679.2022.2042966","DOIUrl":"https://doi.org/10.1080/00397679.2022.2042966","url":null,"abstract":"Calchas’ prophecy in Sophocles’ Aias that Athena’s anger will pursue Aias for only “this one day” evokes the Hippocratic concept of the critical day, on which the patient might either die or survive. This is part of the wider engagement with Hippocratic ideas in Attic tragedy and has significant implications for the depiction of Aias’ “second”, metaphorical illness in the play. It places divine and physical explanations of illness in tension with each other. It also constructs the second illness as one of alienation that can be cured by reintegration into society, in contrast to Aias’ own interpretation of it as one of shame that can only be cured by death.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43307518","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2021.1951005
Ezra la Roi
This paper provides the first systematic investigation of the role of insubordination, the diachronic conventionalization of formally subordinate clauses as main clauses, in the syntax and semantics of the Ancient Greek sentence. Since diachronic studies are still a desideratum, this paper details the insubordination of if- and that-clauses from Archaic to Post-Classical Greek. Firstly, a principled diachronic analysis of the insubordination of various if-wishes (with ϵἰ, ϵἰ/αἲ γάρ and ϵἴθϵ/αἴθϵ (γάρ)) and that-wishes (with ὡς and ἵνα) is performed using both functional (discursive vs syntactic independence) and formal criteria (vocatives, particles, sentence complexity, mood extensions) in order to determine their relative degree of conventionalization of the main clause use. Subsequently, insubordinate directive, assertive and evaluative constructions (with ϵἰ, ἐάν, ὅπως and ἵνα) from Archaic, Classical and Post-Classical Greek are analysed before presenting a diachronic constructional typology of insubordination and suggestions for future avenues of research.
{"title":"The Insubordination of If- and That-Clauses from Archaic to Post-Classical Greek: A Diachronic Constructional Typology","authors":"Ezra la Roi","doi":"10.1080/00397679.2021.1951005","DOIUrl":"https://doi.org/10.1080/00397679.2021.1951005","url":null,"abstract":"This paper provides the first systematic investigation of the role of insubordination, the diachronic conventionalization of formally subordinate clauses as main clauses, in the syntax and semantics of the Ancient Greek sentence. Since diachronic studies are still a desideratum, this paper details the insubordination of if- and that-clauses from Archaic to Post-Classical Greek. Firstly, a principled diachronic analysis of the insubordination of various if-wishes (with ϵἰ, ϵἰ/αἲ γάρ and ϵἴθϵ/αἴθϵ (γάρ)) and that-wishes (with ὡς and ἵνα) is performed using both functional (discursive vs syntactic independence) and formal criteria (vocatives, particles, sentence complexity, mood extensions) in order to determine their relative degree of conventionalization of the main clause use. Subsequently, insubordinate directive, assertive and evaluative constructions (with ϵἰ, ἐάν, ὅπως and ἵνα) from Archaic, Classical and Post-Classical Greek are analysed before presenting a diachronic constructional typology of insubordination and suggestions for future avenues of research.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42280287","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2020.1857940
Alexander Kirichenko
This article analyses the power dynamics that Ovid stages in the Metamorphoses as interplay of rhetoric, monumental art, and poetry. It argues that (1) the transformations of gods can be read as a metaphor of rhetoric subjecting the audience to the speaker’s will; (2) that the products of the transformations of humans can be regarded as notional monuments to divine power; (3) that, for Ovid, all successful ideological constructs are based on a similar combination of rhetorical manipulation and “monumentalization”; (4) that, at the same time, Ovid casts metamorphosis as a product of the ability of the human imagination to recognize a human presence behind every non-human object, including the “monuments” constructed by superhuman powers; (5) that Ovid conceives of the “re-humanizing” effect of poetry as a function of its ability to make the audience recognize themselves in it; and (6) that the immortality that Ovid attributes to his own text is a function of his writing producing a similar effect on the readers.
{"title":"The Transformations of the Writing Body: Rhetoric, Monumental Art, and Poetry in Ovid’s Metamorphoses","authors":"Alexander Kirichenko","doi":"10.1080/00397679.2020.1857940","DOIUrl":"https://doi.org/10.1080/00397679.2020.1857940","url":null,"abstract":"This article analyses the power dynamics that Ovid stages in the Metamorphoses as interplay of rhetoric, monumental art, and poetry. It argues that (1) the transformations of gods can be read as a metaphor of rhetoric subjecting the audience to the speaker’s will; (2) that the products of the transformations of humans can be regarded as notional monuments to divine power; (3) that, for Ovid, all successful ideological constructs are based on a similar combination of rhetorical manipulation and “monumentalization”; (4) that, at the same time, Ovid casts metamorphosis as a product of the ability of the human imagination to recognize a human presence behind every non-human object, including the “monuments” constructed by superhuman powers; (5) that Ovid conceives of the “re-humanizing” effect of poetry as a function of its ability to make the audience recognize themselves in it; and (6) that the immortality that Ovid attributes to his own text is a function of his writing producing a similar effect on the readers.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00397679.2020.1857940","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49435016","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2021.2093500
{"title":"Departments of Greek and Latin Studies in Norwegian Universities","authors":"","doi":"10.1080/00397679.2021.2093500","DOIUrl":"https://doi.org/10.1080/00397679.2021.2093500","url":null,"abstract":"","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47019650","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2021.1911118
Nicolas Liney
This article considers the tensions between private dwelling and public city space in architecture and rhetoric in imperial Rome, particularly as they appear in Statius’ Silvae 2.2, an ecphrastic poem on a seaside villa. When Statius describes his patron’s porticus as “the size of a city” (urbis opus, 2.2.31), he is alluding to an Augustan monument, the Porticus Liviae described in Ovid’s Fasti (6.637–648). By so doing, Statius deconstructs the traditional urbs/domus familiar from Roman moralizing discourse, a binary that had been further complicated by Nero’s Domus Aurea, a recent travesty in Flavian cultural memory. We are prompted to question Statius’ representation of Pollius, as ktistic city-founder, indulgent tyrant – and as potential foil for the emperor Domitian.
{"title":"Pollius Felix and the Porticus Liviae (Statius’ Silvae 2.2.31)","authors":"Nicolas Liney","doi":"10.1080/00397679.2021.1911118","DOIUrl":"https://doi.org/10.1080/00397679.2021.1911118","url":null,"abstract":"This article considers the tensions between private dwelling and public city space in architecture and rhetoric in imperial Rome, particularly as they appear in Statius’ Silvae 2.2, an ecphrastic poem on a seaside villa. When Statius describes his patron’s porticus as “the size of a city” (urbis opus, 2.2.31), he is alluding to an Augustan monument, the Porticus Liviae described in Ovid’s Fasti (6.637–648). By so doing, Statius deconstructs the traditional urbs/domus familiar from Roman moralizing discourse, a binary that had been further complicated by Nero’s Domus Aurea, a recent travesty in Flavian cultural memory. We are prompted to question Statius’ representation of Pollius, as ktistic city-founder, indulgent tyrant – and as potential foil for the emperor Domitian.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47151367","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2021.1973223
C. Anghelina
At the beginning of book 7 of the Odyssey, Athena appears to Odysseus in the form of young girl to instruct him about the Phaeacians. Then, apparently for no reason, she departs for the “house” of Erechtheus on the Athenian Acropolis. I suggest that Athena’s destination symbolically reflects the state of affairs between Athena and Odysseus, on the one hand, and Poseidon, on the other. Athena’s passing by Marathon in this context symbolizes her entering her sacred land Attica from the north.
{"title":"Athena Departs for the Acropolis (Od. 7.78–81): A Suggestion","authors":"C. Anghelina","doi":"10.1080/00397679.2021.1973223","DOIUrl":"https://doi.org/10.1080/00397679.2021.1973223","url":null,"abstract":"At the beginning of book 7 of the Odyssey, Athena appears to Odysseus in the form of young girl to instruct him about the Phaeacians. Then, apparently for no reason, she departs for the “house” of Erechtheus on the Athenian Acropolis. I suggest that Athena’s destination symbolically reflects the state of affairs between Athena and Odysseus, on the one hand, and Poseidon, on the other. Athena’s passing by Marathon in this context symbolizes her entering her sacred land Attica from the north.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44484465","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2021.2076346
Siri Sande
This article confronts descriptions (1) in the Younger Pliny's panegyric to Trajan of the outward appearance of the empress Plotina with portraits showing the coiffures of Plotina and other women in high society, (2) in Statius' Silvae of the artfully arranged hair of young slaves with monuments showing such delicati. It is argued that these descriptions serve to emphasise the ability of those praised (the emperor and the recipients of Statius' poems) to shape and control the nature of others (Plotina and the delicati).
{"title":"Panegyrics, Poetry and Hair in the Late First and Early Second Century AD","authors":"Siri Sande","doi":"10.1080/00397679.2021.2076346","DOIUrl":"https://doi.org/10.1080/00397679.2021.2076346","url":null,"abstract":"This article confronts descriptions (1) in the Younger Pliny's panegyric to Trajan of the outward appearance of the empress Plotina with portraits showing the coiffures of Plotina and other women in high society, (2) in Statius' Silvae of the artfully arranged hair of young slaves with monuments showing such delicati. It is argued that these descriptions serve to emphasise the ability of those praised (the emperor and the recipients of Statius' poems) to shape and control the nature of others (Plotina and the delicati).","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43158956","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}
Pub Date : 2021-01-01DOI: 10.1080/00397679.2021.1979326
S. Bär
In Apoll. Rhod. Arg. 1.103, there are three textual variants for the adjective that accompanies the noun ὁδόν: κοινήν, κϵινήν and κϵίνην. Recently, the emendation σκοτίην has been suggested; a suggestion that is seemingly supported by a parallel in Arg. Orph. 41. It is argued here that this emendation is unwarranted and that probably either κϵινήν or κϵίνην is authentic, whereby the two variants constitute wordplay that reinforces the ironic underlayer of the context. Further, it is demonstrated that Arg. Orph. 41 does not provide a convincing parallel and that it thus does not support the suggested emendation.
{"title":"Apollonius Rhodius 1.103: A Discussion of a New Emendation","authors":"S. Bär","doi":"10.1080/00397679.2021.1979326","DOIUrl":"https://doi.org/10.1080/00397679.2021.1979326","url":null,"abstract":"In Apoll. Rhod. Arg. 1.103, there are three textual variants for the adjective that accompanies the noun ὁδόν: κοινήν, κϵινήν and κϵίνην. Recently, the emendation σκοτίην has been suggested; a suggestion that is seemingly supported by a parallel in Arg. Orph. 41. It is argued here that this emendation is unwarranted and that probably either κϵινήν or κϵίνην is authentic, whereby the two variants constitute wordplay that reinforces the ironic underlayer of the context. Further, it is demonstrated that Arg. Orph. 41 does not provide a convincing parallel and that it thus does not support the suggested emendation.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43869623","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}
Pub Date : 2020-01-01DOI: 10.1080/00397679.2020.1827601
Henny Fiskå Hägg
This study focuses on some aspects of the church father Clement of Alexandria’s interpretation of the sixth beatitude of the Sermon on the Mount, “Blessed are the pure in heart, for they will see God”. Clement connects “purity of heart” to the idea of withdrawal from evil and growth in practical well-doing and sees it as an intermediate phase and a process on the way towards the contemplation and knowledge of God. Being firmly placed in the Platonic tradition, the vision of God is of great importance for Clement’s theology. In most instances this vision, or contemplation, is something that occurs in the next life, but he also seems to think that it is something that may be experienced already in this life. Seeing God is then used as a metaphor for insight (gnosis), a knowledge of God that is mystical, or spiritual.
本研究着重于教父亚历山大的克莱门特(Clement of Alexandria)对登山宝训第六福的解释，“清心的人有福了，因为他们必得见神”。克莱门特将"心灵的纯洁"与远离邪恶的想法联系起来，并将其视为一个中间阶段，一个通往沉思和认识上帝的过程。在柏拉图的传统中，上帝的异象对克莱门特的神学来说是非常重要的。在大多数情况下，这种幻象或沉思是发生在下辈子的事情，但他似乎也认为这是今生可能已经经历过的事情。然后，“看见上帝”被用作洞察力(灵知)的隐喻，这是一种神秘的或属灵的对上帝的认识。
{"title":"Purity of Heart and the Vision of God in Clement of Alexandria","authors":"Henny Fiskå Hägg","doi":"10.1080/00397679.2020.1827601","DOIUrl":"https://doi.org/10.1080/00397679.2020.1827601","url":null,"abstract":"This study focuses on some aspects of the church father Clement of Alexandria’s interpretation of the sixth beatitude of the Sermon on the Mount, “Blessed are the pure in heart, for they will see God”. Clement connects “purity of heart” to the idea of withdrawal from evil and growth in practical well-doing and sees it as an intermediate phase and a process on the way towards the contemplation and knowledge of God. Being firmly placed in the Platonic tradition, the vision of God is of great importance for Clement’s theology. In most instances this vision, or contemplation, is something that occurs in the next life, but he also seems to think that it is something that may be experienced already in this life. Seeing God is then used as a metaphor for insight (gnosis), a knowledge of God that is mystical, or spiritual.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00397679.2020.1827601","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42004123","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}
Pub Date : 2020-01-01DOI: 10.1080/00397679.2020.1764223
Agata Deptuła
This article presents a new edition of a fragment of an eleventh-century parchment from Qasr Ibrim (Q.I. 1964, 6a). An inspection of the manuscript led to identification of one of the pieces as a short hymn praising John the Baptist, known from Byzantine liturgical books.
{"title":"Greek Sticheron from Medieval Nubia Praising John the Baptist (Q.I. 1964, 6a Revisited)","authors":"Agata Deptuła","doi":"10.1080/00397679.2020.1764223","DOIUrl":"https://doi.org/10.1080/00397679.2020.1764223","url":null,"abstract":"This article presents a new edition of a fragment of an eleventh-century parchment from Qasr Ibrim (Q.I. 1964, 6a). An inspection of the manuscript led to identification of one of the pieces as a short hymn praising John the Baptist, known from Byzantine liturgical books.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00397679.2020.1764223","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41511774","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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