Abstract:In a lament on the rustic life of an exile, the persona loquens of Alcaeus 130b progresses through three spaces: the polis, esxatiai, and a temenos. The first is explicitly political, but the persona cannot occupy its territory; the latter two, where the persona can dwell, are apolitical while the temenos in particular is gendered in line with the Lesbian women who hold their beauty contests within its borders. In this article I argue that fragment 130b organizes the spaces through which the persona travels so that it can reject the apolitical life of the esxatiai and temenos, allowing the persona loquens to maintain his political identity as a citizen man even while in exile. The poem accomplishes this by connecting the persona to several social groups and then by removing him from them; this push and pull of exile and return creates an in-between space where the persona's social identity is safe from the dangers of exile. In the context of the male-dominated symposion and the political stasis afflicting archaic Mytilene, the persona's ability to maintain his political identity even in exile presents a powerful argument to Alcaeus's audience(s) that regardless of any setbacks, including exile, they too should maintain their identity as politically efficacious citizens and continue any stasis that they have begun.
{"title":"Political Identity and Space in Alcaeus 130b","authors":"Jessica M. Romney","doi":"10.1353/hel.2019.0004","DOIUrl":"https://doi.org/10.1353/hel.2019.0004","url":null,"abstract":"Abstract:In a lament on the rustic life of an exile, the persona loquens of Alcaeus 130b progresses through three spaces: the polis, esxatiai, and a temenos. The first is explicitly political, but the persona cannot occupy its territory; the latter two, where the persona can dwell, are apolitical while the temenos in particular is gendered in line with the Lesbian women who hold their beauty contests within its borders. In this article I argue that fragment 130b organizes the spaces through which the persona travels so that it can reject the apolitical life of the esxatiai and temenos, allowing the persona loquens to maintain his political identity as a citizen man even while in exile. The poem accomplishes this by connecting the persona to several social groups and then by removing him from them; this push and pull of exile and return creates an in-between space where the persona's social identity is safe from the dangers of exile. In the context of the male-dominated symposion and the political stasis afflicting archaic Mytilene, the persona's ability to maintain his political identity even in exile presents a powerful argument to Alcaeus's audience(s) that regardless of any setbacks, including exile, they too should maintain their identity as politically efficacious citizens and continue any stasis that they have begun.","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"46 1","pages":"17 - 34"},"PeriodicalIF":0.2,"publicationDate":"2019-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hel.2019.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48439084","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 paper considers how and why the American playwright David Ives's 2010–2012 New York hit play Venus in Fur directed by Walter Bobbie borrowed the plot of Euripides' Bacchae to dramatize a new version of Leopold van Sacher-Masoch's 1870 novella Venus in Furs (Venus im Pelz). The play gradually reveals that the actress auditioning for the part of its heroine, Vanda, is in fact the goddess herself, who arrives to challenge and punish the playwright/hero for refusing to comprehend her divinity/the nature of female sexuality. In Bacchae, Dionysus's divinity enables reversals of gender and power, hard-to-categorize blurring of genre boundaries, and an uncanny control of plot. As she transforms and directs the play, Vanda/Aphrodite's superhuman metatheatrical powers permit similar reversals to Venus in Fur, while challenging plots that traditionally link female liberation with (especially anti-male) violence and the female gender with a propensity for irrationality and uncontrolled desire. Through exploring and then reversing an initially stereotypical relation between male director and actress, the play exposes modern theater's own parallel agenda to reinforce traditional gender divisions.
摘要:本文探讨了美国剧作家大卫·艾夫斯(David Ives) 2010-2012年在纽约创作的由沃尔特·博比(Walter Bobbie)导演的热播剧《穿皮衣的维纳斯》(Venus in Fur)是如何以及为什么借用欧里庇得斯的《酒神》(Bacchae)的情节，将利奥波德·范·萨切尔-马索克(Leopold van Sacher-Masoch) 1870年的中篇小说《穿皮衣的维纳斯》(Venus im Pelz)改编为新版的。这部戏剧逐渐揭示出，试镜女主角万达的女演员实际上是女神本人，她来挑战和惩罚剧作家/男主角拒绝理解她的神性/女性性的本质。在《酒神》中，狄俄尼索斯的神性使性别和权力的颠倒，难以归类的类型界限模糊，以及对情节的不可思议的控制成为可能。凡达/阿芙罗狄蒂在改造和导演这部剧的过程中，她超人的超戏剧力量允许了与《Fur》中的维纳斯类似的逆转，同时挑战了传统上将女性解放与(尤其是反男性的)暴力以及女性性别与非理性和不受控制的欲望倾向联系在一起的情节。通过对男导演和女演员之间最初的刻板关系的探索和逆转，该剧暴露了现代戏剧自身的平行议程，以加强传统的性别划分。
{"title":"Venus in Fur: Remaking Bacchae in America","authors":"Helene P. Foley","doi":"10.1353/hel.2019.0002","DOIUrl":"https://doi.org/10.1353/hel.2019.0002","url":null,"abstract":"Abstract:This paper considers how and why the American playwright David Ives's 2010–2012 New York hit play Venus in Fur directed by Walter Bobbie borrowed the plot of Euripides' Bacchae to dramatize a new version of Leopold van Sacher-Masoch's 1870 novella Venus in Furs (Venus im Pelz). The play gradually reveals that the actress auditioning for the part of its heroine, Vanda, is in fact the goddess herself, who arrives to challenge and punish the playwright/hero for refusing to comprehend her divinity/the nature of female sexuality. In Bacchae, Dionysus's divinity enables reversals of gender and power, hard-to-categorize blurring of genre boundaries, and an uncanny control of plot. As she transforms and directs the play, Vanda/Aphrodite's superhuman metatheatrical powers permit similar reversals to Venus in Fur, while challenging plots that traditionally link female liberation with (especially anti-male) violence and the female gender with a propensity for irrationality and uncontrolled desire. Through exploring and then reversing an initially stereotypical relation between male director and actress, the play exposes modern theater's own parallel agenda to reinforce traditional gender divisions.","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"46 1","pages":"57 - 73"},"PeriodicalIF":0.2,"publicationDate":"2019-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hel.2019.0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43673538","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 New Comedy, plots involving a child conceived through rape present unique complications for women. In such plays women must work together to hide the pregnancies and rid themselves of the 'evidence.' Further, they do so within the confines of New Comedic conventions—there is no recourse to abortion. This article looks at rape-pregnancy plots in Roman Comedy, focusing particularly on the rape-pregnancy plot of Terence's Hecyra, and asks why the women of Roman Comedy do not abort or attempt to abort when they have been the victims of rape. Rather, standard practice for unwanted pregnancies in Roman Comedy was infant exposure. While infant exposure and the recovery of exposed infants is necessary to the plots of many New Comedies, it is still surprising that there is little mention of abortion in the plays. Later Greek and Roman writers mention abortion to disparage and condemn it. We might expect something similar in Roman Comedy. The lack of abortion in Roman Comedy, I argue, allows for a sympathetic portrayal of women. In the Hecyra especially we see women struggling with the negative consequences of a rape-pregnancy, working together to counter the negative stereotypes perpetuated by the male characters, and showing themselves virtuous according to the moral standards of the world in which they live.
{"title":"Female Trouble in Terence's Hecyra: Rape-Pregnancy Plots and the Absence of Abortion in Roman Comedy","authors":"Tara Mulder","doi":"10.1353/hel.2019.0003","DOIUrl":"https://doi.org/10.1353/hel.2019.0003","url":null,"abstract":"Abstract:In New Comedy, plots involving a child conceived through rape present unique complications for women. In such plays women must work together to hide the pregnancies and rid themselves of the 'evidence.' Further, they do so within the confines of New Comedic conventions—there is no recourse to abortion. This article looks at rape-pregnancy plots in Roman Comedy, focusing particularly on the rape-pregnancy plot of Terence's Hecyra, and asks why the women of Roman Comedy do not abort or attempt to abort when they have been the victims of rape. Rather, standard practice for unwanted pregnancies in Roman Comedy was infant exposure. While infant exposure and the recovery of exposed infants is necessary to the plots of many New Comedies, it is still surprising that there is little mention of abortion in the plays. Later Greek and Roman writers mention abortion to disparage and condemn it. We might expect something similar in Roman Comedy. The lack of abortion in Roman Comedy, I argue, allows for a sympathetic portrayal of women. In the Hecyra especially we see women struggling with the negative consequences of a rape-pregnancy, working together to counter the negative stereotypes perpetuated by the male characters, and showing themselves virtuous according to the moral standards of the world in which they live.","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"46 1","pages":"35 - 56"},"PeriodicalIF":0.2,"publicationDate":"2019-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hel.2019.0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42029415","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 : 2019-09-17DOI: 10.22497/HELIOS.V2I1.1235
Elmer Robles Ortíz
HELIOS es la Revista Oficial de la Facultad de Educacion y Humanidades de la Universidad Privada Antenor Orrego (UPAO), de Trujillo, Peru. Tiene periodicidad semestral, publica articulos principalmente de la esfera educativa y tambien de campos afines. Recibe textos de la comunidad academica orreguiana y de autores que no pertenecen a ella, peruanos o foraneos.
{"title":"INFORMACIÓN PARA LOS AUTORES","authors":"Elmer Robles Ortíz","doi":"10.22497/HELIOS.V2I1.1235","DOIUrl":"https://doi.org/10.22497/HELIOS.V2I1.1235","url":null,"abstract":"HELIOS es la Revista Oficial de la Facultad de Educacion y Humanidades de la Universidad Privada Antenor Orrego (UPAO), de Trujillo, Peru. Tiene periodicidad semestral, publica articulos principalmente de la esfera educativa y tambien de campos afines. Recibe textos de la comunidad academica orreguiana y de autores que no pertenecen a ella, peruanos o foraneos.","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48470627","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 : 2019-07-03DOI: 10.22497/HELIOS.V3I1.1100
Rosales Chávez
RESUMEN Esta investigacion se realizo con la finalidad de detectar los niveles de violencia en la Institucion Educativa San Jose del distrito de La Esperanza de Trujillo.Su principal objetivo fue reducir los niveles de violencia en la mencionada institucion educativa y se realizo con los estudiantes de los primeros grados del nivel secundario de la institucion mencionada.La convivencia escolar democratica tiene como finalidad propiciar procesos de democratizacion en las relaciones interpersonales entre los integrantes de la comunidad educativa, como fundamento de una cultura de paz y equidad entre las personas, contribuyendo de este modo a detectar y disminuir las diversas formas de violencia entre los estudiantes.Los estudiantes llegan a la institucion educativa con lo que piensan y sienten, con sus deseos y proyectos, con sus preocupaciones, dudas y temores. Cada uno es un mundo y una historia personal diferente, cargados posiblemente de experiencias positivas y negativas. En este sentido, se ha aplicado el programa tutorial SJ para conocerlos y comprenderlos a fin de orientarlos a tomar decisiones asertivas respecto a su formacion integral de modo que sean promotores de una convivencia democratica y asi disminuir el nivel de violencia. Palabras claves: niveles de violencia, tutoria, Educacion Fisica ABSTRACT This research was carried out in order to detect the levels of violence in the Educational Institution of“San Jose” in the district of La Esperanza, Trujillo.The main objective of this research was to reduce the levels of violence in this educational institutionand it was conducted with male and females students in the early grades of secondary education.The democratic school coexistence aims to encourage democratization processes in interpersonal relationships between members of the educational community as the foundation for a culture of peace and equality among people, thus helping to detect and reduce the various forms of violence among students.The students come to the school with what they think and feel, with their desires and projects, with their worries, doubts and fears. Each is different with a different personal story with positive and negative experiences. In this regard, the SJ tutorial program was applied in order to know and understand them to guide them to take assertive decisions about their personal development, so that they can be promotersof democratic coexistence and in this way reduce the level of violence. Keys Words: levels of violence, tutoring, physical education
{"title":"Aplicación del programa de orientación tutorial SJ para reducir los niveles de violencia en la I.E. San José del distrito de La Esperanza, provincia de Trujillo","authors":"Rosales Chávez","doi":"10.22497/HELIOS.V3I1.1100","DOIUrl":"https://doi.org/10.22497/HELIOS.V3I1.1100","url":null,"abstract":"RESUMEN Esta investigacion se realizo con la finalidad de detectar los niveles de violencia en la Institucion Educativa San Jose del distrito de La Esperanza de Trujillo.Su principal objetivo fue reducir los niveles de violencia en la mencionada institucion educativa y se realizo con los estudiantes de los primeros grados del nivel secundario de la institucion mencionada.La convivencia escolar democratica tiene como finalidad propiciar procesos de democratizacion en las relaciones interpersonales entre los integrantes de la comunidad educativa, como fundamento de una cultura de paz y equidad entre las personas, contribuyendo de este modo a detectar y disminuir las diversas formas de violencia entre los estudiantes.Los estudiantes llegan a la institucion educativa con lo que piensan y sienten, con sus deseos y proyectos, con sus preocupaciones, dudas y temores. Cada uno es un mundo y una historia personal diferente, cargados posiblemente de experiencias positivas y negativas. En este sentido, se ha aplicado el programa tutorial SJ para conocerlos y comprenderlos a fin de orientarlos a tomar decisiones asertivas respecto a su formacion integral de modo que sean promotores de una convivencia democratica y asi disminuir el nivel de violencia. Palabras claves: niveles de violencia, tutoria, Educacion Fisica ABSTRACT This research was carried out in order to detect the levels of violence in the Educational Institution of“San Jose” in the district of La Esperanza, Trujillo.The main objective of this research was to reduce the levels of violence in this educational institutionand it was conducted with male and females students in the early grades of secondary education.The democratic school coexistence aims to encourage democratization processes in interpersonal relationships between members of the educational community as the foundation for a culture of peace and equality among people, thus helping to detect and reduce the various forms of violence among students.The students come to the school with what they think and feel, with their desires and projects, with their worries, doubts and fears. Each is different with a different personal story with positive and negative experiences. In this regard, the SJ tutorial program was applied in order to know and understand them to guide them to take assertive decisions about their personal development, so that they can be promotersof democratic coexistence and in this way reduce the level of violence. Keys Words: levels of violence, tutoring, physical education","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"3 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42674972","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 : 2019-07-03DOI: 10.22497/HELIOS.V3I1.1105
Jesús Wiliam Huanca Arohuanca, Franklin Américo Canaza Choque
RESUMEN Se parte de la discusion, de que la educacion contemporanea en el Peru sigue lineamientos y proyectos generales que engloban a las escuelas rurales y urbanas dentro de una misma esfera academica.Entonces, el presente articulo busca diagnosticar y reflexionar a traves del meta analisis la problematica de la escuela rural en Puno, desde una mirada del pensamiento critico. Dentro de ese marco, la educacion sigue y seguira siendo el problema y la posibilidad de alcanzar una democracia justa para incluir a los que menos tienen, una educacion que incluya, respete y valore las condiciones multiples y otras formasde vida (doxa), que de manera aciaga han sido fulminados por el positivismo cientificista. Se trata de una investigacion cualitativa. Para concluir, es indiscutible que en la actualidad aun persistan disparidades educativas entre las zonas rurales y urbanas, pero desde nuestra optica, las enormes barreras de ambas areas terminan con el pensamiento critico, que nos conduce a formar nuevos espacios de dialogo, saberes y discusiones desde la cotidianidad. Palabras clave: Altiplano, escuela rural, exclusion, desigualdad, filosofia. ABSTRACT Be part of the discussion, of that the contemporary education in Peru continues lineaments and general projects that they include to the rural and urban schools inside the same academic sphere. The study diagnoses and reflects through meta-analysis the rural school in the south of Peru from an angle of the critical thought. Within that framework, education continues and will continue to be the problem and the possibility of achieving a just democracy to include those who have less, an education that includes,respects and values multiple conditions and other forms of life (doxa), which in a fateful way have beenstruck by the positivism-scientist. In conclusion, it is indisputable that today there still persist educational disparities between rural-urban areas, but from our perspective, the enormous barriers of both areas end with critical thinking, thought that leads us to form new spaces for dialogue, knowledge’s and discussions from the routine character. Keywords: Altiplano, rural school, exclusion, inequality, philosophy.
在这一背景下，本文提出了一种新的方法，通过这种方法，教师和学生之间的关系可以被理解为一种关系，在这种关系中，教师和学生之间的关系可以被理解为一种关系。因此，本文试图通过元分析来诊断和反思普诺农村学校的问题，并从批判性思维的角度进行分析。在此框架内,继续教育和seguira问题是实现民主的机会公平,包括有最少,包括教育、尊重和重视的多个条件和其他formasde (doxa)生活,唤醒了被文字fulminados cientificista。这是一项定性研究。综上所述，无可争议的是，目前农村和城市地区之间的教育差距仍然存在，但从我们的角度来看，这两个地区的巨大障碍以批判性思维结束，这导致我们从日常生活中形成新的对话、知识和讨论空间。关键词:高原，乡村学校，排斥，不平等，哲学。摘要是讨论的一部分，秘鲁的当代教育继续遵循指导方针和一般项目，包括在同一学术范围内的农村和城市学校。本研究从批判思想的角度对秘鲁南部农村学校进行荟萃分析，诊断和反映。内framework、教育继续and will continue to be the problem and the possibility of实现a just to include那些已经较,an education包括,respects和价值观multiple conditions and other forms of life (doxa), which in a fateful way have beenstruck by the positivism-scientist。总之，无可争辩的是，今天城乡地区之间仍然存在着教育差距，但从我们的角度来看，这两个地区的巨大障碍以批判性思维结束，这种思维使我们形成了对话、知识和常规讨论的新空间。关键词:高原，农村学校，排斥，不平等，哲学。
{"title":"Puno: Educación rural y pensamiento crítico. Hacia una educación inclusiva","authors":"Jesús Wiliam Huanca Arohuanca, Franklin Américo Canaza Choque","doi":"10.22497/HELIOS.V3I1.1105","DOIUrl":"https://doi.org/10.22497/HELIOS.V3I1.1105","url":null,"abstract":"RESUMEN Se parte de la discusion, de que la educacion contemporanea en el Peru sigue lineamientos y proyectos generales que engloban a las escuelas rurales y urbanas dentro de una misma esfera academica.Entonces, el presente articulo busca diagnosticar y reflexionar a traves del meta analisis la problematica de la escuela rural en Puno, desde una mirada del pensamiento critico. Dentro de ese marco, la educacion sigue y seguira siendo el problema y la posibilidad de alcanzar una democracia justa para incluir a los que menos tienen, una educacion que incluya, respete y valore las condiciones multiples y otras formasde vida (doxa), que de manera aciaga han sido fulminados por el positivismo cientificista. Se trata de una investigacion cualitativa. Para concluir, es indiscutible que en la actualidad aun persistan disparidades educativas entre las zonas rurales y urbanas, pero desde nuestra optica, las enormes barreras de ambas areas terminan con el pensamiento critico, que nos conduce a formar nuevos espacios de dialogo, saberes y discusiones desde la cotidianidad. Palabras clave: Altiplano, escuela rural, exclusion, desigualdad, filosofia. ABSTRACT Be part of the discussion, of that the contemporary education in Peru continues lineaments and general projects that they include to the rural and urban schools inside the same academic sphere. The study diagnoses and reflects through meta-analysis the rural school in the south of Peru from an angle of the critical thought. Within that framework, education continues and will continue to be the problem and the possibility of achieving a just democracy to include those who have less, an education that includes,respects and values multiple conditions and other forms of life (doxa), which in a fateful way have beenstruck by the positivism-scientist. In conclusion, it is indisputable that today there still persist educational disparities between rural-urban areas, but from our perspective, the enormous barriers of both areas end with critical thinking, thought that leads us to form new spaces for dialogue, knowledge’s and discussions from the routine character. Keywords: Altiplano, rural school, exclusion, inequality, philosophy.","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45906236","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}
My paper closely examines the text of Tibullus Book 3, poems 8–13, the eleven elegies about, and to my mind by, the Augustan poet Sulpicia, through the lens of “the visual.”1 It concludes by reflecting on what I would regard as an Ovidian echo of one particularly memorable visual detail in these elegies. Like Tibullus—whose death in 19 BCE Ovid laments, and whose poetry he evokes both reverentially and playfully in Amores 3.9—Ovid testifies that he benefited from the literary patronage of Sulpicia’s maternal uncle, the influential general and statesman Marcus Valerius Messalla Corvinus.2 For that reason alone, Ovid was likely to have been acquainted with Sulpicia and her writing. And although Ovid never mentions Sulpicia by name as he does Tibullus in his poetry, he often appears to evoke her poetry as well, although never in a reverential or playful way.3 I will argue that in her eleven elegies Sulpicia depicts herself as a dynamic, self-actualizing visual spectacle. Then, more briefly, I will maintain that Sulpicia’s mode of self-representation contrasts with the tendency of Ovid and the other male elegists to portray their female inamoratae as immobile, passive art objects. In this context, I will contend that in the first book of the Ars amatoria Ovid evokes the opening two lines of the first Sulpicia elegy, 3.8, so as to recall, much as he does in both the Amores and Metamorphoses, Sulpicia’s elegies. I will claim as well that he does so to critique Sulpicia’s verses, unfavorably commenting upon the dynamic, self-actualizing, physically appealing, expensively adorned, and erotically successful female persona central to the visual spectacle these verses create. An attention-arresting elegiac couplet begins the first of the eleven Sulpicia elegies: Sulpicia est tibi culta tuis, Mars magne, kalendis / spectatum e caelo, si sapis, ipse veni (Great god Mars, Sulpicia is arrayed for you on your Kalends. If you have any discernment, come down from heaven to look at her yourself).4 Summoning the god Mars on the first day of ‘his’ own month, the poem commences with the poet’s own name in the 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40
{"title":"Spectacle in the Eleven Elegies of Sulpicia: To Marcus Colyer, M.D., and Joseph Pasternak, M.D.","authors":"J. Hallett","doi":"10.1353/HEL.2018.0009","DOIUrl":"https://doi.org/10.1353/HEL.2018.0009","url":null,"abstract":"My paper closely examines the text of Tibullus Book 3, poems 8–13, the eleven elegies about, and to my mind by, the Augustan poet Sulpicia, through the lens of “the visual.”1 It concludes by reflecting on what I would regard as an Ovidian echo of one particularly memorable visual detail in these elegies. Like Tibullus—whose death in 19 BCE Ovid laments, and whose poetry he evokes both reverentially and playfully in Amores 3.9—Ovid testifies that he benefited from the literary patronage of Sulpicia’s maternal uncle, the influential general and statesman Marcus Valerius Messalla Corvinus.2 For that reason alone, Ovid was likely to have been acquainted with Sulpicia and her writing. And although Ovid never mentions Sulpicia by name as he does Tibullus in his poetry, he often appears to evoke her poetry as well, although never in a reverential or playful way.3 I will argue that in her eleven elegies Sulpicia depicts herself as a dynamic, self-actualizing visual spectacle. Then, more briefly, I will maintain that Sulpicia’s mode of self-representation contrasts with the tendency of Ovid and the other male elegists to portray their female inamoratae as immobile, passive art objects. In this context, I will contend that in the first book of the Ars amatoria Ovid evokes the opening two lines of the first Sulpicia elegy, 3.8, so as to recall, much as he does in both the Amores and Metamorphoses, Sulpicia’s elegies. I will claim as well that he does so to critique Sulpicia’s verses, unfavorably commenting upon the dynamic, self-actualizing, physically appealing, expensively adorned, and erotically successful female persona central to the visual spectacle these verses create. An attention-arresting elegiac couplet begins the first of the eleven Sulpicia elegies: Sulpicia est tibi culta tuis, Mars magne, kalendis / spectatum e caelo, si sapis, ipse veni (Great god Mars, Sulpicia is arrayed for you on your Kalends. If you have any discernment, come down from heaven to look at her yourself).4 Summoning the god Mars on the first day of ‘his’ own month, the poem commences with the poet’s own name in the 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"45 1","pages":"195 - 205"},"PeriodicalIF":0.2,"publicationDate":"2019-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/HEL.2018.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42180611","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}
“Poetry for the eyes” is a felicitous definition of Ovid’s epic. The Metamorphoses are a model for the Achilleid in this as in other aspects,1 like the themes of deceit, transformation, and gender fluidity; the spectacle of appearances, matched by ambiguity in language; the provocation of the proem, with its program of a cyclic epos and a carmen deductum (finely spun song); the dialogue with alternative genres, like elegy and comedy; and, in addition, the lightness of tone, irony, and detachment towards the characters, first and foremost Achilles. The greatest Greek hero is here the object of a witty attitude that recalls Ovid’s epic, and of cleverly provocative jokes evoking the narrative about him in Metamorphoses 12 and 13, as well as his appearance as an exemplum in the Ars amatoria. Statius shares with Ovid multiple modes of literary self-consciousness and, in his whole work, is indebted to his experimentations; in the Achilleid he owes him, inter alia, an exercise in poetry as a feast for the eyes. In the same years when he composed his second epic, the Flavian poet experimented with the ekphrastic poetry of the Silvae: an epideictic mode of poetry based on visual evidence, transfiguration of reality into mythic images, and a rhetoric of wonder. Like the celebratory gesture of occasional poetry, the subject matter of the Achilleid also lends itself to a poetics of vision, of stupefying vision: the Scyros episode above all, with its ingredients—ambiguity, disguise, simulation, unveiling—is a sequence of intriguing images and lively scenes, exploited by a rich figurative tradition, as well as by dramatic poetry, like Euripides’ Skyrioi. Statius presupposes this visual (and scenic) heritage, which is part of the artistic experience and material culture of his contemporaries, and vies with it in another medium. This ironic and light poetic discourse does not interrogate dramatic scenarios, but switches between tones without letting pathos prevail. It also adheres to the surface of things: it translates feelings into symptoms and stories into signs, looks with the eyes of the characters and follows the mimicry of their looks, and exhibits their rhetorical poses and ostentatious gestures, orchestrating stage movements to perfection. With an 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40
{"title":"Visions of a Hero: Optical Illusions and Multifocal Epic in Statius's Achilleid","authors":"F. Bessone","doi":"10.1353/HEL.2018.0008","DOIUrl":"https://doi.org/10.1353/HEL.2018.0008","url":null,"abstract":"“Poetry for the eyes” is a felicitous definition of Ovid’s epic. The Metamorphoses are a model for the Achilleid in this as in other aspects,1 like the themes of deceit, transformation, and gender fluidity; the spectacle of appearances, matched by ambiguity in language; the provocation of the proem, with its program of a cyclic epos and a carmen deductum (finely spun song); the dialogue with alternative genres, like elegy and comedy; and, in addition, the lightness of tone, irony, and detachment towards the characters, first and foremost Achilles. The greatest Greek hero is here the object of a witty attitude that recalls Ovid’s epic, and of cleverly provocative jokes evoking the narrative about him in Metamorphoses 12 and 13, as well as his appearance as an exemplum in the Ars amatoria. Statius shares with Ovid multiple modes of literary self-consciousness and, in his whole work, is indebted to his experimentations; in the Achilleid he owes him, inter alia, an exercise in poetry as a feast for the eyes. In the same years when he composed his second epic, the Flavian poet experimented with the ekphrastic poetry of the Silvae: an epideictic mode of poetry based on visual evidence, transfiguration of reality into mythic images, and a rhetoric of wonder. Like the celebratory gesture of occasional poetry, the subject matter of the Achilleid also lends itself to a poetics of vision, of stupefying vision: the Scyros episode above all, with its ingredients—ambiguity, disguise, simulation, unveiling—is a sequence of intriguing images and lively scenes, exploited by a rich figurative tradition, as well as by dramatic poetry, like Euripides’ Skyrioi. Statius presupposes this visual (and scenic) heritage, which is part of the artistic experience and material culture of his contemporaries, and vies with it in another medium. This ironic and light poetic discourse does not interrogate dramatic scenarios, but switches between tones without letting pathos prevail. It also adheres to the surface of things: it translates feelings into symptoms and stories into signs, looks with the eyes of the characters and follows the mimicry of their looks, and exhibits their rhetorical poses and ostentatious gestures, orchestrating stage movements to perfection. With an 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 S39 R40","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"45 1","pages":"169 - 194"},"PeriodicalIF":0.2,"publicationDate":"2019-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/HEL.2018.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44300110","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}
The erotic gaze plays a crucial role in Latin literary representations of desire: desire itself arises from the gaze. For the most part, this gaze is portrayed as male, with a woman as its immobile object. Critics, moreover, often consider the gaze merely a mode of control that the male lover employs over the female beloved. Yet Roman poets represent situations that defy simple categorization. As Patricia Salzman-Mitchell (2005, 163–164) has observed, elegiac poetry depicts the puella as an object of the male gaze; yet by being stared at for a long time, as Andromeda is by Perseus, she can be viewed as exerting dominance over the male lover, who is both stupefied by her beauty and paralyzed by his passion. The first couplet of Propertius 1.1—Cynthia prima suis miserum me cepit ocellis / contactum nullis ante cupidinibus—suggests that not only is Cynthia the passive object of the burning male gaze, but she has also provoked his desire through eye contact.
情色凝视在拉丁文学中对欲望的表现起着至关重要的作用：欲望本身就是由凝视产生的。在大多数情况下，这种凝视被描绘成男性，而女性是其静止的对象。此外，批评者经常认为这种凝视只是男性情人对女性情人的一种控制方式。然而，罗马诗人所代表的情况却无法简单归类。正如Patricia Salzman Mitchell（2005163-164）所观察到的，挽歌诗将puella描绘成男性凝视的对象；然而，由于被凝视了很长一段时间，就像仙女座被珀尔修斯盯着一样，她可以被视为对男性情人施加了统治，后者既被她的美丽惊呆了，又被他的激情麻痹了。Propertius 1.1的上联——Cynthia prima suis吝啬鬼我cepit ocellis/contactum nullis ante cupidinibus——表明Cynthia不仅是男性凝视的被动对象，而且她还通过眼神交流激发了他的欲望。
{"title":"Introduction","authors":"Judith P. Hallett, Jacqueline Fabre-Serris","doi":"10.1353/hel.2018.0004","DOIUrl":"https://doi.org/10.1353/hel.2018.0004","url":null,"abstract":"The erotic gaze plays a crucial role in Latin literary representations of desire: desire itself arises from the gaze. For the most part, this gaze is portrayed as male, with a woman as its immobile object. Critics, moreover, often consider the gaze merely a mode of control that the male lover employs over the female beloved. Yet Roman poets represent situations that defy simple categorization. As Patricia Salzman-Mitchell (2005, 163–164) has observed, elegiac poetry depicts the puella as an object of the male gaze; yet by being stared at for a long time, as Andromeda is by Perseus, she can be viewed as exerting dominance over the male lover, who is both stupefied by her beauty and paralyzed by his passion. The first couplet of Propertius 1.1—Cynthia prima suis miserum me cepit ocellis / contactum nullis ante cupidinibus—suggests that not only is Cynthia the passive object of the burning male gaze, but she has also provoked his desire through eye contact.","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"45 1","pages":"105 - 108"},"PeriodicalIF":0.2,"publicationDate":"2019-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/hel.2018.0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44418982","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":"Female Gaze and Desire in the Europa and Carmen 64","authors":"Florence Klein","doi":"10.1353/HEL.2018.0005","DOIUrl":"https://doi.org/10.1353/HEL.2018.0005","url":null,"abstract":"","PeriodicalId":43032,"journal":{"name":"HELIOS","volume":"45 1","pages":"109 - 125"},"PeriodicalIF":0.2,"publicationDate":"2019-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/HEL.2018.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48440825","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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