Pub Date : 2023-01-01DOI: 10.1353/are.2023.a899549
L. de Boer
Abstract:The distinction between manifest and non-manifest delicts, and the differentiated regime of punishment attached to it, is attested in all ancient legal systems. And yet, already in antiquity, it assumed the status of a mystery: why punish more severely, only because the criminal had been caught in flagrante? This article examines the extant evidence on the flagrant delict through the prism of a cross-cultural legal rite of ligation and in close conjunction with conceptions of judicial vision, secrecy, and crime to suggest that the distinction is expressive of the legal power of sight: the crime seen to be done is worse.
{"title":"In Flagrante Delicto: On the Legal Implications of Sight","authors":"L. de Boer","doi":"10.1353/are.2023.a899549","DOIUrl":"https://doi.org/10.1353/are.2023.a899549","url":null,"abstract":"Abstract:The distinction between manifest and non-manifest delicts, and the differentiated regime of punishment attached to it, is attested in all ancient legal systems. And yet, already in antiquity, it assumed the status of a mystery: why punish more severely, only because the criminal had been caught in flagrante? This article examines the extant evidence on the flagrant delict through the prism of a cross-cultural legal rite of ligation and in close conjunction with conceptions of judicial vision, secrecy, and crime to suggest that the distinction is expressive of the legal power of sight: the crime seen to be done is worse.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47504880","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 : 2023-01-01DOI: 10.1353/are.2023.a899548
A. Shilo
Abstract:This article argues that through envisioning a militaristic, unanimous Athens, the Eumenides presents a novel and provocative political theory. I use political theology to clarify the structures and dangers of this concluding vision, which profoundly diverges from Athenian democracy. However, still meaningfully operative within the Oresteia are checking forces implied in its polytheism, plural values, and political structures. These mirror Athenian society and manifest the trilogy's internal critique of unanimity. The interplay of unanimity and plurality enables us to better understand the trilogy, ask new questions about early democratic thought, and confront the monotheistic assumptions of modern political theology.
{"title":"Unanimous Gods, Unanimous Athens: The Oresteia's Challenge to Democracy","authors":"A. Shilo","doi":"10.1353/are.2023.a899548","DOIUrl":"https://doi.org/10.1353/are.2023.a899548","url":null,"abstract":"Abstract:This article argues that through envisioning a militaristic, unanimous Athens, the Eumenides presents a novel and provocative political theory. I use political theology to clarify the structures and dangers of this concluding vision, which profoundly diverges from Athenian democracy. However, still meaningfully operative within the Oresteia are checking forces implied in its polytheism, plural values, and political structures. These mirror Athenian society and manifest the trilogy's internal critique of unanimity. The interplay of unanimity and plurality enables us to better understand the trilogy, ask new questions about early democratic thought, and confront the monotheistic assumptions of modern political theology.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48293948","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 : 2023-01-01DOI: 10.1353/are.2023.a899547
L. Edmunds
Abstract:The myths of four Athenian autochthonous kings (Kekrops, Kranaus, Erichthonius, Erechtheus) share a story pattern. The royal line extends only to the third generation and not always so far. The gene of autochthony does not persist beyond the second generation. The "speaking names" of the kings' wives and children overdetermine this pattern. Lévi-Strauss' notion of the affirmation and denial of their autochthony by the same people applies to these myths and is played out in fifth- and fourth-century Athens, when "autochthonous" may mean either "born from the earth" or simply "indigenous."
{"title":"Athenian Autochthonous Kings and their Families: The Shared Patterns of their Myths","authors":"L. Edmunds","doi":"10.1353/are.2023.a899547","DOIUrl":"https://doi.org/10.1353/are.2023.a899547","url":null,"abstract":"Abstract:The myths of four Athenian autochthonous kings (Kekrops, Kranaus, Erichthonius, Erechtheus) share a story pattern. The royal line extends only to the third generation and not always so far. The gene of autochthony does not persist beyond the second generation. The \"speaking names\" of the kings' wives and children overdetermine this pattern. Lévi-Strauss' notion of the affirmation and denial of their autochthony by the same people applies to these myths and is played out in fifth- and fourth-century Athens, when \"autochthonous\" may mean either \"born from the earth\" or simply \"indigenous.\"","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46565680","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 : 2023-01-01DOI: 10.1353/are.2023.a899550
Stephanie Mccarter
Abstract:This article questions the long-held assumption that the empress Messalina, as described by Juvenal at Satires 6.122–23, is donning gold foil pasties on her nipples as she performs sex work in a Roman brothel. I argue that papilla never unambiguously suggests a nipple in Roman poetry and is better understood as referring to the full breast. The idea that Messalina sports pasties, moreover, arose in the 19th century under the influence of Orientalism. The popular interpretation of this passage is therefore a product of a later western, colonial male gaze. We should think of Messalina's adornment in Roman terms rather than retroject much later stereotypes and sexual taboos onto the past.
{"title":"Messalina's Gilded Nipples?","authors":"Stephanie Mccarter","doi":"10.1353/are.2023.a899550","DOIUrl":"https://doi.org/10.1353/are.2023.a899550","url":null,"abstract":"Abstract:This article questions the long-held assumption that the empress Messalina, as described by Juvenal at Satires 6.122–23, is donning gold foil pasties on her nipples as she performs sex work in a Roman brothel. I argue that papilla never unambiguously suggests a nipple in Roman poetry and is better understood as referring to the full breast. The idea that Messalina sports pasties, moreover, arose in the 19th century under the influence of Orientalism. The popular interpretation of this passage is therefore a product of a later western, colonial male gaze. We should think of Messalina's adornment in Roman terms rather than retroject much later stereotypes and sexual taboos onto the past.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42223257","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 explores the relative lack of interest in Euripides' Iphigenia in Aulis for over 150 years, and the curious neglect of the play at the end of the nineteenth century, in particular, when scholars rehabilitated Euripides as the ancient playwright for the modern age. Even when Euripides' tragedies were staged in the early years of the twentieth century at London's Royal Court Theatre by Granville Barker, in Gilbert Murray's translations, the Iphigenia in Aulis, was conspicuous by its absence. In many ways, it took until the new millennium for this particular Euripidean tragedy to gain its footing in the modern repertoire and for Iphigenia to become a character of potent interest to contemporary playwrights. However, there was one notable exception that this article seeks to probe: the significant role that Iphigenia and the events at Aulis have played in Ireland from the seventeenth century to the present; and how, in many ways, it was these Irish Iphigenias, especially, that sealed the new interest in Euripides' play.
{"title":"Iphigenia in Ireland: A Long View","authors":"Fiona Macintosh","doi":"10.1353/are.2022.0014","DOIUrl":"https://doi.org/10.1353/are.2022.0014","url":null,"abstract":"Abstract:This article explores the relative lack of interest in Euripides' Iphigenia in Aulis for over 150 years, and the curious neglect of the play at the end of the nineteenth century, in particular, when scholars rehabilitated Euripides as the ancient playwright for the modern age. Even when Euripides' tragedies were staged in the early years of the twentieth century at London's Royal Court Theatre by Granville Barker, in Gilbert Murray's translations, the Iphigenia in Aulis, was conspicuous by its absence. In many ways, it took until the new millennium for this particular Euripidean tragedy to gain its footing in the modern repertoire and for Iphigenia to become a character of potent interest to contemporary playwrights. However, there was one notable exception that this article seeks to probe: the significant role that Iphigenia and the events at Aulis have played in Ireland from the seventeenth century to the present; and how, in many ways, it was these Irish Iphigenias, especially, that sealed the new interest in Euripides' play.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42569657","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 proposes a "matter-realist" reading of tragedy: starting from Alice Oswald's 2019 Nobody, a poem about water based on the Odyssey and the Oresteia, and from the feminist phenomenologist acknowledgment that "we are bodies of water" (Neimanis 2017), my paper argues for the importance of taking water at face value. It focuses on water metaphors and metonymies in the tragic corpus and shows how these images, on the one hand, reveal something fundamental about embodiment, identity, and situatedness, and, on the other, betray the power of water to trickle into form and language itself, often usurping their logic with its own.
{"title":"The Matter of Tragedy: Reading with Water","authors":"Pauline A. Leven","doi":"10.1353/are.2022.0011","DOIUrl":"https://doi.org/10.1353/are.2022.0011","url":null,"abstract":"Abstract:This article proposes a \"matter-realist\" reading of tragedy: starting from Alice Oswald's 2019 Nobody, a poem about water based on the Odyssey and the Oresteia, and from the feminist phenomenologist acknowledgment that \"we are bodies of water\" (Neimanis 2017), my paper argues for the importance of taking water at face value. It focuses on water metaphors and metonymies in the tragic corpus and shows how these images, on the one hand, reveal something fundamental about embodiment, identity, and situatedness, and, on the other, betray the power of water to trickle into form and language itself, often usurping their logic with its own.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42899541","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 sheds light on Irish playwright Marina Carr's 2011 Phaedra Backwards, which premiered at the McCarter Theater in Princeton, as a particularly dense and multidirectional twenty-first century retelling of the Hippolytus myth. The centrality of the Minotaur in the drama, the role of technology in his creation, the place of nature in human life, and certain surprising motifs, such as the eating of daffodils, are examined through the lens of posthumanism to show how Carr's play invites reflection on nonconformism in society and on human damage to the natural world.
{"title":"Rewriting Hippolytus: Hybridity, Posthumanism, and Social Politics in Marina Carr's Phaedra Backwards","authors":"I. Torrance","doi":"10.1353/are.2022.0009","DOIUrl":"https://doi.org/10.1353/are.2022.0009","url":null,"abstract":"Abstract:This article sheds light on Irish playwright Marina Carr's 2011 Phaedra Backwards, which premiered at the McCarter Theater in Princeton, as a particularly dense and multidirectional twenty-first century retelling of the Hippolytus myth. The centrality of the Minotaur in the drama, the role of technology in his creation, the place of nature in human life, and certain surprising motifs, such as the eating of daffodils, are examined through the lens of posthumanism to show how Carr's play invites reflection on nonconformism in society and on human damage to the natural world.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47856599","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 study explores Virginia Woolf's engagements with the stubborn and riveting character of Sophocles' Antigone, the most famously proto-feminist figure in Greek tragedy. As Woolf's deployments of the character occur only in The Voyage Out and The Years, two novels that are decades apart, as well as in the treatise Three Guineas, I can't claim that Antigone always remained central to Woolf's thinking with Greek antiquity, triangulated as her appearances in Woolf's writings are by those of Clytemnestra and, especially, Electra. But Woolf does turn to Antigone at significant intervals, most strikingly as an affective and metonymic hinge in both Three Guineas and The Years, which started out as a hybrid novel-essay. Although Woolf ended up pulling the two works apart, Antigone remains as a primary connective figure, suggesting the inseparability of aesthetics and politics, with clearly gendered mimetic modes in the novel serving as the inverse of feminist political resistance in the essay and vice versa. Connecting all three iterations of Antigone is the image of the cave, which serves as a sexual metaphor in the original play and in The Voyage Out, and as a mimetic, affective, and finally political metonymy in The Years and Three Guineas. Additionally pivotal is the figure of Antigone as sister outsider, which hovers in the background of The Voyage Out and serves to conjoin differently angled intertexts in The Years and Three Guineas. One pivots around a direct quotation of Antigone that emphasizes loyalty to a brother and the other makes more oblique play with the sister figure, who is treated in The Years as if she were also from Sophocles' Antigone while resonating in Three Guineas with concerns about female suffrage. In these repeated engagements with the figure of Antigone and reworkings of significant scenes in Antigone, a bold mode of reception emerges, one that is less reverent and more presciently feminist and politically disruptive than conventional treatments of Woolf's classicizing gestures tend to acknowledge.
{"title":"Virginia Woolf's Antigones","authors":"N. Worman","doi":"10.1353/are.2022.0010","DOIUrl":"https://doi.org/10.1353/are.2022.0010","url":null,"abstract":"Abstract:This study explores Virginia Woolf's engagements with the stubborn and riveting character of Sophocles' Antigone, the most famously proto-feminist figure in Greek tragedy. As Woolf's deployments of the character occur only in The Voyage Out and The Years, two novels that are decades apart, as well as in the treatise Three Guineas, I can't claim that Antigone always remained central to Woolf's thinking with Greek antiquity, triangulated as her appearances in Woolf's writings are by those of Clytemnestra and, especially, Electra. But Woolf does turn to Antigone at significant intervals, most strikingly as an affective and metonymic hinge in both Three Guineas and The Years, which started out as a hybrid novel-essay. Although Woolf ended up pulling the two works apart, Antigone remains as a primary connective figure, suggesting the inseparability of aesthetics and politics, with clearly gendered mimetic modes in the novel serving as the inverse of feminist political resistance in the essay and vice versa. Connecting all three iterations of Antigone is the image of the cave, which serves as a sexual metaphor in the original play and in The Voyage Out, and as a mimetic, affective, and finally political metonymy in The Years and Three Guineas. Additionally pivotal is the figure of Antigone as sister outsider, which hovers in the background of The Voyage Out and serves to conjoin differently angled intertexts in The Years and Three Guineas. One pivots around a direct quotation of Antigone that emphasizes loyalty to a brother and the other makes more oblique play with the sister figure, who is treated in The Years as if she were also from Sophocles' Antigone while resonating in Three Guineas with concerns about female suffrage. In these repeated engagements with the figure of Antigone and reworkings of significant scenes in Antigone, a bold mode of reception emerges, one that is less reverent and more presciently feminist and politically disruptive than conventional treatments of Woolf's classicizing gestures tend to acknowledge.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49164126","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 Propertius 1.3 we hear Cynthia speak for the first time, in direct speech, accusing Propertius of infidelity. It is a striking moment in elegy, barely to be repeated. In this paper I want to explore what the framework of epistemic injustice, part of the field of epistemology, could mean for a reading of this dramatic encounter. As elaborated by the philosopher Miranda Fricker, the theory provides radical new insights into how we conceive of the relationship between knowers, how we acquire and share our knowledge, and the prejudices and assumptions behind these interactions.
{"title":"Epistemic Injustice in Propertius 1.3","authors":"Nick Ollivère","doi":"10.1353/are.2022.0006","DOIUrl":"https://doi.org/10.1353/are.2022.0006","url":null,"abstract":"Abstract:In Propertius 1.3 we hear Cynthia speak for the first time, in direct speech, accusing Propertius of infidelity. It is a striking moment in elegy, barely to be repeated. In this paper I want to explore what the framework of epistemic injustice, part of the field of epistemology, could mean for a reading of this dramatic encounter. As elaborated by the philosopher Miranda Fricker, the theory provides radical new insights into how we conceive of the relationship between knowers, how we acquire and share our knowledge, and the prejudices and assumptions behind these interactions.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43241598","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}
R. Woodard, A. Hooper, Nick Ollivère, R. Matera, A. Peterson
Abstract:This paper concerns the episode of Aristophanes' hiccups in Plato's Symposium. The sequence is typically understood to be not merely a comic aside but rather a means by which Aristophanes offers commentary on the claims of the other speakers in the dialogue. But where scholars have focused on the significance of this passage concerning Eryximachus's account of Eros, I argue that the hiccups episode also serves as a critique of Pausanias's speech. Particularly, I suggest that the hiccups episode serves as a critique of the sophistic elements of Pausanias's account of Eros.
{"title":"From the Editor","authors":"R. Woodard, A. Hooper, Nick Ollivère, R. Matera, A. Peterson","doi":"10.1353/are.2022.0004","DOIUrl":"https://doi.org/10.1353/are.2022.0004","url":null,"abstract":"Abstract:This paper concerns the episode of Aristophanes' hiccups in Plato's Symposium. The sequence is typically understood to be not merely a comic aside but rather a means by which Aristophanes offers commentary on the claims of the other speakers in the dialogue. But where scholars have focused on the significance of this passage concerning Eryximachus's account of Eros, I argue that the hiccups episode also serves as a critique of Pausanias's speech. Particularly, I suggest that the hiccups episode serves as a critique of the sophistic elements of Pausanias's account of Eros.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44607161","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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