Abstract:Plausible deniability has presented both problems and opportunities to queer people and queer historical projects. Some scholars have avoided reading one woman expressing desire for another in the graffito CIL IV 5296. The speaker of Tibullus 1.4 uses a double meaning to solicit sexual penetration without incurring penalties; this reading has not appeared in print before. Considering the ways in which plausible deniability has affected readings of these poems, we should sometimes take plausible affirmability as a principle for identifying queer desires when we write history. This principle is explored through the lenses of post-Foucauldian historicism and queer unhistoricism.
摘要：合理的否认给酷儿和酷儿历史项目带来了问题和机遇。一些学者避免在CIL IV 5296的涂鸦中读到一个女人表达对另一个女人的渴望。Tibullus 1.4的发言人使用双重含义来寻求性渗透而不招致惩罚；这篇文章以前从未出版过。考虑到似是而非的否认对这些诗歌阅读的影响，我们在写历史时，有时应该把似是而不是的可肯定性作为识别奇怪欲望的原则。这一原则是通过后傅历史主义和酷儿非历史主义的视角来探讨的。
{"title":"Two Case Studies on Desire and Deniability in Queer History","authors":"R. Matera","doi":"10.1353/are.2022.0007","DOIUrl":"https://doi.org/10.1353/are.2022.0007","url":null,"abstract":"Abstract:Plausible deniability has presented both problems and opportunities to queer people and queer historical projects. Some scholars have avoided reading one woman expressing desire for another in the graffito CIL IV 5296. The speaker of Tibullus 1.4 uses a double meaning to solicit sexual penetration without incurring penalties; this reading has not appeared in print before. Considering the ways in which plausible deniability has affected readings of these poems, we should sometimes take plausible affirmability as a principle for identifying queer desires when we write history. This principle is explored through the lenses of post-Foucauldian historicism and queer unhistoricism.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"55 1","pages":"149 - 175"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45402280","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:Spatial descriptions in Alciphron's Letters convey meaning even as they reinforce the Athenocentric view of the collection. This article considers the production of space in the Letters and how Alciphron uses the figure of the courtesan to expand the perspective of the collection to include the broader Hellenistic world. Although Alciphron's courtesans are closely tied to Athens, Book 4 contains several examples of correspondence that are marked as crossing the boundaries of Attica. In addition, a spatial reading of the epistolary exchange between Menander and Glycera reveals a latent tension in the collection between Athens and Alexandria as competing cultural centers.
{"title":"What is Athens without Menander? The Comic Poet, the Courtesan, and the Production of Space in Alciphron's Letters","authors":"A. Peterson","doi":"10.1353/are.2022.0008","DOIUrl":"https://doi.org/10.1353/are.2022.0008","url":null,"abstract":"Abstract:Spatial descriptions in Alciphron's Letters convey meaning even as they reinforce the Athenocentric view of the collection. This article considers the production of space in the Letters and how Alciphron uses the figure of the courtesan to expand the perspective of the collection to include the broader Hellenistic world. Although Alciphron's courtesans are closely tied to Athens, Book 4 contains several examples of correspondence that are marked as crossing the boundaries of Attica. In addition, a spatial reading of the epistolary exchange between Menander and Glycera reveals a latent tension in the collection between Athens and Alexandria as competing cultural centers.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"55 1","pages":"177 - 207"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42457982","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 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":"Aristophanes' Hiccups and Pausanius's Sophistry in Plato's Symposium","authors":"A. Hooper","doi":"10.1353/are.2022.0005","DOIUrl":"https://doi.org/10.1353/are.2022.0005","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":"55 1","pages":"101 - 119"},"PeriodicalIF":0.1,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47984877","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 examines apotheoses that occur in the last two books of Ovid’s Metamorphoses and argues that they are modeled after previous rapes from the poem. In the apotheosis of Julius Caesar, Ovid uses rapina to mean “deification,” a word only used elsewhere in the poem with the definition of “rape.” Similar language of snatching also occurs in the deification of Romulus. Aeneas’s apotheosis parallels rape through its evocation of nympholepsy. By insinuating that apotheosis is rape, Ovid seems to be commenting on the politicization of both rape and apotheosis in Roman mythmaking, especially for political reasons.
{"title":"Rape, Apotheosis, and Politics in Metamorphoses 14 and 15","authors":"Alicia Matz","doi":"10.1353/are.2022.0002","DOIUrl":"https://doi.org/10.1353/are.2022.0002","url":null,"abstract":"Abstract:This paper examines apotheoses that occur in the last two books of Ovid’s Metamorphoses and argues that they are modeled after previous rapes from the poem. In the apotheosis of Julius Caesar, Ovid uses rapina to mean “deification,” a word only used elsewhere in the poem with the definition of “rape.” Similar language of snatching also occurs in the deification of Romulus. Aeneas’s apotheosis parallels rape through its evocation of nympholepsy. By insinuating that apotheosis is rape, Ovid seems to be commenting on the politicization of both rape and apotheosis in Roman mythmaking, especially for political reasons.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"55 1","pages":"47 - 65"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48144279","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:Persius’s first satire programmatically positions his authorial persona at a remove from contemporary literary practice. By coordinating its bodily images as a metaphorical theme, the poem articulates the satirist’s stance on literary production and consumption. After demonstrating a series of correspondences between eyes and ears, this article contextualizes these dynamics within a system of iuncturae acres by reflecting on the grotesque hybridity of such images and argues that Persius inserts himself into a critical discourse of his own creation and thereby fashions his satiric persona in terms favorable to his position as a poet who experiments with form.
{"title":"Bodily Metaphors and Failed Resolution in Persius’s First Satire","authors":"Scott Weiss","doi":"10.1353/are.2022.0003","DOIUrl":"https://doi.org/10.1353/are.2022.0003","url":null,"abstract":"Abstract:Persius’s first satire programmatically positions his authorial persona at a remove from contemporary literary practice. By coordinating its bodily images as a metaphorical theme, the poem articulates the satirist’s stance on literary production and consumption. After demonstrating a series of correspondences between eyes and ears, this article contextualizes these dynamics within a system of iuncturae acres by reflecting on the grotesque hybridity of such images and argues that Persius inserts himself into a critical discourse of his own creation and thereby fashions his satiric persona in terms favorable to his position as a poet who experiments with form.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"55 1","pages":"67 - 94"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42225403","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 deaths of Capaneus and Evadne in Euripides’ Suppliants have caused considerable difficulty. Many argue there are irreconcilable contradictions in Capaneus’s portrayal throughout the play. Many have also found the portrayal of Evadne’s death, leaping from a great height, as being out of the ordinary in terms of character and Greek stagecraft. This article argues that the two deaths are replete with imagery from mystery cult initiation and that an understanding of this might help to resolve these difficulties. It also suggests how these references to mystery cult might impact on a wider reading of the drama, particularly with regard to Theseus and Athenian politics.
{"title":"Euripides’ Suppliants: Mystery Cult Initiation and the Deaths of Evadne and Capaneus","authors":"B. Omrani, P. Kim, Alicia Matz, Scott Weiss","doi":"10.1353/are.2022.0000","DOIUrl":"https://doi.org/10.1353/are.2022.0000","url":null,"abstract":"Abstract:The deaths of Capaneus and Evadne in Euripides’ Suppliants have caused considerable difficulty. Many argue there are irreconcilable contradictions in Capaneus’s portrayal throughout the play. Many have also found the portrayal of Evadne’s death, leaping from a great height, as being out of the ordinary in terms of character and Greek stagecraft. This article argues that the two deaths are replete with imagery from mystery cult initiation and that an understanding of this might help to resolve these difficulties. It also suggests how these references to mystery cult might impact on a wider reading of the drama, particularly with regard to Theseus and Athenian politics.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"55 1","pages":"1 - 18 - 19 - 45 - 47 - 65 - 67 - 94"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44580814","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 engages with intersectional feminist theory to explore how Vitruvius’s story about the Carian queen Artemisia II in Book 2 of De Architectura illuminates first-century B.C.E. Roman attitudes of hostility towards non-Roman women in spaces of political power—especially given what would have been the recent defeat of the Egyptian queen Cleopatra VII. The paper has two goals: first, I argue that first-century B.C.E. accounts of queen ship configure Artemisia and Cleopatra as raced and gendered embodiments of opposition to the idealized image of Roman imperial masculinity. Second, I demonstrate how race-oriented feminist frameworks can productively bear on historical analyses and classical studies.
{"title":"Race, Gender, and Queenship in Book 2 of Vitruvius’s de Architectura","authors":"P. Kim","doi":"10.1353/are.2022.0001","DOIUrl":"https://doi.org/10.1353/are.2022.0001","url":null,"abstract":"Abstract:This paper engages with intersectional feminist theory to explore how Vitruvius’s story about the Carian queen Artemisia II in Book 2 of De Architectura illuminates first-century B.C.E. Roman attitudes of hostility towards non-Roman women in spaces of political power—especially given what would have been the recent defeat of the Egyptian queen Cleopatra VII. The paper has two goals: first, I argue that first-century B.C.E. accounts of queen ship configure Artemisia and Cleopatra as raced and gendered embodiments of opposition to the idealized image of Roman imperial masculinity. Second, I demonstrate how race-oriented feminist frameworks can productively bear on historical analyses and classical studies.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"55 1","pages":"19 - 45"},"PeriodicalIF":0.1,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43218316","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 reconsiders certain assumptions about Ennius's dream in the Annals. I argue that Ennius likely characterized transmigration as Pythagorean; that based on comparisons with Pythagorean texts, Ennius, not Homer, probably said "memini me fiere pavom" (frag. 1.9 .11); that Ennius may have remembered being Homer in a previous life rather than presenting himself as Homer reincarnate; and that Ennius may have claimed to possess not "Homer's soul" but "the soul that used to belong to Homer." At multiple points, I make innovative use of an epigram ascribed to Antipater (AP 7.75) that most critics consider relevant to the dream.
摘要:本文重新审视了《纪事》中关于恩尼厄斯梦的某些假设。我认为恩尼乌斯很可能将轮回描述为毕达哥拉斯式的;基于与毕达哥拉斯的文本的比较，恩尼乌斯，而不是荷马，可能说“memini me fiere pavom”。1.9厚);恩尼厄斯可能记得自己前世是荷马，而不是荷马的转世;恩尼厄斯可能声称自己拥有的不是“荷马的灵魂”，而是“曾经属于荷马的灵魂”。在很多地方，我创新地使用了安提帕特(AP 7.75)的警句，大多数评论家认为这与梦有关。
{"title":"Homer Redivivus? Rethinking the Transmigration of the Soul in Ennius's Annals","authors":"Patrick Glauthier","doi":"10.1353/are.2021.0006","DOIUrl":"https://doi.org/10.1353/are.2021.0006","url":null,"abstract":"Abstract:This paper reconsiders certain assumptions about Ennius's dream in the Annals. I argue that Ennius likely characterized transmigration as Pythagorean; that based on comparisons with Pythagorean texts, Ennius, not Homer, probably said \"memini me fiere pavom\" (frag. 1.9 .11); that Ennius may have remembered being Homer in a previous life rather than presenting himself as Homer reincarnate; and that Ennius may have claimed to possess not \"Homer's soul\" but \"the soul that used to belong to Homer.\" At multiple points, I make innovative use of an epigram ascribed to Antipater (AP 7.75) that most critics consider relevant to the dream.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"54 1","pages":"185 - 220"},"PeriodicalIF":0.1,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42422817","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 contends that Sappho draws upon the mythic tradition to represent female homoeroticism as queer in her poetry. First, I show how Sappho's invocation of Tithonos and Helen as erotic paradigms in fragments 58 and 16 figures female same-sex love as non-normative and shadowed by loss, while also symmetrical and idealized. Then I propose that the Homeric Andromache also informs Sappho's representation of her speakers' desires in fragments 16 and 31, and I argue that recognizing Andromache's latent example helps us to understand how Sappho, in these songs, positions female homoeroticism in painful opposition to conventional marriage.
{"title":"Sappho's Mythic Models for Female Homoeroticism","authors":"Rachel H. Lesser","doi":"10.1353/are.2021.0004","DOIUrl":"https://doi.org/10.1353/are.2021.0004","url":null,"abstract":"Abstract:This paper contends that Sappho draws upon the mythic tradition to represent female homoeroticism as queer in her poetry. First, I show how Sappho's invocation of Tithonos and Helen as erotic paradigms in fragments 58 and 16 figures female same-sex love as non-normative and shadowed by loss, while also symmetrical and idealized. Then I propose that the Homeric Andromache also informs Sappho's representation of her speakers' desires in fragments 16 and 31, and I argue that recognizing Andromache's latent example helps us to understand how Sappho, in these songs, positions female homoeroticism in painful opposition to conventional marriage.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"54 1","pages":"121 - 161"},"PeriodicalIF":0.1,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430142","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:Lars von Trier's 2003 film Dogville shares extensive plot parallels with Euripides' Medea. Through elements such as classical and Biblical names (Jason, Achilles, Grace) and Greek words scrawled on a chalkboard, von Trier invites his viewer to read the film against its classical intertexts. Most prominent is the film's Medea-like plot, in which a female protagonist seeks refuge within a strange community, gradually comes to be abused by this same community, is confronted with patently fantastical and sophistic attempts to rationalize this abuse, and, in a significant departure from the audience's understanding of the rules governing the dramatic universe at the outset, is revealed to possess unimaginable power to judge and punish those who have wronged her. In a final scene resembling a Greek divine epiphany, this female protagonist appears: in Medea's case, as a deus ex machina, and in Grace's, as a female reimagining of Christ in Judgment, capable of wreaking horrific vengeance on a group of complicit abusers who believed their power to be unquestioned and unassailable. Through these extended parallels with Euripides' play of 431 B.C.E., von Trier explores the nature of Hannah Arendt's famous paradox of the banality of evil: how do seemingly open, well-intentioned, and democratic communities commit and conceal from themselves the most evil crimes against humanity?
{"title":"Justice, Revenge, and Unexpected Theodicy in Lars Von Trier's Dogville and Euripides' Medea","authors":"B. Haller","doi":"10.1353/are.2021.0007","DOIUrl":"https://doi.org/10.1353/are.2021.0007","url":null,"abstract":"Abstract:Lars von Trier's 2003 film Dogville shares extensive plot parallels with Euripides' Medea. Through elements such as classical and Biblical names (Jason, Achilles, Grace) and Greek words scrawled on a chalkboard, von Trier invites his viewer to read the film against its classical intertexts. Most prominent is the film's Medea-like plot, in which a female protagonist seeks refuge within a strange community, gradually comes to be abused by this same community, is confronted with patently fantastical and sophistic attempts to rationalize this abuse, and, in a significant departure from the audience's understanding of the rules governing the dramatic universe at the outset, is revealed to possess unimaginable power to judge and punish those who have wronged her. In a final scene resembling a Greek divine epiphany, this female protagonist appears: in Medea's case, as a deus ex machina, and in Grace's, as a female reimagining of Christ in Judgment, capable of wreaking horrific vengeance on a group of complicit abusers who believed their power to be unquestioned and unassailable. Through these extended parallels with Euripides' play of 431 B.C.E., von Trier explores the nature of Hannah Arendt's famous paradox of the banality of evil: how do seemingly open, well-intentioned, and democratic communities commit and conceal from themselves the most evil crimes against humanity?","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":"54 1","pages":"221 - 267"},"PeriodicalIF":0.1,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49214585","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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