Abstract:In the De Raptu Proserpinae, Claudian refocuses the natural cycles of regeneration that color the myth of Proserpina and Ceres by placing a significant emphasis on the landscape in which his poem's events unfold: the island of Sicily. This paper argues that the focus on Sicilian landscape in the DRP makes manifest the central concerns of the poem, allowing Claudian to rearticulate the cyclical focus of his epic. Through an examination of the progression of DRP's three extended Sicilian ekphrases, we can see how Sicily, and, specifically, the volcanic Mt. Etna as its figurative center, embodies the paradoxical cycle of destruction and renewal.
摘要:在《Proserpinae De Raptu》中，克劳狄翁通过强调西西里岛的风景，重新强调了赋予Proserpina和Ceres神话色彩的自然再生循环。本文认为，《西西里风景》中对西西里风景的关注表明了这首诗的中心关注点，使克劳狄翁能够重新阐明他的史诗的周期性焦点。通过考察DRP的三个延伸的西西里短语的发展，我们可以看到西西里，特别是作为其象征中心的埃特纳火山，是如何体现了破坏与更新的矛盾循环的。
{"title":"What is Dead May Never Die: Sicilian Regeneration in Claudian's De Raptu Proserpinae","authors":"Elizabeth Heintges","doi":"10.1353/are.2021.0015","DOIUrl":"https://doi.org/10.1353/are.2021.0015","url":null,"abstract":"Abstract:In the De Raptu Proserpinae, Claudian refocuses the natural cycles of regeneration that color the myth of Proserpina and Ceres by placing a significant emphasis on the landscape in which his poem's events unfold: the island of Sicily. This paper argues that the focus on Sicilian landscape in the DRP makes manifest the central concerns of the poem, allowing Claudian to rearticulate the cyclical focus of his epic. Through an examination of the progression of DRP's three extended Sicilian ekphrases, we can see how Sicily, and, specifically, the volcanic Mt. Etna as its figurative center, embodies the paradoxical cycle of destruction and renewal.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43144572","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 examines tree violation in Claudian’s De Raptu Proserpinae as a metaliterary comment on the reception of the Latin epic tradition and poetic secondariness. After connecting the trees to numerous literary traditions (e.g., pastoral, Gigantomachic epic, metamorphic epic), the narrator details their violation by Ceres, who fashions the timber into torches. The allusions and generic associations within this scene demonstrate the metaliterary potential of Claudian’s grove and reveal its decrepit trees as analogues for earlier poetry, fit to be harvested and used by the secondary poet. Comparisons to seafaring, found within the grove scene and elsewhere in the poem, are crucial for this interpretation.
{"title":"Creative Destruction: Metaliterary Tree Violation in Claudian’s De Raptu Proserpinae","authors":"Joshua J. Hartman","doi":"10.1353/are.2021.0003","DOIUrl":"https://doi.org/10.1353/are.2021.0003","url":null,"abstract":"Abstract:This article examines tree violation in Claudian’s De Raptu Proserpinae as a metaliterary comment on the reception of the Latin epic tradition and poetic secondariness. After connecting the trees to numerous literary traditions (e.g., pastoral, Gigantomachic epic, metamorphic epic), the narrator details their violation by Ceres, who fashions the timber into torches. The allusions and generic associations within this scene demonstrate the metaliterary potential of Claudian’s grove and reveal its decrepit trees as analogues for earlier poetry, fit to be harvested and used by the secondary poet. Comparisons to seafaring, found within the grove scene and elsewhere in the poem, are crucial for this interpretation.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49490825","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 Hellenistic theater and its Italian republican cognates were active participants in the dramatic experience. Audiences relied on the architecture of the stage in particular not only to set the scene of the action but to function as an apparatus of simple cognitive cues that either facilitated the audience’s retention and recovery of memory during performances or activated related mental processes. Both principal aspects of the scenery participated in this phenomenon: the changing painted background scenes served as visual cues to reinforce the action and setting; and the doorways and other entrances functioned as mnemonic “bookmarks” to organize cognitive processes during performances.
{"title":"Daughters of Mnemosyne: Architecture, Distributed Cognition, and the Helleno-Roman Theater","authors":"Rabun M. Taylor","doi":"10.1353/are.2021.0001","DOIUrl":"https://doi.org/10.1353/are.2021.0001","url":null,"abstract":"Abstract:The Hellenistic theater and its Italian republican cognates were active participants in the dramatic experience. Audiences relied on the architecture of the stage in particular not only to set the scene of the action but to function as an apparatus of simple cognitive cues that either facilitated the audience’s retention and recovery of memory during performances or activated related mental processes. Both principal aspects of the scenery participated in this phenomenon: the changing painted background scenes served as visual cues to reinforce the action and setting; and the doorways and other entrances functioned as mnemonic “bookmarks” to organize cognitive processes during performances.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48130700","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 motivation behind the Danaïds’ flight from marriage to their cousins in Aeschylus’s Supplices has long been debated. For more than a century, prominent classicists have entertained the notion that the Danaïds consider such a marriage incestuous, despite the difficulty of justifying such a claim on the basis of the Danaïds’ language. This article will argue that since Darwin’s discovery of the deleterious effects of inbreeding, the incest taboo has been differently constituted, and that thinking native to our own culture has persistently intruded on attempts to interpret Aeschylus’s play. Having surveyed these problems in some detail, I use conceptual metaphor theory to eliminate the “flight from incest” motive, and posit that closer attention to the cultural biases I identify might help decode the myth’s enigmatic significance to Roman authors such as Vergil.
{"title":"Red Herrings and Perceptual Filters: Problems and Opportunities for Aeschylus’s Supplices","authors":"Peter Olive","doi":"10.1353/are.2021.0000","DOIUrl":"https://doi.org/10.1353/are.2021.0000","url":null,"abstract":"Abstract:The motivation behind the Danaïds’ flight from marriage to their cousins in Aeschylus’s Supplices has long been debated. For more than a century, prominent classicists have entertained the notion that the Danaïds consider such a marriage incestuous, despite the difficulty of justifying such a claim on the basis of the Danaïds’ language. This article will argue that since Darwin’s discovery of the deleterious effects of inbreeding, the incest taboo has been differently constituted, and that thinking native to our own culture has persistently intruded on attempts to interpret Aeschylus’s play. Having surveyed these problems in some detail, I use conceptual metaphor theory to eliminate the “flight from incest” motive, and posit that closer attention to the cultural biases I identify might help decode the myth’s enigmatic significance to Roman authors such as Vergil.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47867622","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:An enslaved woman, intentionally or unintentionally, facilitates the recognition of a lost citizen daughter in twelve Greek and Roman New Comedies. This paper explores enslaved women and citizen daughters through an intersectional lens. In the literary ideal, citizen daughters are relatively invisible, while enslaved women are made hypervisible in their stead. The “helpful slave woman” represents the cultural fantasy that enslaved women will express gender solidarity with citizen daughters, thereby benefiting their enslavers. As a controlling image—a term coined by Patricia Hill Collins—the trope defines female slave loyalty for both masters and slaves in the audience.
{"title":"Controlling Images: Enslaved Women in Greek and Roman Comedy","authors":"Anne Feltovich","doi":"10.1353/are.2021.0002","DOIUrl":"https://doi.org/10.1353/are.2021.0002","url":null,"abstract":"Abstract:An enslaved woman, intentionally or unintentionally, facilitates the recognition of a lost citizen daughter in twelve Greek and Roman New Comedies. This paper explores enslaved women and citizen daughters through an intersectional lens. In the literary ideal, citizen daughters are relatively invisible, while enslaved women are made hypervisible in their stead. The “helpful slave woman” represents the cultural fantasy that enslaved women will express gender solidarity with citizen daughters, thereby benefiting their enslavers. As a controlling image—a term coined by Patricia Hill Collins—the trope defines female slave loyalty for both masters and slaves in the audience.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44919501","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 myth of Aesacus represents a sustained, dialogical engagement with Virgil’s poetry, in particular the Georgics, and with Ovid’s own poetry. Aesacus is represented as partly a surrogate for Virgil’s Aristaeus, for both characters pursue a young woman who dies from snakebite while in flight. Allusion in the myth of Aesacus serves as a tool for critical, authorial inscription and intervention into the Virgilian tradition. It also offers an important interrogation of Ovid’s poetics of sexual violence; Aesacus provides the single human voice in the Metamorphoses to express remorse for a young woman’s ruin, an oddity that has political implications.
{"title":"Aesacus: The Rhetoric of Remorse (Metamorphoses 11.749–12.7)","authors":"C. Newlands","doi":"10.1353/are.2020.0013","DOIUrl":"https://doi.org/10.1353/are.2020.0013","url":null,"abstract":"Abstract:The myth of Aesacus represents a sustained, dialogical engagement with Virgil’s poetry, in particular the Georgics, and with Ovid’s own poetry. Aesacus is represented as partly a surrogate for Virgil’s Aristaeus, for both characters pursue a young woman who dies from snakebite while in flight. Allusion in the myth of Aesacus serves as a tool for critical, authorial inscription and intervention into the Virgilian tradition. It also offers an important interrogation of Ovid’s poetics of sexual violence; Aesacus provides the single human voice in the Metamorphoses to express remorse for a young woman’s ruin, an oddity that has political implications.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/are.2020.0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44586064","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 problem of free speech in relation to political power is a major issue of Ovid’s Tristia and ex Ponto collections. A complex blending of literary and rhetorical features allows the poet in exile to associate his self-representation in Tomis with a comprehensive review of his poetic career. From some programmatic statements in Tristia 2, I revisit Ovid’s manipulation of speech in exile. The poet’s persuasive goal about his exilic situation involves the emperor but also a wider audience, which is invited to reconsider Ovid’s poetic status on the margins of the empire and in the margins, or at least between the lines, of his text.
{"title":"Distant Mores, Distant Mores: Persuading the Reader from the Margins in Tristia 2","authors":"Eleonora Tola","doi":"10.1353/are.2020.0015","DOIUrl":"https://doi.org/10.1353/are.2020.0015","url":null,"abstract":"Abstract:The problem of free speech in relation to political power is a major issue of Ovid’s Tristia and ex Ponto collections. A complex blending of literary and rhetorical features allows the poet in exile to associate his self-representation in Tomis with a comprehensive review of his poetic career. From some programmatic statements in Tristia 2, I revisit Ovid’s manipulation of speech in exile. The poet’s persuasive goal about his exilic situation involves the emperor but also a wider audience, which is invited to reconsider Ovid’s poetic status on the margins of the empire and in the margins, or at least between the lines, of his text.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/are.2020.0015","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48449358","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 treats Cephalus’s autobiographical account in Ovid’s Metamorphoses 7.690–865, a passage that has given rise to various and even contradictory interpretations. The present analysis takes a broader view of the problem of Cephalus’s credibility by relying on rhetorical concepts such as context and contents of speech. The Ovidian myth of Cephalus and Procris is configured as an epic scene (modeled on the hospitality scenes of the Homeric and Virgilian poems) in which the protagonist recounts his story of love and death to a young male audience. Cephalus’s communicative strategy aims at effecting pathos and veracity. Ovid has made an innovative selection between existing versions of the myth of Cephalus and Procris (among which are the preserved fragment of Pherecydes) in order to construct an authoritative character and an exemplary story.
{"title":"Cephalus’s Autobiographical Narrative (Metamorphoses 7.690–865): Between Epic Models and the Conventions of Rhetoric","authors":"Alessandra Romeo","doi":"10.1353/are.2020.0014","DOIUrl":"https://doi.org/10.1353/are.2020.0014","url":null,"abstract":"Abstract:This paper treats Cephalus’s autobiographical account in Ovid’s Metamorphoses 7.690–865, a passage that has given rise to various and even contradictory interpretations. The present analysis takes a broader view of the problem of Cephalus’s credibility by relying on rhetorical concepts such as context and contents of speech. The Ovidian myth of Cephalus and Procris is configured as an epic scene (modeled on the hospitality scenes of the Homeric and Virgilian poems) in which the protagonist recounts his story of love and death to a young male audience. Cephalus’s communicative strategy aims at effecting pathos and veracity. Ovid has made an innovative selection between existing versions of the myth of Cephalus and Procris (among which are the preserved fragment of Pherecydes) in order to construct an authoritative character and an exemplary story.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/are.2020.0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705443","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:By “figured speech,” ancient rhetoricians meant the cases in which an orator resorted to ruse to disguise his intentions. Among the theoretical texts we possess on this technique, the significance of Seneca the Elder’s Controversiae and Suasoriae has not been sufficiently recognized. Seneca reveals his acquaintance with figured speech through a rich vocabulary and interesting observations. Thanks to the Controversiae and Suasoriae, we can catch a glimpse of a particular aspect of Ovid’s rhetorical education, since Ovid frequented the circles in which figured declamation was fashionable, and his master and Seneca’s best friend Porcius Latro was an expert in the field. Thus the notion of figured speech opens an avenue of research into the interpretation of Ovidian poetry.
{"title":"“Figured Speech” in Seneca the Elder: A Glimpse of Ovid’s Rhetorical Education","authors":"L. Pernot","doi":"10.1353/are.2020.0008","DOIUrl":"https://doi.org/10.1353/are.2020.0008","url":null,"abstract":"Abstract:By “figured speech,” ancient rhetoricians meant the cases in which an orator resorted to ruse to disguise his intentions. Among the theoretical texts we possess on this technique, the significance of Seneca the Elder’s Controversiae and Suasoriae has not been sufficiently recognized. Seneca reveals his acquaintance with figured speech through a rich vocabulary and interesting observations. Thanks to the Controversiae and Suasoriae, we can catch a glimpse of a particular aspect of Ovid’s rhetorical education, since Ovid frequented the circles in which figured declamation was fashionable, and his master and Seneca’s best friend Porcius Latro was an expert in the field. Thus the notion of figured speech opens an avenue of research into the interpretation of Ovidian poetry.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/are.2020.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45651174","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 texts written on the shores of the Black Sea reveal to us in a crucial way the challenge represented by the free speech of which Ovid himself claims to have made excessive use. Ovid grapples with this issue in his treatment of an enemy’s name in the works of relegatio, where he affirms the primacy of language over the political meaning. But the force of poetry multiplies the political impact, for what is then boldly expressed is the invincible independence of a work that stands up—first to one princeps and then to another.
{"title":"“I Attack Not Him”: The Rhetorical Treatment and Political Issue of (Not) Naming the Enemy in Ovid’s Last Works","authors":"Hélène Vial","doi":"10.1353/are.2020.0017","DOIUrl":"https://doi.org/10.1353/are.2020.0017","url":null,"abstract":"Abstract:The texts written on the shores of the Black Sea reveal to us in a crucial way the challenge represented by the free speech of which Ovid himself claims to have made excessive use. Ovid grapples with this issue in his treatment of an enemy’s name in the works of relegatio, where he affirms the primacy of language over the political meaning. But the force of poetry multiplies the political impact, for what is then boldly expressed is the invincible independence of a work that stands up—first to one princeps and then to another.","PeriodicalId":44750,"journal":{"name":"ARETHUSA","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/are.2020.0017","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41405580","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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