Pub Date : 2023-09-12DOI: 10.1017/s0017383523000104
Anke Walter
Let me start with a fascinating volume that Paolo Felice Sacchi and Marco Formisano have edited on Epitomic Writing in Late Antiquity and Beyond , the first volume in the new series sera tela , devoted to ‘Studies in Late Antique Literature and its Reception’, edited by Marco Formisano. This inaugural volume gets the new series off to a very good start. Sacchi and Formisano offer a new approach to epitomic writing, seen as a typical product of late antique literary culture. The aim of the volume is to focus not so much on what is lost and cut out in the process of condensation, but on the value of the epitomic as a hermeneutic category as well as on its aesthetic value, both textual and visual. The individual contributions follow this editorial lead admirably closely, examining the interplay of repetition, fragmentation, dismemberment and re-composition, cutting and re-uniting, and defamiliarization, and showing how epitomic writing can be playful and entertaining, how it can represent a sophisticated act of interpretation, and serve as a ‘tool for investigating the very borders and paradoxes of language’ (12), even for conveying a spiritual experience.
{"title":"Latin literature","authors":"Anke Walter","doi":"10.1017/s0017383523000104","DOIUrl":"https://doi.org/10.1017/s0017383523000104","url":null,"abstract":"Let me start with a fascinating volume that Paolo Felice Sacchi and Marco Formisano have edited on Epitomic Writing in Late Antiquity and Beyond , the first volume in the new series sera tela , devoted to ‘Studies in Late Antique Literature and its Reception’, edited by Marco Formisano. This inaugural volume gets the new series off to a very good start. Sacchi and Formisano offer a new approach to epitomic writing, seen as a typical product of late antique literary culture. The aim of the volume is to focus not so much on what is lost and cut out in the process of condensation, but on the value of the epitomic as a hermeneutic category as well as on its aesthetic value, both textual and visual. The individual contributions follow this editorial lead admirably closely, examining the interplay of repetition, fragmentation, dismemberment and re-composition, cutting and re-uniting, and defamiliarization, and showing how epitomic writing can be playful and entertaining, how it can represent a sophisticated act of interpretation, and serve as a ‘tool for investigating the very borders and paradoxes of language’ (12), even for conveying a spiritual experience.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135830274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000165
Ivana Petrovic
Two splendid Oxford Handbooks deserve the opening slot of my review. The Handbook of Greek and Roman Mythography contains forty chapters, each of which closes with a helpful section on recommended further reading. The editors have organized the material in five very well-conceived parts. The first section, ‘Mythography from Archaic Greece to the Empire’, naturally wrestles with the question: When does mythography start? Two initial chapters provide their answers, and the rest of the contributions in this section offer an overview of mythography in Greek (Hellenistic and Imperial period) and Latin. The second section aims to provide an overview of individual mythographers: the stars of this section are Apollodorus, Antoninus Liberalis, Parthenius, Conon, and Hyginus. The eighteen chapters provide informative and concise introductions to authors who specialized in mythography, but also to the mythographic tendencies in authors such as Pausanias or Ovid, as well as in the scholia and even mythographical papyri. The third section is on the typical genres or interpretative models with which mythography tends to intersect: rationalizing historical approaches, philosophical allegoresis, etymologizing, catasterism, local historiography, paradoxography, creative approaches to mythography in ancient education, the role of mythography in political discourse, geography, and, finally, an investigation of the ancient terms used to designate the activity and the writings of a mythographer. The fourth section, ‘Mythography and the visual arts’, is a provocative and highly interesting experiment in viewing visual representations of myth as a mythography of sorts: can vases, frescoes, and sarcophagi be seen as visual pendants to literary mythography? These three contributions are all highly rewarding and thought-provoking. The closing, fifth, section offers richly rewarding discussions of the role of mythography in the age of Christianity, starting with the way early Christian writers draw on Greek and Latin mythographers, followed by chapters on mythography in the Byzantine Empire, the Latin West, and in the Renaissance.
{"title":"General","authors":"Ivana Petrovic","doi":"10.1017/s0017383523000165","DOIUrl":"https://doi.org/10.1017/s0017383523000165","url":null,"abstract":"Two splendid Oxford Handbooks deserve the opening slot of my review. The Handbook of Greek and Roman Mythography contains forty chapters, each of which closes with a helpful section on recommended further reading. The editors have organized the material in five very well-conceived parts. The first section, ‘Mythography from Archaic Greece to the Empire’, naturally wrestles with the question: When does mythography start? Two initial chapters provide their answers, and the rest of the contributions in this section offer an overview of mythography in Greek (Hellenistic and Imperial period) and Latin. The second section aims to provide an overview of individual mythographers: the stars of this section are Apollodorus, Antoninus Liberalis, Parthenius, Conon, and Hyginus. The eighteen chapters provide informative and concise introductions to authors who specialized in mythography, but also to the mythographic tendencies in authors such as Pausanias or Ovid, as well as in the scholia and even mythographical papyri. The third section is on the typical genres or interpretative models with which mythography tends to intersect: rationalizing historical approaches, philosophical allegoresis, etymologizing, catasterism, local historiography, paradoxography, creative approaches to mythography in ancient education, the role of mythography in political discourse, geography, and, finally, an investigation of the ancient terms used to designate the activity and the writings of a mythographer. The fourth section, ‘Mythography and the visual arts’, is a provocative and highly interesting experiment in viewing visual representations of myth as a mythography of sorts: can vases, frescoes, and sarcophagi be seen as visual pendants to literary mythography? These three contributions are all highly rewarding and thought-provoking. The closing, fifth, section offers richly rewarding discussions of the role of mythography in the age of Christianity, starting with the way early Christian writers draw on Greek and Latin mythographers, followed by chapters on mythography in the Byzantine Empire, the Latin West, and in the Renaissance.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135830774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000141
Daniel Vázquez
The Ancient Commentators of Aristotle series has recently published three important volumes. The first two are the last instalments of Simplicius’ commentary on Aristotle's Physics , the culmination of a monumental endeavour that started in 2001 and now comprises twelve books. One of these two final volumes contains the translation of Simplicius’ On Aristotle Physics 1.1–2 , the other is a detailed General Introduction to the whole commentary, both authored by Stephen Menn. In his acknowledgements, Menn explains that the translation began as a joint work with Rachel Barney, who contributed, among other things, by revising early drafts, composing the paragraph summaries, and collaborating on the endnotes. Unfortunately, we are told, she had to withdraw from the project, leaving Menn to finish it and take all responsibility for the final product. The translation is accompanied by an eighteen-page preface by the series editors, Michael Griffin and Richard Sorabji (which, in fact, offers a shorter version of Menn's General Introduction ), and a twelve-page note on the text and translation. The translation is, of course, careful and beautifully assembled, supplied with diagrams by Henry Mendell.
{"title":"Philosophy","authors":"Daniel Vázquez","doi":"10.1017/s0017383523000141","DOIUrl":"https://doi.org/10.1017/s0017383523000141","url":null,"abstract":"The Ancient Commentators of Aristotle series has recently published three important volumes. The first two are the last instalments of Simplicius’ commentary on Aristotle's Physics , the culmination of a monumental endeavour that started in 2001 and now comprises twelve books. One of these two final volumes contains the translation of Simplicius’ On Aristotle Physics 1.1–2 , the other is a detailed General Introduction to the whole commentary, both authored by Stephen Menn. In his acknowledgements, Menn explains that the translation began as a joint work with Rachel Barney, who contributed, among other things, by revising early drafts, composing the paragraph summaries, and collaborating on the endnotes. Unfortunately, we are told, she had to withdraw from the project, leaving Menn to finish it and take all responsibility for the final product. The translation is accompanied by an eighteen-page preface by the series editors, Michael Griffin and Richard Sorabji (which, in fact, offers a shorter version of Menn's General Introduction ), and a twelve-page note on the text and translation. The translation is, of course, careful and beautifully assembled, supplied with diagrams by Henry Mendell.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135831120","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000086
Luca Valle Salazar
This article seeks to offer some considerations on Telemachus’ journey to Pylos and Sparta (Hom. Od . 1–4), interpreting it in the light of his social position as heir of a basileus . Can the beginning of the Odyssey represent a sort of formation for the young prince? And how does the text support this reading? After a brief review of the features of a Homeric basileus , it will be argued that the narrative presents the growth of Telemachus as that of a young prince who needs to comply with those features, and become acquainted with the heroic world he lives in at peace.
{"title":"WHY CAN'T TELEMACHUS BE KING? THE GROWTH OF A YOUNG <i>BASILEUS</i>","authors":"Luca Valle Salazar","doi":"10.1017/s0017383523000086","DOIUrl":"https://doi.org/10.1017/s0017383523000086","url":null,"abstract":"This article seeks to offer some considerations on Telemachus’ journey to Pylos and Sparta (Hom. Od . 1–4), interpreting it in the light of his social position as heir of a basileus . Can the beginning of the Odyssey represent a sort of formation for the young prince? And how does the text support this reading? After a brief review of the features of a Homeric basileus , it will be argued that the narrative presents the growth of Telemachus as that of a young prince who needs to comply with those features, and become acquainted with the heroic world he lives in at peace.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135878215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s001738352300013x
Shelley Hales
The most significant book of this review is Richard Beacham and Hugh Denard's Living Theatre in the Ancient Roman House , a volume in which the authors’ previous accomplishments, expertise in theatre and leading roles at Kings Visualisation Laboratory (which is reflected in the use of digital visualizations throughout the volume, both to recreate architectural spaces and to test the viability of painted architecture), is brought to bear on domestic space. The subject, epic length, and format of the book immediately evoke the memory of Cambridge University Press's last major publication on wall painting, Eleanor Leach's 2004 The Social Life of Painting in Ancient Rome and on the Bay of Naples and the comparison shows up very sharply the development of attitudes towards both wall painting and its theatrical referents in the last twenty years. In Leach's book, much was made of the theatrical influence on Pompeian interiors, particularly in the architectural Second Style and the Fourth Style. Leach relied on the theatre in order to search for signs of actual theatrical influence on frescoes painted in these styles, for example discussing whether their scenographic ‘sets’ were based on permanent or temporary theatres, and then to tie the way the two styles presented theatrical performance to the political circumstances of the times in which they flourished. Leach saw Second Style as a reflection of the active competition of elites during the late republic whilst Fourth Style was symptomatic of the tyranny of the Neronian age, in which these same elites were now largely reduced to passive spectators of the emperor's performance.
{"title":"Art and archaeology","authors":"Shelley Hales","doi":"10.1017/s001738352300013x","DOIUrl":"https://doi.org/10.1017/s001738352300013x","url":null,"abstract":"The most significant book of this review is Richard Beacham and Hugh Denard's Living Theatre in the Ancient Roman House , a volume in which the authors’ previous accomplishments, expertise in theatre and leading roles at Kings Visualisation Laboratory (which is reflected in the use of digital visualizations throughout the volume, both to recreate architectural spaces and to test the viability of painted architecture), is brought to bear on domestic space. The subject, epic length, and format of the book immediately evoke the memory of Cambridge University Press's last major publication on wall painting, Eleanor Leach's 2004 The Social Life of Painting in Ancient Rome and on the Bay of Naples and the comparison shows up very sharply the development of attitudes towards both wall painting and its theatrical referents in the last twenty years. In Leach's book, much was made of the theatrical influence on Pompeian interiors, particularly in the architectural Second Style and the Fourth Style. Leach relied on the theatre in order to search for signs of actual theatrical influence on frescoes painted in these styles, for example discussing whether their scenographic ‘sets’ were based on permanent or temporary theatres, and then to tie the way the two styles presented theatrical performance to the political circumstances of the times in which they flourished. Leach saw Second Style as a reflection of the active competition of elites during the late republic whilst Fourth Style was symptomatic of the tyranny of the Neronian age, in which these same elites were now largely reduced to passive spectators of the emperor's performance.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135879126","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000190
{"title":"GAR series 2 volume 70 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0017383523000190","DOIUrl":"https://doi.org/10.1017/s0017383523000190","url":null,"abstract":"","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135879277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000037
Isabella Image
It is known that various members of Constantine's family, of his own generation and the generation before, were Christian. It is often taken for granted that Constantine encouraged or required their Christian faith. However, in fact there is only evidence for Constantine's influence on the faith of his mother Helena. This paper examines the evidence for Christianity in the imperial family before Constantine became publicly Christian, and suggests that some of these women may even have been Christian independently of Constantine's influence.
{"title":"CHRISTIANITY AND CONSTANTINE'S IMPERIAL WOMEN","authors":"Isabella Image","doi":"10.1017/s0017383523000037","DOIUrl":"https://doi.org/10.1017/s0017383523000037","url":null,"abstract":"It is known that various members of Constantine's family, of his own generation and the generation before, were Christian. It is often taken for granted that Constantine encouraged or required their Christian faith. However, in fact there is only evidence for Constantine's influence on the faith of his mother Helena. This paper examines the evidence for Christianity in the imperial family before Constantine became publicly Christian, and suggests that some of these women may even have been Christian independently of Constantine's influence.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135830404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000050
Naomi Scott
This article examines scatology in Aristophanes Assemblywomen , and argues that the play sets out to subvert comedy's normal scatological poetics. Old Comedy is usually a genre characterized by corporeal and scatological freedom. The constipation scene in Assemblywomen 311–73 is therefore highly unusual, since, while its language is scatological almost to the point of excess, it spotlights not scatological freedom but scatological obstruction. This article argues that this inversion is expressly linked to the play's reversal of gender roles as part of its ‘women on top’ plot, which is in turn conceived as a direct challenge to Old Comedy's normative poetics. The article further suggests that recognizing the Assemblywomen 's less than straightforward relationship to the norms of Old Comedy may help us to reassess how, and indeed whether, we should use Aristophanes’ plays to make conjectures about the genre as a whole.
{"title":"‘DON'T LET ME BECOME A COMIC SHIT-POT!’: SCATOLOGY IN ARISTOPHANES’ <i>ASSEMBLYWOMEN</i>","authors":"Naomi Scott","doi":"10.1017/s0017383523000050","DOIUrl":"https://doi.org/10.1017/s0017383523000050","url":null,"abstract":"This article examines scatology in Aristophanes Assemblywomen , and argues that the play sets out to subvert comedy's normal scatological poetics. Old Comedy is usually a genre characterized by corporeal and scatological freedom. The constipation scene in Assemblywomen 311–73 is therefore highly unusual, since, while its language is scatological almost to the point of excess, it spotlights not scatological freedom but scatological obstruction. This article argues that this inversion is expressly linked to the play's reversal of gender roles as part of its ‘women on top’ plot, which is in turn conceived as a direct challenge to Old Comedy's normative poetics. The article further suggests that recognizing the Assemblywomen 's less than straightforward relationship to the norms of Old Comedy may help us to reassess how, and indeed whether, we should use Aristophanes’ plays to make conjectures about the genre as a whole.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135878949","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000062
Ted Somerville
This article brings together two well known literary readings: the obscene interpretation of Catullus’ passer , and the interpretation of Ovid, Amores 2.6 as a self-conscious, creative imitation of Catullus 3. It will first offer a further reason to think that Catullus’ contemporary readers understood c.3 as a poem about impotence, and then go on to suggest that Ovid had some fun with this interpretation in his psittacus -poem.
{"title":"CATULLUS’ <i>PASSER</i> AND OVID'S <i>PSITTACUS</i>: THE DIRTY AND THE DEAD","authors":"Ted Somerville","doi":"10.1017/s0017383523000062","DOIUrl":"https://doi.org/10.1017/s0017383523000062","url":null,"abstract":"This article brings together two well known literary readings: the obscene interpretation of Catullus’ passer , and the interpretation of Ovid, Amores 2.6 as a self-conscious, creative imitation of Catullus 3. It will first offer a further reason to think that Catullus’ contemporary readers understood c.3 as a poem about impotence, and then go on to suggest that Ovid had some fun with this interpretation in his psittacus -poem.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135830973","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-12DOI: 10.1017/s0017383523000128
James Corke-Webster
The figure of the Roman emperor – ubiquitous yet ever-elusive – remains the flame to which Roman historians are ever drawn. And Fergus Millar's The Emperor in the Roman World remains the yardstick against which all subsequent efforts are judged, and with which they are all inevitably in dialogue. That is true too of Caesar Rules , the major new offering from Olivier Hekster, a one-time doctoral student of Millar's, and now one of the leading contenders for his crown. Hekster's core interest is what the emperor was ; in particular, how this institution could survive and adapt to changing circumstances despite the fact that formally it did not exist, certainly was not defined, and practically existed in a society antithetical on principle to both monarchy and change. Hekster finds the key for this long-worried lock in ‘the presentation and perception of power’ (10), and in particular the expectations – from all sides, and at all times – that both consolidated and constrained emperors’ authority. To demonstrate this he conceives a largely unprecedented ambition in this context: to consider source material in all media from the late Republic to the reign of Justinian.
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