Pub Date : 2023-03-07DOI: 10.1017/S0017383522000274
Anke Walter
As always, it is hard to do justice to the many intriguing books that came out over the past months. I will try to give an overview of at least a few of them, from Republican literature over two imperial ‘Classics’, the Aeneid and the Fasti, over Ps.-Quintilian's Declamations and Apuleius, fourth and fifth-century commentaries, all the way to a lesser-known work from the fifteenth century. Let us start, however, with an exciting volume on ‘Roman Law and Latin Literature’, edited by Ioannis Ziogas and Erica Bexley. In their introduction, the two editors sketch out the relationship between law and literature, emphasizing the points of contact and the intricate relationship between the two. While the Law and Humanities movement, they argue, has been so far strongly focused on law, with literature playing an ancillary role, Ziogas and Bexley aim to redress that balance ‘by showing how literature anticipates, imitates, supplants or complements law's role in constituting rules and norms’ (3). The contributions in the volume cover a wide range of authors, from Naevius, Plautus, and Terence to Cicero, Ovid, Seneca, and Lucan. With her discussion of the role Latin literature played in shaping Roman concepts of legality, in the absence of a codified constitution, Michèle Lowrie provides a very good starting point to the volume, one that a couple of other contributors keep referring back to. There is a chapter on the jurist Marcus Antistius Labeo by Matthijs Wibier, Nora Goldschmidt traces the emergence of the Foucauldian author function in the interaction between law and literature in third-century bc Rome, and John Oksanish argues that Cicero, in De oratore (‘On the Orator’), adopts the theoretical and terminological frameworks of Roman property law to authorize the orator's power over various domains, a strategy also adopted by Vitruvius, to mention just a few of the topics covered. The concluding paper is a thought-provoking piece by Nandini Pandey, comparing Roman and American legal and literary practices around freedom, opportunity, and (in)equality.
{"title":"Latin literature","authors":"Anke Walter","doi":"10.1017/S0017383522000274","DOIUrl":"https://doi.org/10.1017/S0017383522000274","url":null,"abstract":"As always, it is hard to do justice to the many intriguing books that came out over the past months. I will try to give an overview of at least a few of them, from Republican literature over two imperial ‘Classics’, the Aeneid and the Fasti, over Ps.-Quintilian's Declamations and Apuleius, fourth and fifth-century commentaries, all the way to a lesser-known work from the fifteenth century. Let us start, however, with an exciting volume on ‘Roman Law and Latin Literature’, edited by Ioannis Ziogas and Erica Bexley. In their introduction, the two editors sketch out the relationship between law and literature, emphasizing the points of contact and the intricate relationship between the two. While the Law and Humanities movement, they argue, has been so far strongly focused on law, with literature playing an ancillary role, Ziogas and Bexley aim to redress that balance ‘by showing how literature anticipates, imitates, supplants or complements law's role in constituting rules and norms’ (3). The contributions in the volume cover a wide range of authors, from Naevius, Plautus, and Terence to Cicero, Ovid, Seneca, and Lucan. With her discussion of the role Latin literature played in shaping Roman concepts of legality, in the absence of a codified constitution, Michèle Lowrie provides a very good starting point to the volume, one that a couple of other contributors keep referring back to. There is a chapter on the jurist Marcus Antistius Labeo by Matthijs Wibier, Nora Goldschmidt traces the emergence of the Foucauldian author function in the interaction between law and literature in third-century bc Rome, and John Oksanish argues that Cicero, in De oratore (‘On the Orator’), adopts the theoretical and terminological frameworks of Roman property law to authorize the orator's power over various domains, a strategy also adopted by Vitruvius, to mention just a few of the topics covered. The concluding paper is a thought-provoking piece by Nandini Pandey, comparing Roman and American legal and literary practices around freedom, opportunity, and (in)equality.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"115 - 124"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47882839","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 : 2023-03-07DOI: 10.1017/S0017383522000249
Yael Young
The article examines the relationship of women and the objects surrounding them in the light of the term ‘affordance’. Coined by psychologist James J. Gibson, the term refers to the potentialities held by an object for a particular set of actions, stemming from its material properties. Through focusing on two case studies in which women use mundane objects (mainly pins and pestles) in violent situations – (a) stories (told by Herodotus and Euripides) about women attacking with pins, and (b) a group of vases representing women attacking with pestles – the article seeks to uncover a fundamental aspect of the engagement of women with the objects surrounding them, as envisioned by the men creating the literature and art. Deprived of almost any access to real weapons, these women are depicted as turning to objects in their immediate environment. Perceiving the affordances of these objects, stemming from their shape and material and the inherent potentialities for action, the women make use of them in acts of self-defence, anger, or revenge.
{"title":"PINS, PESTLES, AND WOMEN: A MATERIAL APPROACH TO FEMALE VIOLENCE IN ANCIENT GREECE","authors":"Yael Young","doi":"10.1017/S0017383522000249","DOIUrl":"https://doi.org/10.1017/S0017383522000249","url":null,"abstract":"The article examines the relationship of women and the objects surrounding them in the light of the term ‘affordance’. Coined by psychologist James J. Gibson, the term refers to the potentialities held by an object for a particular set of actions, stemming from its material properties. Through focusing on two case studies in which women use mundane objects (mainly pins and pestles) in violent situations – (a) stories (told by Herodotus and Euripides) about women attacking with pins, and (b) a group of vases representing women attacking with pestles – the article seeks to uncover a fundamental aspect of the engagement of women with the objects surrounding them, as envisioned by the men creating the literature and art. Deprived of almost any access to real weapons, these women are depicted as turning to objects in their immediate environment. Perceiving the affordances of these objects, stemming from their shape and material and the inherent potentialities for action, the women make use of them in acts of self-defence, anger, or revenge.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"71 - 99"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41422861","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 : 2023-03-07DOI: 10.1017/S0017383522000304
S. Hales
This review again reflects the exciting chronological and geographical range within which Classicists operate and the diverse approaches and disciplinary knowledge that illuminate the ancient world for us. Alexa Piqueux's monograph, The Comic Body in Ancient Greek Theatre and Art, 440–320BCE, explores how costume and gesture entwine with speech to bring alive the comedy body, drawing equally on images painted on vases and extant texts of Old and Middle Comedy. One of the greatest difficulties of working with these two data sets is that the texts originate in Athens while the majority of vases that depict comedy were actually made in southern Italy and Sicily. This necessitates a first chapter that investigates the ‘Italianness’ of these vases, the extent to which they might be directly reflective of Attic comedy, drawing on that comedy more generally for thematic inspiration, or showing adaptation of Greek comedy and its performance in Italian contexts. This might involve looking for clues in the images of the construction of temporary stages on which travelling troupes might have been performing in Italy (57) or considering the way in which particular comic themes, that seem so peculiar to Athens, might have played to different audiences in Italy by appealing to contentions within local societies, for example generational divides in Paestan society (66).
{"title":"Art and Archaeology","authors":"S. Hales","doi":"10.1017/S0017383522000304","DOIUrl":"https://doi.org/10.1017/S0017383522000304","url":null,"abstract":"This review again reflects the exciting chronological and geographical range within which Classicists operate and the diverse approaches and disciplinary knowledge that illuminate the ancient world for us. Alexa Piqueux's monograph, The Comic Body in Ancient Greek Theatre and Art, 440–320BCE, explores how costume and gesture entwine with speech to bring alive the comedy body, drawing equally on images painted on vases and extant texts of Old and Middle Comedy. One of the greatest difficulties of working with these two data sets is that the texts originate in Athens while the majority of vases that depict comedy were actually made in southern Italy and Sicily. This necessitates a first chapter that investigates the ‘Italianness’ of these vases, the extent to which they might be directly reflective of Attic comedy, drawing on that comedy more generally for thematic inspiration, or showing adaptation of Greek comedy and its performance in Italian contexts. This might involve looking for clues in the images of the construction of temporary stages on which travelling troupes might have been performing in Italy (57) or considering the way in which particular comic themes, that seem so peculiar to Athens, might have played to different audiences in Italy by appealing to contentions within local societies, for example generational divides in Paestan society (66).","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"146 - 153"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43724974","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 : 2023-03-07DOI: 10.1017/S001738352200033X
Andrej Petrovic
Since we are globally more or less saved from a disease, if perhaps not quite yet from the threat of a global conflict (the transition from a pandemic to a large-scale war is never easy), I start with two books that deal with deliverance, the first one deliverance from danger, the second book with the deliverance from death.
{"title":"General","authors":"Andrej Petrovic","doi":"10.1017/S001738352200033X","DOIUrl":"https://doi.org/10.1017/S001738352200033X","url":null,"abstract":"Since we are globally more or less saved from a disease, if perhaps not quite yet from the threat of a global conflict (the transition from a pandemic to a large-scale war is never easy), I start with two books that deal with deliverance, the first one deliverance from danger, the second book with the deliverance from death.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"167 - 174"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43275470","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 : 2023-03-07DOI: 10.1017/S0017383522000328
Rhiannon Easterbrook
In this issue, we have several monographs with wildly differing approaches and interests, from a tight focus on single writers’ engagement with antiquity to studies that synthesize varied materials from multiple centuries and countries. While many of them display a deep interest in the relationship between text and image, another shared theme is the nuances and tensions inherent in literary expressions of political ideology.
{"title":"Reception","authors":"Rhiannon Easterbrook","doi":"10.1017/S0017383522000328","DOIUrl":"https://doi.org/10.1017/S0017383522000328","url":null,"abstract":"In this issue, we have several monographs with wildly differing approaches and interests, from a tight focus on single writers’ engagement with antiquity to studies that synthesize varied materials from multiple centuries and countries. While many of them display a deep interest in the relationship between text and image, another shared theme is the nuances and tensions inherent in literary expressions of political ideology.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"161 - 167"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45604718","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 : 2023-03-07DOI: 10.1017/S0017383522000250
Ruobing Xian
This article focuses on the interrelationship between two events taking place simultaneously in Odysseus’ megaron: Phemius’ performance and the conversation between Telemachus and Athena. I argue that at Hom. Od. 1.298–302 Athena, in her mention of Orestes’ kleos, refers directly to Phemius’ song that Telemachus can hear from where he is sitting. This reading sheds new light on the characters’ receptions of Phemius’ song. Between the well-known contrasting responses of the nearest and the farthest audiences – the suitors’ silence and Penelope's over-reaction – stands Athena's cognitively constructive use of it, by which the goddess attempts to establish a shared understanding with Telemachus, whose kleos is one of the main concerns of her visit to Ithaca.
{"title":"ATHENA'S MENTION OF ORESTES IN HOM. OD. 1.298–302","authors":"Ruobing Xian","doi":"10.1017/S0017383522000250","DOIUrl":"https://doi.org/10.1017/S0017383522000250","url":null,"abstract":"This article focuses on the interrelationship between two events taking place simultaneously in Odysseus’ megaron: Phemius’ performance and the conversation between Telemachus and Athena. I argue that at Hom. Od. 1.298–302 Athena, in her mention of Orestes’ kleos, refers directly to Phemius’ song that Telemachus can hear from where he is sitting. This reading sheds new light on the characters’ receptions of Phemius’ song. Between the well-known contrasting responses of the nearest and the farthest audiences – the suitors’ silence and Penelope's over-reaction – stands Athena's cognitively constructive use of it, by which the goddess attempts to establish a shared understanding with Telemachus, whose kleos is one of the main concerns of her visit to Ithaca.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"100 - 110"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48184624","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 : 2023-03-07DOI: 10.1017/S0017383522000225
Courtney Evans
This article argues that Horace's incorporation of festivals does more than reflect his lived reality and add a Roman veneer to Greek lyric. Horace's festivals weave the poet and his life into publicly shared Roman time. His celebration of private events on public holidays mirrors the kind of penetration of public and private we see in imperial appropriation of the fasti. Just as 28 April, the start of the Floralia, gains new significance with the addition of feriae celebrating the transfer of Vesta's temple to Augustus’ house, so also 1 March comes to signify both the Matronalia as well as the divine rescue of Horace the bachelor. Horace's inclusion of private festivals in his monumentum allows him to create a parallel calendar, one which perhaps competes with the imperial fasti. This exploitation of the fasti plays a key role in Horace's ability to immortalize himself and what he cared most about.
{"title":"FASTI HORATIANI: HORACE'S AUGUSTAN APPROPRIATION OF THE CALENDAR","authors":"Courtney Evans","doi":"10.1017/S0017383522000225","DOIUrl":"https://doi.org/10.1017/S0017383522000225","url":null,"abstract":"This article argues that Horace's incorporation of festivals does more than reflect his lived reality and add a Roman veneer to Greek lyric. Horace's festivals weave the poet and his life into publicly shared Roman time. His celebration of private events on public holidays mirrors the kind of penetration of public and private we see in imperial appropriation of the fasti. Just as 28 April, the start of the Floralia, gains new significance with the addition of feriae celebrating the transfer of Vesta's temple to Augustus’ house, so also 1 March comes to signify both the Matronalia as well as the divine rescue of Horace the bachelor. Horace's inclusion of private festivals in his monumentum allows him to create a parallel calendar, one which perhaps competes with the imperial fasti. This exploitation of the fasti plays a key role in Horace's ability to immortalize himself and what he cared most about.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"70 1","pages":"38 - 49"},"PeriodicalIF":0.1,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46905814","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 : 2023-03-07DOI: 10.1017/s0017383522000262
Malcolm Heath
Stephen Halliwell has, at last, completed his three-volume verse translation of Aristophanes. The first instalment, published in 1997, covered Aristophanes’ ‘longest play, Birds , his sexiest play, Lysistrata , and two works from very near the end of his career, Assembly-Women and Wealth ’. Geoffrey Arnott's review of that first volume was positive: ‘H.'s style is lively, modern, and generally effective, closer perhaps in its presentation of the complexities of Aristophanic detail and reference than most of his rivals…He is virtually always accurate without being over-literal, and far more often graphically idiomatic than flat.’ Arnott's assessment was generally favourable, although he did identify some imperfections: ‘errors in detail are few and far between ( Birds 244, “marshy greens”, not “rolling hills”; 266, “like a stone curlew”, not “with a waterfall of sound”; Eccl . 1092, βολβoί not “onions”; Plut . 192, μάζα not “bread”)’, and Halliwell ‘would have benefited from having his translation of Birds vetted by an ornithologist, who would have removed the phantasmagorical blue thrush (979), and turned the moorhen (304), siskins (1079), and curlews (1140) into gallinule, chaffinches, and stone curlews’. I confess that I could not possibly have managed that menagerie myself; Arnott, of course, was an accomplished ornithologist. Halliwell's original plan was to deal with ‘the “political” plays from the 420s, Acharnians , Knights , Wasps , and Peace ’ in the second instalment, and ‘the comedies on more “cultural” themes, Clouds , Women at the Thesmophoria , and Frogs ’ in the third. In the event, the sequence of ‘cultural’ and ‘political’ volumes was recast in biblical form: ‘the last shall be first and the first shall be last’ ( Matthew 20.16). Or, perhaps, vice versa. The format for each volume is, at any rate, consistent: each volume has a substantial introduction, with a bibliography and brief chronology; and each play has its own introduction, together with fourteen or so pages of explanatory notes. As a sample of Halliwell's translation, consider (for example) this taster from Peace (996–1,014): Blend all us Greeks, As we once used to be, In an essence of friendship, and mix our minds In a milder spirit of sympathy. Allow our market to teem with goods: From Megara bring us heads of garlic, Early cucumbers, apples, pomegranates, Fancy cloaks for slaves to wear. From Boiotian traders we'd like to see Geese, ducks, wood-pigeons, and wrens, As well as baskets of Kopaic eels. Then may we all crowd round these baskets And buying our food get into a jostle With Morychos, Teleas, Glauketes, And numerous other gluttons. And next May Melanthios come to the market too late, When the eels are all sold: let him ululate, Then sing a solo from his Medea, ‘I'm doomed, I'm doomed, now quite bereft Of a female embedded in beetroot’.
{"title":"Greek literature","authors":"Malcolm Heath","doi":"10.1017/s0017383522000262","DOIUrl":"https://doi.org/10.1017/s0017383522000262","url":null,"abstract":"Stephen Halliwell has, at last, completed his three-volume verse translation of Aristophanes. The first instalment, published in 1997, covered Aristophanes’ ‘longest play, Birds , his sexiest play, Lysistrata , and two works from very near the end of his career, Assembly-Women and Wealth ’. Geoffrey Arnott's review of that first volume was positive: ‘H.'s style is lively, modern, and generally effective, closer perhaps in its presentation of the complexities of Aristophanic detail and reference than most of his rivals…He is virtually always accurate without being over-literal, and far more often graphically idiomatic than flat.’ Arnott's assessment was generally favourable, although he did identify some imperfections: ‘errors in detail are few and far between ( Birds 244, “marshy greens”, not “rolling hills”; 266, “like a stone curlew”, not “with a waterfall of sound”; Eccl . 1092, βολβoί not “onions”; Plut . 192, μάζα not “bread”)’, and Halliwell ‘would have benefited from having his translation of Birds vetted by an ornithologist, who would have removed the phantasmagorical blue thrush (979), and turned the moorhen (304), siskins (1079), and curlews (1140) into gallinule, chaffinches, and stone curlews’. I confess that I could not possibly have managed that menagerie myself; Arnott, of course, was an accomplished ornithologist. Halliwell's original plan was to deal with ‘the “political” plays from the 420s, Acharnians , Knights , Wasps , and Peace ’ in the second instalment, and ‘the comedies on more “cultural” themes, Clouds , Women at the Thesmophoria , and Frogs ’ in the third. In the event, the sequence of ‘cultural’ and ‘political’ volumes was recast in biblical form: ‘the last shall be first and the first shall be last’ ( Matthew 20.16). Or, perhaps, vice versa. The format for each volume is, at any rate, consistent: each volume has a substantial introduction, with a bibliography and brief chronology; and each play has its own introduction, together with fourteen or so pages of explanatory notes. As a sample of Halliwell's translation, consider (for example) this taster from Peace (996–1,014): Blend all us Greeks, As we once used to be, In an essence of friendship, and mix our minds In a milder spirit of sympathy. Allow our market to teem with goods: From Megara bring us heads of garlic, Early cucumbers, apples, pomegranates, Fancy cloaks for slaves to wear. From Boiotian traders we'd like to see Geese, ducks, wood-pigeons, and wrens, As well as baskets of Kopaic eels. Then may we all crowd round these baskets And buying our food get into a jostle With Morychos, Teleas, Glauketes, And numerous other gluttons. And next May Melanthios come to the market too late, When the eels are all sold: let him ululate, Then sing a solo from his Medea, ‘I'm doomed, I'm doomed, now quite bereft Of a female embedded in beetroot’.","PeriodicalId":44977,"journal":{"name":"GREECE & ROME","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136335493","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：