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On (Not) Reading Inscribed Objects in Latin Comedy 论(不)阅读拉丁语喜剧中的刻字对象
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2024-03-15 DOI: 10.1353/ajp.2023.a922568
Hans Bork

Abstract:

This paper examines the performance dynamics of onstage texts in Plautus’ comedies and, in the process, argues that an audience-level viewpoint is essential to understanding Latin stage comedy. Examples of rare epigraphic texts are compared with the more common motif of in-play “perishable texts.” The perishable type were performed by actors as though verbatim and transmit novel information to the audience. In contrast, epigraphic texts are paraphrased and so require specific knowledge. Each kind of text thus does different dramatic work, and the difference originates in the different material “entanglements” of each medium in the lives of ancient Italians. As such, Plautus’ audiences understood comic theater through its extra-textual elements as much as through “the text” as we have it. To understand Roman comedy, scholars must also account for how ancient objects were entangled in Roman culture.

摘要:本文研究了普劳图斯喜剧中舞台文本的表演动态,并在此过程中论证了观众层面的观点对于理解拉丁舞台喜剧至关重要。我们将罕见的书信文本与更常见的剧中 "易腐文本 "进行了比较。易腐文本由演员逐字表演,向观众传递新奇的信息。相比之下,书信体文本是转述的,因此需要特定的知识。因此,每种文本都有不同的戏剧效果,而这种差异源于每种媒介在古代意大利人生活中不同的物质 "纠葛"。因此,普劳图斯的观众是通过文本外的元素来理解喜剧的,就像我们通过 "文本 "来理解喜剧一样。要理解罗马喜剧,学者们还必须解释古代物品是如何与罗马文化纠缠在一起的。
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引用次数: 0
The Principle of Decay, or: Why are there Four Bad Regimes in Platon's Politeia? 衰败的原理,或者:为什么柏拉图的《波利提亚》中有四种坏制度?
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2024-03-15 DOI: 10.1353/ajp.2023.a922566
Cătalin Enache

Abstract:

The paper examines the four-step degeneration of the ideal state in Books 8 and 9 of Platon’s Politeia (timocracy, oligarchy, democracy, tyranny) and addresses the question of the number, choice, and succession of bad regimes. Against the common view which considers this part of the Politeia a confusing and structureless narrative, it is argued that the four steps of the devolution represent a systematic account based on the tripartition of the state and the soul.

摘要:本文研究了柏拉图《政治论》第 8 卷和第 9 卷中理想国度退化的四个步骤(君主制、寡头制、民主制、僭主制),并探讨了坏政权的数量、选择和继承问题。一般观点认为《波利提亚》的这一部分叙述混乱且缺乏结构,与之相反,本文认为,退化的四个步骤代表了基于国家和灵魂三分法的系统叙述。
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引用次数: 0
Revealed and Concealed: Carrying and the Sinus in Ancient Rome 显露与隐藏:古罗马的携带与窦道
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2024-03-15 DOI: 10.1353/ajp.2023.a922567
Melissa Bailey Kutner

Abstract:

This paper uses literary sources to investigate how Romans carried objects. Carrying took place openly, in purses, and in clothing, especially the sinus, a fold of cloth created by togas or tunics. While open carrying is portrayed as reinforcing social hierarchies, carrying things in the sinus escaped hierarchies and was closely associated with the individual: with intimacy, character, and the ability to take potentially disruptive action (since people could retrieve objects from it unexpectedly in front of others). References to the latter cluster in the imperial period and center on men’s political power and their potential vulnerability to women.

摘要:本文利用文学资料研究罗马人如何携带物品。携带的方式有公开携带、放在皮包里携带、放在衣服里携带,尤其是放在褶皱里携带,褶皱是长袍或外衣形成的布褶。公开携带被描绘成强化社会等级制度,而在褶皱中携带物品则摆脱了等级制度,与个人密切相关:与亲密关系、性格以及采取潜在破坏性行动的能力有关(因为人们可以出其不意地当着他人的面从褶皱中取出物品)。关于后者的记载主要集中在帝王时期,其核心是男性的政治权力以及他们在女性面前的潜在脆弱性。
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引用次数: 0
The Misadventures of Latona in Ovid, Metamorphoses 6 奥维德《变形记》中拉托娜的不幸遭遇 6
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2024-03-15 DOI: 10.1353/ajp.2023.a922569
Ellen Oliensis

Abstract:

Latona enters the Ovidian spotlight in two episodes in Metamorphoses 6, confronting first Niobe and then some rude Lycian farmers. This essay begins by drawing attention to two features of these episodes: first, Ovid’s reshaping of the tradition to highlight Latona’s peculiar susceptibility to eviction, and second, the way the Lycian story in particular not only reenacts the disrespect the story warns against but, more startlingly, brings Latona’s very divinity into question. The essay ends by linking these humiliations to Latona’s anomalous status as a goddess who is also a fully embodied mother.

摘要:在《变形记》第六章的两个情节中,拉朵娜进入了奥维德的视线,她先是面对尼奥贝,然后又面对一些粗鲁的利西亚农民。本文首先提请读者注意这两段情节的两个特点:第一,奥维德对传统进行了重塑,以突出拉朵娜容易被驱逐的特殊性;第二,尤其是利西亚故事不仅重现了故事所警告的不敬行为,更令人震惊的是,它使拉朵娜的神性受到质疑。文章最后将这些侮辱与拉托娜作为女神的反常身份联系起来,因为拉托娜也是一位完全化身为母亲的女神。
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引用次数: 0
Re-Imagining Euripides' Medea: Pre-Colonial Indigenous Elements in Alfaro's Mojada 重新想象欧里庇得斯的《美狄亚》:阿尔法罗的《莫哈达》中的前殖民时期土著元素
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2024-03-15 DOI: 10.1353/ajp.2023.a922570
Laurialan Reitzammer

Abstract:

This essay examines pre-colonial Mesoamerican elements in Luis Alfaro’s Mojada, highlighting significant differences between the recently published script of the play and a version produced at the Public Theater in New York City, which I attended in summer 2019, to argue that the Public Theater production questions whether Indigenous myth and ritual can persist and function effectively in the United States in the face of the brutal and dehumanizing forces of capitalism and racism. This essay contributes to discussions of the ways in which theatrical representations of Indigeneity function across different Latinx cultures and even different versions of the same play.

摘要:本文研究了路易斯-阿尔法罗的《莫哈达》中的前殖民时期中美洲元素,强调了该剧最近出版的剧本与我在2019年夏天观看的纽约公共剧院制作的版本之间的显著差异,认为公共剧院的制作质疑了土著神话和仪式在资本主义和种族主义的残酷和非人化力量面前是否能够在美国持续有效地发挥作用。这篇文章有助于讨论不同拉美文化甚至同一剧目的不同版本中,戏剧对土著性的表现如何发挥作用。
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引用次数: 0
The AJP Best Article Prize for 2022 Has Been Presented by the American Journal of Philology to Rosa Andújar King's College London 美国语言学杂志》将 2022 年度《美国语言学杂志》最佳文章奖授予罗莎-安杜哈尔(Rosa Andújar 伦敦国王学院
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2024-03-15 DOI: 10.1353/ajp.2023.a922565
Alain Gowing, Matthew Farmer, Jackie Murray
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> The <em>AJP</em> Best Article Prize for 2022 Has Been Presented by the <em>American Journal of Philology</em> to Rosa Andújar <em>King’s College London</em> <!-- /html_title --></li> <li> Alain Gowing, Matthew Farmer, and Jackie Murray </li> </ul> <blockquote> <p>for her contribution to scholarship in “Philological Reception and the Repeating <em>Odyssey</em> in the Caribbean: Francisco Chofre’s <em>La Odilea</em>” <em>AJP</em> 143.2 (Summer 2022): 305–334.</p> </blockquote> <p>Two of the <em>Journal</em>’s four issues in 2022 constituted a two-part special issue, “Diversifying Classical Philology,” devoted to advancing <em>AJP</em>’s commitment to “helping to transform the practice and the identity of our discipline so that it both reflects and engenders greater intellectual diversity and becomes an exciting venue for the work of scholars of all backgrounds” (Editor’s Letter, Vol. 143.2). Rosa Andújar’s “Philological Reception and the Repeating <em>Odyssey</em> in the Caribbean: Francisco Chofre’s <em>La Odilea</em>” not only represents an exceptional and exceptionally successful contribution to this effort, but also stands out in several important respects as the best article published by <em>AJP</em> in 2022.</p> <p>Francisco Chofre’s (1949–1999) <em>La Odilea</em> is likely not well known to most classicists. A prose adaptation in 24 cantos of Homer’s <em>Odyssey</em> written in Cuba during the 1960’s Revolution, <em>La Odilea</em> “refigures” Homer’s heroic characters as <em>guajiros</em> or peasants, his gods as humans, such as Zeulorio, the estate owner, who has eyes on La Pena, the husbandless wife. The novel follows the journey and adventures of the peasant farmer Odileo (significantly, not the expected Odiseo or Ulises) through a Caribbean landscape. Andújar challenges the common view of <em>La Odilea</em> as a parody of Homer as overly simplistic, arguing that Chofre transforms the Homeric model in significant ways. Quite apart from the novel’s setting and characters, the <em>language</em> of <em>La Odilea</em> is perhaps its most distinctive feature: it is written almost entirely in Cuban dialect, an important aspect of the novel’s effort to capture a distinctly agrarian experience. As Andújar terms it, these “meticulous linguistic transformations” are a model of “‘philological’ reception” that ground the novel in Cuban oral tradition; they also, however, “function as the vernacular equivalent to the features of oral composition” characteristic of Homeric epic (Homer himself makes an appearance in the novel). Far from being a simple parody of its Homeric model, <em>La Odilea</em> is shown to possess “a tense and ambiguous relationship <strong>[End Page v]</strong> with its source text, one in which desecration and veneration are intimately bound together.” Following her deft examination of the novel’s language and
以下是内容的简要摘录,以代替摘要: 美国语言学杂志》将 2022 年度最佳文章奖授予伦敦国王学院的罗莎-安杜哈尔(Rosa Andújar),以表彰她在 "加勒比海地区的语言学接受与重复奥德赛:弗朗西斯科-乔弗雷的 La Odilea" AJP 143.2(2022 年夏):305-334 一文中做出的学术贡献。 在 2022 年出版的四期期刊中,有两期是由两部分组成的特刊 "古典语言学的多样化",致力于推进 AJP 的承诺,即 "帮助改变我们学科的实践和特性,使其既反映又促进知识的多样化,并成为各种背景的学者开展工作的令人兴奋的场所"(《编者的话》,第 143.2 卷)。罗莎-安杜哈尔(Rosa Andújar)的 "语文学接受与加勒比地区的奥德赛重演:弗朗西斯科-乔弗雷的《奥德丽亚》"不仅是对这一努力的杰出和特别成功的贡献,而且在几个重要方面也脱颖而出,成为《亚洲期刊》2022 年发表的最佳文章。弗朗西斯科-乔弗雷(Francisco Chofre,1949-1999 年)的《奥迪拉夫人》可能并不为大多数古典文学研究者所熟知。这部小说改编自荷马的《奥德赛》,共 24 回,写于 1960 年代古巴革命时期。《奥德赛》将荷马笔下的英雄人物 "重新塑造 "为瓜吉罗斯或农民,将荷马笔下的众神 "重新塑造 "为人类,如庄园主宙罗里奥看上了没有丈夫的妻子拉佩娜。小说讲述了农民奥迪里奥(Odileo,而非想象中的奥迪塞奥或乌利塞斯)在加勒比海地区的旅程和冒险经历。一般认为《奥迪奥》是对《荷马史诗》的模仿,但安杜哈尔认为这种看法过于简单,并提出质疑,他认为乔弗雷对《荷马史诗》的模式进行了重大改造。除了小说的背景和人物之外,《奥迪拉夫人》的语言也许是其最大的特色:小说几乎完全用古巴方言写成,这也是小说努力捕捉独特的农业经验的一个重要方面。正如安杜哈尔所说,这些 "细致入微的语言转换 "是"'语言学'接受 "的典范,使小说立足于古巴的口头传统;然而,它们也 "起到了与荷马史诗(荷马本人也在小说中露面)所特有的口头创作特征相对应的方言的作用"。La Odilea》并不是对荷马史诗模式的简单模仿,而是 "与其源文本有着紧张而暧昧的关系[尾页v],其中亵渎与崇敬紧密地结合在一起"。Andújar 对小说的语言及其与荷马史诗模式的关系进行了巧妙的研究,随后她扩大了文章的范围,从古巴革命的角度对《奥德赛》进行了思考,最引人入胜的是,她还探讨了这部小说在整个后殖民加勒比地区的《奥德赛》"独特共鸣 "中的地位。安杜哈尔的这篇文章在几个重要方面堪称典范:在接受研究方面具有创新性和开创性;思想严谨、语言学专业;文笔清晰;对接受研究(尤其是加勒比地区的古典接受研究)以及整个古典学术领域具有前瞻性和广阔的视角。值得注意的是,对于如此复杂的文学分析,安杜哈尔的文章却写得平易近人,甚至慷慨激昂,不仅对专家很有价值,对学生来说也是一个完美的入门读物,让他们了解接受研究为我们的领域带来的各种可能性。[End Page vi] Copyright © 2024 Johns Hopkins University Press ...
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引用次数: 0
The Eclogues of Vergil 维吉尔的牧歌
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2023-07-28 DOI: 10.2307/4341714
E. L. Highbarger, H. J. Rose
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引用次数: 10
A Handbook of Latin Literature 拉丁文学手册
IF 0.5 1区 历史学 0 CLASSICS Pub Date : 2023-06-29 DOI: 10.2307/290304
H. J. Rose
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引用次数: 20
Horace-as-Alcaeus ( Odes 3.6) Impersonates Horace-as-Archilochus ( Epodes 7 And 16): Persona And Poetic Autobiography In Horace 贺拉斯-阿尔凯乌斯(颂歌3.6)模仿贺拉斯-阿基洛库斯(诗篇7和16):贺拉斯的人物形象和诗性自传
1区 历史学 0 CLASSICS Pub Date : 2023-06-01 DOI: 10.1353/ajp.2023.a907404
Shirley Werner
Abstract: A reader's enjoyment of Odes 3.6 and Epodes 7 and 16 is deepened by an awareness of the interplay between two relationships in Horace's poetry: the relationship of the speaker within the poem to an internal audience; and the interpretive relationship between the reader and the unstable persona of the implied author, Horace. The Archilochean authorial persona of Horace's Epodes and the Alcaic authorial persona of Horace's Odes work together to create a pseudo-autobiography of his life as a movement through genres and through Roman historical time. This pseudo-autobiography functions in the reader's mind as a tool for interpretation.
摘要:贺拉斯诗歌中两种关系的相互作用加深了读者对《诗篇》第3.6篇、《诗篇》第7篇和第16篇的欣赏:诗中说话者与内在听众的关系;以及读者与隐含作者贺拉斯的不稳定人格之间的解释关系。贺拉斯《诗咏》的阿基洛基亚式作者角色和贺拉斯《诗咏》的阿尔斯卡式作者角色共同创造了他的伪自传,作为一种贯穿罗马历史时期的体裁运动。这种伪自传在读者心中起着解释的作用。
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引用次数: 1
Perhaps a Fish, Surely an Ostrich, and Definitely a Fool: The Ontology of Insults at De Constantia Sapientis 17.1 也许是鱼,肯定是鸵鸟,肯定是傻瓜:《论侮辱的本体论》,《智论》17.1
1区 历史学 0 CLASSICS Pub Date : 2023-06-01 DOI: 10.1353/ajp.2023.a907405
Tommaso Gazzarri
Abstract:De Constantia Sapientis 17.1 contains two animal-based insults, the interpretation of which has heretofore proven controversial because of the difficulties in pinpointing the exact nature/identity of comparandum and comparatum. An adequate appreciation of the passage requires assessing the function of these contumeliae within Seneca's philosophical strategy. Their ontological vacuity reflects the imaginative status of the two animals selected to construct the jibes. Thus, one should resist rage, not only on account of this passion being self-damaging but also because imagination is a faulty cognitive process.
摘要:De Constantia Sapientis 17.1包含两个基于动物的侮辱,由于难以确定comparandum和comparatum的确切性质/身份,迄今为止对其解释一直存在争议。要想充分理解这段话,就需要评估塞内加哲学策略中这些contumeliae的功能。它们在本体论上的空洞反映了被选来构建嘲讽的两种动物的想象地位。因此,一个人应该抵制愤怒,不仅因为这种激情是自我伤害的,而且因为想象是一种错误的认知过程。
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引用次数: 0
期刊
AMERICAN JOURNAL OF PHILOLOGY
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