Abstract:Horace's Ode 1.12 is commonly thought to be alluding to the wedding between Augustus' nephew C. Claudius Marcellus and Augustus' daughter Julia in 25 b.c.e., but there are equally good poetic reasons for reading the poem instead as alluding to the young Marcellus' demise in the last quarter of 23 b.c.e. and to see it in direct dialogue with the epicedia for Marcellus composed by Virgil and Propertius. The present paper reviews the evidence for either dating and proposes that the poem actively resists and at the same time engenders historicist interpretations by virtue of lyric's ability to create its own historical temporalities. As a poem touching upon the thorny issue of the acceptability of imperial succession in a period when Augustus' life was in danger, Ode 1.12 can be read as actively engaged in a hermeneutic "conspiratorial" game with its readers, prompting them to question or imagine allusions to contemporary events at a time of utmost political instability.
{"title":"Horace's Ode 1.12: Subterranean Lyrics","authors":"E. Giusti","doi":"10.1353/ajp.2022.0005","DOIUrl":"https://doi.org/10.1353/ajp.2022.0005","url":null,"abstract":"Abstract:Horace's Ode 1.12 is commonly thought to be alluding to the wedding between Augustus' nephew C. Claudius Marcellus and Augustus' daughter Julia in 25 b.c.e., but there are equally good poetic reasons for reading the poem instead as alluding to the young Marcellus' demise in the last quarter of 23 b.c.e. and to see it in direct dialogue with the epicedia for Marcellus composed by Virgil and Propertius. The present paper reviews the evidence for either dating and proposes that the poem actively resists and at the same time engenders historicist interpretations by virtue of lyric's ability to create its own historical temporalities. As a poem touching upon the thorny issue of the acceptability of imperial succession in a period when Augustus' life was in danger, Ode 1.12 can be read as actively engaged in a hermeneutic \"conspiratorial\" game with its readers, prompting them to question or imagine allusions to contemporary events at a time of utmost political instability.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"107 - 75"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46537803","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 addresses the question of how the dithyramb was classified in antiquity, examining in detail two fragmentary papyri (P.Graec.Vindob. 19996a–b; P.Berol. 9671 verso) alongside other testimonia which comment on the nature and development of the dithyrambic genre. While the majority of these testimonia expect the dithyramb to be associated with Dionysus, some show that this Dionysiac link was not exclusively followed as the defining criterion for the poems' classification, even after the Alexandrian taxonomy of lyric genres had been established. This article demonstrates that throughout antiquity generic identification of dithyrambs was a process that was always in the making.
摘要:本文探讨了古代酒神是如何分类的问题，详细考察了两份残片纸莎草纸(p.g reec.vindob)。19996 a - b;P.Berol。9671 verso)以及其他评论酒神体坛的性质和发展的证言。虽然这些证词中的大多数都期望酒神颂与酒神联系在一起，但有些证据表明，即使在亚历山大式的抒情体裁分类法建立之后，这种与酒神的联系并没有被完全地作为诗歌分类的定义标准。这篇文章表明，在整个古代，酒神的一般鉴定是一个不断形成的过程。
{"title":"Literary Reflections on the Dithyrambic Genre","authors":"T. Hadjimichael","doi":"10.1353/ajp.2022.0006","DOIUrl":"https://doi.org/10.1353/ajp.2022.0006","url":null,"abstract":"Abstract:This article addresses the question of how the dithyramb was classified in antiquity, examining in detail two fragmentary papyri (P.Graec.Vindob. 19996a–b; P.Berol. 9671 verso) alongside other testimonia which comment on the nature and development of the dithyrambic genre. While the majority of these testimonia expect the dithyramb to be associated with Dionysus, some show that this Dionysiac link was not exclusively followed as the defining criterion for the poems' classification, even after the Alexandrian taxonomy of lyric genres had been established. This article demonstrates that throughout antiquity generic identification of dithyrambs was a process that was always in the making.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"1 - 34"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44923520","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
J. Doroszewska, Regina Höschele, S. Bartsch, E. Bouchard, P. Hardie, E. Giusti, T. Hadjimichael
Abstract:This paper aims to analyze four topographical elements featured in Apuleius' Metamorphoses: the marshes, the door, the seashore, and the mill. It will be argued that in their literary representations, these spots, familiar and ordinary as they are, turn out to be quite different than they appear, evoking feelings of the uncanny. They serve as the "sites of passage" as they enable transitions to other states, along with being central thematic lines of the novel. Examination of narrative strategy, as well as of intertextual allusions and ideological underpinnings of these locales, will allow a deeper understanding of Apuleius' work.
{"title":"Going Through the Mill: Sites of Passage in Apuleius' Metamorphoses","authors":"J. Doroszewska, Regina Höschele, S. Bartsch, E. Bouchard, P. Hardie, E. Giusti, T. Hadjimichael","doi":"10.1353/ajp.2022.0000","DOIUrl":"https://doi.org/10.1353/ajp.2022.0000","url":null,"abstract":"Abstract:This paper aims to analyze four topographical elements featured in Apuleius' Metamorphoses: the marshes, the door, the seashore, and the mill. It will be argued that in their literary representations, these spots, familiar and ordinary as they are, turn out to be quite different than they appear, evoking feelings of the uncanny. They serve as the \"sites of passage\" as they enable transitions to other states, along with being central thematic lines of the novel. Examination of narrative strategy, as well as of intertextual allusions and ideological underpinnings of these locales, will allow a deeper understanding of Apuleius' work.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"1 - 107 - 109 - 143 - 145 - 168 - 169 - 179 - 181 - 185 - 34 - 35 - 74 - 75"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48761321","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 an inscriptional epigram from Sardis (04/02/05 Merkelbach-Stauber), which was designed to accompany a bust of Cicero set up by a Greek named Polybios in the 2nd century c.e. The epigram, I argue, fuses Hellenistic poetological imagery with the echo of a Roman declamatory topos concerning Cicero's decapitation by playfully suggesting that Cicero's head had miraculously traveled from Rome to Sardis. Reflecting on the implications of this imaginary voyage, I explore the complex dynamics of Polybios' epigram, which is exceptional in expressing a Greek's admiration for a Roman figure, against the backdrop of the period's bicultural discourse.
{"title":"The Wondrous Journey of Cicero's Head to Sardis: Hellenic Identity and Biculturalism in a Greek Imperial Epigram","authors":"Regina Höschele","doi":"10.1353/ajp.2022.0001","DOIUrl":"https://doi.org/10.1353/ajp.2022.0001","url":null,"abstract":"Abstract:This paper examines an inscriptional epigram from Sardis (04/02/05 Merkelbach-Stauber), which was designed to accompany a bust of Cicero set up by a Greek named Polybios in the 2nd century c.e. The epigram, I argue, fuses Hellenistic poetological imagery with the echo of a Roman declamatory topos concerning Cicero's decapitation by playfully suggesting that Cicero's head had miraculously traveled from Rome to Sardis. Reflecting on the implications of this imaginary voyage, I explore the complex dynamics of Polybios' epigram, which is exceptional in expressing a Greek's admiration for a Roman figure, against the backdrop of the period's bicultural discourse.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"145 - 168"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45037453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 proposes a new interpretation of the "sufferings of Daphnis" as they are sung by the shepherd Thyrsis in Theocritus' first Idyll. While the common view is that Daphnis' wasting was caused by a stubborn commitment to fidelity or to chastity, this paper argues that it is rather a symptom of his sexual impairment. The argument rests on two main elements: the connections between Daphnis and other figures acting as Aphrodite's consorts, and the presence of lexical clues pointing to the sexual character of the cowherd's illness. Finally, I argue that Theocritus' enigmatic account of Daphnis' fate in the first Idyll is consistent with the pervading metapoetic discourse of the poem: impotence serves to highlight Daphnis' fecundity as the founder of bucolic song.
{"title":"Victim of Eros: The Poetics of Sex in Theocritus' First Idyll","authors":"E. Bouchard","doi":"10.1353/ajp.2022.0003","DOIUrl":"https://doi.org/10.1353/ajp.2022.0003","url":null,"abstract":"Abstract:This article proposes a new interpretation of the \"sufferings of Daphnis\" as they are sung by the shepherd Thyrsis in Theocritus' first Idyll. While the common view is that Daphnis' wasting was caused by a stubborn commitment to fidelity or to chastity, this paper argues that it is rather a symptom of his sexual impairment. The argument rests on two main elements: the connections between Daphnis and other figures acting as Aphrodite's consorts, and the presence of lexical clues pointing to the sexual character of the cowherd's illness. Finally, I argue that Theocritus' enigmatic account of Daphnis' fate in the first Idyll is consistent with the pervading metapoetic discourse of the poem: impotence serves to highlight Daphnis' fecundity as the founder of bucolic song.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"35 - 74"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41983429","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
the LuciuS of APuLeiuS’ The Golden Ass is not delighted at his transformation into an ass, but the many juicy stories he overhears during his stay in animal form provide a silver lining—stories which, once he has returned to human form, he incorporates into a book about his experience. The resulting narrative offers countless opportunities for interpretation. In it, realistic depictions of animal suffering caused by humans jostle with the most light-hearted X-rated romps; the contents of a ribald “Milesian tale” stud the confessions of a priest; a complicated allegory about love is questioned by its framing narrative. The novel’s central questions demand serious thought: why would a devotee of Isis include raunchy tales in his autobiography? Is the author/ass simply the last victim of all the religious scams he sees? Does the battered donkey stand as testimony to the suffering of ancient slaves? How does the Cupid and Psyche story reflect on Lucius’ curiosity? This complexity—and the fact that The Golden Ass makes for a fabulous read—renders the experience of reading the work pretty much inenarrabile. Enter Peter Singer, the Princeton utilitarian and bio-ethicist, who has recently published a curtailed version of the novel with a translation by classicist Ellen Finkelpearl. It’s unusual for bio-ethicists to publish editions of classical texts, but the motivation here was personal. In an essay published in the online Classics journal Antigone, Singer tells of his astonishment upon encountering this work.1 Here, from the 2nd
{"title":"The Metamorphosis of an Ass","authors":"S. Bartsch","doi":"10.1353/ajp.2022.0002","DOIUrl":"https://doi.org/10.1353/ajp.2022.0002","url":null,"abstract":"the LuciuS of APuLeiuS’ The Golden Ass is not delighted at his transformation into an ass, but the many juicy stories he overhears during his stay in animal form provide a silver lining—stories which, once he has returned to human form, he incorporates into a book about his experience. The resulting narrative offers countless opportunities for interpretation. In it, realistic depictions of animal suffering caused by humans jostle with the most light-hearted X-rated romps; the contents of a ribald “Milesian tale” stud the confessions of a priest; a complicated allegory about love is questioned by its framing narrative. The novel’s central questions demand serious thought: why would a devotee of Isis include raunchy tales in his autobiography? Is the author/ass simply the last victim of all the religious scams he sees? Does the battered donkey stand as testimony to the suffering of ancient slaves? How does the Cupid and Psyche story reflect on Lucius’ curiosity? This complexity—and the fact that The Golden Ass makes for a fabulous read—renders the experience of reading the work pretty much inenarrabile. Enter Peter Singer, the Princeton utilitarian and bio-ethicist, who has recently published a curtailed version of the novel with a translation by classicist Ellen Finkelpearl. It’s unusual for bio-ethicists to publish editions of classical texts, but the motivation here was personal. In an essay published in the online Classics journal Antigone, Singer tells of his astonishment upon encountering this work.1 Here, from the 2nd","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"169 - 179"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42675087","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Erotics of Materialism: Lucretius and Early Modern Poetics by Jessie Hock (review)","authors":"P. Hardie","doi":"10.1353/ajp.2022.0004","DOIUrl":"https://doi.org/10.1353/ajp.2022.0004","url":null,"abstract":"","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"143 1","pages":"181 - 185"},"PeriodicalIF":0.5,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41988712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 the relationship between Herodotus' observations about languages that change through contact with each other and modern understandings of these phenomena. Concepts invoked include imperfect learning, diglossia, linguistic convergence, mixed languages, borrowing, and language death. Not only does Herodotus appear to describe (if sometimes vaguely) real phenomena, but there is frequently external evidence for language contact in the geographic and cultural areas that he describes. Herodotus emerges as an author capable of treating language in sophisticated ways, both as a tool and as a subject of study in its own right.
{"title":"Athenians, Amazons, and Solecisms: Language Contact in Herodotus","authors":"Edward Nolan","doi":"10.1353/ajp.2021.0017","DOIUrl":"https://doi.org/10.1353/ajp.2021.0017","url":null,"abstract":"Abstract:This article examines the relationship between Herodotus' observations about languages that change through contact with each other and modern understandings of these phenomena. Concepts invoked include imperfect learning, diglossia, linguistic convergence, mixed languages, borrowing, and language death. Not only does Herodotus appear to describe (if sometimes vaguely) real phenomena, but there is frequently external evidence for language contact in the geographic and cultural areas that he describes. Herodotus emerges as an author capable of treating language in sophisticated ways, both as a tool and as a subject of study in its own right.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"142 1","pages":"571 - 596"},"PeriodicalIF":0.5,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41773308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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 evaluates the centrality of the body in Euripides' Trojan Women, arguing that physical and metaphorical movement is a constituent element of the dramatic narrative. My analysis seeks to promote the convergence between the "page" and the "stage" by demonstrating the close interrelation between visual and verbal meaning, and how embodied experience decidedly shapes both the language and performance of this tragedy. In particular, I indicate how the tragic playwright relies on embodied gesture and metaphor to illuminate important themes and motifs in the drama, most notably the concept of metabolê (change), the overturn of fortune, and the transition from freedom to enslavement. I ultimately aim to suggest that the play's thematic unity is also established and relayed though the materiality of the lived body. By means of its remarkable emphasis on kinetic actions and expressions, Trojan Women makes its somatic meaning felt, as the spectator (like the modern reader) is invited to evaluate tragic (un)moving bodies through the corporeal imagination of the script.
{"title":"Gesture, Metaphor and the Body in Trojan Women","authors":"Afroditi Angelopoulou","doi":"10.1353/ajp.2021.0020","DOIUrl":"https://doi.org/10.1353/ajp.2021.0020","url":null,"abstract":"Abstract:This paper evaluates the centrality of the body in Euripides' Trojan Women, arguing that physical and metaphorical movement is a constituent element of the dramatic narrative. My analysis seeks to promote the convergence between the \"page\" and the \"stage\" by demonstrating the close interrelation between visual and verbal meaning, and how embodied experience decidedly shapes both the language and performance of this tragedy. In particular, I indicate how the tragic playwright relies on embodied gesture and metaphor to illuminate important themes and motifs in the drama, most notably the concept of metabolê (change), the overturn of fortune, and the transition from freedom to enslavement. I ultimately aim to suggest that the play's thematic unity is also established and relayed though the materiality of the lived body. By means of its remarkable emphasis on kinetic actions and expressions, Trojan Women makes its somatic meaning felt, as the spectator (like the modern reader) is invited to evaluate tragic (un)moving bodies through the corporeal imagination of the script.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"142 1","pages":"597 - 627"},"PeriodicalIF":0.5,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43515794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Petronian scholars have long recognized that Encolpius' erotic experiences in the Croton episode are influenced by Ovid's amatory works, yet three of his poems in this section—Sat. 126.18, 131.8, 137.9—are more indebted to Ovid in style and substance than previously realized on account of their engagement with mythological rape and metamorphosis. This article argues that Petronius critiques an Ovidian poetics of sexual violence in these poems by mocking Encolpius who attempts to imitate the Ovidian poet-amator and by parodying conventions found in Ovid's numerous episodes featuring mythological rape.
{"title":"Fabula Muta: Petronius, Poetry, and Rape","authors":"Debra Freas","doi":"10.1353/ajp.2021.0018","DOIUrl":"https://doi.org/10.1353/ajp.2021.0018","url":null,"abstract":"Abstract:Petronian scholars have long recognized that Encolpius' erotic experiences in the Croton episode are influenced by Ovid's amatory works, yet three of his poems in this section—Sat. 126.18, 131.8, 137.9—are more indebted to Ovid in style and substance than previously realized on account of their engagement with mythological rape and metamorphosis. This article argues that Petronius critiques an Ovidian poetics of sexual violence in these poems by mocking Encolpius who attempts to imitate the Ovidian poet-amator and by parodying conventions found in Ovid's numerous episodes featuring mythological rape.","PeriodicalId":46128,"journal":{"name":"AMERICAN JOURNAL OF PHILOLOGY","volume":"142 1","pages":"629 - 658"},"PeriodicalIF":0.5,"publicationDate":"2022-02-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44556440","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"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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