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One task of the Greek literary critic was to help his reader understand how style moves audiences. This paper explores the implications of such a task and thereby reveals how Greco-Roman dance traditions were reflected by and embedded in conceptualizations of verbal art in antiquity. Kinaesthetics—a system of physiological and psychological responses to movement—is offered as the key to unlocking style’s kinetic essence and the far-reaching influences of performance over theories of verbal art. As the criticism of Longinus and Dionysius of Halicarnassus demonstrates, dance offered aesthetic lessons that could be translated into a variety of contexts.
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This article considers the adaptation of mystery cult language and discursive modes to the erotodidactic program of Ovid’s Ars amatoria, with a special focus on the sustained engagement with cult of Ars am. 2.601–40. In this passage, Ovid introduces the concept of cult secrecy in a lesson in erotic discretion, inviting a reconsideration of the intimacies available to elegy on the model of the cultic. Ovid’s engagement with cult terminology has implications for the epistemic entailments of the erotic, the figure of Ovid’s teacher-poet as a hierophant, and the consideration of his poem as a hieros logos.
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The Homeric Hymn to Apollo features two of the earliest instances in Greek literature of speaking landscapes: the island of Delos and the spring Telphousa in Boeotia, both of which become cult sites for the god Apollo. By personifying these wild landscapes, the hymn allows for a reading in which the exploitation of the earth is called into question. Drawing on theoretical paradigms from ecocriticism, this article proposes an understanding of place in the hymn centered on concepts of negotiation, power, and care. Delos and Telphousa, along with the silent sites of Thebes and Onchestos, become recognized sacred places in the hymn through a complex process of negotiation between gods, humans, and the personified landscapes themselves.
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In the early controversy over the Platonic Epistles, a certain type of argument for inauthenticity gained popularity: the character of Plato we find in them is unbefitting a philosopher, so the letters must be later forgeries. Despite the known limitations of this argument type, historians of philosophy in the late eighteenth century gradually extended its use to cases in which “Plato” seems to be a fanatic (Schwärmer), a contemporary slur leveled by sober professionals against amateur philosophers pretending to revelation. Given the shortcomings of this kind of argument from character, I aim to account for its popularization by placing it within larger disciplinary trends. Unlike other reasons for doubting authenticity (such as anachronism, inconsistency, and contradiction), the argument from character allows the critic to editorialize about philosophical norms. Accordingly, arguing from character in the context of the Epistles became a means of responding to Kant’s critical philosophy. This paper thus argues that a bad argument for the inauthenticity of the Platonic Epistles proliferated because it was useful for a proxy war over how to do philosophy in the context of a nascent and professionalizing discipline, the history of philosophy.
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Ovid’s depiction of rape in the Metamorphoses has been interpreted as empathetic and proto-feminist at one extreme and pornographic at the other. In assessing this question, the current paper turns to trauma theory, a psychoanalytic methodology of growing popularity in the field of Classics, to demonstrate how Ovid depicts sexual violence and its aftermath with psychological acuity by emphasizing the mental, emotional, and physical experiences of rape survivors. I focus on the myth of Io, with parallels drawn to Daphne, Syrinx, Callisto, Proserpina, and Philomela. While cautiously supporting “optimistic” interpretations of the poem, this reading proves useful, regardless of authorial intent, in developing empathy-driven research and instruction in Classics courses and beyond.
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Dido is a common feature of early modern imitations of the Aeneid, but there is no Dido figure in extant Latin epics from the Americas. This paper argues that this lacuna is a form of colonial loss and traces her absence from these Latin texts to her elimination from Jesuit curriculum and Jesuit textbooks in the Americas. These pedagogical texts shaped the composition of Latin epic by Jesuit students. Through this case study, I suggest that Latin from the Americas provides an opportunity for classicists to contribute to the interdisciplinary study of colonial loss.
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This article argues that modern theories of racialization can inform a philological reading of Satyrica 102.14–15 to challenge the prevailing view that Giton's comments about Aethiopians betray no color prejudice. It proves that Giton attaches negative meanings to racialized traits of Aethiopians and expresses anti-black prejudice. In addition, it explains the racecraft of previous readings that have discounted the anti-black tenor of Giton's remarks.
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