The form of the “Greek library” is distinguished from the “Roman library,” and these forms are seen as the product of the library’s historical development (from the Lyceum to Alexandria to Pergamum to Rome). I argue that this history is a scholarly fiction. Instead, the increasing role of literacy in society resulted in increasingly institutionalized book collections during the third century b.c.e. , which by the second were thought of as libraries. I examine the changing relationship of books to the places where they were housed and the contexts in which those places began to be described with the word βιβλιοθήκη.
{"title":"The Invention of the Greek Library","authors":"Thomas G. Hendrickson","doi":"10.1353/APA.2014.0011","DOIUrl":"https://doi.org/10.1353/APA.2014.0011","url":null,"abstract":"<p class=\"summaryheading\"><span class=\"summaryheading\">summary:</span></p><p> The form of the “Greek library” is distinguished from the “Roman library,” and these forms are seen as the product of the library’s historical development (from the Lyceum to Alexandria to Pergamum to Rome). I argue that this history is a scholarly fiction. Instead, the increasing role of literacy in society resulted in increasingly institutionalized book collections during the third century <small class=\"caps\" xmlns:m=\"http://www.w3.org/1998/Math/MathML\" xmlns:mml=\"http://www.w3.org/1998/Math/MathML\" xmlns:xlink=\"http://www.w3.org/1999/xlink\">b.c.e. </small>, which by the second were thought of as libraries. I examine the changing relationship of books to the places where they were housed and the contexts in which those places began to be described with the word βιβλιοθήκη. </p>","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"31 1","pages":"371 - 413"},"PeriodicalIF":0.4,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81769430","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}
Pub Date : 2014-11-11DOI: 10.7765/9781526133243.00006
Denis Feeney, Gregory S. Jones, J. Sosin, V. Liapis, Alison Rosenblitt, Thomas G. Hendrickson
summary:
This paper reexamines the known performance contexts of the skolion in light of recent advances in our understanding of sympotic demographics and Greek popular culture, providing a close reading of select songs. In showing that the genre was primarily associated with public festivals and non-elite symposia, I argue that the Attic skolia were originally composed, performed, and transmitted by middling citizens at common symposia. Thus, we may isolate within the extant corpus of Greek literature a rare example of popular poetry that expresses the genuine voice of non-elites who articulated egalitarian views based on isonomia independently of elite sources.
{"title":"List of Abbreviations","authors":"Denis Feeney, Gregory S. Jones, J. Sosin, V. Liapis, Alison Rosenblitt, Thomas G. Hendrickson","doi":"10.7765/9781526133243.00006","DOIUrl":"https://doi.org/10.7765/9781526133243.00006","url":null,"abstract":"<p class=\"summaryheading\"><span class=\"summaryheading\">summary:</span></p><p> This paper reexamines the known performance contexts of the <i>skolion</i> in light of recent advances in our understanding of sympotic demographics and Greek popular culture, providing a close reading of select songs. In showing that the genre was primarily associated with public festivals and non-elite symposia, I argue that the Attic <i>skolia</i> were originally composed, performed, and transmitted by middling citizens at common symposia. Thus, we may isolate within the extant corpus of Greek literature a rare example of popular poetry that expresses the genuine voice of non-elites who articulated egalitarian views based on <i>isonomia</i> independently of elite sources. </p>","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"52 1","pages":"189 - 228 - 229 - 262 - 263 - 306 - 307 - 370 - 371 - 413 - 415 - 444 - v - vi"},"PeriodicalIF":0.4,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82007951","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}
EXTENDED SIMILES ARE PARTICULARLY AT HOME IN HEROIC EPIC, SO MUCH so that they are surprisingly rare in other genres, such as lyric or elegy; as we shall see below, they are also very rare in archaic didactic, although they later become more common in that genre.1 If similes are a marked feature of heroic epic, then the first similes in epic are themselves particularly marked. The programmatic nature of the first simile in Virgil’s Aeneid (1.148–53) has often been commented upon, as an emblem of restoration of order after chaos which generates a set of expectations for the rest of the poem. I shall argue that the iconic nature of the initial simile sequence is a feature of epic that goes back to Homer’s Iliad, and continues well past Virgil. In general, the first similes in epic are programmatic for the cosmos of the whole poem, for they present an icon of the relationship between human beings and the natural world, which in turn gives us an icon of the poem’s relationship between order and disorder, chaos and harmony. These icons are an ideal,
{"title":"First Similes in Epic","authors":"D. Feeney","doi":"10.1353/APA.2014.0012","DOIUrl":"https://doi.org/10.1353/APA.2014.0012","url":null,"abstract":"EXTENDED SIMILES ARE PARTICULARLY AT HOME IN HEROIC EPIC, SO MUCH so that they are surprisingly rare in other genres, such as lyric or elegy; as we shall see below, they are also very rare in archaic didactic, although they later become more common in that genre.1 If similes are a marked feature of heroic epic, then the first similes in epic are themselves particularly marked. The programmatic nature of the first simile in Virgil’s Aeneid (1.148–53) has often been commented upon, as an emblem of restoration of order after chaos which generates a set of expectations for the rest of the poem. I shall argue that the iconic nature of the initial simile sequence is a feature of epic that goes back to Homer’s Iliad, and continues well past Virgil. In general, the first similes in epic are programmatic for the cosmos of the whole poem, for they present an icon of the relationship between human beings and the natural world, which in turn gives us an icon of the poem’s relationship between order and disorder, chaos and harmony. These icons are an ideal,","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"81 8 1","pages":"189 - 228"},"PeriodicalIF":0.4,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88026345","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}
This paper provides a thorough reexamination of the surviving fragments of Euripides’ Oedipus (TrGF 5.1, 539a–557) with a view to establishing which are authentic. The use of linguistic, stylistic and metrical criteria shows that only the papyrus fragments, together with a handful of quotations in later authors, can be held authentic. Quotation-fragments (mainly in Stobaeus and Clement) are shown to be spurious. The paper puts forth and discusses the hypothesis that the spurious fragments come not from a full-fledged play but from a rhetorical exercise.
{"title":"The Fragments of Euripides’ Oedipus: A Reconsideration","authors":"V. Liapis","doi":"10.1353/APA.2014.0015","DOIUrl":"https://doi.org/10.1353/APA.2014.0015","url":null,"abstract":"<p class=\"summaryheading\"><span class=\"summaryheading\">summary:</span></p><p> This paper provides a thorough reexamination of the surviving fragments of Euripides’ <i>Oedipus</i> (<i>TrGF</i> 5.1, 539a–557) with a view to establishing which are authentic. The use of linguistic, stylistic and metrical criteria shows that only the papyrus fragments, together with a handful of quotations in later authors, can be held authentic. Quotation-fragments (mainly in Stobaeus and Clement) are shown to be spurious. The paper puts forth and discusses the hypothesis that the spurious fragments come not from a full-fledged play but from a rhetorical exercise. </p>","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"34 1","pages":"307 - 370"},"PeriodicalIF":0.4,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76105949","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}
Most scholars are convinced that Rome in 79 b.c.e. remained cowed by fear of Sulla. This paper attempts a new reconstruction of the political mood of the year 79 and the significance of the successful consular canvass of M. Aemilius Lepidus. I argue that the insecurity of Sulla’s settlement was felt almost immediately after he stepped back from formal power. A general unease crystallized around two specific and explosive issues: the unresolved fate of those in exile from the Sullan regime and the possibility of recriminations for actions taken during the civil war and proscriptions.
{"title":"The Turning Tide: The Politics of the Year 79 b.c.e.","authors":"Alison Rosenblitt","doi":"10.1353/APA.2014.0008","DOIUrl":"https://doi.org/10.1353/APA.2014.0008","url":null,"abstract":"<p class=\"summaryheading\"><span class=\"summaryheading\">summary:</span></p><p> Most scholars are convinced that Rome in 79 <small class=\"caps\" xmlns:m=\"http://www.w3.org/1998/Math/MathML\" xmlns:mml=\"http://www.w3.org/1998/Math/MathML\" xmlns:xlink=\"http://www.w3.org/1999/xlink\">b.c.e. </small> remained cowed by fear of Sulla. This paper attempts a new reconstruction of the political mood of the year 79 and the significance of the successful consular canvass of M. Aemilius Lepidus. I argue that the insecurity of Sulla’s settlement was felt almost immediately after he stepped back from formal power. A general unease crystallized around two specific and explosive issues: the unresolved fate of those in exile from the Sullan regime and the possibility of recriminations for actions taken during the civil war and proscriptions. </p>","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"18 1","pages":"415 - 444"},"PeriodicalIF":0.4,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84293853","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}
This paper argues that the clause at IG I3 40.52–57, which refers to taxation of aliens at Chalkis and has long puzzled scholars, stipulated that any non-Chalkidian who had been granted immunity from Athenian tele, conditional on residence at Athens or not, should enjoy the same immunity from Chalkidian tele at Chalkis; that the inscription belongs to 424/3 b.c.e , when Athenian law and honorific practice were much concerned with taxation and immunities. Though long seen as fiscal punishment by a newly imperial Athens, the action was connected to later debates about local honors and domestic taxation, and was rather mild.
{"title":"Tax Exemption and Athenian Imperial Politics: The Case of Chalkis","authors":"J. Sosin","doi":"10.1353/APA.2014.0014","DOIUrl":"https://doi.org/10.1353/APA.2014.0014","url":null,"abstract":"<p class=\"summaryheading\"><span class=\"summaryheading\">summary:</span></p><p> This paper argues that the clause at <i>IG</i> I<sup xmlns:m=\"http://www.w3.org/1998/Math/MathML\" xmlns:mml=\"http://www.w3.org/1998/Math/MathML\" xmlns:xlink=\"http://www.w3.org/1999/xlink\">3</sup> 40.52–57, which refers to taxation of aliens at Chalkis and has long puzzled scholars, stipulated that any non-Chalkidian who had been granted immunity from Athenian <i>tele</i>, conditional on residence at Athens or not, should enjoy the same immunity from Chalkidian <i>tele</i> at Chalkis; that the inscription belongs to 424/3 <small class=\"caps\" xmlns:m=\"http://www.w3.org/1998/Math/MathML\" xmlns:mml=\"http://www.w3.org/1998/Math/MathML\" xmlns:xlink=\"http://www.w3.org/1999/xlink\">b.c.e </small>, when Athenian law and honorific practice were much concerned with taxation and immunities. Though long seen as fiscal punishment by a newly imperial Athens, the action was connected to later debates about local honors and domestic taxation, and was rather mild. </p>","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"87 1","pages":"263 - 306"},"PeriodicalIF":0.4,"publicationDate":"2014-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81352497","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}
This essay connects inventorying in Herodotus with the verb ἀποδείκνυμι. Analysis reveals that ἀποδείκνυμι in the Histories denotes physical showings but not, as often assumed, verbal demonstrations, unless they are marked by another speech term. Rather, ἀποδείκνυμι used absolutely describes specialized verbal displays made through enumeration, such as the Egyptian priests’ genealogy. Accordingly, we can reanalyze several passages involving this stem, including the prologue and its nuanced reference to ἀπόδεξις. Construed as “enumerative display,” the ἱστορίης ἀπόδεξις and the Histories as a whole emerge as a multimedia inventory that verbally conjures the visual realities of everything Herodotus has seen.
本文将希罗多德的存货管理与动词οδε末梢κν ν μι联系起来。分析表明，在《历史》中，οδε rein - κν ν μι指的是身体上的表现，而不是像人们通常认为的那样，是语言上的表现，除非它们被另一个言语术语所标记。相反，ο ποδε jong - κν ν ν μι用来描述通过枚举进行的专门的口头展示，例如埃及祭司的家谱。因此，我们可以重新分析几段涉及这一词干的段落，包括前言及其对π ο δεξις的微妙引用。作为“列举式的展示”，《ο ο￣￣ης ς π ο δεξις》和《历史》作为一个整体，以多媒体的形式出现，用语言描绘出希罗多德所见过的一切的视觉现实。
{"title":"The Semantics of Showcase in Herodotus’s Histories","authors":"Athena Kirk","doi":"10.1353/APA.2014.0003","DOIUrl":"https://doi.org/10.1353/APA.2014.0003","url":null,"abstract":"This essay connects inventorying in Herodotus with the verb ἀποδείκνυμι. Analysis reveals that ἀποδείκνυμι in the Histories denotes physical showings but not, as often assumed, verbal demonstrations, unless they are marked by another speech term. Rather, ἀποδείκνυμι used absolutely describes specialized verbal displays made through enumeration, such as the Egyptian priests’ genealogy. Accordingly, we can reanalyze several passages involving this stem, including the prologue and its nuanced reference to ἀπόδεξις. Construed as “enumerative display,” the ἱστορίης ἀπόδεξις and the Histories as a whole emerge as a multimedia inventory that verbally conjures the visual realities of everything Herodotus has seen.","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"27 1","pages":"19 - 40"},"PeriodicalIF":0.4,"publicationDate":"2014-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90942436","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 only smile of Aeneas occurs in Aeneid 5. The smile identifies Aeneas with Jupiter and is one indication that he briefly occupies a position analogous to the king of the gods in administering the funeral games for Anchises. But this identification merely sets the stage for the games’ broader examination of how Aeneas differs from Jupiter in the distribution of honors to his men. In its playful conjuring of a world governed by smiling Aeneas, the episode of the games imagines an alternative to the world in which the hero must ordinarily live, which is governed by immutable Fate.
{"title":"The Smile of Aeneas","authors":"James Uden","doi":"10.1353/APA.2014.0005","DOIUrl":"https://doi.org/10.1353/APA.2014.0005","url":null,"abstract":"The only smile of Aeneas occurs in Aeneid 5. The smile identifies Aeneas with Jupiter and is one indication that he briefly occupies a position analogous to the king of the gods in administering the funeral games for Anchises. But this identification merely sets the stage for the games’ broader examination of how Aeneas differs from Jupiter in the distribution of honors to his men. In its playful conjuring of a world governed by smiling Aeneas, the episode of the games imagines an alternative to the world in which the hero must ordinarily live, which is governed by immutable Fate.","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"8 1","pages":"71 - 96"},"PeriodicalIF":0.4,"publicationDate":"2014-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76051766","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":"Editor’s Note","authors":"Craig A. Gibson","doi":"10.1353/apa.2014.0007","DOIUrl":"https://doi.org/10.1353/apa.2014.0007","url":null,"abstract":"","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"375 1","pages":"v - v"},"PeriodicalIF":0.4,"publicationDate":"2014-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80550249","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}
This Paper Explores the Performances Inscribed in the Text of Olympian 6, thus offering a new perspective to the question surrounding the intended location of the ode’s premiere. A careful consideration of the poem points to a first performance in Stymphalos of Arcadia. I argue, however, that at the same time the ode creates and reiterates the anticipation of a subsequent choral performance in Syracuse. This expectation of a future reperformance is constructed primarily through the poem’s treatment of the visual and the visible.
{"title":"Inscribing Performances in Pindar’s Olympian 6","authors":"Zoé Stamatopoulou","doi":"10.1353/APA.2014.0002","DOIUrl":"https://doi.org/10.1353/APA.2014.0002","url":null,"abstract":"This Paper Explores the Performances Inscribed in the Text of Olympian 6, thus offering a new perspective to the question surrounding the intended location of the ode’s premiere. A careful consideration of the poem points to a first performance in Stymphalos of Arcadia. I argue, however, that at the same time the ode creates and reiterates the anticipation of a subsequent choral performance in Syracuse. This expectation of a future reperformance is constructed primarily through the poem’s treatment of the visual and the visible.","PeriodicalId":46223,"journal":{"name":"Transactions of the American Philological Association","volume":"31 1","pages":"1 - 17"},"PeriodicalIF":0.4,"publicationDate":"2014-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84558983","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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