{"title":":Co-workers in the Kingdom of Culture: Classics and Cosmopolitanism in the Thought of W. E. B. Du Bois","authors":"Dominic Machado","doi":"10.1086/732259","DOIUrl":"https://doi.org/10.1086/732259","url":null,"abstract":"","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-08-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141924075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I argue that Vergil’s vatic announcement maius opus moveo in the symbolic middle of his epic (Aen. 7.45, the closure of the invocation to Erato) should be read as containing the poet’s signature “Ma(ro)-Pu(blius)-Ve(rgilius).” This authorial signature, as I suggest, may evoke not only the famous “Ma-Ve-Pu” acrostic in the Georgics, but further Vergilian acrostics and signatures as well.
{"title":"Maius opus moveo: Vergil’s Hidden Signature in Aeneid 7.45?","authors":"Ábel Tamás","doi":"10.1086/730447","DOIUrl":"https://doi.org/10.1086/730447","url":null,"abstract":"In this article, I argue that Vergil’s vatic announcement maius opus moveo in the symbolic middle of his epic (Aen. 7.45, the closure of the invocation to Erato) should be read as containing the poet’s signature “Ma(ro)-Pu(blius)-Ve(rgilius).” This authorial signature, as I suggest, may evoke not only the famous “Ma-Ve-Pu” acrostic in the Georgics, but further Vergilian acrostics and signatures as well.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141689832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Evidence is sparse for the grounds on which ancient audiences and critics decided that certain poems were Homeric or Hesiodic. As the original Hesiodic canon was large and disparate, thematic preoccupations and narrative arc provide a better basis for canonization than purely “literary” style. Hesiodic poetry portrays a myth-history organized by Zeus’ sovereignty and justice in a markedly different way from Homeric poetry. Comparative evidence is adduced from the Catalogue of Women and the Shield of Heracles to explain why ancient readers nearly universally considered Hesiod to be their author.
{"title":"Hesiodic Justice and the Canonicity of the Catalogue of Women","authors":"Connor Purcell Wood","doi":"10.1086/730586","DOIUrl":"https://doi.org/10.1086/730586","url":null,"abstract":"Evidence is sparse for the grounds on which ancient audiences and critics decided that certain poems were Homeric or Hesiodic. As the original Hesiodic canon was large and disparate, thematic preoccupations and narrative arc provide a better basis for canonization than purely “literary” style. Hesiodic poetry portrays a myth-history organized by Zeus’ sovereignty and justice in a markedly different way from Homeric poetry. Comparative evidence is adduced from the Catalogue of Women and the Shield of Heracles to explain why ancient readers nearly universally considered Hesiod to be their author.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141701424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Scholars often assert that one of Alexander’s military innovations was to place siege towers (πύργοι) on board his warships at Tyre. In this note I argue that there is no literary evidence that this occurred. I also argue that unless the towers were higher than Tyre’s walls, there would be no military advantage to doing so.
{"title":"Diodorus Siculus and the Purgos at Tyre: Did Alexander Put Towers on Ships?","authors":"David A. Guenther","doi":"10.1086/730558","DOIUrl":"https://doi.org/10.1086/730558","url":null,"abstract":"Scholars often assert that one of Alexander’s military innovations was to place siege towers (πύργοι) on board his warships at Tyre. In this note I argue that there is no literary evidence that this occurred. I also argue that unless the towers were higher than Tyre’s walls, there would be no military advantage to doing so.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141706483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this interdisciplinary study, a cutting-edge authorship attribution algorithm, highly accurate in testing the authenticity of very short texts, is used to examine the authorship of a passage in Euripides’ Electra, notoriously suspected of inauthenticity. There has been a long debate about the authorial nature of the anagnorisis discussion between Electra and Agamemnon’s old tutor in this Euripidean play. Is it a parody of Aeschylus? Is it, as it has been argued, dramaturgically inconsistent and even tasteless? Was it actually composed by Euripides? And if it is authentic, what was Euripides’ artistic aim in creating the scene? These and other relevant questions make Electra 518–44 possibly the most philologically intriguing passage in the play. On our part, we show that the passage is Euripidean, employing computer-based authorship analysis, also indicating that the textual difficulties/plot incongruities adduced to support the opposite are rather overemphasized pseudo-problems, and we conclude that it has much to do with Electra’s characterization in the play.
{"title":"Authorship Analysis and the Authenticity of Euripides’ Electra 518–44: Preserving Character Consistency","authors":"Nikos Manousakis, E. Stamatatos","doi":"10.1086/730675","DOIUrl":"https://doi.org/10.1086/730675","url":null,"abstract":"In this interdisciplinary study, a cutting-edge authorship attribution algorithm, highly accurate in testing the authenticity of very short texts, is used to examine the authorship of a passage in Euripides’ Electra, notoriously suspected of inauthenticity. There has been a long debate about the authorial nature of the anagnorisis discussion between Electra and Agamemnon’s old tutor in this Euripidean play. Is it a parody of Aeschylus? Is it, as it has been argued, dramaturgically inconsistent and even tasteless? Was it actually composed by Euripides? And if it is authentic, what was Euripides’ artistic aim in creating the scene? These and other relevant questions make Electra 518–44 possibly the most philologically intriguing passage in the play. On our part, we show that the passage is Euripidean, employing computer-based authorship analysis, also indicating that the textual difficulties/plot incongruities adduced to support the opposite are rather overemphasized pseudo-problems, and we conclude that it has much to do with Electra’s characterization in the play.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141708037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The plague at Noricum in Georgics 3 creates empty space (deserta). A geocritical analysis of the plague landscape and related spaces illuminates generic trajectories of Virgil’s poem and its relationship to sociopolitical developments. Virgil energizes emptiness as negative space through a rhythmic relationship between objects and void, which both makes an aesthetic appeal and offers an opening for narrative. The plague narrative’s emphasis on spatial disorder with reference to pastoral and to Lucretius shows emptiness as the outcome of historical and literary processes. The spatialized textuality of the plague also points toward epic and the aestheticized framing of imperial conquest in the Aeneid as a story about exile, invasion, and settlement. Virgilian emptiness attracts the gaze, and in the context of Augustan geopolitics, the potential that vacancies carry to be filled, including by state power and violence, eases the visualization of Noricum as potential Roman territory, but not without also confronting human subjectivities that have been impacted by exile and death. The spatial reality of the plague landscape is shaped out of divergent experiences, forced movement, and settlement or conquest, intersecting in generically complex, spatialized textuality.
{"title":"Deserta regna: The Georgics and Empty Space","authors":"Brian W. Breed","doi":"10.1086/730585","DOIUrl":"https://doi.org/10.1086/730585","url":null,"abstract":"The plague at Noricum in Georgics 3 creates empty space (deserta). A geocritical analysis of the plague landscape and related spaces illuminates generic trajectories of Virgil’s poem and its relationship to sociopolitical developments. Virgil energizes emptiness as negative space through a rhythmic relationship between objects and void, which both makes an aesthetic appeal and offers an opening for narrative. The plague narrative’s emphasis on spatial disorder with reference to pastoral and to Lucretius shows emptiness as the outcome of historical and literary processes. The spatialized textuality of the plague also points toward epic and the aestheticized framing of imperial conquest in the Aeneid as a story about exile, invasion, and settlement. Virgilian emptiness attracts the gaze, and in the context of Augustan geopolitics, the potential that vacancies carry to be filled, including by state power and violence, eases the visualization of Noricum as potential Roman territory, but not without also confronting human subjectivities that have been impacted by exile and death. The spatial reality of the plague landscape is shaped out of divergent experiences, forced movement, and settlement or conquest, intersecting in generically complex, spatialized textuality.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141703917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using a matronymic alone was highly unusual in the ancient world. Gathering evidence from three texts from the second and third centuries CE from across confessional divides, I argue that it was a technique to express succession lines in certain female professions—there were simply very few of these in the ancient world. Two works of literature featuring the character of Thecla (the anonymous Act of Paul and Thecla and Methodius of Olympus’ Symposium) and Lucian’s Dialogues of the Courtesans show a persistent concern with professional bonds naturalized into mother-daughter relationships.
{"title":"Matronymics at Work: Female Succession Techniques in Lucian’s Dialogi meretricii and Some Early Thecla Literature","authors":"Dawn LaValle Norman","doi":"10.1086/730584","DOIUrl":"https://doi.org/10.1086/730584","url":null,"abstract":"Using a matronymic alone was highly unusual in the ancient world. Gathering evidence from three texts from the second and third centuries CE from across confessional divides, I argue that it was a technique to express succession lines in certain female professions—there were simply very few of these in the ancient world. Two works of literature featuring the character of Thecla (the anonymous Act of Paul and Thecla and Methodius of Olympus’ Symposium) and Lucian’s Dialogues of the Courtesans show a persistent concern with professional bonds naturalized into mother-daughter relationships.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141698263","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper reexamines the literary influence of Nicander’s Theriaca on the snake episode in Lucan’s Bellum civile Book 9. Although often cited as an early zoological source, Nicander’s contributions to the aesthetic and thematic aspects of Lucan’s epic have gone largely overlooked. While his zoological knowledge drew mostly from intermediary sources such as Aemilius Macer, Lucan’s use of venomous serpents as disruptive, destabilizing forces closely follows the poetic innovations of the Theriaca. Contrasting the unknowable, unpredictable threat of venomous creatures with horrifyingly graphic depictions of their bites, both authors construct poetic works that challenge and subvert contemporary literary and intellectual conventions.
{"title":"Knowledge, Fear, and Snakes: The Influence of Nicander on Lucan’s Bellum civile Book 9","authors":"Colin MacCormack","doi":"10.1086/730622","DOIUrl":"https://doi.org/10.1086/730622","url":null,"abstract":"This paper reexamines the literary influence of Nicander’s Theriaca on the snake episode in Lucan’s Bellum civile Book 9. Although often cited as an early zoological source, Nicander’s contributions to the aesthetic and thematic aspects of Lucan’s epic have gone largely overlooked. While his zoological knowledge drew mostly from intermediary sources such as Aemilius Macer, Lucan’s use of venomous serpents as disruptive, destabilizing forces closely follows the poetic innovations of the Theriaca. Contrasting the unknowable, unpredictable threat of venomous creatures with horrifyingly graphic depictions of their bites, both authors construct poetic works that challenge and subvert contemporary literary and intellectual conventions.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141848401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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 two crucial episodes of Odysseus’ life from Homer’s Odyssey are resonant with Iliadic scenes highlighting the fail0d leadership of Hector, Agamemnon, and Achilles. These resonances invited ancient audiences of the Homeric poems to see moments of failure in Odysseus’ leadership, and to criticize his desire for revenge and military glory at the end of the Odyssey.
{"title":"Resonances with Hector in Homer’s Odyssey: New Criticism of Odysseus’ Controversial Leadership","authors":"Aldo Tagliabue","doi":"10.1086/730674","DOIUrl":"https://doi.org/10.1086/730674","url":null,"abstract":"This paper argues that two crucial episodes of Odysseus’ life from Homer’s Odyssey are resonant with Iliadic scenes highlighting the fail0d leadership of Hector, Agamemnon, and Achilles. These resonances invited ancient audiences of the Homeric poems to see moments of failure in Odysseus’ leadership, and to criticize his desire for revenge and military glory at the end of the Odyssey.","PeriodicalId":46255,"journal":{"name":"CLASSICAL PHILOLOGY","volume":null,"pages":null},"PeriodicalIF":0.7,"publicationDate":"2024-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141716361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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