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Durham E-Theses All-Female Family Bonds in Latin Epic MANIOTI, NIKOLETTA How to cite: MANIOTI, NIKOLETTA (2012) All-Female Family Bonds in Latin Epic, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3523/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk All-Female Family Bonds in Latin Epic Nikoletta Manioti College of St Hild and St Bede This thesis is submitted for the degree of Doctor of Philosophy Department of Classics and Ancient History University of Durham 2012 ALL-FEMALE FAMILY BONDS IN LATIN EPIC NIKOLETTA MANIOTI Material abstract This thesis deals with the representation of all-female family bonds in Virgil’s Aeneid, Ovid’s Metamorphoses, Valerius Flaccus’ Argonautica and Statius’ Thebaid. The themes of sisterly unanimity, love and marriage, loss and mourning, and storytelling, provide the framework within which I investigate the literary models in epic, tragedy and other genres, of each episode featuring all-female interaction. Furthermore, I demonstrate how the Roman ideal of unanimity is combined with the Apollonian representation of Medea and Chalciope in the portrayal of Dido and Anna in Virgil, which then provides the basis for four often more extreme pairs of unanimae sorores in Latin epic. The final one in the series, consisting of the sisters-in-law Argia and Antigone, attests to a very Roman view about the power of adoptive relationships. In the same vein, the stories of Amata and Lavinia, and Ceres and Proserpina, are constructed around the Roman mother’s expectations of her role in her daughter’s marriage, while love stories including sisterly interference characterised by envy can be compared to specific examples of legendary Roman women. Roman mourning practices are present in all instances of heroines losing a mother, daughter or sister, and a specific analogy to the lament for Marcellus is identified in the Ovidian myth of Clymene and the Heliades. The suicide of Ismene after Jocasta’s similar death, on the other hand, corresponds to the idea of a Roman daughter following the example set by her mother taken to its limits. Finally, sister storytellers behave similarly to Roman matrons while the stories they tell are once again influenced by the interaction of Ovid’s contemporary women. Overall, I show how these epics can indirectly offer an insight into the lives of Roman women by modelling their mythical heroines both on literary tradition and on contemporary Roman ideals and practices. TABLE OF CONTENTS Statement of Copyright ....................................................................................................... 2 Acknowledgements ............................................................................................................. 2 Dedication ........................................................................................................................... 2 Introduction ......................................................................................................................... 3 Chapter One – unanimae sorores ...................................................................................... 27 Chapter Two – Love and Marriage .................................................................................. 119 Chapter Three – Loss and Mourning ............................................................................... 209 Chapter Four – Storytellers ............................................................................................. 259 Conclusion ....................................................................................................................... 299 Note on editions .............................................................................................................. 311 Bibliography ..................................................................................................................... 312 1 Statement of Copyright The copyright of this thesis rests with the author. No quotation from it should be published without the prior written consent and information derived from it should be acknowledged. Acknowledgements I would like to thank the Department of Classics and Ancient History at the University of Durham for hosting and intellectually supporting me during the writing of this thesis, as well as the University Library of the same institution for its efficiency in terms of document delivery. I am also grateful to the University Library in Cambridge for its generous reader’s membership which allowed me to study material that was not available in Durham, and to Peterhouse for providing me with accommodation during those research trips to the south. Finally, I am indebted to the Greek State Scholarships Foundation for its financial support through the whole of my PhD studies, including the continuation period. I would also like to express my gratitude to my supervisor, Dr Peter Heslin, for his incessant support, direction and encouragement from the start of my PhD in 2008. Further thanks go to my secondary supervisor, Prof. Ingo Gildenhard, for his precious comments during my first year review and his interest in my progress throughout these years. Through their academic activities as well as our interaction in a common environment the staff in the Department of Classics and Ancient History as well as my postgraduate colleagues made sure that I would continue to be inspired by my research even in difficult times, and I would like to thank every single one of them for that. Finally, my BA lecturer and friend Dr Vassilis Fyntikoglou deserves particular mention for his relentless support and encouragement from the Aristotle University of Thessaloniki. In more personal terms, I would like to thank my parents for their love and support, and Keith Paton for his belief in me and his help in proofreading the final version of my work. Dedication This thesis is dedicated to the memory of Donald Murray, who left us too soon. 2 Introduction ue]rius hunc titulum matri tu, nata, dicasses, quam mater miserae nunc tibi, nata, facit. bis senos completam annos te, filia, matri eripuit miserae mortis in[i]qua dies. optestor manes meritae sanctaeque patronae et comprecor, ut leni terra tegat tumulo. CIL VI 30110 This rare example of poetic funerary inscription dedicated by a Roman mother to her twelve-year-old daughter immortalises female grief for a relative of the same sex, even though the text of the epitaph could have been composed by a man and it was probably a man who chiselled it on the marble tombstone. This male mediation applies to the majority of our knowledge of ancient women, as only rarely can one come across women authors who talk to and about women. Even then few instances are considered genuine,1 while others have been interpreted as a male literary game.2 Male authors, on the other hand, appear to be parsimonious in yielding information. Nevertheless, research in the fields of history, anthropology, sociology and gender studies has analysed ancient women’s attitudes and beliefs, and explained their position in family and society based on their representations in historic, rhetorical and epigraphic sources.3 Feminist 1 Sappho is one such example, addressing her beloved female friends in her poems, and talking about her love for her daughter (e.g. ἔστι μοι κάλα πάϊς χρυσίοισιν ἀνθέμοισιν / ἐμφέρην ἔχοισα μόρφαν Κλέϊς ἀγαπάτα, / ἀντὶ τᾶς ἔγωὐδὲ Λυδίαν παῖσαν οὐδ’ ἐράνναν, fr. 239 Page). For Roman examples, one has to wait until the Vindolanda letters of Sulpicia Severa dating around the 1st-2nd century AD, which I discuss in Chapter One with reference to Dido and Anna. 2 Thus Hinds (1987b), who finds confirmation in the first line of [Tib.] 3.8 of the literary game that the ‘friend of Sulpicia’, to whom five extensive poems of the Corpus Tibullianum ([Tib.] 3.8-12) are sometimes attributed, engages in. The scholar also discusses some “worrying” (p. 46) indications of possible male authorship in the six shorter poems that pose as written by the poetess herself ([Tib.] 3.13-18). 3 Of particular importance, especially for the purposes of this thesis, are the works of Pomeroy (1975), Hallett (1984), Rawson (1986), Cantarella (1987), Dixon (1988), Treggiari (1991) and Dixon 3 discourse in particular has contributed largely to broadening the scope of studying ancient women, introducing new perspectives, interrogating male biases in classical research and offering a new way to approach the ancient world that recognises gender limitations imposed by culture upon both men and women.4 Both feminist and non-feminist studies, however, have been relatively unwilling to turn to poetry for information regarding Roman women, because of its predominantly fictional character and its constraint by genre limitations.5 With this thesis I will show that it is possible to look to poetic texts in
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    Dr. Turhan Yörükân | Yunan Mitolojisinde Aşk

    Dr. Turhan Yörükân | Yunan Mitolojisinde Aşk TÜRKİYE İŞ BANKASI Kültür Yayınları Dr. Turhan Yörükân 29 Aralık 1927'de İstanbul'da doğdu. Lise öğrenimini Latince eğitim veren çeşitli okullarda tamamladı. Dil ve Tarih Coğrafya Fakültesi Felsefe Bölümü'nü bitirdi; sonraları aynı fakültede psikoloji ve pedagoji -slstanı olarak görev yaptı. Gençliğinden başlayarak klasik filolojiyle İlgilenen Dr Yörükân Yunan mitosuna, felsefesine ve bilimine olan merakını hep canlı tuttu. Çeşitli bilimsel dergilerde makaleleri yayım lanan Dr. Yörükân yazar ve editör olarak otuzun üzerinde kitap yayımladı. Dr. Yörükân halen Ankara'da yaşıyor, çalışmalarını sürdürüyor. T Ü R K İY E İŞ B A N K A S I Kültür Yayınları Genel Yayın: 457 Edebiyat Dizisi: 115 Datça / Knidos’daki Aphrodite Euploia tapınağında yer alan Aphrodite heykeli için, Gaius Plinius Secundus (İ.S. 23- 79), yazdığı tabiî ilimler ansiklopedisinde (Naturalis Historia, 36, 20), “Praksiteles, bu eseriyle, mermer işleyen bir sanatçı olarak, kendisini bile aşmıştır... Onun bu eseri, sadece kendi yaptığı eserler içerisinde değil, bütün dünyadaki eserler içeri­ sinde en üstün olanı idi. Birçok kimse, denizler aşarak onu Knidos’ta görmeye geliyordu", diyor. Samsatlı (Samosatalı) Lukianos (İ.S. 120-200), Aşklar (13-14) adlı eserinde, “Bahçedeki bitkilerden yeterince haz duyduktan sonra, tapmağa girdik. Tanrıçanın Paros merme­ rinden yapılmış olağanüstü güzellikteki heykeli, tapmağın or­ tasında duruyordu... Vücudunun bütün güzelliği, herhangi bir örtü ile gizlenmiş değildi. Sadece bir eliyle, iffetini korumak istercesine önünü kapatıyordu. Sanatçının sergilediği üstün­ lük, taşın katı ve inatçı tabiatını kırmış, onu, her uzvun şekli­ ne uyum sağlamak zorunda bırakmıştı", diyor. Praksiteles’in yapmış olduğu Aphrodite heykelinin sikke­ ler üzerine darp edilmiş görüntüsü, aradan asırlar geçmiş ol­ masına rağmen, Roma Dönemi’nde etkisini sürdürmeye de­ vam etmiştir.