Curriculum Vitae of Ruth Rothaus Caston March 2016 Dept. Of
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Girls, Girls, Girls the Prostitute in Roman New Comedy and the Pro
Xavier University Exhibit Honors Bachelor of Arts Undergraduate 2016-4 Girls, Girls, Girls The rP ostitute in Roman New Comedy and the Pro Caelio Nicholas R. Jannazo Xavier University, Cincinnati, OH Follow this and additional works at: http://www.exhibit.xavier.edu/hab Part of the Ancient History, Greek and Roman through Late Antiquity Commons, Ancient Philosophy Commons, Classical Archaeology and Art History Commons, Classical Literature and Philology Commons, and the Other Classics Commons Recommended Citation Jannazo, Nicholas R., "Girls, Girls, Girls The rP ostitute in Roman New Comedy and the Pro Caelio" (2016). Honors Bachelor of Arts. Paper 16. http://www.exhibit.xavier.edu/hab/16 This Capstone/Thesis is brought to you for free and open access by the Undergraduate at Exhibit. It has been accepted for inclusion in Honors Bachelor of Arts by an authorized administrator of Exhibit. For more information, please contact [email protected]. Xavier University Girls, Girls, Girls The Prostitute in Roman New Comedy and the Pro Caelio Nick Jannazo CLAS 399-01H Dr. Hogue Jannazo 0 Table of Contents Introduction ......................................................................................................................................2 Chapter 1: The meretrix in Plautus ..................................................................................................7 Chapter 2: The meretrix in Terence ...............................................................................................15 Chapter 3: Context of Pro Caelio -
Roman Literature from Its Earliest Period to the Augustan Age
The Project Gutenberg EBook of History of Roman Literature from its Earliest Period to the Augustan Age. Volume I by John Dunlop This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.gutenberg.org/license Title: History of Roman Literature from its Earliest Period to the Augustan Age. Volume I Author: John Dunlop Release Date: April 1, 2011 [Ebook 35750] Language: English ***START OF THE PROJECT GUTENBERG EBOOK HISTORY OF ROMAN LITERATURE FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. VOLUME I*** HISTORY OF ROMAN LITERATURE, FROM ITS EARLIEST PERIOD TO THE AUGUSTAN AGE. IN TWO VOLUMES. BY John Dunlop, AUTHOR OF THE HISTORY OF FICTION. ivHistory of Roman Literature from its Earliest Period to the Augustan Age. Volume I FROM THE LAST LONDON EDITION. VOL. I. PUBLISHED BY E. LITTELL, CHESTNUT STREET, PHILADELPHIA. G. & C. CARVILL, BROADWAY, NEW YORK. 1827 James Kay, Jun. Printer, S. E. Corner of Race & Sixth Streets, Philadelphia. Contents. Preface . ix Etruria . 11 Livius Andronicus . 49 Cneius Nævius . 55 Ennius . 63 Plautus . 108 Cæcilius . 202 Afranius . 204 Luscius Lavinius . 206 Trabea . 209 Terence . 211 Pacuvius . 256 Attius . 262 Satire . 286 Lucilius . 294 Titus Lucretius Carus . 311 Caius Valerius Catullus . 340 Valerius Ædituus . 411 Laberius . 418 Publius Syrus . 423 Index . 453 Transcriber's note . 457 [iii] PREFACE. There are few subjects on which a greater number of laborious volumes have been compiled, than the History and Antiquities of ROME. -
Pliny's "Vesuvius" Narratives (Epistles 6.16, 6.20)
Edinburgh Research Explorer Letters from an advocate: Pliny's "Vesuvius" narratives (Epistles 6.16, 6.20) Citation for published version: Berry, D 2008, Letters from an advocate: Pliny's "Vesuvius" narratives (Epistles 6.16, 6.20). in F Cairns (ed.), Papers of the Langford Latin Seminar . vol. 13, Francis Cairns Publications Ltd, pp. 297-313. Link: Link to publication record in Edinburgh Research Explorer Document Version: Early version, also known as pre-print Published In: Papers of the Langford Latin Seminar Publisher Rights Statement: ©Berry, D. (2008). Letters from an advocate: Pliny's "Vesuvius" narratives (Epistles 6.16, 6.20). In F. Cairns (Ed.), Papers of the Langford Latin Seminar . (pp. 297-313). Francis Cairns Publications Ltd. General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 LETTERS FROM AN ADVOCATE: Pliny’s ‘Vesuvius’ Narratives (Epp. 6.16, 6.20)* D.H. BERRY University of Edinburgh To us in the modern era, the most memorable letters of Pliny the Younger are Epp. 6.16 and 6.20, addressed to Cornelius Tacitus. -
A Stranger in a Strange Land: Medea in Roman Republican Tragedy1 Robert Cowan
CHAPTER 3 A Stranger in a Strange Land: Medea in Roman Republican Tragedy1 Robert Cowan The first performance of a Roman version of a Greek tragedy in 240 BC was a momentous event. It was not the beginning of Roman appropriation of Greek culture- Rome had had contact and complex interaction with Greek communities in Magna Graecia and elsewhere from earliest times - but it was an important landmark in the relationship between Greece and Rome. 2 When a tragedy by Livius Andronicus was performed to celebrate victory over Carthage in the First Punic War, a central cultural practice of an alien culture was adopted, adapted, appropriated and transformed to serve as a central cultural practice of Rome. It is significant that the first tragedy celebrated a victory (albeit over Carthage), since the appropriation of Greek tragedy was an act of cultural conquest, as Roman actors marched into and occupied the stage of Attic drama. Yet the event was more complex than that description suggests. In Horace's phrase, captured Greece captured its savage master.3 The writing ofRoman tragedy in the Greek style was simultaneously an act of self-confident literary invasion and of cultural submission to the thrall of a more established theatrical tradition. In terms of literary history, this complex interrelationship marks the beginning of Latin literature, in conjunction with Livius's Latin, Saturnian version of the Odyssey. In terms of culture, the flourishing of Roman drama coincided with the massive expansion of Roman territory and the accompanying challenge to its sense of identity. Dramas were performed at public festivals, /rrdi scaenici, organized by state officials, the aediles, and sponsored by influential elites. -
Introduction: Medea in Greece and Rome
INTRODUCTION: MEDEA IN GREECE AND ROME A J. Boyle maiusque mari Medea malum. Seneca Medea 362 And Medea, evil greater than the sea. Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the com plexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, dis placed traitor to family and state, helper-màiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister, oriental 'other', barbarian saviour of Greece, rejuvenator of the bodies of animals and men, killer of kings and princesses, destroyer and restorer of kingdoms, poisonous stepmother, paradigm of beauty and horror, demi-goddess, subhuman monster, priestess of Hecate and granddaughter of the sun, bride of dead Achilles and ancestor of the Medes, rider of a serpent-drawn chariot in the sky—complex ities reflected in her story's fragmented and fragmenting history. That history has been much examined, but, though there are distinguished recent exceptions, comparatively little attention has been devoted to the specifically 'Roman' Medea—the Medea of the Republican tragedians, of Cicero, Varro Atacinus, Ovid, the younger Seneca, Valerius Flaccus, Hosidius Geta and Dracontius, and, beyond the literary field, the Medea of Roman painting and Roman sculp ture. Hence the present volume of Ramus, which aims to draw attention to the complex and fascinating use and abuse of this transcultural heroine in the Ro man intellectual and visual world. -
Pliny, the Eruption of Vesuvius
CSCP Support Materials: Notes and Commentary Eduqas GCSE Latin Component 3A Latin Literature (Narratives) Pliny, The Eruption of Vesuvius For examination in 2020 and 2021 PUBLISHED BY THE CAMBRIDGE SCHOOL CLASSICS PROJECT Faculty of Education, University of Cambridge, 184 Hills Road, Cambridge, CB2 8PQ, UK http://www.CambridgeSCP.com © University of Cambridge School Classics Project, 2019 Copyright In the case of this publication, the CSCP is waiving normal copyright provisions in that copies of this material may be made free of charge and without specific permission so long as they are for educational or personal use within the school or institution which downloads the publication. All other forms of copying (for example, for inclusion in another publication) are subject to specific permission from the Project. Image Acknowledgments Image on pg. 9 ‘Vesuvius Looms’ courtesy of Paull Young [http://www.flickr.com/photos/paullyoung/429923584/in/photostream/] Images on pg. 15 courtesy of Big Albert [https://www.flickr.com/photos/52948047@N05/24356049443] and Andrea Schaffer from Sydney, Australia [CC BY 2.0 (https://creativecommons.org/licenses/by/2.0)] Image on pg. 26 courtesy of Wellcome Images [CC BY 4.0 (https://creativecommons.org/licenses/by/4.0)] All other images taken from Cambridge Latin Course resources. First published 2019 version date: 14/08/2019 Contents Introduction .............................................................................................................. 1 Pliny the Younger .................................................................................................. -
Reading Death in Ancient Rome
Reading Death in Ancient Rome Reading Death in Ancient Rome Mario Erasmo The Ohio State University Press • Columbus Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Erasmo, Mario. Reading death in ancient Rome / Mario Erasmo. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1092-5 (cloth : alk. paper) ISBN-10: 0-8142-1092-9 (cloth : alk. paper) 1. Death in literature. 2. Funeral rites and ceremonies—Rome. 3. Mourning cus- toms—Rome. 4. Latin literature—History and criticism. I. Title. PA6029.D43E73 2008 870.9'3548—dc22 2008002873 This book is available in the following editions: Cloth (ISBN 978-0-8142-1092-5) CD-ROM (978-0-8142-9172-6) Cover design by DesignSmith Type set in Adobe Garamond Pro by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI 39.48-1992. 9 8 7 6 5 4 3 2 1 Contents List of Figures vii Preface and Acknowledgments ix INTRODUCTION Reading Death CHAPTER 1 Playing Dead CHAPTER 2 Staging Death CHAPTER 3 Disposing the Dead 5 CHAPTER 4 Disposing the Dead? CHAPTER 5 Animating the Dead 5 CONCLUSION 205 Notes 29 Works Cited 24 Index 25 List of Figures 1. Funerary altar of Cornelia Glyce. Vatican Museums. Rome. 2. Sarcophagus of Scipio Barbatus. Vatican Museums. Rome. 7 3. Sarcophagus of Scipio Barbatus (background). Vatican Museums. Rome. 68 4. Epitaph of Rufus. -
“How Strangely Chang'd”: the Re-Creation of Ovid by African
“How Strangely Chang’d”: The Re-creation of Ovid by African American Women Poets By Rachel C. Morrison Submitted to the graduate degree program in Classics and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. ______________________________________ Chair: Emma Scioli ______________________________________ Pam Gordon ______________________________________ Tara Welch Date Approved: 10 May 2018 The thesis committee for Rachel C. Morrison certifies that this is the approved version of the following thesis: “How Strangely Chang’d”: The Re-creation of Ovid by African American Women Poets ______________________________________ Chair: Emma Scioli ______________________________________ Pam Gordon ______________________________________ Tara Welch Date Approved: 10 May 2018 ii Abstract This project examines the re-creation of Ovid by African American women poets. Phillis Wheatley, an enslaved Black woman writing in colonial America, engages with Ovid’s account of Niobe in her epyllion “Niobe in Distress.” Henrietta Cordelia Ray, who was active in the late nineteenth and early twentieth centuries, picks up where Wheatley left off in a sonnet called “Niobe.” Elsewhere, in “Echo’s Complaint,” Ray also imagines what Echo might say to Narcissus if she had full control over her words—an imaginative exercise that has resonances with Ovid’s Heroides. Finally, in her 1995 book Mother Love, the contemporary poet Rita Dove re-examines the tale of Demeter and Persephone from a number of different angles. In reworking the Metamorphoses, all three poets paint vivid images of vulnerable girls and bereft mothers. Moreover, Wheatley, Ray, and Dove play with Ovidian elements to explore themes of repetition, voice, motherhood, and power dynamics. -
Rape and Intertextuality in Terence's Eunuchus and Ovid's
Fallite Fallentes: Rape and Intertextuality in Terence’s Eunuchus and Ovid’s Ars amatoria SHARON L. JAMES University of North Carolina [email protected] It has been persuasively argued that Terence’s Eunuchus contains, in the love-agonies of the adulescens Phaedria, the roots of Latin subjective erotic love elegy (Konstan 1986). I will argue here for further, and very specific, connections of this play to Roman love elegy. To begin with, Eunuchus provides the source of the most disturbing passages of Ovid’s Ars amatoria Book 1, namely the injunction to deceive (645) and rape women (669-706). Fallite fallentes (645) pointedly echoes Eunuchus 385: nunc referam gratiam atque eas itidem fallam ut ab eis fallimur, spoken by the adulescens Chaerea, who seeks a way into the house of the meretrix Thais, in pursuit of sexual access to the young girl Pamphila1. The collocation marks a nexus of linguistic and thematic significance to both texts and raises an unexpected question: when does “deceive” (ludere, fallere) mean merely “to fool” and when does it mean “To commit rape?”. Ovid draws, at several points in Ars 1, on just this question, which is crucial to both 1 — The quotation is noted, to my knowledge, only by Romano (816n1). She also cites Hec. 72-73, but the situation invoked there is not identical. EuGeStA - n°6 - 2016 FALLITE FALLENTES 87 the plot of the Eunuch and the characterization of the praeceptor Amoris. The word ludere echoes back and forth between the two works, pointing, in both, to a fruitful lexical complex that permits significant mystifica- tion about games, deceit, play, and rape. -
Cicero's Influence on Our Perception of Republican Tragedy
Roman Tragedy—Ciceronian Tragedy? Cicero’s Influence on Our Perception of Republican Tragedy Petra Schierl Of the tragedies written in Rome in the third and second centuries BC only fragments survive in the form of quotations by ancient authors.1 By far the larg- est number of fragments has been preserved in lexicographical works of the imperial period, in Nonius’ De compendiosa doctrina and in Festus’ epitome of Verrius Flaccus’ dictionary De verborum significatu. Both adduce quotations to illustrate the meaning of a word, often citing no more than a single verse. Arguably, the richest source of knowledge about Republican tragedy, how- ever, is Marcus Tullius Cicero. His writings abound in quotations from com- edy and tragedy, attesting to a lifelong engagement with early Roman drama.2 While the number of fragments from Republican tragedy which have come down to us through his works is relatively small, Cicero quotes the longest and most substantial passages of the major tragic writers, Ennius (239–169 BCE), Pacuvius (c. 220–130 BCE) and Accius (170-c. 80 BCE).3 Ennius may serve as an example: Cicero is the source for 30 out of 216 fragments, that is of 14 per cent of the extant fragments from Ennian tragedy; however, citing 135 out of 402 verses, he preserves 34 per cent of the tragic remains of Ennius.4 Since he fre- quently omits the name of the authors whose works he cites, he transmits 78 out of 180 fragmenta adespota from Republican tragedy.5 With 17 and 18 verses respectively, the lament from Ennius’ Andromacha (23 TrRF) and the speech of 1 Goldberg (2007: 582) justly emphasizes this aspect when he observes: “Our knowledge of tragedy includes not just the fragmentary texts, but the whole texts that preserve them: the history of its art comes wrapped in the history of its reception. -
356 Vitruvius' Account of the Greek Stage. Vitruvius
356 VITRUVIUS' ACCOUNT OF THE GREEK STAGE. VITRUVIUS' ACCOUNT OF THE GREEK STAGE. AN interesting contrast may be drawn between the results obtained from the study of Vitruvius in the early years of the sixteenth century and the exposition of his meaning and text by the scholars of to-day. This con- trast is almost always to the advantage of the latter-day scholars. Archaeo- logy has done everything in recent times to clear up by consideration of existing monuments a host of difficulties not dreamed of in the days of the Renaissance, and archaeologists—so far as they are agreed as to the testi- mony of recent discoveries—have little or nothing to learn from remote predecessors. But a serious disagreement exists among them in regard to the stage of the Greek theatre. This want of agreement is reflected in the current interpretations of a difficult passage in Vitruvius. About this very passage the scholars of the early Renaissance were agreed, and since their explanation of it differs in some material respects from any now offered, it may be of some use to us to-day. The Florentine Leo Battista Alberti1 reproduced the meaning of Vitruvius, without undertaking to construe his text, then very corrupt. In 1511 was printed the text of Vitruvius which, in spite of many subsequent labours, has bravely held its own up to the present day. This text we owe to Fra Giocondo,2 a Franciscan friar who was equally great as an inspiring teacher, a painstaking scholar, and a daring and original architect.3 The condition of the text in the three first editions was lamentable, as appears in the passage describing the Greek theatre which especially concerns the present inquiry. -
Introduction – the Transformation of the Classics
INTRODUCTION – THE TRANSFORMATION OF THE CLASSICS. PRACTICES, FORMS, AND FUNCTIONS OF EARLY MODERN COMMENTING Karl A.E. Enenkel Recently, a vivid interest in commentaries came into being, as did a sense of the important role commentaries have played in the transmission of the classical heritage, especially in the early modern period.1 Early mod- ern intellectuals rarely read classical authors in a simple and “direct” form, but generally via intermediary paratexts: dedications, prefaces, and other introductory texts; argumenta; indices; illustrations; and above all, all kinds of commentaries – annotationes, notae, commenta, commentaria, com- mentariola, animadversiones, paraphrases, etc. These intermediary texts presented the classical text to modern readers in certain ways that deter- mined and guided the reader’s perception of the text being commented upon. After all, the classical texts were composed in ages so very different from the period ca. 1450–1700. They were not only 1,000–2,000 years old, but they were written in a culture that in many respects had become alien to early modern readers. It was not self-evident to readers from 1450–1700 in what way these texts should be read, interpreted, and used. Take, for example, Martial’s Epigrams, which are full of explicit, partly homoerotic sexuality; they describe sexual practices and positions of lovemaking; they describe oral and anal sex, both heterosexual and homosexual; and many times they address pederasty. As Martial says in the first book of his Epi- grams, his ‘verses cannot please without a cock’ (‘non possunt sine mentula placere’).2 In 1450–1700, however, sexual culture was directed on the one hand by Catholic Church, which – via a long tradition – had restricted not only the representations of sexual practices but the practices themselves 1 Cf.