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The Atticist-Asianist Controversy
Atticist-Asianist controversy. The termsAtticist andAsiamsl were employedover a period of severalcenturies (starting probably in the third century bce) in a debatethat was concernedas much with Next result ideologr and literary identity as it was with style and language. Developedin the Greek world, the terminolory was taken up by the < Searchresults Romansat a critical point in their literary history. It would be a mistaketo look for unity in a debatethat spannedso many centuries and two different literary cultures. In the secondhalf of the first century bce, we find at Rome a bad-temperedargUment among writers and orators over how the In this entry appellationAttic was to be employed.This purely Roman debate, like much of the literary and intellectualrevolution at Rome, was Atticist-Asia nist controversy conductedin terminolory taken over from Greek. Insofar asAttic had any meaning it denoteda plain and unadornedstyle of Bibliography composition;but its more irnportantfunction was evaluative. It was usedby the self-proclaimedAtticists as a term of approbationfor the Roman heirs of the greatfigures of the classicalGreek tradition and Isocrates):Attica Seealso (particularly Lysias, Demosthenes,Xenophon, is the reglon of Greecein which Athens is located.The antonym of Attic, on this view, wasAsianist, aterm best defined negatively; it o Classicalrhetoric . denotedall the bad qualitiesthat a dedicatedAtticist should avoid. (10643 bce),the o Stvle The principalobject of this needlingwas Cicero most famousorator of his day. RomanAtticism was thus in part a normal literary reactionto a familiar and prestigiousstyle, described Adjacent entries "full" by Quintilian as (Cicero'ssentences are often long and complexocharacterizndby attention to balance,rhythm, and o Arangement rhetorical effect). -
Keeping Tradition Alive: Just War and Historical Imagination Cian O’Driscoll
Journal of Global Security Studies, 3(2), 2018, 234–247 doi: 10.1093/jogss/ogy003 Research Article Keeping Tradition Alive: Just War and Historical Imagination Cian O’Driscoll University of Glasgow Abstract The just war tradition is one of the key constituencies of international political theory, and its vocab- ulary plays a prominent role in how political and military leaders frame contemporary conflicts. Yet, it stands in danger of turning in on itself and becoming irrelevant. This article argues that scholars who wish to preserve the vitality of this tradition must think in a more open-textured fashion about its historiography. One way to achieve this is to problematize the boundaries of the tradition. This article pursues this objective by treating one figure that stands in a liminal relation to the just war tradition. Despite having a lot to say about the ethics of war, Xenophon is seldom acknowledged as a bona fide just war thinker. The analysis presented here suggests, however, that his writings have much to tell us, not only about how he and his contemporaries thought about the ethics of war, but about how just war thinking is understood (and delimited) today and how it might be revived as a pluralistic critical enterprise. Keywords: just war, ancient Greece, Xenophon, historiography, changing character of war “The past is a different country, they do things differ- its totality, as a rolling story, rather than as an index of ently there.” discrete individuated contributions (Johnson 2009, 252). L. P. Hartley Proponents of this -
How to Compose Great Prose: Cicero, Dionysius of Halicarnassus and Stylistic Theory in Late-Republican and Augustan Rome Issue Date: 2019-10-23
Cover Page The following handle holds various files of this Leiden University dissertation: http://hdl.handle.net/1887/79945 Author: Ooms, S Title: How to compose great prose: Cicero, Dionysius of Halicarnassus and stylistic theory in Late-Republican and Augustan Rome Issue Date: 2019-10-23 Chapter 5 TO BE ATTIC OR NOT TO BE ATTIC : THE FLUIDITY OF ATTICISM IN ORATORY , POLITICS AND LIFE 5.1 Introduction In the previous chapters, I have studied several major topics in the Greek and Latin discourse on prose style: in each case, we have seen that some features are universal to the common discourse, while others are particular to its various participants on account of their specific preferences, purposes and programs. The present chapter will demonstrate the same two crucial points with respect to the topic of Atticism: again, I will argue that the views of the critics and rhetoricians in Rome are built on a shared conceptual framework, while each author at the same time interprets elements from this common repertoire so as to suit their own goals and motivations. Specifically, we will see that there is a remarkable interplay between, on the one hand, the stylistic views of three prominent scholars, viz., Calvus, Cicero, and Dionysius, and, on the other hand, the contemporary political situation in Rome. There was hardly a greater compliment for an orator or prose author in Late- Republican and Augustan Rome than to be called ‘Attic’ (Ἀττικός , Atticus ). Our record of the city’s obsession with Attic style, now standardly referred to as Atticism, goes back to the middle of the first century BC, when a group of Roman orators, presumably led by C. -
Interpreting the Heroine of a Greek Romance Isabelle Raposo [email protected]
CORE Metadata, citation and similar papers at core.ac.uk Provided by Wellesley College Wellesley College Wellesley College Digital Scholarship and Archive Honors Thesis Collection 2019 Charicleia’s Dream: Interpreting the Heroine of a Greek Romance Isabelle Raposo [email protected] Follow this and additional works at: https://repository.wellesley.edu/thesiscollection Recommended Citation Raposo, Isabelle, "Charicleia’s Dream: Interpreting the Heroine of a Greek Romance" (2019). Honors Thesis Collection. 641. https://repository.wellesley.edu/thesiscollection/641 This Dissertation/Thesis is brought to you for free and open access by Wellesley College Digital Scholarship and Archive. It has been accepted for inclusion in Honors Thesis Collection by an authorized administrator of Wellesley College Digital Scholarship and Archive. For more information, please contact [email protected]. Charicleia’s Dream: Interpreting the Heroine of a Greek Romance Isabelle Kennedy Raposo Submitted in Partial Fulfillment of the Prerequisite for Honors in Classics April 2019 © Isabelle Raposo 2019 Introduction Dreams, Oracles, and Interpretation This thesis will analyze the ways in which Charicleia, the heroine of Heliodorus’ Aethiopica, is characterized, using an oracular dream as a guide to interpretation. About the Aethiopica The Aethiopica, or “An Ethiopian story,” is the only known work of Heliodorus of Emesa, composed about 350 A.D. Little is known about the life of Heliodorus apart from the information he provides at the end of the Aethiopica: -
Interpreting the Heroine of a Greek Romance Isabelle Kennedy
Charicleia’s Dream: Interpreting the Heroine of a Greek Romance Isabelle Kennedy Raposo Submitted in Partial Fulfillment of the Prerequisite for Honors in Classics April 2019 © Isabelle Raposo 2019 Introduction Dreams, Oracles, and Interpretation This thesis will analyze the ways in which Charicleia, the heroine of Heliodorus’ Aethiopica, is characterized, using an oracular dream as a guide to interpretation. About the Aethiopica The Aethiopica, or “An Ethiopian story,” is the only known work of Heliodorus of Emesa, composed about 350 A.D. Little is known about the life of Heliodorus apart from the information he provides at the end of the Aethiopica: “[the Aethiopica’s] author is a Phoenician of Emesa, of the race of the Sun—the son of Theodosius, Heliodorus” (277). Emesa stood on the same ground as the modern city of Homs, Syria, and was known for the local cult of the god ‘LH’GBL or Elahagabal.1 The church historian Sokrates refers to a bishop named Heliodorus, living in Thessaly around 385, who may have started the practice of married men entering the church becoming celibate.2 Synopsis Persinna, the queen of Ethiopia, conceives a child while consorting with her husband Hydaspes and looking at a wall painting of Andromeda. The child is born white as a result, in spite of both of her parents’ having dark skin, and Persinna embroiders the story of her conception on a ribbon. Gathering the ribbon and some unique jewels, she sends the child to be exposed. Sisimithres, a sage who is an advisor to the Ethiopian court, finds the baby and takes her to be raised by shepherds outside the Ethiopian capital city of Meroe. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
The Impact of the Roman Army (200 BC – AD 476)
Impact of Empire 6 IMEM-6-deBlois_CS2.indd i 5-4-2007 8:35:52 Impact of Empire Editorial Board of the series Impact of Empire (= Management Team of the Network Impact of Empire) Lukas de Blois, Angelos Chaniotis Ségolène Demougin, Olivier Hekster, Gerda de Kleijn Luuk de Ligt, Elio Lo Cascio, Michael Peachin John Rich, and Christian Witschel Executive Secretariat of the Series and the Network Lukas de Blois, Olivier Hekster Gerda de Kleijn and John Rich Radboud University of Nijmegen, Erasmusplein 1, P.O. Box 9103, 6500 HD Nijmegen, The Netherlands E-mail addresses: [email protected] and [email protected] Academic Board of the International Network Impact of Empire geza alföldy – stéphane benoist – anthony birley christer bruun – john drinkwater – werner eck – peter funke andrea giardina – johannes hahn – fik meijer – onno van nijf marie-thérèse raepsaet-charlier – john richardson bert van der spek – richard talbert – willem zwalve VOLUME 6 IMEM-6-deBlois_CS2.indd ii 5-4-2007 8:35:52 The Impact of the Roman Army (200 BC – AD 476) Economic, Social, Political, Religious and Cultural Aspects Proceedings of the Sixth Workshop of the International Network Impact of Empire (Roman Empire, 200 B.C. – A.D. 476) Capri, March 29 – April 2, 2005 Edited by Lukas de Blois & Elio Lo Cascio With the Aid of Olivier Hekster & Gerda de Kleijn LEIDEN • BOSTON 2007 This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. -
Seeing Gods: Epiphany and Narrative in the Greek Novels
Seeing Gods: Epiphany and Narrative in the Greek Novels ROBERT L. CIOFFI Bard College The Greek world was full of the divine, and the imagined world of the ancient novels was no different.1 Divinity and its worship pervade the novels’ narra- tives, helping to unite, drive apart, and then reunite their protagonists. In this paper, I explore the relationship between ancient religion and literature, the transformation of literary tradition, and the place of the marvelous in the nov- els’ narratives by examining the role that one aspect of the human experience of the gods, epiphany, plays in the genre. Although the novelists describe very few scenes of actual epiphany,2 they make abundant use of the epiphanic met- aphor in what I will call “epiphanic situations,” when an internal audience reacts to the hero or, most often, the heroine of the novel as if he or she were a god or goddess. These epiphanic situations transform the common metaphor of divine beauty into a reality, at least as experienced by the internal audience,3 and they offer the novelists an alternative to ekphrasis for expressing ineffable beauty. ————— 1 Zeitlin 2008, 91 writes: “The novels are full of: temples, shrines, altars, priests, rituals and offerings, dreams (or oracles), prophecies, divine epiphanies, aretalogies, mystic language and other metaphors of the sacred (not forgetting, in addition, exotic barbarian rites).” 2 In the novels, mortals are most frequently visited by divinities during dreams: e.g., Chari- ton 2,3; X. Eph. 1,12; Longus 1,7-8, 2,23, 2,26-27, 3,27, 4,34; Ach. -
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon ASHLI J.E. BAKER Bucknell University Eros is “…δεινὸς γόης καὶ φαρμακεὺς καὶ σοφιστής…” (Plato, Symposium 203d) Introduction In the beginning of Book Two of Achilles Tatius’ Leucippe and Clitophon, the clever but thus far failed lover Clitophon witnesses a remarkable – and useful – scene. He passes by just as Clio, Leucippe’s slave, is stung on the hand by a bee. He sees Leucippe soothe Clio’s pain by singing incantations (ἐπᾴδω) she says she learned from an Egyptian woman.1 When Clitophon, determined to woo Leu- cippe, finds himself alone with her on the following day, he pretends that he too has been stung by a bee. Leucippe approaches, asking where he has been stung. In reply, Clitophon says, ————— 1 παύσειν γὰρ αὐτὴν τῆς ἀλγηδόνος δύο ἐπᾴσασαν ῥήματα· διδαχθῆναι γὰρ αὐτὴν ὑπό τινος Αἰγυπτίας εἰς πληγὰς σφηκῶν καὶ μελιττῶν. Καὶ ἅμα ἐπῇδε· καὶ ἔλεγεν ἡ Κλειὼ μετὰ μικρὸν ῥᾴων γεγονέναι. (2.7 - “…she would, she said, stop her pain by chanting two spells; she had been taught by an Egyptian woman how to deal with wasp- and bee-stings. As she had chanted, Clio had said that the pain was gradually relieved.”). All Greek text of Leu- cippe and Clitophon is that of Garnaud 1991. All translations are cited, with occasional alterations, from Whitmarsh 2001. I want to give special thanks to Catherine Connors for her insightful comments throughout the drafting of this paper. Thanks too to Alex Hollmann and Stephen Trzaskoma for feedback on earlier versions of this project. -
The Influence of Atticism on the Textual Transmission of I John with Particular Reference to the Alexandrian Text Type
The influence of Atticism on the textual transmission of I John with particular reference to the Alexandrian text type PR de Lange 20557159 Verhandeling voorgelê ter nakoming vir die graad Magister in Grieks aan die Potchefstroomkampus van die Noordwes-Universiteit Studieleier: Prof GJC Jordaan April 2014 DEDICATION Not a day has passed throughout the duration of this study that I did not long for my mother, Leentie de Lange, who passed away in July 2011. I dedicate this study to her memory and love. Vir my moeder, Leentie de Lange, in liefdevolle en verlangende herinnering. Acknowledgements I would like to acknowledge the support of the following institutions towards the completion of this study: * The financial assistance of the National Research Foundation (NRF) towards this research is hereby acknowledged. Opinions expressed and conclusions arrived at, are those of the author and are not necessarily to be attributed to the NRF. * The North-West University, for continuous financial support over a number of years. The Faculty of Theology of the North-West University, for providing me with the opportunity of lecturing in Greek, and in particular the Dean, Professor Fika Janse van Rensburg, who made this possible. I would further like to express my gratitude towards the following individuals: * Towards my supervisor, Professor Jorrie Jordaan, not only for his insight and guidance throughout this study, but also for casually remarking during a Greek II class in 2008 that, perhaps, one of the students in that class will one day show an interest in textual criticism. His enthusiasm for, and passionate commitment towards his discipline played a great role in my choice of focus for postgraduate study. -
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Lucian and the Atticists: A Barbarian at the Gates by David William Frierson Stifler Department of Classical Studies Duke University Date:_______________________ Approved: ___________________________ William A. Johnson, Supervisor ___________________________ Janet Downie ___________________________ Joshua D. Sosin ___________________________ Jed W. Atkins Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classical Studies in the Graduate School of Duke University 2019 ABSTRACT Lucian and the Atticists: A Barbarian at the Gates by David William Frierson Stifler Department of Classical Studies Duke University Date:_______________________ Approved: ___________________________ William A. Johnson, Supervisor ___________________________ Janet Downie ___________________________ Joshua D. Sosin ___________________________ Jed W. Atkins An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classical Studies in the Graduate School of Duke University 2019 Copyright by David William Frierson Stifler 2019 Abstract This dissertation investigates ancient language ideologies constructed by Greek and Latin writers of the second and third centuries CE, a loosely-connected movement now generally referred to the Second Sophistic. It focuses on Lucian of Samosata, a Syrian “barbarian” writer of satire and parody in Greek, and especially on his works that engage with language-oriented topics of contemporary relevance to his era. The term “language ideologies”, as it is used in studies of sociolinguistics, refers to beliefs and practices about language as they function within the social context of a particular culture or set of cultures; prescriptive grammar, for example, is a broad and rather common example. The surge in Greek (and some Latin) literary output in the Second Sophistic led many writers, with Lucian an especially noteworthy example, to express a variety of ideologies regarding the form and use of language. -
Euanthes and the World of Rhetoric in Achilles Tatius' Leucippe And
Euanthes and the World of Rhetoric in Achilles Tatius’ Leucippe and Cleitophon KATHERINE A. MCHUGH The University of Edinburgh In Book Three of Achilles Tatius’ Leucippe and Cleitophon there is an ekphrasis of a painting, one of three within the entirety of the novel. The description takes place after the protagonists’ arrival at Pelusium, as they happen upon the Temple of Zeus and come across “double images” (εἰκόνα διπλῆν, 3,6,3) which have been signed by the artist Euanthes (3,6,3).1 The main aim of this article is to consider the name of this artist, as opposed to the painting itself; it seeks to prove that Euanthes was not a real figure, but a name created by Achilles which is imbued with rhetorical references in keeping with the intellectual climate of 2nd Century AD Greek literature. The name Euanthes and its possible rhetorical connotations will be explored in conjunction with a detailed consideration of Achilles’ use of ekphrasis throughout Leucippe and Cleitophon and his interest in rhetorical edu- cation in order to assert that some of the author’s playful in-jokes have been un- derstudied, and that they can provide us with a clearer picture of how the author strives to appeal to his reader; that is, a reader who is steeped in a rhetorical edu- cation himself. The article also considers the other two ekphraseis of paintings in Leucippe and Cleitophon (which occur in Books One and Five) in order to aid with an understanding of Achilles’ use of the rhetorical technique and how sig- nificant rhetoric is to his novel as a whole.