Callimachus and Martial on Social and Sexual Behavior
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Greek Epigram and Byzantine Culture Steven D
Cambridge University Press 978-1-108-48023-9 — Greek Epigram and Byzantine Culture Steven D. Smith Frontmatter More Information GREEK EPIGRAM AND BYZANTINE CULTURE Sexy, scintillating, and sometimes scandalous, Greek epigrams from the age of the Emperor Justinian commemorate the survival of the sensual in a world transformed by Christianity. Around 567 ce, the poet and historian Agathias of Myrina published his Cycle, an anthol- ogy of epigrams by contemporary poets who wrote about what mattered to elite men in sixth-century Constantinople: harlots and dancing girls, chariot races in the hippodrome, and the luxuries of the Roman bath. But amid this banquet of worldly delights, ascetic Christianity – pervasive in early Byzantine thought – made sensual pleasure both more complicated and more compelling. In this book, Steven D. Smith explores how this miniature classical genre gave expression to lurid fantasies of domination and submission, con- straint and release, and the relationship between masculine and feminine. The volume will appeal to literary scholars and historians interested in Greek poetry, late antiquity, Byzantine studies, early Christianity, gender, and sexuality. steven d. smith is Professor of Classics and Comparative Literature at Hofstra University, New York. His publications include Greek Identity and the Athenian Past in Chariton: The Romance of Empire (2007) and Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus (Cambridge University Press, 2014). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-48023-9 — Greek Epigram and Byzantine Culture Steven D. Smith Frontmatter More Information greek culture in the roman world Editors susan e. -
Partners with God
Partners with God Theological and Critical Readings of the Bible in Honor of Marvin A. Sweeney Shelley L. Birdsong & Serge Frolov Editors CLAREMONT STUDIES IN HEBREW BIBLE AND SEPTUAGINT 2 Partners with God Table of Contents Theological and Critical Readings of the Bible in Honor of Marvin A. Sweeney Abbreviations ix ©2017 Claremont Press Preface xv 1325 N. College Ave Selected Bibliography of Marvin A. Sweeney’s Writings xvii Claremont, CA 91711 Introduction 1 ISBN 978-1-946230-13-3 Pentateuch Is Form Criticism Compatible with Diachronic Exegesis? 13 Library of Congress Cataloging-in-Publication Data Rethinking Genesis 1–2 after Knierim and Sweeney Serge Frolov Partners with God: Theological and Critical Readings of the Bible in Exploring Narrative Forms and Trajectories 27 Honor of Marvin A. Sweeney / edited by Shelley L. Birdsong Form Criticism and the Noahic Covenant & Serge Frolov Peter Benjamin Boeckel xxi + 473 pp. 22 x 15 cm. –(Claremont Studies in Hebrew Bible Natural Law Recorded in Divine Revelation 41 and Septuagint 2) A Critical and Theological Reflection on Genesis 9:1-7 Includes bibliographical references and index. ISBN 978-1-946230-13-3 Timothy D. Finlay 1. Bible—Criticism, Narrative 2. Bible—Criticism, Form. The Holiness Redaction of the Abrahamic Covenant 51 BS 1192.5 .P37 2017 (Genesis 17) Bill T. Arnold Former Prophets Miscellaneous Observations on the Samson Saga 63 Cover: The Prophet Jeremiah by Barthélemy d’Eyck with an Excursus on Bees in Greek and Roman Buogonia Traditions John T. Fitzgerald The Sword of Solomon 73 The Subversive Underbelly of Solomon’s Judgment of the Two Prostitutes Craig Evan Anderson Two Mothers and Two Sons 83 Reading 1 Kings 3:16–28 as a Parody on Solomon’s Coup (1 Kings 1–2) Hyun Chul Paul Kim Y Heavenly Porkies 101 The Psalm in Habakkuk 3 263 Prophecy and Divine Deception in 1 Kings 13 and 22 Steven S. -
Women in Criminal Trials in the Julio-Claudian Era
Women in Criminal Trials in the Julio-Claudian Era by Tracy Lynn Deline B.A., University of Saskatchewan, 1994 M.A., University of Saskatchewan, 2001 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Classics) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) September 2009 © Tracy Lynn Deline, 2009 Abstract This study focuses on the intersection of three general areas: elite Roman women, criminal law, and Julio-Claudian politics. Chapter one provides background material on the literary and legal source material used in this study and considers the cases of Augustus’ daughter and granddaughter as a backdrop to the legal and political thinking that follows. The remainder of the dissertation is divided according to women’s roles in criminal trials. Chapter two, encompassing the largest body of evidence, addresses the role of women as defendants, and this chapter is split into three thematic parts that concentrate on charges of adultery, treason, and other crimes. A recurring question is whether the defendants were indicted for reasons specific to them or the indictments were meant to injure their male family members politically. Analysis of these cases reveals that most of the accused women suffered harm without the damage being shared by their male family members. Chapter three considers that a handful of powerful women also filled the role of prosecutor, a role technically denied to them under the law. Resourceful and powerful imperial women like Messalina and Agrippina found ways to use criminal accusations to remove political enemies. Chapter four investigates women in the role of witnesses in criminal trials. -
The Cultural Creation of Fulvia Flacca Bambula
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2017 The cultural creation of Fulvia Flacca Bambula. Erin Leigh Wotring University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the European History Commons, History of Gender Commons, Intellectual History Commons, Political History Commons, Social History Commons, and the Women's History Commons Recommended Citation Wotring, Erin Leigh, "The cultural creation of Fulvia Flacca Bambula." (2017). Electronic Theses and Dissertations. Paper 2691. https://doi.org/10.18297/etd/2691 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE CULTURAL CREATION OF FULVIA FLACCA BAMBULA By Erin Leigh Wotring A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts in History Department of History University of Louisville Louisville, KY May, 2017 Copyright 2017 by Erin Leigh Wotring All rights reserved THE CULTURAL CREATION OF FULVIA FLACCA BAMBULA By Erin Leigh Wotring A Thesis Approved on April 14, 2017 by the following Thesis Committee: Dr. Jennifer Westerfeld, Director Dr. Blake Beattie Dr. Carmen Hardin ii ACKNOWLEDGEMENTS I would like to thank Dr. -
Between Arcadia and Crete: Callisto in Callimachus' Hymn to Zeus The
Between Arcadia and Crete: Callisto in Callimachus’ Hymn to Zeus The speaker of Callimachus’ Hymn to Zeus famously asks Zeus himself whether he should celebrate the god as “Dictaean,” i.e. born on Mt. Dicte in Crete, or “Lycaean,” born on Arcadian Mt. Lycaeus (4-7). When the response comes, “Κρῆτες ἀεὶ ψεῦσται” (“Cretans are always liars,” 8), the hymnist agrees, and for support recalls that the Cretans built a tomb for Zeus, who is immortal (8-9). In so dismissing Cretan claims to truth, the hymnist justifies an Arcadian setting for his ensuing birth narrative (10-41). Curiously, however, after recounting Zeus’s birth and bath, the hymnist suddenly locates the remainder of the god’s early life in Crete after all (42-54). The transition is surprising, not only because it runs counter to the previous rejection of Cretan claims, but also because the Arcadians themselves held that Zeus was both born and raised in Arcadia (Paus. 8.38.2). While scholars have focused on how the ambiguity of two place names (κευθμὸν... Κρηταῖον, 34; Θενάς/Θεναί, 42, 43) misleads the audience and/or prepares them for the abrupt move from Arcadia to Crete (Griffiths 1970 32-33; Arnott 1976 13-18; McLennan 1977 66, 74- 75; Tandy 1979 105, 115-118; Hopkinson 1988 126-127), this paper proposes that the final word of the birth narrative, ἄρκτοιο (“bear,” 41), plays an important role in the transition as well. This reference to Callisto a) allusively justifies the departure from Arcadia, by suggesting that the Arcadians are liars not unlike the Cretans; b) prepares for the hymnist’s rejection of the Cretan account of Helice; and c) initiates a series of heavenly ascents that binds the Arcadian and Cretan portions of the hymn and culminates climactically with Zeus’s own accession to the sky. -
Organigramma Distrettuale 2016-2017 Governatore Nunzio Scibilia Organigramma Distrettuale 2016-2017
Distretto 2110 IL ROTARY AL SERVIZIO DELL’UMANITÀ ORGANIGRAMMA DISTRETTUALE 2016-2017 GOVERNATORE NUNZIO SCIBILIA ORGANIGRAMMA DISTRETTUALE 2016-2017 GOVERNATORE NUNZIO SCIBILIA INDICE Il Rotary International Lo scopo, la Missione e i Valori fondamentali del Rotary 7 Missione della Fondazione Rotary 7 Rotaract, Interact e Gruppi Community Rotary 8 Diffusione del Rotary International nel Mondo 9 Piano strategico 10 Codice deontologico del Rotary 11 Prova delle QUATTRO DOMANDE 12 Le cinque vie d’Azione 12 Segreteria del Rotary International 13 Segreteria per l’Europa e l’Africa 14 Supporto Club e Distretti (CDS) 14 Presidente Internazionale Curriculum del Presidente Internazionale 18 Messaggio del Presidente Internazionale 20 Governatore del Distretto 2110 Curriculum del Governatore 24 Relazione programmatica del Governatore 29 Il Rotary in Italia I tredici distretti Rotary Italia-Malta-San Marino 46 I Governatori dei tredici distretti d’Italia, Malta e San Marino 48 Il Distretto Associazione Distretto 2110 Sicilia e Malta del Rotary International 52 Segreteria distrettuale 52 c/c Rotary International, Distretto 2110 e Fondazione Rotary 52 Evoluzione dei Distretti italiani 54 Le origini del Distretto 2110 dalla fondazione del Rotary in Italia 55 L’Organigramma del Distretto 2110 Consiglio Consultivo dei Past Governor 60 Staff distrettuale 61 Coadiutori dello Staff 66 La Squadra Distrettuale Assistenti del Governatore 70 Commissioni distrettuali: Formazione 77 Rotary Foundation, Sottocommissioni e Delegati d’Area 78 Espansione e Sviluppo -
A Martial Acronym in Ennius?
From Museum Criticum XXX-XXXI (1995-96), 281-83 MICHAEL HEN Two Notes on Suetonius1 1. Vers. Pop. 5 FLP Courtney (apud Jul. 80.3) In his account of events leading up to the assassination of Julius Caesar (Jul. 80), Suetonius preserves a fascinating bit of contemporary verse.2 Though customarily in- cluded in collections of fragmentary Latin verse, the pasquinade is surely complete in it- self. Whether the text is quite sound is another question. I quote 80.3-4:3 subscripsere quidam Luci Bruti statuae: ‘utinam uiueres—’. item ipsius Caesaris: Brutus, quia reges eiecit, consul primus factus est: hic, quia consules eiecit, rex postremo factus est. conspiratum est in eum a sexaginta amplius, Gaio Cassio Marcoque et Decimo Bruto principibus conspirationis. Despite the hazards involved in emending the text of an author as utterly and irretrievably anonymous as this one,4 I suggest that postremo should be emended to postremus. Once abbreviated to postremu’, the smallest slip of the pen would have produced postremo. There would have been nothing to arouse the suspicion of the copyist, since the meaning of postremo is at least adequate. Caesar did more or less ‘become king in the end’, and might well have done so in name as well as in fact, if he had not been assassinated. There are two specific advantages to reading postremus. First, it produces better par- allelism. Everything else in the two lines is strictly parallel, except hic for Caesar, but 1 I quote Suetonius (including the embedded quotation) from the Teubner text of M. IHM, Suetonius, Vol. -
Map 44 Latium-Campania Compiled by N
Map 44 Latium-Campania Compiled by N. Purcell, 1997 Introduction The landscape of central Italy has not been intrinsically stable. The steep slopes of the mountains have been deforested–several times in many cases–with consequent erosion; frane or avalanches remove large tracts of regolith, and doubly obliterate the archaeological record. In the valley-bottoms active streams have deposited and eroded successive layers of fill, sealing and destroying the evidence of settlement in many relatively favored niches. The more extensive lowlands have also seen substantial depositions of alluvial and colluvial material; the coasts have been exposed to erosion, aggradation and occasional tectonic deformation, or–spectacularly in the Bay of Naples– alternating collapse and re-elevation (“bradyseism”) at a staggeringly rapid pace. Earthquakes everywhere have accelerated the rate of change; vulcanicity in Campania has several times transformed substantial tracts of landscape beyond recognition–and reconstruction (thus no attempt is made here to re-create the contours of any of the sometimes very different forerunners of today’s Mt. Vesuvius). To this instability must be added the effect of intensive and continuous intervention by humanity. Episodes of depopulation in the Italian peninsula have arguably been neither prolonged nor pronounced within the timespan of the map and beyond. Even so, over the centuries the settlement pattern has been more than usually mutable, which has tended to obscure or damage the archaeological record. More archaeological evidence has emerged as modern urbanization spreads; but even more has been destroyed. What is available to the historical cartographer varies in quality from area to area in surprising ways. -
THE PARADOX of AMATORY EPIGRAM Kathryn Gutzwiller in One of His Deceptively Simple Epigrams, Catullus Shows How Well He Has Mast
THE PARADOX OF AMATORY EPIGRAM Kathryn Gutzwiller In one of his deceptively simple epigrams, Catullus shows how well he has mastered the Hellenistic art of variation: Nulli se dicit mulier mea nubere malle quam mihi, non si se Iuppiter ipse petat. dicit: sed mulier cupido quod dicit amanti, in vento et rapida scribere oportet aqua. (Catullus 70) My woman says that she prefers to marry no one more than me, not even if Juppiter himself asks her. She says it, but what a woman says to a lover who desires her must be written on the wind and rushing water. Catullus models his poem on a set of three epigrams, by Callimachus, Asclepiades, and Meleager, preserved in the AP in what was likely the original sequence from Meleager’s Garland. It would be intriguing to explore in detail how Catullus conveys his anguish at Lesbia’s betrayal through a process of intertextual allusion to a series of epigrams that already displayed variation one of the other within the context in which Catullus likely encountered them. I cite the poem here, however, only for a verbal play in the second couplet. In the last epigram from the AP sequence, the one in which Meleager demonstrates his extraordinary ability to rework and make new the best epigrams of his predecessors, an abandoned woman complains that the oaths of lovers are carried away on water (59 GP (= AP 5.8); cf. Callimachus 11 GP (= AP 5.6 = 25 Pf.), Asclepiades 9 GP (= AP 5.7)). Catullus modi es this line not only by reversing the gender roles, making himself the abandoned lover, but also by adding a paradoxical contrast between speaking and writing: what a woman says (dicit) to her lover must be written (scribere), not in a love poem, but on the wind and the water. -
THE FINAL LINE in CALLIMACHUS' HYMN to APOLLO Giuseppe Gian Grande
http://dx.doi.org/10.12795/Habis.1992.i23.05 THE FINAL LINE IN CALLIMACHUS' HYMN TO APOLLO Giuseppe Gian grande King' s College, London Un examen del verso final del Himno a Apolo de Calímaco dentro del marco de las teorías poéticas calimaqueas lleva a la conclusión de que la lectura OBóvos- es genuina, mientras que la variante .950ópoç es una trivialización. An analysis of the final une of Callimachus Hymn to Apollo, conducted within the framework of the poet' s literary theories, shows that the reading 006- voç is genuine, whereas the variant 006pos- is a trivialization. The final une in Callimachus' Hymn to Apollo has been the subject of copious debate during the last centuries. Fortunately for us, most of the relevant material has been assembled by F. Williams, in his doctoral dissertation which was directed by me at my Classics Research Centre, University of London, so that I can now conveniently refer the readers to the monograph in question 1 • As is well known, the problem consists in choosing between the variants 00óvos- or 00ópoç in fine 113. The editiones veteres, as Ernesti noted in his commentary ad loc. 2, read xaí'pe cYval'. 6 8é- .1114.1os-, 1'v '6 00óvos-, gvOci ué-otTO 1 F. Williams, Callimachus' Hymn to Apollo (Oxford 1978) 96 ff. 2 Jo. Aug. Emesti, Callimachi Hymni, Epigrammata el Fragmenta I (Lugduni Batavorum 1761) 65. 53 HABIS 23 (1992) 53-62 THE FINAL LINE IN CALLIMACHUS' HYMN TO APOLLO but the variant ~vos- was rejected by Emesti, who judged 00ópos- to be the cor- rect one. -
15. Identity and Irony. Martial's Tenth Book, Horace, and the Tradition of Roman Satire
15. IDENTITY AND IRONY. MARTIAL'S TENTH BOOK, HORACE, AND THE TRADITION OF ROMAN SATIRE Elena Merli Although Martial strongly invokes the Latin epigrammatic tradition in his poetological statements-and thus in part actually constitutes this tradition-the intertextual references in his poetry point far beyond the genre of epigram. In his monograph on Martial, John Sullivan briefly discusses the role of satire and elegy in his view our poet's most important intertextual points of reference. According to Sullivan, Martial takes from satire his critical view of society and human behav ior, and from elegy especially the element of self-representation. Even prior to Sullivan, of course, the question of Martial's relationship to satire was posed frequently, and the answers focused on the humorous and mimic elements; on the poet's description of "types" such as the parvenu, the hypocrite and the legacy-hunter; and on his criticism of Roman society and the system of clientela. 1 To my mind, the limitation of this approach consists in the diffi culty of adequately defining the object "satire". Scholarship has too often abstained from seeking precise, concrete lines and tendencies of development in this genre, and done so in good conscience on the grounds of satire's intrinsic uarietas? As far as our topic is concerned, this fact has led to a kind of optical illusion: the relationship between Martial and Juvenal has moved to center stage, while Martial's much broader and more nuanced relationship to the various forms and stages of the satirical tradition has receded into the background. -
Hellenistic Poetry Before Callimachus an Enquiry Into Two Lost Generations University of Liverpool, 14-15 June 2016
Hellenistic Poetry Before Callimachus An Enquiry Into Two Lost Generations University of Liverpool, 14-15 June 2016 Ewen Bowie (Oxford) Pauline LeVen (Yale) School of the Arts Library Benjamin Cartlidge (Oxford) Enrico Magnelli (Florence) 19 Abercromby Square Martine Cuypers (TCD) Thomas Nelson (Cambridge) Marco Fantuzzi (Macerata) Maria Noussia (Thessaloniki) L69 7ZG Liverpool Lucia Floridi (Milan) S. Douglas Olson (Freiburg) Marco Perale Annette Harder (Groningen) Peter Parsons (Oxford) [email protected] Richard Hunter (Cambridge) Marco Perale (Liverpool) Guendalina Taietti Gregory Hutchinson (Oxford) K. Spanoudakis (Rethymno) [email protected] Jan Kwapisz (Warsaw) Guenda Taietti (Liverpool) Jan Kwapisz Rebecca Lämmle (Basel) Agnieszka Toma (Wrocław) [email protected] Hellenistic Poetry before Callimachus An international conference at the University of Liverpool 14-15 June 2016 You who walk past my tomb, know that I am son and father of Callimachus of Cyrene. You must know both: the one led his country’s forces once, the other sang beyond the reach of envy. Callimachus, Epigram 21 Pf., tr. F.J. Nisetich Callimachus’ epitaph for the tomb of his father is notorious for how perplexingly little it says about the deceased. We are told neither his name nor profession, whereas the name that resounds loud and clear is that of the author of the epigram. This is a measure of how Callimachus outshone his father. The Greeks may have found delight in being defeated by their children (cf. Pl. Mx. 247a), yet we are less impressed. Even for the sake of Callimachus himself, would it not be rewarding to know who his father was? The epigram illustrates the broader problem we have with the poet’s closest literary ancestors.