DOCSLIB.ORG

Rod Freeman Phd Thesis

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rod Freeman Phd Thesis VISUALITY, ART AND ECPHRASIS IN THE MONOBIBLOS OF PROPERTIUS Rod Freeman A Thesis Submitted for the Degree of PhD at the University of St Andrews 2013 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3738 This item is protected by original copyright ‘Visuality, Art and Ecphrasis in the Monobiblos of Propertius’ Rod Freeman This thesis is submitted in fulfilment of the degree of PhD at the University of St Andrews Date of Submission: May 2013 1. Candidate’s declarations: I, Rod Freeman, hereby certify that this thesis, which is approximately 80,000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in 10/2008 and as a candidate for the degree of Ph.D. in Latin Literature; the higher study for which this is a record was carried out in the University of St Andrews between 10/2009 and 04/2013. Date 11/05/13 signature of candidate 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of Ph.D. in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 15/5/13 signature of supervisor 3. Permission for electronic publication: In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to printed copy and electronic publication of thesis through the University of St Andrews. Date 15/5/13 Signature of candidate Signature of supervisor Contents Part One: The visual artist. Introduction: ‘Cynthia and the Temple to Apollo’ pp. 1-29. Chapter One: Propertius’ visual and pictorial imagination, style and influence, pp. 30-52. Chapter 2: ‘Getting to know Cynthia’: Dramatic realism, text and art: a reading of the opening three poems of the Monobiblos, pp. 53-76. Chapter 3: Poetic and Pictorial fides. Myth and fides in art and poetry: pretence, deception, illusion, pp. 77-90. Part Two: The Monobiblos and Painting of the Second and Third Styles Chapter 4: Dreaming and visual art, pp. 91-106. Chapter 5: The Propertian ecphrastic dream-narrative, pp. 107-125. Chapter 6: Artistic pendants and visual narratives, pp. 126-148. Chapter 7: Pictorialism and poetics in Books One and Two, pp. 149-179. Conclusion: pp. 180-181. Bibliography: pp. 182-194. Illustrations: pp. 195-208. 1 Abstract In this thesis I argue that the conflation of puella, art and godhead in Propertius 2.31 and the succeeding 2.32 strongly impacts upon the opening book, the Monobiblos, of the same author. The dynamic of vision, the poet’s pictorial imagination, and the feminised, subservient stance of the elegiac lover are all well documented strains of Propertian elegy, but have generally been treated as independent areas of study. By emphasising vision as the key factor that inextricably binds lover and beloved, confusing their roles within the text, I argue that the poems of the Monobiblos respond both to contemporary effects in visual art within the changing fashions in wall painting, and a literary tradition of visuality. In the second half of this thesis I show how Propertius draws on stylistic effects in late Second and early Third Style wall painting and so provides a poetic response to viewing contemporary art. Yet not only does his poetry, like wall painting, aim to involve the reader visually but also requires the reader’s participation in the dynamic verbal artefact he creates. Just as the emerging imperial ideology was being increasingly impressed upon the Roman citizenry through the power of imagery, so this text creates a multifaceted narrative that enables a constantly shifting accessibility of viewpoint across traditional gender lines. As a consequence, the imbrication of erotic and poetic concerns highlights the tension between art and literature in this text. Part One: The visual artist Introduction Cynthia and the Temple to Apollo: 2.31 and 2.32 The mediation between art and poetics in the Monobiblos that I wish to explore in this thesis begins with an examination of two poems from outside of this text. Poems 31 and 32 of Book Two present a continuity that holds the political and private in tension and as a dramatic pair openly grapple with issues concerning writing about visual art; as such I hope to show how these two poems can illuminate the relationship between art and text in the Monobiblos.1 1 While there are clear indications that the Monobiblos was conceived as a single unity (at the opening of 2.3 for instance an interlocutor mentions an alter liber to complement the first book), there are indications of deliberate connections being drawn 2 Most of the previous scholarship on 2.31, the ecphrasis of the temple to Apollo, reads the poem as evading the ideological concerns to which the temple’s location, structure and imagery points, to focus attention on poetics, turning the temple from a celebration of Octavian’s victories to a celebration of elegiac poetry. So Keith: ‘Just as Octavian’s temple complex aestheticizes his naval victory over Sextus Pompey by transmuting it into a lavish gift to his patron divinity, so Propertius aestheticizes Octavian’s martial victories by commemorating them as a glorious promenade for literary and mythological lovers at their leisure, under the patronage of the god of literature.’2 As the only poem where Propertius writes at any length about a specific artwork, it offers a particularly fascinating case study for my project in that it participates in the tradition of the poetic ecphrasis of art as well as being concerned with a key monument of the Augustan building programme.3 Dedicated on October 9th 28 BC,4 the temple evidently had great resonance in the eyes of the public, being visible from all parts of the city and a focal point for acts of pietas,5 and is mentioned more than any other monument by the Augustan poets for its incomparable beauty. Propertius’ choice is also significant for the temple’s visual and thematic complexity. The terracotta plaques hark back to classical models in both motif and material, and the general philhellenism is apparent from various artworks which illustrate a blending of old and new styles. Equally intriguing however are the various ambivalences surrounding the temple’s design and associations for the contemporary viewer, which illustrate how the across books. Thus in 2.13.25 the narrator refers to his tres libelli, and the final poems of the third book, 3.24-25, appear to refer back to the first poem of the first, denoting the beginning and end of a love affair. These various links between poems from different books, as I go on to argue, extends to the art / literature paragone, and throughout this thesis I consider various poems from Books Two and Three as offering theoretical insight into the poems of the Monobiblos. By the term Monobiblos I am referring only to poems 1-19. This is not to deny that poems 20-22 form an integral part of the book, but as the body of ‘Cynthia’ poems, 1-19 hold a particular interest as a unit. For dates of publication and composition see Gunther 2006.224-225, who argues for Book One being published before 28 BC and Book Two some time after but before 25 BC. The Monobiblos is relatively free of the notorious textual difficulties associated with Book Two, on which see Heyworth 2007. 2 Keith 2008.148. Only Gurval 1995 argues against the temple as a celebration of Augustus’ victory at Actium as well as Augustus’ self-identification with Apollo. His argument is useful in guarding against the presumptions of hindsight but goes against the grain; Miller 2009.192-193 argues cogently for why one can confidently associate the temple with the celebration of Augustus’ victory in contemporary eyes, and Welch 2005.82 considers the temple’s various Actian nuances. It is also notable that the Greek painter Apelles, referred to in 1.2, was a clear favourite of the princeps. For instance the two paintings of Apelles in his forum – Castor and Pollux with an image of Victory and Alexander the Great – carry clear implications of Augustus as a great general, supported by the gods. Also the painting by the same artist of Aphrodite Anadyomene in the temple of Divus Iulius (Pliny Nat.
Load more

Recommended publications
  • Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
    Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age.
    [Show full text]
  • The Ideal of Lucretia in Augustan Latin Poetry
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-05-07 The Ideal of Lucretia in Augustan Latin Poetry Waters, Alison Waters, A. (2013). The Ideal of Lucretia in Augustan Latin Poetry (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28172 http://hdl.handle.net/11023/705 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Ideal of Lucretia in Augustan Latin Poetry by Alison Ferguson Waters A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF GREEK AND ROMAN STUDIES CALGARY, ALBERTA MAY 2013 © Alison Ferguson Waters 2013 ii Abstract This study concerns the figure of Lucretia as she is presented by the Roman historian Livy in the first book of Ab Urbe Condita, where she is intended as an example of virtue, particularly in terms of her attention to woolworking. To find evidence for this ideal and how it was regarded at the time, in this study a survey is made of woolworking references in the contemporary Augustan poets Vergil, Tibullus, Propertius and Ovid. Other extant versions of the Lucretia legend do not mention woolworking; Livy appears to have added Lucretia’s devotion to wool, a tradition in keeping with Augustan propaganda.
    [Show full text]
  • A Story of Five Amazons Brunilde S
    Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Classical and Near Eastern Archaeology Faculty Classical and Near Eastern Archaeology Research and Scholarship 1974 A Story of Five Amazons Brunilde S. Ridgway Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/arch_pubs Part of the Classical Archaeology and Art History Commons, and the History of Art, Architecture, and Archaeology Commons Custom Citation Ridgway, Brunilde S. 1974. A Story of Five Amazons. American Journal of Archaeology 78:1-17. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/arch_pubs/79 For more information, please contact [email protected]. A Story of Five Amazons* BRUNILDE SISMONDO RIDGWAY PLATES 1-4 THEANCIENT SOURCE dam a sua quisqueiudicassent. Haec est Polycliti, In a well-knownpassage of his book on bronze proximaab ea Phidiae, tertia Cresilae,quarta Cy- sculpturePliny tells us the story of a competition donis, quinta Phradmonis." among five artists for the statue of an Amazon This texthas been variously interpreted, emended, (Pliny NH 34.53): "Venereautem et in certamen and supplementedby trying to identifyeach statue laudatissimi,quamquam diversis aetatibusgeniti, mentionedby Pliny among the typesextant in our quoniamfecerunt Amazonas, quae cum in templo museums. It may thereforebe useful to review Dianae Ephesiaedicarentur, placuit eligi probatis- brieflythe basicpoints made by the passage,before simam ipsorum artificum, qui praesenteserant examining the sculpturalcandidates. iudicio,cum apparuitearn esse quam omnes secun- i) The Competition.The mention of a contest * The following works will be quoted in abbreviated form: von Bothmer D.
    [Show full text]
  • Select Epigrams from the Greek Anthology
    SELECT EPIGRAMS FROM THE GREEK ANTHOLOGY J. W. MACKAIL∗ Fellow of Balliol College, Oxford. PREPARER’S NOTE This book was published in 1890 by Longmans, Green, and Co., London; and New York: 15 East 16th Street. The epigrams in the book are given both in Greek and in English. This text includes only the English. Where Greek is present in short citations, it has been given here in transliterated form and marked with brackets. A chapter of Notes on the translations has also been omitted. eti pou proima leuxoia Meleager in /Anth. Pal./ iv. 1. Dim now and soil’d, Like the soil’d tissue of white violets Left, freshly gather’d, on their native bank. M. Arnold, /Sohrab and Rustum/. PREFACE The purpose of this book is to present a complete collection, subject to certain definitions and exceptions which will be mentioned later, of all the best extant Greek Epigrams. Although many epigrams not given here have in different ways a special interest of their own, none, it is hoped, have been excluded which are of the first excellence in any style. But, while it would be easy to agree on three-fourths of the matter to be included in such a scope, perhaps hardly any two persons would be in exact accordance with regard to the rest; with many pieces which lie on the border line of excellence, the decision must be made on a balance of very slight considerations, and becomes in the end one rather of personal taste than of any fixed principle. For the Greek Anthology proper, use has chiefly been made of the two ∗PDF created by pdfbooks.co.za 1 great works of Jacobs,
    [Show full text]
  • THE CONTRAPOSITION BETWEEN EPOS and EPULLION in HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena
    Anuario de Estudios Filológicos, ISSN 0210-8178, vol. XXVII, 23-39 THE CONTRAPOSITION BETWEEN EPOS AND EPULLION IN HELLENISTIC POETRY: STATUS QUAESTIONIS 1 José Antonio Clúa Serena Universidad de Extremadura Resumen En este artículo se esbozan algunos de los hitos más importantes que configuran, desde Antímaco de Colofón hasta las últimas manifestaciones poéticas helenísticas y romanas, la contraposición entre el e[po~ y el ejpuvllion. Sobre este último «género», repleto de elemen- tos etiológicos y largas digresiones, se aportan y se comparan datos importantes mediante dos métodos conocidos: la Quellensforchung y la comparación entre seguidores de la escuela de Calímaco y los denominados Telquines. Se analizan epigramas concretos, epilios de Teócrito, Mosco, la Hécale de Calímaco, epilios de Trifiodoro, Hedilo, Museo, Euforión, Partenio, Poliano, así como de Cornelio Galo y Cinna. Finalmente, se estudia la dicotomía «agua»/«vino» como símbolos de inspiración y se ofrece una posible clave para focalizar el paso de dicha contraposición desde la literatura helenística griega a la romana. Palabras clave: Epos, epyllion, hellenistic poetry, Cantores Callimachi. Abstract This paper describes some highly important aspects than configure, from Aminachus of Colofos to the latest Hellenistic and Roman poetic pieces, the contraposition of the concepts e[po~ and ejpuvllion. About this latter ‘genre’, filled with etiological and disgressive elements, data are contrasted according to two well known methods: Quellensforchung and comparison between Callimachus’ followers and Telquines. Specific epigrams are reviewed, also some epic poems by Theocritus, Moscos, the Hecale by Callimachus, epic poems by Trifiodorus, Hedilus, Museus, Euforius, Partenius, Polianus, Cornelius, Galius, and Cinnas. Finally, dichotomous elements like ‘water’/‘wine’ are studied as symbols for inspiration.
    [Show full text]
  • Insights from Stourhead Gardens
    Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid.
    [Show full text]
  • Lateinische Synonyme Und Etymologieen
    Über dieses Buch Dies ist ein digitales Exemplar eines Buches, das seit Generationen in den Regalen der Bibliotheken aufbewahrt wurde, bevor es von Google im Rahmen eines Projekts, mit dem die Bücher dieser Welt online verfügbar gemacht werden sollen, sorgfältig gescannt wurde. Das Buch hat das Urheberrecht überdauert und kann nun öffentlich zugänglich gemacht werden. Ein öffentlich zugängliches Buch ist ein Buch, das niemals Urheberrechten unterlag oder bei dem die Schutzfrist des Urheberrechts abgelaufen ist. Ob ein Buch öffentlich zugänglich ist, kann von Land zu Land unterschiedlich sein. Öffentlich zugängliche Bücher sind unser Tor zur Vergangenheit und stellen ein geschichtliches, kulturelles und wissenschaftliches Vermögen dar, das häufig nur schwierig zu entdecken ist. Gebrauchsspuren, Anmerkungen und andere Randbemerkungen, die im Originalband enthalten sind, finden sich auch in dieser Datei – eine Erin- nerung an die lange Reise, die das Buch vom Verleger zu einer Bibliothek und weiter zu Ihnen hinter sich gebracht hat. Nutzungsrichtlinien Google ist stolz, mit Bibliotheken in partnerschaftlicher Zusammenarbeit öffentlich zugängliches Material zu digitalisieren und einer breiten Masse zugänglich zu machen. Öffentlich zugängliche Bücher gehören der Öffentlichkeit, und wir sind nur ihre Hüter. Nichtsdestotrotz ist diese Arbeit kostspielig. Um diese Ressource weiterhin zur Verfügung stellen zu können, haben wir Schritte unternommen, um den Missbrauch durch kommerzielle Parteien zu verhindern. Dazu gehören technische Einschränkungen für automatisierte Abfragen. Wir bitten Sie um Einhaltung folgender Richtlinien: + Nutzung der Dateien zu nichtkommerziellen Zwecken Wir haben Google Buchsuche für Endanwender konzipiert und möchten, dass Sie diese Dateien nur für persönliche, nichtkommerzielle Zwecke verwenden. + Keine automatisierten Abfragen Senden Sie keine automatisierten Abfragen irgendwelcher Art an das Google-System.
    [Show full text]
  • Future Philology! by Ulrich Von Wilamowitz-Moellendorff - Rt Anslated by G
    Fordham University Masthead Logo DigitalResearch@Fordham Articles and Chapters in Academic Book Philosophy Collections 2000 Future Philology! by Ulrich von Wilamowitz- Moellendorff - rT anslated by G. Postl, B. Babich, and H. Schmid Babette babich Fordham University, [email protected] Follow this and additional works at: https://fordham.bepress.com/phil_babich Part of the Classical Literature and Philology Commons, Continental Philosophy Commons, German Language and Literature Commons, and the History of Philosophy Commons Recommended Citation babich, Babette, "Future Philology! by Ulrich von Wilamowitz-Moellendorff - rT anslated by G. Postl, B. Babich, and H. Schmid" (2000). Articles and Chapters in Academic Book Collections. 3. https://fordham.bepress.com/phil_babich/3 This Article is brought to you for free and open access by the Philosophy at DigitalResearch@Fordham. It has been accepted for inclusion in Articles and Chapters in Academic Book Collections by an authorized administrator of DigitalResearch@Fordham. For more information, please contact [email protected]. FUTURE PHILOLOGY!i a reply to FRIEDRICH NIETZSCHE’S Ordinarius Professor of Classical Philology at Basel „birth of tragedy“ by Ulrich von Wilamowitz-Möllendorff Dr. Phil. zÏîùô óéëöéùô âáë&Òò ôåýôëéïí ßðüôñéììá hñÃïí ¦ãêÝöáëïí Ïñßãáíïí êáôáðõãïóýíç ôáØôz ¦óô ðñÎò êñåáò ìÝãá. — Aristophanes, Age 17ii i Zukunftsphilologie is a play upon the 1861 German publication of Wagner’s ironically titled “Zukunftsmusik” [“Music of the Future” — the quotation marks are Wagner’s own], an open letter to Frederic Villot, Conservator of the Picture Museums at the Louvre, first translated into and published in French in 1860. See L. J. Rather, Reading Wagner: A Study in the History of Ideas (Baton Rouge: Louisiana State University Press, 1998), p.
    [Show full text]
  • “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.
    [Show full text]
  • A Guide to Hellenistic Literature
    A Guide to Hellenistic Literature Kathryn Gutzwiller A Guide to Hellenistic Literature BLACKWELL GUIDES TO CLASSICAL LITERATURE Each volume offers coverage of political and cultural context, brief essays on key authors, historical figures, and the most important literary works, and a survey of crucial themes. The series provides the necessary background to read classical literature with confidence. Published A Guide to Hellenistic Literature Kathryn Gutzwiller A Guide to Ancient Greek Drama Ian C. Storey and Arlene Allan In preparation A Guide to Epic Poetry Brendon Reay and Timothy Hampton A Guide to Hellenistic Literature Kathryn Gutzwiller ß 2007 by Kathryn Gutzwiller BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Kathryn Gutzwiller to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and Patents Act 1988, without the prior permission of the publisher. First published 2007 by Blackwell Publishing Ltd 1 2007 Library of Congress Cataloging-in-Publication Data Gutzwiller, Kathryn J. A guide to Hellenistic literature / Kathryn Gutzwiller. p. cm.—(Blackwell guides to classical literature) Includes bibliographical references and index. ISBN-13: 978-0-631-23321-3 (hardcover: alk. paper) ISBN-13: 978-0-631-23322-0 (pbk.: alk.
    [Show full text]
  • The Golden Bough (Vol. 1 of 2) by James George Frazer
    The Project Gutenberg EBook of The Golden Bough (Vol. 1 of 2) by James George Frazer 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: The Golden Bough (Vol. 1 of 2) Author: James George Frazer Release Date: October 16, 2012 [Ebook 41082] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE GOLDEN BOUGH (VOL. 1 OF 2)*** The Golden Bough A Study in Comparative Religion By James George Frazer, M.A. Fellow of Trinity College, Cambridge In Two Volumes. Vol. I. New York and London MacMillan and Co. 1894 Contents Dedication. .2 Preface. .3 Chapter I. The King Of The Wood. .8 § 1.—The Arician Grove. .8 § 2.—Primitive man and the supernatural. 13 § 3.—Incarnate gods. 35 § 4.—Tree-worship. 57 § 5.—Tree-worship in antiquity. 96 Chapter II. The Perils Of The Soul. 105 § 1.—Royal and priestly taboos. 105 § 2.—The nature of the soul. 115 § 3.—Royal and priestly taboos (continued). 141 Chapter III. Killing The God. 198 § 1.—Killing the divine king. 198 § 2.—Killing the tree-spirit. 221 § 3.—Carrying out Death. 233 § 4.—Adonis. 255 § 5.—Attis. 271 § 6.—Osiris. 276 § 7.—Dionysus. 295 § 8.—Demeter and Proserpine. 304 § 9.—Lityerses. 334 Footnotes . 377 [Transcriber's Note: The above cover image was produced by the submitter at Distributed Proofreaders, and is being placed into the public domain.] [v] Dedication.
    [Show full text]
  • Dionysiac Art and Pastoral Escapism
    Alpenglow: Binghamton University Undergraduate Journal of Research and Creative Activity Volume 6 Number 1 (2020) Article 4 12-1-2020 Dionysiac Art and Pastoral Escapism Casey Roth Binghamton University, [email protected] Follow this and additional works at: https://orb.binghamton.edu/alpenglowjournal Recommended Citation Roth, C. (2020). Dionysiac Art and Pastoral Escapism. Alpenglow: Binghamton University Undergraduate Journal of Research and Creative Activity, 6(1). Retrieved from https://orb.binghamton.edu/ alpenglowjournal/vol6/iss1/4 This Academic Paper is brought to you for free and open access by The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Alpenglow: Binghamton University Undergraduate Journal of Research and Creative Activity by an authorized editor of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. Casey Roth Dionysiac Art and Pastoral Escapism The pastoral lifestyle was appealing to many people in the Hellenistic and Roman world, as it provided an escape from the stresses of the city.1 This longing to flee the materialistic urban centers was reflected in art and literature, in which Dionysiac figures, such as satyrs or even herdsmen, were represented and described in this idealized environment and provided viewers with a sense of being carefree. Dionysiac elements in art and literature represented this escape from the chaotic city, overcoming boundaries to allow one to welcome a utopia.2 Not only were boundaries overcome in both a worldly and geographic sense, but also identity was challenged. As a result of escaping the city through pastoralism, one could abandon their identity as a civilian for an existence defined by pastoral bliss.3 Pastoralism was associated with an idyllic landscape and can act as an escape from reality.
    [Show full text]