The Function of Lethe
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Alexander the Great and Hephaestion
2019-3337-AJHIS-HIS 1 Alexander the Great and Hephaestion: 2 Censorship and Bisexual Erasure in Post-Macedonian 3 Society 4 5 6 Same-sex relations were common in ancient Greece and having both male and female 7 physical relationships was a cultural norm. However, Alexander the Great is almost 8 always portrayed in modern depictions as heterosexual, and the disappearance of his 9 life-partner Hephaestion is all but complete in ancient literature. Five full primary 10 source biographies of Alexander have survived from antiquity, making it possible to 11 observe the way scholars, popular writers and filmmakers from the Victorian era 12 forward have interpreted this evidence. This research borrows an approach from 13 gender studies, using the phenomenon of bisexual erasure to contribute a new 14 understanding for missing information regarding the relationship between Alexander 15 and his life-partner Hephaestion. In Greek and Macedonian society, pederasty was the 16 norm, and boys and men did not have relations with others of the same age because 17 there was almost always a financial and power difference. Hephaestion was taller and 18 more handsome than Alexander, so it might have appeared that he held the power in 19 their relationship. The hypothesis put forward here suggests that writers have erased 20 the sexual partnership between Alexander and Hephaestion because their relationship 21 did not fit the norm of acceptable pederasty as practiced in Greek and Macedonian 22 culture or was no longer socially acceptable in the Roman contexts of the ancient 23 historians. Ancient biographers may have conducted censorship to conceal any 24 implication of femininity or submissiveness in this relationship. -
Dionysus, Wine, and Tragic Poetry: a Metatheatrical Reading of P.Koln VI 242A=Trgf II F646a Anton Bierl
BIERL, ANTON, Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of a New Dramatic Papyrus , Greek, Roman and Byzantine Studies, 31:4 (1990:Winter) p.353 Dionysus, Wine, and Tragic Poetry: A Metatheatrical Reading of P.Koln VI 242A=TrGF II F646a Anton Bierl EW DRAMATIC PAPYRUS1 confronts interpreters with many ~puzzling questions. In this paper I shall try to solve some of these by applying a new perspective to the text. I believe that this fragment is connected with a specific literary feature of drama especially prominent in the bnal decades of the bfth century B.C., viz. theatrical self-consciousness and the use of Dionysus, the god of Athenian drama, as a basic symbol for this tendency. 2 The History of the Papyrus Among the most important papyri brought to light by Anton Fackelmann is an anthology of Greek prose and poetry, which includes 19 verses of a dramatic text in catalectic anapestic tetrameters. Dr Fackelmann entrusted the publication of this papyrus to Barbel Kramer of the University of Cologne. Her editio princeps appeared in 1979 as P. Fackelmann 5. 3 Two years later the verses were edited a second time by Richard Kannicht and Bruno Snell and integrated into the Fragmenta Adespota in 1 This papyrus has already been treated by the author in Dionysos und die griechische Trag odie. Politische und 'metatheatralische' Aspekte im Text (Tiibingen 1991: hereafter 'Bieri') 248-53. The interpretation offered here is an expansion of my earlier provisional comments in the Appendix, presenting fragments of tragedy dealing with Dionysus. 2 See C. -
La Pia, Leggenda Romantica Di Bartolomeo Sestini
Edizioni dell’Assemblea 118 Ricerche La Pia, leggenda romantica di Bartolomeo Sestini a cura di Serena Pagani La Pia, leggenda romantica di Bartolomeo Sestini / a cura di Serena Pagani. - Firenze : Consiglio regionale della Toscana, 2015 1. Sestini, Bartolommeo < 1792-1822> 2. Pagani, Serena 3. Toscana <Regione>. Consiglio regionale 851.7 Sestini, Bartolommeo <1792-1822> - Poemi CIP (Cataloguing in publishing) a cura della Biblioteca del Consiglio regionale Volume in distribuzione gratuita Consiglio regionale della Toscana Settore Comunicazione, editoria, URP e sito web. Assistenza al Corecom Progetto grafico e impaginazione: Patrizio Suppa Pubblicazione realizzata dalla tipografia del Consiglio regionale, ai sensi della l.r. 4/2009 Dicembre 2015 ISBN 978-88-89365-59-5 Alle donne della mia famiglia e al mio Alessandro Sommario Premessa 9 Nota introduttiva 11 Nota al testo 29 Ringraziamenti 33 La Pia, leggenda romantica di Bartolomeo Sestini 35 Canto primo 39 Canto secondo 81 Canto terzo 121 Bibliografia di riferimento 151 Premessa Il desiderio di pubblicare una nuova edizione critica e commen- tata del componimento in ottave del pistoiese Bartolomeo Sestini sulla Pia senese è nato dall’intento di rendere omaggio all’autore che diede vita alla fortuna romantica del personaggio dantesco, la quale fiorì nei più svariati ambiti dell’arte, dalla letteratura alla pittura, dalla musica al teatro. Tramandiamo il testo nella sua forma originaria, come voluta dall’autore nella prima edizione romana del 1822, ma aggiungendo un commento critico, al fine di valorizzare appieno la personalità poetica di questo scrittore e patriota toscano, altra voce dell’Otto- cento, offuscata da quelle dei grandi contemporanei. Una nota introduttiva con la biografia di Bartolomeo Sestini e una breve sintesi sulla sua produzione letteraria precedono il testo; segue la storia delle edizioni maggiori della leggenda in ver- si romantica, tutte postume alla di lui morte. -
Vettori, Italian
Rutgers, The State University of New Jersey Department of Italian 16:560:605 Dante Seminar Fall 2013 Alessandro Vettori Office Hours by appointment Department of Italian Tel 732-932-7536 84 College Avenue - Rm 101 Fax 732-932-1686 email: [email protected] The purpose of this course is the investigation of Dante’s opus in relation to other poets, philosophers, and theologians that had deep influences on his writing. Although only two of his major works will be read in their entirety, the Divine Comedy and the Vita nova, constant references will be made to other writings. Besides a stylistic and formal analysis, numerous thematic strains will be researched and followed throughout Dante’s production. Particular attention will be paid to such concepts as allegory, poetic auto-interpretation, autobiography, and the ever-changing concept of love. Learning goals: Students will be trained to do a close analysis of literary texts, to put poetic and prose texts in conversation with philosophical ideas, to discern the boundaries of literature, philosophy, and theology. They will be assessed by means of oral presentations (one long, one short), one short paper, one long (publishable) paper, and class participation. Syllabus Texts: Vita Nova (any annotated edition); Divina Commedia (any annotated edition); secondary materials will be made available on sakai. 09/09 Introduction. Exile, Poetry, Prayer. 09/16 Vita Nuova. Ronald Martinez, “Mourning Beatrice: The Rhetoric of Threnody in the Vita nuova,” Modern Language Notes 113 (1998): 1-29. 09/23 Vita Nuova. Teodolinda Barolini, “‘Cominciandomi dal principio infino a la fine’ (V.N. XXIII 15): Forging Anti-Narrative in the Vita Nuova,” La gloriosa donna de la mente. -
Matelda: Il Nuovo Inizio E Il Tantra Di Dante1
Matelda: Il Nuovo Inizio e il Tantra di Dante1 L’in-possibile felicità terrena NICOLA LICCIARDELLO2 ABSTRACT: Il testo rivisita la funzione del personaggio di Matelda nel Paraíso terrestre della Divina Commedia, avendo come base le teorie del buddismo tantrico. In virtù di questa analisi Matelda diventa la personifi- cazione della bella natura vergine che inizia Dante alla purezza dell’amore divino e all’oblio del male. PAROLE CHIAVE: Divina Commedia; Dante Alighieri; Matelda; imma- ! gine; figura. 1. Una versione ridotta di questo saggio fu destinata a La bella Schola (Rovigo: Il Ponte del sale), antologia di canti danteschi commentati da poeti italiani a cura di Marco Munaro – il cui volume conclusivo sul Purgatorio uscirà nel 2013. 2. Giornalista e saggista [email protected] RESUMO: O texto revisita a função da personagem Matelda no Paraíso terrestre, da Divina Commedia, de Dante Alighieri, tendo como base as te- orias do budismo tântrico. Matelda torna-se, a partir dessa, análise, a per- sonificação da bela natureza virgem que inicia Dante na pureza do amor divino e no esquecimento de todo mal. PALAVRAS-CHAVE: Divina Comédia; Dante Alighieri; Matelda; ima- gem; figura. ABSTRACT: This paper revisits Matelda in the earth paradise’s character function in Dante Alighieri’s Divine Comedy in which the theoretical basis comes from tantric buddhism. From this analyzis, Matelda becomes the personification of beautiful virgin nature that initiates Dante in pure divine love and in every evil forgetfulness. KEYWORDS: Comedy; Dante Alighieri; Matelda; image; picture. 4 Revista de Italianística XXIII | 2012 Purgatorio XXVIII ppena superato il muro di fuoco e proclamato da Virgilio Alibero di seguire il suo piacere come guida, Dante si ritrova nella “foresta divi- na, spessa e viva”, antinomica alla “selva selvaggia, aspra e forte” in cui si era smarrito all’inizio. -
Book 10 – the Kingdom of the Dead Hades (1) God of the Dead, Ruler of the Underworld, Which Was Accordingly Known As Hades
Book 10 – The Kingdom of the Dead Hades (1) God of the dead, ruler of the Underworld, which was accordingly known as Hades. In various adventures, Hades abducted the maiden Persephone, tricked the heroes Theseus and Peirithous and managed to get himself handcuffed by Sisyphus. The god Hades was a dread figure to the living, who were quite careful how they swore oaths in his name. To many people, simply to utter the word "Hades" was a frightening proposition. Realm of the dead, either underground or in the far West of the world known to the early Greeks - or both. Named for the god Hades, its ruler. Hades (2) As is not surprising, the ancient Greeks did not know what to expect after death. Notions of the afterlife were various and conflicting. Some thought that great heroes lucked out by traveling to the Elysian Fields, where they could hunt and feast and socialize in pleasant company for eternity, while commoners were consigned to a lifeless and boring abode in the Fields of Asphodel. First they'd drink the waters of Lethe, which caused them to lose all memory of their former lives and thus lack anything to talk about. In its earlier depictions, the underworld kingdom of Hades was such a dank and dark and moldering place that were it laid open to the heavens, the gods themselves would turn away in disgust. Persephone Beautiful daughter of Zeus and Demeter; sometimes considered an Olympian. While gathering flowers in a field one day, Persephone was abducted to the Underworld by Hades, who arose in his chariot from a fissure in the ground. -
Rites of Passage: Dionysus and the Chorus of Satyrs1
Universidade de São Paulo, JOHN C. DAWSEY São Paulo, São Paulo, Brazil. RITES OF PASSAGE: DIONYSUS AND THE CHORUS OF SATYRS1 ABSTRACT At the origins of Greek tragedy, in the chorus of satyrs of Dionysian theater, Greeks stared into horror. This observation by Nietzsche is the start- ing point for a discussion of rites of passage and, particularly, of liminal experience. Contribu- tions from contemporary performance and the- ater highlight aspects of this experience. So also, the studies of Julia Kristeva deserve attention. A hypothesis inspired by the writings of Walter Benjamin emerges at the end: vital elements of rites of passage and Dionysian theater have to do with what may be called “margins of margins”. keywords In focus, the double removal of masks (everyday rites of passage, and extraordinary), the subterranean regions of margins of symbols, and the experience of f(r)iction (with margins, f(r)iction, the r between parentheses) in relations between astounding or masks and bodies. Paraphrasing Pascal, the body extraordinary has its reasons of which culture knows not. At everyday margins of margins a double optic is formed: the experience, astounding (or extraordinary) everyday, no sur- corpoiesis prise in the astounding. 1. This article results from research developed as part of the Project “Mother images: drama and montage” (Imagens de mães: drama e montage), Processo CNPq 308691/2012-1. 159 São Paulo, v. 1, n. 1, p. 159 -178, june (2016) I. DIONYSUS AND THE CHORUS OF SATYRS: STARING INTO HORROR I would like to invite listeners on a trip: a discussion about rites of passage.2 Our guide: one of the gods of Ancient Greece, the god of wine Dionysus. -
Greek and Roman Perceptions of the Afterlife in Homer's
McNair Scholars Journal Volume 11 | Issue 1 Article 2 2007 Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Jeff Adams Grand Valley State University Follow this and additional works at: http://scholarworks.gvsu.edu/mcnair Recommended Citation Adams, Jeff (2007) Gr" eek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid," McNair Scholars Journal: Vol. 11: Iss. 1, Article 2. Available at: http://scholarworks.gvsu.edu/mcnair/vol11/iss1/2 Copyright © 2007 by the authors. McNair Scholars Journal is reproduced electronically by ScholarWorks@GVSU. http://scholarworks.gvsu.edu/ mcnair?utm_source=scholarworks.gvsu.edu%2Fmcnair%2Fvol11%2Fiss1%2F2&utm_medium=PDF&utm_campaign=PDFCoverPages Greek and Roman Perceptions of the Afterlife in Homer’s Iliad and Odyssey and Virgil’s Aeneid Abstract Homer’s Odyssey says that death “is the This study is a literary analysis of way of mortals, whenever one of them Homer’s Iliad and Odyssey and Virgil’s should die, for the tendons no longer Aeneid. Of specific interest are the hold flesh and bones together, but the interactions of Achilles, Odysseus, strong might of blazing fire destroys and Aeneas with their beloved dead. these things as soon as the spirit has left I focused on what each party, both the the white bones, and the soul, having living and the dead, wanted and the flown away like a dream, hovers about.”1 results of their interaction. Methods People have always been fascinated by included reading passages from the death and the afterlife. -
LT358 the Divine Comedy Today Seminar Leader: Francesco Giusti Course Times: Tue & Thu 17:30-19:00 Email: [email protected] Office Hours: by Appointment
LT358 The Divine Comedy Today Seminar Leader: Francesco Giusti Course Times: Tue & Thu 17:30-19:00 Email: [email protected] Office Hours: By appointment Divina Commedia, XIV sec., Biblioteca Medicea Laurenziana, detail (https://commons.wikimedia.org/wiki/File:Firenze,_divina_commedia,_xiv_sec.,_cod._tempi_1,_02.JPG) Course Description Celebrations for the 700th anniversary of Dante’s death (1321–2021) are in preparation all over the world. This attests to the long-lasting cultural significance that his Divine Comedy still holds not just in the European canon, but in a globalizing world. The enormous influence and dissemination of this medieval poem is evident in its variegated reception in contemporary literature, cinema, music, and in the visual and performing arts. The Divine Comedy can be, and has long been, considered as a representative embodiment of authority in the European tradition. This course, instead, asks whether Dante’s “masterpiece” could also offer breaches in which the ideal Western subject cracks open and shows its problematic constitution in a never fully accomplished process of formation. By looking at figurations of desire, bodily performances, temporal entanglements, negotiations of authorship, and multicultural sources, the Divine Comedy may become much less monolithic — and Dante a less dogmatic figure — and offer a space for discussion in which contemporary readers can conjoin their diverse perspectives, interests, and experiences. In this course, students will closely explore a selection of canti from the Divine Comedy (in English translation) in their historical context and the multifaceted picture of the medieval world(s) that they present to the reader. In addition, they will discuss the transcultural aspects of the poem and its reception in contemporary culture. -
Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected]
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Greek, Latin, and Classical Studies Faculty Research Greek, Latin, and Classical Studies and Scholarship 2018 Underworld Radcliffe .G Edmonds III Bryn Mawr College, [email protected] Let us know how access to this document benefits ouy . Follow this and additional works at: https://repository.brynmawr.edu/classics_pubs Part of the Classics Commons Custom Citation Edmonds, Radcliffe .,G III. 2019. "Underworld." In Oxford Classical Dictionary. New York/Oxford: Oxford University Press. This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. https://repository.brynmawr.edu/classics_pubs/123 For more information, please contact [email protected]. Underworld Radcliffe G. Edmonds III In Oxford Classical Dictionary, in Oxford Research Encyclopedia of Classics. (Oxford University Press. April 2019). http://dx.doi.org/10.1093/acrefore/9780199381135.013.8062 Summary Depictions of the underworld, in ancient Greek and Roman textual and visual sources, differ significantly from source to source, but they all draw on a common pool of traditional mythic motifs. These motifs, such as the realm of Hades and its denizens, the rivers of the underworld, the paradise of the blessed dead, and the places of punishment for the wicked, are developed and transformed through all their uses throughout the ages, depending upon the aims of the author or artist depicting the underworld. Some sources explore the relation of the world of the living to that of the dead through descriptions of the location of the underworld and the difficulties of entering it. By contrast, discussions of the regions within the underworld and existence therein often relate to ideas of afterlife as a continuation of or compensation for life in the world above. -
Interpv31issue1 1 29 04 (Page 1)
Volume 31 Issue 1 Interpretation, Inc. 11367-1597 U.S.A. Flushing, N.Y. Queens College 31/1 A JOURNAL OF POLITICAL PHILOSOPHY Interpretation Fall 2003 3 Ronald Hamowy Two Whig Views of the American Revolution: Adam Ferguson’s Response to Richard Price Discussion: 37 Patrick Coby Mind Your Own Business: The Trouble with Justice in Plato’s Republic 59 Sean Steel Katabasis in Plato’s Symposium Book Reviews: 85 Martin Yaffe The Beginning of Wisdom: Reading Genesis by Leon R. Kass 93 Mera Flaumenhaft Colloquial Hermeneutics: Eva Brann’s Odyssey 103 Wayne Ambler Our Attraction to Justice Devin Stauffer The Idea of Enlightenment: Hanover, PAHanover, 17331 109 Fall 2003 Fall U.S. POSTAGE U.S. POSTAGE Non-Profit Org. A Post-Mortem Study by Permit No. 4 Robert C. Bartlett PAID A JOURNAL OF POLITICAL PHILOSOPHY Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor Erik Dempsey General Editors Seth G. Benardete (d. 2001) • Charles E. Butterworth • Hilail Gildin • Leonard Grey • Robert Horwitz (d. 1978) • Howard B. White (d. 1974) Consulting Editors Christopher Bruell • Joseph Cropsey • Ernest L. Fortin (d. 2002) • John Hallowell (d. 1992) • Harry V. Jaffa • David Lowenthal • Muhsin Mahdi • Harvey C. Mansfield • Arnaldo Momigliano (d. 1987) • Michael Oakeshott (d. 1990) • Ellis Sandoz • Leo Strauss (d. 1973) • Kenneth W. Thompson International Editors Terence E. Marshall • Heinrich Meier Editors Wayne Ambler • Maurice Auerbach • Robert Bartlett • Fred Baumann • Amy Bonnette • Eric Buzzetti • Susan Collins • Patrick Coby • Elizabeth C’de Baca Eastman • Thomas S. Engeman • Edward J. Erler • Maureen Feder-Marcus • Pamela K. Jensen • Ken Masugi • Carol M. -
Lecture 9 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 9 Good morning and welcome to LLT121 Classical Mythology. In our last exciting class, we were discussing the various sea gods. You’ll recall that, in the beginning, Gaia produced, all by herself, Uranus, the sky, Pontus, the sea and various mountains and whatnot. Pontus is the Greek word for “ocean.” Oceanus is another one. Oceanus is one of the Titans. Guess what his name means in ancient Greek? You got it. It means “ocean.” What we have here is animism, pure and simple. By and by, as Greek civilization develops, they come to think of the sea as ruled by this bearded god, lusty, zesty kind of god. Holds a trident. He’s seriously malformed. He has an arm growing out of his neck this morning. You get the picture. This is none other than the god Poseidon, otherwise known to the Romans as Neptune. One of the things that I’m going to be mentioning as we meet the individual Olympian gods, aside from their Roman names—Molly, do you have a problem with my drawing? Oh, that was the problem. Okay, aside from their Roman names is also their quote/unquote attributes. Here’s what I mean by attributes: recognizable features of a particular god or goddess. When you’re looking at, let’s say, ancient Greek pottery, all gods and goddesses look pretty much alike. All the gods have beards and dark hair. All the goddesses have long, flowing hair and are wearing dresses. The easiest way to tell them apart is by their attributes.