Konstantinos Spanoudakis Assistant Professor Division of Classical Studies
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Theokritos' 'Idyll 7': Evidence for the Value of the Cult of Demeter to Kos Naomi R. Kaloudis (University of Missouri, Columbia)
Theokritos' 'Idyll 7': Evidence for the Value of the Cult of Demeter to Kos Naomi R. Kaloudis (University of Missouri, Columbia) My paper will focus on the period around Kos’ synoikism in 366 BCE and Demeter’s importance to its inhabitants at this time. Reasons for her status on Kos are many: her position as a healing goddess, the constant concern for a fruitful crop, and the uneasy climate around the period of Kos’ synoikism. Mausolos’ recent synoikism of Caria created much anxiety for the Koans and possibly caused Kos to move its capital from the western part of the island to the eastern. I propose that the Koans looked to the cult of Demeter for stability and protection during this time of unrest. The Thesmophoria was important on Kos and is attested to in both archaeological and literary evidence. Her priestesses had much affluence in the community and this is witnessed in both honorary and dedicatory sculpture and inscriptions starting in the Late Classical period. One inscription in particular set up by the priestess Aischron associates Demeter’s mystery cult to her role in safeguarding her worshippers. Likewise, the Hellenistic poet Theokritos recorded a journey taken by suppliants of Demeter to celebrate her harvest festival in Idyll 7. This idyll continues a tradition of Demeter worship that was first documented by Philitas in his poem Demeter; and they both highlight many aspects of her Koan cult with a focus on her medicinal and agricultural aspects. In summary, the protection, security, and healing aspects that surround Demeter’s mystery cult compelled the Koans to seek her aid as documented by the priestesses and poets. -
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. -
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. -
The Elements of Comedy and Parody in the Dionysiaca of Nonnus
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXVII/3 • 2017 pp. 59–71. ISSN 0302-7384 dOI: 10.14746/sppgl.2017.XXVII.3.6 Anna Maria Lasek Adam Mickiewicz University, Poznań THE ELEMENTS OF COMEdY ANd PAROdY IN THE DIONYSIACA OF NONNUS abstraCt. Lasek Anna Maria, The elements of comedy and parody in the dionysiaca of Nonnus. In this article the author presents the elements of comedy and parody in the dionysiaca of Nonnus. The analysis of the passages excerpted from the dionysiaka shows that the composition of Nonnus’ poem is based on the principle of generic variety. keywords: Nonnus; dionysiaka; parody; Ares; Aphrodite. Scholars agree that literary genres have a certain momentum, and that they change. Any author within a genre develops and transforms it to create a work combining traditional genre features with new and unexpected elements.1 This way, every implementation of a genre means bringing it up to date and sets anew its boundaries. This phenomenon is particularly clearly visible in a work written by Nonnus of Panopolis in late Antiquity. As its author highlights in the proemium, this work is based on the principle of poetic variety – varietas (ποικιλία) This predilection for variety was reflected in the poet’s style, the richness of synonyms appearing in the dionysiaca; his striving for diversification in presenting characters, situations and things; and the composition of the work.2 Undoubtedly, as results from the same principle of diversity – ποικιλία3 the term epos is not sufficient for dionysiaca. In the entire body of the work, one can trace elements of various genres, and even entire passages bearing their characteristics so clearly that scholars have not hesitated to identify them with idyll, epigram, etc. -
Optima Carme: a Reexamination of the Nurse in the Ciris By
OPTIMA CARME: A REEXAMINATION OF THE NURSE IN THE CIRIS BY CASEY LYNN HUGHES 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 Chairperson: Dr. Tara Welch Dr. Anthony Corbeill Dr. Pamela Gordon Date defended: 10 May 2017 The Thesis Committee for CASEY LYNN HUGHES certifies that this is the approved version of the following thesis: OPTIMA CARME: A REEXAMINATION OF THE NURSE IN THE CIRIS Chairperson: Dr. Tara Welch Date approved: 10 May 2017 ii ABSTRACT This thesis examines the Ciris, a Pseudo-Vergilian epyllion of uncertain date, and analyzes the figure of the nurse Carme, a character who has largely been ignored in previous studies of the poem. The Ciris narrates the story of Scylla of Megara and how she betrayed her father, King Nisus, because of her love for Minos, King of Crete. While nurses are typical stock characters in Greek and Roman literature, I will show how the character of Carme becomes more than Scylla’s nurse. Although she embodies the qualities of many nurses from various genres before her, the Ciris poet also expands her role, briefly transforming an otherwise minor character into a second heroine. iii TABLE OF CONTENTS Chapter One: Introduction 1 Chapter Two: Influential Nurses 11 Chapter Three: The Heroine Nurse 32 Conclusion 53 Bibliography 57 Appendix A 60 Appendix B 61 iv Chapter One Introduction The Ciris is a first century B.C. or first century A.D. epyllion about Scylla, who betrays her father Nisus, king of Megara, because of her love for Minos, king of Crete. -
Rethinking Ovid: a Collection of Latin Poetry and Commentary on Composition Anna C
Macalester College DigitalCommons@Macalester College Classics Honors Projects Classics Department May 2006 Rethinking Ovid: A Collection of Latin Poetry and Commentary on Composition Anna C. Everett Macalester College, [email protected] Anna Everett Beek Macalester College Follow this and additional works at: http://digitalcommons.macalester.edu/classics_honors Recommended Citation Everett, Anna C. and Beek, Anna Everett, "Rethinking Ovid: A Collection of Latin Poetry and Commentary on Composition" (2006). Classics Honors Projects. Paper 1. http://digitalcommons.macalester.edu/classics_honors/1 This Honors Project is brought to you for free and open access by the Classics Department at DigitalCommons@Macalester College. It has been accepted for inclusion in Classics Honors Projects by an authorized administrator of DigitalCommons@Macalester College. For more information, please contact [email protected]. RethinkingRethinking Ovid: A Collection of Latin Poetry and Commentary on Composition Anna Everett Beek Advised by Nanette Scott Goldman Department of Classics, Macalester College 1 May 2006 Cunct rum Chrone impl cbilissime d vum, scr bend vers s t bi ni hil referunt. TableTable of Contents Introduction 4 Sources and Inspiration Cydippe 7 Dryope 10 Other References 11 Composition 12 The Chosen Meters 17 Poetic Devices 19 Diction and Grammar in Chronologica l Context: Linguistic Matters 22 Imitat io n and Interpretation 26 Historical Background: Ceos 29 Historical Background: Women 31 Conclusion 34 The Poetry Cydippe 35 Dryope 39 Bibliography 41 2 AcknowledgementsAcknowledgements I could not have completed this project without the help of various wonder ful people. While I am certain they know who they are, I must extend much gratitude to these people, and if I have produced any work of quality, these people deserve credit first. -
Circles and Landscapes: Ceres' Flight Over the Greco-Roman World
Circles and Landscapes: Ceres’ Flight over the Greco-Roman World Nikoletta Manioti University of St Andrews, School of Classics, St Andrews, United Kingdom [email protected] Received: April 2015; accepted: May 2015 Abstract Ovid’s version of Ceres’ travels in search for her daughter Proserpina in Fasti 4 reflects contemporary geographical views. We note an expansion of horizons that has already happened in Callimachus Hymn 6 compared to the Homeric Hymn to Demeter, but is now reaching even further as well as offering more precise information. At the same time Ovid is inspired by Callimachus’ pattern of figurative concentric circles (Achelous/Ocean, ever-flowing rivers, well of Callichorus) to create a narrative characterised by figurative and literal circles (one e.g. being Henna, Sicily, the whole world). The Fasti version is thus Callimachean without failing to conform to the Roman character of the poem by placing Rome at the climax of the journey, and its world below Ceres’ chariot flight. Keywords Latin literature – Demeter/Ceres – Ovid's Fasti – Callimachus and Ovid – geography in literature In Ovid’s version of the Rape of Proserpina in Fasti 4, the goddess Ceres undertakes a worldwide search for her daughter, which includes a flight over the Greco-Roman world.1 This element of her wanderings is not given much (if any) prominence in earlier extant accounts of the myth such as the Homeric Hymn to Demeter, Callimachus’ Hymn 6, or even Ovid’s other 1 Translations are by the author with the exception of the Homeric Hymn to Demeter (Foley 1994) and Callimachus’ Hymn 6 (Hopkinson 1984). -
The Intertextual Dynamics of Colluthus' Abduction of Helen
The Intertextual Dynamics of Colluthus’ Abduction of Helen by Geoffrey Harmsworth A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Master of Arts in Classical Studies Waterloo, Ontario, Canada, 2018 © Geoffrey Harmsworth 2018 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any re- quired final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. ii Abstract This thesis is devoted to an intertextual study of Colluthus’ late antique epyllion, the Abduction of Helen. Colluthus is a poet whose reputation has long suffered, but is currently under rehabilitation, and the aim of this study is to build on recent scholarship in order to develop a fuller appreciation of Colluthus’ multi- faceted engagement with literary traditions and his allusive technique. Chapters are devoted to linguistic allusion, the intertextuality of genre, and the thematic intertextuality of the abduction narrative. In each chapter, a different approach to allusion and intertextuality reveals a pervasive pattern in Colluthus’ allusive poetics. Colluthus, it will be shown, was a poet who delighted in irony, but it is an irony which is almost always dependent on its relationships to model texts, generic traditions, and thematic motifs. Through the various allusive devices studied here, we find that the poet frequently creates expectations in the learned reader for the directions his narrative will take, only to deny them: he builds a pastoral world through generic parallels, only to leave it behind; he frequently alludes to the motifs and stories of abduction in classical literature, only to frame the “abduction” of Helen as a mutual romantic encounter. -
The Poems of Catullus As They Went to the Printer for the first Time, in Venice 400 Years Ago
1.Catullus, Poems 1/12/05 2:52 PM Page 1 INTRODUCTION LIFE AND BACKGROUND We know very little for certain about Catullus himself, and most of that has to be extrapolated from his own work, always a risky procedure, and nowadays with the full weight of critical opinion against it (though this is always mutable, and there are signs of change in the air). On the other hand, we know a great deal about the last century of the Roman Republic, in which his short but intense life was spent, and about many of the public figures, both literary and political, whom he counted among his friends and enemies. Like Byron, whom in ways he resembled, he moved in fashionable circles, was radical without being constructively political, and wrote poetry that gives the overwhelming impression of being generated by the public aªairs, literary fashions, and aristocratic private scandals of the day. How far all these were fictionalized in his poetry we shall never know, but that they were pure invention is unlikely in the extreme: what need to make up stories when there was so much splendid material to hand? Obviously we can’t take what Catullus writes about Caesar or Mamurra at face value, any more than we can By- ron’s portraits of George III and Southey in “The Vision of Judgement,” or Dry- den’s of James II and the Duke of Buckingham in “Absalom and Achitophel.” Yet it would be hard to deny that in every case the poetic version contained more than a grain of truth. -
Thomas Watson, Christopher Marlowe, Richard Barnfield Tania Demetriou
2 The Non-Ovidian Elizabethan epyllion: Thomas Watson, Christopher Marlowe, Richard Barnfield Tania Demetriou ‘I like short poems, but I want them to be epic.’ Alice Oswald1 Prologue or preludium: Richard Barnfield’s Hellens Rape One of the most riotous mythological narrative poems of the Elizabethan 1590s is Richard Barnfield’s Hellens Rape (1594), an experiment in hexameter verse, alliteratively subtitled ‘A light Lanthorne for light Ladies’.2 The rape of Helen is narrated by Barnfield like never before: Adulterous Paris (then a Boy) kept sheepe as a shepheard On Ida Mountaine, unknown to the King for a Keeper Of sheep, on Ida Mountain, as a Boy, as a shepheard: Yet such sheep he kept, and was so seemelie a shepheard, Seemelie a Boy, so seemelie a youth, so seemelie a Younker, That on Ide was not such a Boy, such a youth, such a Younker. (sig. G3v) Miraculously, given this narrative pace, Paris manages to make himself known to King Priam, and persuade him that he ought to bring back his aunt ‘Hesyone’ from Greece. On his laddish outing across the Aegean, he is escorted by ‘Telamour’, ‘lust-bewitched Alexis’, and ‘eyefull … Argus’, companions who prove predictably keen on a detour to ‘Lacedaemon’, where they are hosted by Helen in Menelaus’s absence. This is how the disaster happens: 55 First they fell to the feast, and after fall to a Dauncing, And from a dance to a Trance, from a Trance they fell to a falling Either in others armes, and either in armes of another. … … Each one hies home to his own home Save Lord and Ladie: … … Well to their worke they goe, and bothe they jumble in one Bed: Worke so well they like, that they still like to be working: For Aurora mounts before he leaves to be mounting: And Astraea fades before she faints to be falling: (Helen a light Huswife, now a lightsome starre in Olympus.) (sig. -
The Library of Alexandria the Library of Alexandria
THE LIBRARY OF ALEXANDRIA THE LIBRARY OF ALEXANDRIA THE LIBRARY OF ALEXANDRIA CENTRE OF LEARNING IN THE ANCIENT WORLD Edited by Roy MACLEOD I.B.TAURIS www.ibtauris.com Reprinted in 2010 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Revised paperback edition published in 2004 by I.B.Tauris & Co Ltd Paperback edition published in 2002 by I.B.Tauris & Co Ltd First published in 2000 by I.B.Tauris & Co Ltd Copyright © Roy MacLeod, 2000, 2002, 2004 The right of Roy MacLeod to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 85043 594 5 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Typeset by The Midlands Book Typesetting Co., Loughborough, Leicestershire Printed and bound in India by Thomson Press India Ltd Contents Notes on Contributors VB Map of Alexandria x Preface Xl Introduction: Alexandria in History and Myth Roy MacLeod Part I. -
Attis and Lesbia: Catullus' Attis Poem As Symbolic Reflection of the Lesbia
71-7460 GENOVESE, Jr., Edgar Nicholas, 1942- ATTIS AND LESBIA; CATULLUS’ ATTIS POEM AS A SYMBOLIC REFLECTION OF THE LESBIA CYCLE. iPortions of Text in Greek and Latin]. The Ohio State University, Ph.D., 1970 Language and Literature, classical • University Microfilms, A XEROX Company, Ann Arbor, Michigan Copyright by Edgar Nicholas Genovese, Jr. 1971 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED ATTIS AND LESBIA: CATULLUS' ATTIS POEM AS A SYMBOLIC REFLECTION OF THE LESBIA CYCLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of Hie Ohio State University By Edgar Nicholas Genovese, Jr., A.B. The Ohio State University 1970 Approved by ^ \ Adviser Dc^^rtment of Classics ACKNOWLEDGMENTS John T. Davis, cui maximas gratias ago, mentem meam ducebat et ingenium dum hoc opusculum fingebam; multa autern addiderunt atque cor- rexerunt Clarence A. Forbes et Vincent J. Cleary, quibus ago gratias. poetam uero Veronensem memoro laudoque. denique admiror gratam coniugem meam ac diligo: quae enim, puellula nostra mammam appetente, ter adegit manibus suis omnes litteras in has paginas. ii PARENTIBVS MEIS XXX VITA September 18, 1942 . Born— Baltimore, Maryland 1960-1964 .............. A.B., Classics, Xavier University, Cincinnati, Ohio 1964-1966 .............. Instructor, Latin, Kenwood Senior High School, Baltimore, Maryland 1966-1968 .............. Teaching Assistant, Teaching Associate, Department of Classics, The Ohio State University, Columbus, Ohio Summer 1968 ............ Instructor, Elementary Greek, Department of Classics, The Ohio State University, Columbus, Ohio 1968-1970 ........ N.D.E.A. Fellow, Department of Classics, The Ohio State University, Columbus, Ohio Summer 1969, 1970 . Assistant, Latin Workshop, Department of Classics, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major field; Latin and Greek poetry Latin literature.