Print ISSN: 0031-8299
Rise to PowerA New EmperorEconomic and Financial ProblemsMutiny and RebellionPushing Forward the FrontiersVespasian's SonsImperial CultCultural LifeThe Reigns of Titus and DomitianConclusion Further Reading
"Greek drama demands a story of origins," writes Karen Bassi in Acting Like Men. Abandoning the search for ritual and native origins of Greek drama, Bassi argues for a more secular and less formalist approach to the emergence of theater in ancient Greece. Bassi takes a broad view of Greek drama as a cultural phenomenon, and she discusses a wide variety of texts and artifacts that include epic poetry, historical narrative, philosophical treatises, visual media, and the dramatic texts themselves. In her discussion of theaterlike practices and experiences, Bassi proposes new conceptual categories for understanding Greek drama as a cultural institution, viewing theatrical performance as part of what Foucault has called a discursive formation. Bassi also provides an important new analysis of gender in Greek culture at large and in Athenian civic ideology in particular, where spectatorship at the civic theater was a distinguishing feature of citizenship, and where citizenship was denied women. Acting Like Men includes detailed discussions of message-sending as a form of scripted speech in the Iliad, of disguise and the theatrical body of Odysseus in the Odyssey, of tyranny as a theaterlike phenomenon in the narratives of Herodotus, and of Dionysus as the tyrannical and effeminate god of the theater in Euripides' Bacchae and Aristophanes' Frogs. Bassi concludes that the validity of an idealized masculine identity in Greek and Athenian culture is highly contested in the theater, where--in principle--citizens become passive spectators. Thereafter the author considers Athenian theater and Athenian democracy as mutually reinforcing mimetic regimes. Acting Like Men will interest those interested in the history of the theater, performance theory, gender and cultural studies, and feminist approaches to ancient texts. Karen Bassi is Associate Professor of Classics, University of California, Santa Cruz.
Rev. Paperback Ed Bibliogr. s. 30-33 na začátku kn., s. 261-271 a s. 292-294
This article examines in detail the Persian court chiliarchy under Alexander and the Successors. The office was not identical with the equestrian chiliarchy and had no fundamental administrative duties. Its significance should be sought in the broad changes in Alexander's court when he became the new king of Asia.
Incluye bibliografía e índice
Water Distribution in Ancient Rome examines the nature and effects of Rome's system of aqueducts, drawing on the difficult but important work of the Roman engineer Frontinus. Among other questions, the volume considers how water traveled to the many neighborhoods of hilly Rome, which neighborhoods were connected to the water system, and how those connections were made. A consideration of Frontinus' writing reveals comprehensive planning by city officials over long periods of time and the difficulties these engineering feats posed. Water Distribution in Ancient Rome is essential reading for students and scholars of Frontinus, of Roman engineering and imperial policy, and of Roman topography and archaeology. "Clear style, good maps and photographs, notes, and bibliography make this work accessible and valuable for students at every level. An admirable contribution to knowledge of the Roman Empire." --Choice Harry B. Evans is Professor of Classics, Fordham University. He is a recipient of the Rome Prize and is past Secretary-Treasurer of the American Philological Association. This book was published with the assistance of a grant from the National Endowment for the Humanities.
Sex is beyond reason, and yet we constantly reason about it. So, too, did the peoples of ancient Greece and Rome. But until recently there has been little discussion of their views on erotic experience and sexual ethics. The Sleep of Reason brings together an international group of philosophers, philologists, literary critics, and historians to consider two questions normally kept separate: how is erotic experience understood in classical texts of various kinds, and what ethical judgments and philosophical arguments are made about sex? From same-sex desire to conjugal love, and from Plato and Aristotle to the Roman Stoic Musonius Rufus, the contributors demonstrate the complexity and diversity of classical sexuality. They also show that the ethics of eros, in both Greece and Rome, shared a number of commonalities: a focus not only on self-mastery, but also on reciprocity; a concern among men not just for penetration and display of their power, but also for being gentle and kind, and for being loved for themselves; and that women and even younger men felt not only gratitude and acceptance, but also joy and sexual desire. Contributors: * Eva Cantarella * Kenneth Dover * Chris Faraone * Simon Goldhill * Stephen Halliwell * David M. Halperin * J. Samuel Houser * Maarit Kaimio * David Konstan * David Leitao * Martha C. Nussbaum * A. W. Price * Juha Sihvola
This article analyses the verbal references to the animal world and the motif of hunting in the Bacchae, both in imagery and as part of the events taking place in the play. Through a close analysis of clusters of key-words I seek to illustrate how both the animal world and man’s relation to it (epitomised by the activities of rearing and hunting) are presented as distorted in the play. Abstract in French: Cet article analyse les verbes utilisés en référence au monde animal et le thème de la chasse dans les Bacchantes. Ces deux aspects sont étudiés tant comme évocations que comme actions se déroulant dans la piéce. Par une analyse serrée de groupes de mots-clés, l’auteur cherche à illustrer comment le monde animal et la relation que l’homme entretient avec ce monde (illustrée par les activités d’élevage et de chasse) sont l’objet d’une présentation d´eformée dans la piéce.
Tevens proefschrift Helsinki. Met lit.opg.
This article scrutinizes the emerging scholarly consensus that substantial numbers of non-elite Athenians participated in the tribally organized dithyrambic competitions of late archaic and classical Athens. Its results shed important new light on the reasons for the introduction of these choral competitions into the Great Dionysia of the late sixth century and the roles they played in the overall reform programme of Kleisthenes.
Precious repositories of ancient wisdom? Musty relics of outmoded culture? Timeless paragons of artistic achievement? Hegemonic tools of intellectual repression? Just what are the classics, anyway, and why do (or should) we still pay so much attention to them? What is the literary canon? What is myth, and how do we use it? These are some of the questions that gave rise to John Kirby's Secret of the Muses Retold. This new study of works by five twentieth-century Italian writers investigates the abiding influence of the Greek and Roman classics, and their rich legacy in our own day. The result is not only a splendid introduction to contemporary Italian literature, but also a lucid and stimulating meditation on the insights that writers such as Umberto Eco and Italo Calvino have tapped from the wellspring of ancient tradition. Kirby's book offers an impassioned plea for the recuperation of the humanities in general, and of classical studies in particular. No expertise in Greek, Latin, Italian, or literary theory is presumed, and both traditional and postmodern perspectives are accommodated.
Väitösk. lisäksi 1 irtol. (Akad. Abh. -- Helsingin yliopisto).
Thesis (Ph. D.)--Columbia University, 1991. Includes bibliographical references (leaves 329-347). Microfilm.
Thesis--Munich. Vita. Includes bibliographical references.
Vita. Inaug.-Diss.--Frankfurt am Main. Bibliography: p. 155-159.
Thesis (Ph. D.)--Boston University, 1986. Vita. Includes bibliographical references (leaves 154-157).
Marriage is a central concern in five of the seven extant plays of the Greek tragedian Sophocles. In this pathfinding study, Kirk Ormand delves into the ways in which these plays represent and problematize marriage, thus offering insights into how Athenians thought about the institution of marriage. Ormand takes a two-fold approach. He first explores the legal and economic underpinnings of Athenian marriage, an institution designed to guarantee the legitimate continuation of patrilineal households. He then shows how Sophocles' plays Trachiniae, Electra, Antigone, Ajax, and Oedipus Tyrannus both reinforce and critique this ideology by representing marriage as a homosocial exchange between men, in which women are objects who may attempt—but always fail—to become self-acting subjects. These fresh readings provide the first systematic study of marriage in Sophocles. They draw important connections between drama and marriage as rituals concerned with controlling potentially disruptive female subjectivities. Kirk Ormand is currently a Solmsen Fellow at the Institute for Research in the Humanities at the University of Wisconsin, Madison. He holds a Ph.D. in Classics from Stanford University.
Thesis--Saint Louis University. Photocopy
Jane Ellen Harrison (1850-1928) is the most famous female Classicist in history, the author of books that revolutionized our understanding of Greek culture and religion. A star in the British academic world, she became the quintessential Cambridge woman--as Virginia Woolf suggested when, in A Room of One's Own , she claims to have glimpsed Harrison's ghost in the college gardens. This lively and innovative portrayal of a fascinating woman raises the question of who wins (and how) in the competition for academic fame. Mary Beard captures Harrison's ability to create her own image. And she contrasts her story with that of Eug'nie Sellers Strong, a younger contemporary and onetime intimate, the author of major work on Roman art and once a glittering figure at the British School in Rome--but who lost the race for renown. The setting for the story of Harrison's career is Classical scholarship in this period--its internal arguments and allegiances and especially the influence of the anthropological strain most strikingly exemplified by Sir James Frazer. Questioning the common criteria for identifying intellectual 'influence' and 'movements,' Beard exposes the mythology that is embedded in the history of Classics. At the same time she provides a vivid picture of a sparkling intellectual scene. The Invention of Jane Harrison offers shrewd history and undiluted fun. Table of Contents: Foreword Preface Illustrations 1. Prolegomena 2. Mrs. Arthur Strong: Apotheosis and After Life 3. Unanimism 4. Myths of the Odyssey in Art and Literature 5. Introductory Studies in Greek Art 6. Alpha and Omega 7. Ancient Art and Ritual 8. Hellas at Cambridge 9. Pandora's Box 10. Epilegomena Lifelines Notes Major Archival Sources Bibliography Index Reviews of this book: "Here is an anti-biography, which confronts previous versions of Harrison's life...Reluctant to offer an alternative myth, yet anxious to avoid already trampled ground, Beard instead explains Harrison's formative years in London, and asks, rather than answers, a series of key questions...The result is an amusing, engaging and opinionated book that looks behind the scenes to find out how biography is invented." --Julia Briggs, London Review of Books Reviews of this book: "[A] provocative biography...Among the many questions which Mary Beard asks is why Harrison was singled out for celebrity...[Beard] has filled a gap, and in vivacious style." --The Economist Reviews of this book: "Anyone climbing aboard this careering mystery tour of a book should be prepared to be taken for a ride. It looks like a biography: faded snapshots, footnotes, gossip around the famous...But this is no biography to any orthodox sense. On the contrary, it is a cluster of didactic essays which amusingly but relentlessly insist that orthodox biography is a fraud, that its claims to uncover the truth are delusory." --Oliver Taplin, The Independent Reviews of this book: "Clever and beautiful...[Jane Harrison] earned the permanent admiration of the Classics faculty at Cambridge. Eugénie Sellers, Harrison's younger protegée and one-time close friend, was equally talented in the field of Roman antiquities...Yet her name is virtually forgotten...Beard 's gripping little book is an attempt to set the record a little straighter on Harrison. It is also an attempt to put Sellers back...As Beard ably persuades us, their story is one that can be repeated wherever in history women, through their achievements, appear on the public stage. Whether the trace of that appearance endures for posterity has this far depended on how they fit into the stories male historians tell. From now on, though, chroniclers such as Beard are going to be far more vigilant." --Lisa Jardine, The Times Reviews of this book: In her new, invigorating study of the pioneering Cambridge archaeologist Jane Harrison, biographer Mary Beard quarrels with those who believe they can reconstruct the private life of Harrison with any sort of certainty... The Invention of Jane Harrison shows its seams proudly. Indeed, it calls into question the whole idea of seamless biography, offering instead one more construction, one more invention of a Cambridge myth and idol. But in examining closely previously neglected period in the formation of Harrison and Sellers), Beard illuminates the hidden forces at play in the process of hagiography: how undercurrents of sexuality, passion, jealousy, even love, are suppressed in the re-writing (or even the non-writing or the de-writing) of a life. Felicitously composed and exhaustively documented, this quirky biography demonstrates as well the verve and invention of Mary Beard. --Thomas Jenkins, Boston Book Review Reviews of this book: This book is an intriguing read, giving fascinating insight into Harrison's early days and into the intellectual scene of Classics a century ago. --Classical Association News Reviews of this book: This is not your traditional biography, though it gives a vivid, in-depth feel of the times: the intellectual impact of archaeology in the late 19th century, 'coded games of literary sapphism in the 1920s and 1930s', performances of Greek plays. It is essentially a detective story. Like Wilkie Collins's The Moonstone it turns on an absence: something deliberately mislaid from the legend of Jane Harrison. Persuasively as an archaeologist reconstructing gold earlobes in a Mycenean mask, Beard writes [Eugénie Sellers's] life back into Harrison's. --Ruth Padel, Independent on Sunday
Cover title. Thesis--Yale, 1965. Photocopy. s
The word myth is commonly thought to mean a fictional story, but few know that Plato was the first to use the term muthos in that sense. He also used muthos to describe the practice of making and telling stories, the oral transmission of all that a community keeps in its collective memory. In the first part of Plato the Myth Maker, Luc Brisson reconstructs Plato's multifaceted description of muthos in light of the latter's Atlantis story. The second part of the book contrasts this sense of myth with another form of speech that Plato believed was far superior: the logos of philosophy. Gerard Naddaf's substantial introduction shows the originality and importance both of Brisson's method and of Plato's analysis and places it in the context of contemporary debates over the origin and evolution of the oral tradition. "[Brisson] contrasts muthos with the logos found at the heart of the philosophical reading. [He] does an excellent job of analyzing Plato's use of the two speech forms, and the translator's introduction does considerable service in setting the tone."—Library Journal
This article demonstrates the elegiac amator's resistance to teleological progress in Propertius 1.1 in light of temporal proprieties governing the lives of the poem's addressees. Tullus, situated at the initial phase of his cursus honorum, offsets the temporal deviance of the amator, who is incapacitated by tardus amor and the struggle to retard Cynthia's linear progress. Cet article démontre la résistance de l'amator élégiaque à la voie téléologique en Properce, I, 1, à la lumière des caractéristiques temporelles régissant les vies des destinataires du poème. Tullus, au tout début de sa carrière politique, fait contrepoids au détour temporel de l'amator, ralenti par le tardus amor et son combat pour freiner le parcours linéaire de Cynthie.
Lucretius' didactic strategy is to "deceive" the reader into experiencing conflicting emotions which are inappropriate to the Epicurean cosmic perspective. Thus the argument of Book 1 begins by casting the natural world as favorable (149-264), hostile (265-369), and finally indifferent to human life (418-502). Lucrèce instruit son lecteur par "tromperie," en évoquant des émotions en contraste qui ne conviennent pas à la perspective cosmique épicurienne. L'argument du premier chant commence donc par caractériser le monde naturel comme propice (149-264), hostile (265-369), et enfin indifférent à la vie des hommes (418-502).
Top-cited authors
Catherine Rubincam
  • University of Toronto
Vernon Provencal
  • Acadia University
Bruce Frier
  • University of Michigan
Averil Cameron
  • University of Oxford
Richard Saller
  • Stanford Medicine