Aaron P. Johnson
- Published in print:
- 2006
- Published Online:
- January 2007
- ISBN:
- 9780199296132
- eISBN:
- 9780191712302
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199296132.001.0001
- Subject:
- Religion, Early Christian Studies
The task of the early Christian apologists was fundamentally one of constructing, maintaining, and manipulating the identities of Christianity and its rivals — Greeks, Jews, Romans, and others. ...
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The task of the early Christian apologists was fundamentally one of constructing, maintaining, and manipulating the identities of Christianity and its rivals — Greeks, Jews, Romans, and others. Eusebius of Caesarea’s Praeparatio Evangelica, written in the early part of the 4th century, is the most comprehensive and sustained attempt in early apologetic literature to represent Christian, Greek, and Jewish ethnic identity as the basis for its defence of Christianity. This book traces the manipulations of ethnicity in Eusebius’ Praeparatio and highlights the implications of such ethnic argumentation for the understanding of Christian-Jewish and Christian-Greek relations, as well as the limits of modern notions of ‘religion’ to early Christian identity. Christianity is seen as a new nation (ethnos) — and at the same time a restoration of the oldest nation, that of the Hebrews — and is distinguished from the other nations of the Greeks, Phoenicians, Egyptians, Jews, and Romans who are all shown to possess inferior ethnic identities. Eusebius’ apologetic argument rests not on a defence of Christian doctrine or belief, but upon a vision of the ancient ethnic landscape, which manipulates national histories and boundaries so as to elevate Christians (as Hebrews) to a level of superiority in their national character and antiquity.Less
The task of the early Christian apologists was fundamentally one of constructing, maintaining, and manipulating the identities of Christianity and its rivals — Greeks, Jews, Romans, and others. Eusebius of Caesarea’s Praeparatio Evangelica, written in the early part of the 4th century, is the most comprehensive and sustained attempt in early apologetic literature to represent Christian, Greek, and Jewish ethnic identity as the basis for its defence of Christianity. This book traces the manipulations of ethnicity in Eusebius’ Praeparatio and highlights the implications of such ethnic argumentation for the understanding of Christian-Jewish and Christian-Greek relations, as well as the limits of modern notions of ‘religion’ to early Christian identity. Christianity is seen as a new nation (ethnos) — and at the same time a restoration of the oldest nation, that of the Hebrews — and is distinguished from the other nations of the Greeks, Phoenicians, Egyptians, Jews, and Romans who are all shown to possess inferior ethnic identities. Eusebius’ apologetic argument rests not on a defence of Christian doctrine or belief, but upon a vision of the ancient ethnic landscape, which manipulates national histories and boundaries so as to elevate Christians (as Hebrews) to a level of superiority in their national character and antiquity.
Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old ...
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No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old problem. It argues that the genre had a personal inventor, Chariton of Aphrodisias, and that he wrote the first love novel, Narratives about Callirhoe, in the mid‐first century AD. This conclusion is drawn on the basis of two converging lines of argument, one from literary history, another from Chariton's poetics. A revisitation of the literary‐historical background provides the basis for further analysis: among other things, it considers Chariton's milieu at Aphrodisias (especially the local cult of Aphrodite), the dating of other early novels, and Chariton's potential authorship of the fragmentarily preserved novels Metiochus and Parthenope and Chione. Chariton's status as the inventor of the Greek love novel, suggested by the literary‐historical evidence, finds further support in his poetics. I argue that Narratives about Callirhoe is characterized by an unusual effort of self‐definition, which can be best explained as a consequence of coming to terms with a new form of writing. The book is rounded off by a study of the motif of Rumour in Chariton and its derivation from a surprising model, Virgil's Aeneid. This part also makes a significant contribution to the reception of Latin literature in the Greek world.Less
No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old problem. It argues that the genre had a personal inventor, Chariton of Aphrodisias, and that he wrote the first love novel, Narratives about Callirhoe, in the mid‐first century AD. This conclusion is drawn on the basis of two converging lines of argument, one from literary history, another from Chariton's poetics. A revisitation of the literary‐historical background provides the basis for further analysis: among other things, it considers Chariton's milieu at Aphrodisias (especially the local cult of Aphrodite), the dating of other early novels, and Chariton's potential authorship of the fragmentarily preserved novels Metiochus and Parthenope and Chione. Chariton's status as the inventor of the Greek love novel, suggested by the literary‐historical evidence, finds further support in his poetics. I argue that Narratives about Callirhoe is characterized by an unusual effort of self‐definition, which can be best explained as a consequence of coming to terms with a new form of writing. The book is rounded off by a study of the motif of Rumour in Chariton and its derivation from a surprising model, Virgil's Aeneid. This part also makes a significant contribution to the reception of Latin literature in the Greek world.
Antony Black
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199281695
- eISBN:
- 9780191713101
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199281695.001.0001
- Subject:
- Political Science, Political Theory
This book examines the political thought of Egypt, Mesopotamia, Israel, Iran, India, China, Greece, Rome, and early Christianity from prehistory to c.200 CE. The most common discourse was sacred ...
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This book examines the political thought of Egypt, Mesopotamia, Israel, Iran, India, China, Greece, Rome, and early Christianity from prehistory to c.200 CE. The most common discourse was sacred monarchy, ranging from absolutism in Egypt to a conditional mandate in China. Justice, the rule of law, and meritocracy were generally regarded as essential. ‘The people’ were seen as recipients of royal beneficence. The exceptions were Greece and Rome; here democracy and liberty were invented. Theories of class evolved in India and China, and of the nation in Israel. Stoics and Cicero saw humanity as a single unit. Christianity revolutionized moral discourse. Philosophy, using logic, evidence, and dialectic, developed in both China and Greece. Confucius and Mozi argued for ‘humaneness’ and ethical consensus, ‘Legalists’ for coercion, realpolitik, and an authoritarian state. Plato and Aristotle, followed by Polybius and Cicero in Rome, initiated ‘Western’ political philosophy and science. Practical politics was developed by Aristotle and the Indian Kautilya. Chinese and Greek thinkers investigated the origin and purpose of the state. This book covers political philosophy, religious ideology, public ethics, constitutional theory, and official and popular political culture.Less
This book examines the political thought of Egypt, Mesopotamia, Israel, Iran, India, China, Greece, Rome, and early Christianity from prehistory to c.200 CE. The most common discourse was sacred monarchy, ranging from absolutism in Egypt to a conditional mandate in China. Justice, the rule of law, and meritocracy were generally regarded as essential. ‘The people’ were seen as recipients of royal beneficence. The exceptions were Greece and Rome; here democracy and liberty were invented. Theories of class evolved in India and China, and of the nation in Israel. Stoics and Cicero saw humanity as a single unit. Christianity revolutionized moral discourse. Philosophy, using logic, evidence, and dialectic, developed in both China and Greece. Confucius and Mozi argued for ‘humaneness’ and ethical consensus, ‘Legalists’ for coercion, realpolitik, and an authoritarian state. Plato and Aristotle, followed by Polybius and Cicero in Rome, initiated ‘Western’ political philosophy and science. Practical politics was developed by Aristotle and the Indian Kautilya. Chinese and Greek thinkers investigated the origin and purpose of the state. This book covers political philosophy, religious ideology, public ethics, constitutional theory, and official and popular political culture.
Pietro Bortone
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199556854
- eISBN:
- 9780191721571
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199556854.001.0001
- Subject:
- Linguistics, Historical Linguistics, Syntax and Morphology
New prepositions in Greek express solely spatial meanings, simultaneously lost by their older synonyms, whose use becomes restricted to non‐spatial senses—unless a recent synonym is not available. In ...
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New prepositions in Greek express solely spatial meanings, simultaneously lost by their older synonyms, whose use becomes restricted to non‐spatial senses—unless a recent synonym is not available. In time, new prepositions too develop non‐spatial meanings, eventually losing their spatial ones completely, repeating the life‐cycle of their predecessors.Less
New prepositions in Greek express solely spatial meanings, simultaneously lost by their older synonyms, whose use becomes restricted to non‐spatial senses—unless a recent synonym is not available. In time, new prepositions too develop non‐spatial meanings, eventually losing their spatial ones completely, repeating the life‐cycle of their predecessors.
N. J. Sewell-Rutter
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199227334
- eISBN:
- 9780191711152
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199227334.001.0001
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
Blighted and accursed families are an inescapable feature of Greek tragedy, and many scholars have treated the questions of inherited guilt, curses, and divine causation. This book gives these ...
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Blighted and accursed families are an inescapable feature of Greek tragedy, and many scholars have treated the questions of inherited guilt, curses, and divine causation. This book gives these familiar issues a fresh appraisal, arguing that tragedy is a medium that fuses the conceptual with the provoking and exciting of emotion, neither of which can be ignored if the texts are to be fully understood. It pays particular attention to Aeschylus' Seven against Thebes and the Phoenician Women of Euripides, both of which dramatize the sorrows of the later generations of the House of Oedipus, but in very different, and perhaps complementary, ways. All Greek quotations are translated.Less
Blighted and accursed families are an inescapable feature of Greek tragedy, and many scholars have treated the questions of inherited guilt, curses, and divine causation. This book gives these familiar issues a fresh appraisal, arguing that tragedy is a medium that fuses the conceptual with the provoking and exciting of emotion, neither of which can be ignored if the texts are to be fully understood. It pays particular attention to Aeschylus' Seven against Thebes and the Phoenician Women of Euripides, both of which dramatize the sorrows of the later generations of the House of Oedipus, but in very different, and perhaps complementary, ways. All Greek quotations are translated.
W. V. Harris (ed.)
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780199233359
- eISBN:
- 9780191716348
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199233359.001.0001
- Subject:
- Classical Studies, European History: BCE to 500CE
Most people have some idea what Greeks and Romans coins looked like, but few know how complex Greek and Roman monetary systems eventually became. The contributors to this book are numismatists, ...
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Most people have some idea what Greeks and Romans coins looked like, but few know how complex Greek and Roman monetary systems eventually became. The contributors to this book are numismatists, ancient historians, and economists intent on investigating how these systems worked and how they both did and did not resemble a modern monetary system. Why did people first start using coins? How did Greeks and Romans make payments, large or small? What does money mean in Greek tragedy? Was the Roman Empire an integrated economic system? This volume can serve as an introduction to such questions, but it also offers the specialist the results of original research.Less
Most people have some idea what Greeks and Romans coins looked like, but few know how complex Greek and Roman monetary systems eventually became. The contributors to this book are numismatists, ancient historians, and economists intent on investigating how these systems worked and how they both did and did not resemble a modern monetary system. Why did people first start using coins? How did Greeks and Romans make payments, large or small? What does money mean in Greek tragedy? Was the Roman Empire an integrated economic system? This volume can serve as an introduction to such questions, but it also offers the specialist the results of original research.
Kiichiro Itsumi
- Published in print:
- 2009
- Published Online:
- January 2009
- ISBN:
- 9780199229611
- eISBN:
- 9780191710780
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199229611.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This book describes the metrical features of the twenty-two Pindaric epinikia which are not composed in dactylo-epitrite (‘the other half’). These odes are puzzling, and scholars currently assume, ...
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This book describes the metrical features of the twenty-two Pindaric epinikia which are not composed in dactylo-epitrite (‘the other half’). These odes are puzzling, and scholars currently assume, without detailed examination, that they are all composed in a single type of metre which is often called ‘aeolic’. The book argues that there are in fact two types of metre (Pindaric epinikia are not as polymetric as the odes of tragedy), and divides the metrical styles of the stanza-forms of the ‘other half’ into three groups, according to the way in which these two metres are knitted together. This is the main theme of Part I. Part II consists of metrical commentaries. The structure of each stanza-form is analysed and compared with others, and abundant metrical parallels are provided, both for the individual verses and for the stanza-form as a whole. In a few passages textual problems are also discussed, for metrical study is in part an auxiliary discipline of textual criticism. In particular, metrical understanding is essential when one has to judge whether or not exact responsion may be broken in a particular metrical position. In an Appendix to this Part, the metrical features of the major fragments (most of which are Paeans) and their characteristics are also described. With its clear identification of a series of precise entities from which Pindar's verses are made, the book's study as a whole imposes a new clarity and discipline on what had previously seemed a much vaguer process.Less
This book describes the metrical features of the twenty-two Pindaric epinikia which are not composed in dactylo-epitrite (‘the other half’). These odes are puzzling, and scholars currently assume, without detailed examination, that they are all composed in a single type of metre which is often called ‘aeolic’. The book argues that there are in fact two types of metre (Pindaric epinikia are not as polymetric as the odes of tragedy), and divides the metrical styles of the stanza-forms of the ‘other half’ into three groups, according to the way in which these two metres are knitted together. This is the main theme of Part I. Part II consists of metrical commentaries. The structure of each stanza-form is analysed and compared with others, and abundant metrical parallels are provided, both for the individual verses and for the stanza-form as a whole. In a few passages textual problems are also discussed, for metrical study is in part an auxiliary discipline of textual criticism. In particular, metrical understanding is essential when one has to judge whether or not exact responsion may be broken in a particular metrical position. In an Appendix to this Part, the metrical features of the major fragments (most of which are Paeans) and their characteristics are also described. With its clear identification of a series of precise entities from which Pindar's verses are made, the book's study as a whole imposes a new clarity and discipline on what had previously seemed a much vaguer process.
A. P. David
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199292400
- eISBN:
- 9780191711855
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199292400.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by ...
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This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.Less
This book develops an authentic and revolutionary musical analysis of ancient Greek poetry. It brings the interpretation of ancient verse into step with the sorts of analyses customarily enjoyed by works in all the more recent poetical and musical traditions. It departs from the abstract metrical analyses of the past in that it conceives the rhythmic and harmonic elements of poetry as integral to the whole expression, and decisive in the interpretation of its meaning. Such an analysis is now possible because of a new theory of the Greek tonic accent, set out in the third chapter, and its application to Greek poetry understood as choreia — the proper name for the art and work of ancient poets in both epic and lyric, described by Plato as a synthesis of dance rhythm and vocal harmony, in disagreement moving toward agreement. The book offers a thorough-going treatment of Homeric poetics: here some remarkable discoveries in the harmonic movement of epic verse, when combined with some neglected facts about the origin of the hexameter in a ‘dance of the Muses’, lead to essential new thinking about the genesis and the form of Homeric poetry. The book also gives a foretaste of the fruits to be harvested in lyric by a musical analysis, applying the new theory of the accent and considering concretely the role of dance in performance.
Silvio Panciera
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780197265062
- eISBN:
- 9780191754173
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197265062.003.0012
- Subject:
- Classical Studies, European History: BCE to 500CE
This brief chapter stresses the difference between the revolutionary possibilities of applying Information Technology to the Greek and Roman epigraphic record and its limited effects to date. It ...
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This brief chapter stresses the difference between the revolutionary possibilities of applying Information Technology to the Greek and Roman epigraphic record and its limited effects to date. It traces the reasons partly to scholarly attitudes, partly to the lack of a list of prioritised objectives, partly to divergences in the very concepts of ‘inscription’ and of ‘data-base’ and partly to a lack of unity and collaboration.Less
This brief chapter stresses the difference between the revolutionary possibilities of applying Information Technology to the Greek and Roman epigraphic record and its limited effects to date. It traces the reasons partly to scholarly attitudes, partly to the lack of a list of prioritised objectives, partly to divergences in the very concepts of ‘inscription’ and of ‘data-base’ and partly to a lack of unity and collaboration.
N. J. Sewell‐Rutter
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199227334
- eISBN:
- 9780191711152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199227334.003.0001
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This introductory chapter begins with a brief discussion of the characteristics of a Greek tragedy. It then explains the purpose of the book, which is to shed new light on one of the central concerns ...
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This introductory chapter begins with a brief discussion of the characteristics of a Greek tragedy. It then explains the purpose of the book, which is to shed new light on one of the central concerns of tragedy, and contribute to the understanding of the peculiar quiddity of this inescapably absorbing genre. An overview of the succeeding chapters is presented.Less
This introductory chapter begins with a brief discussion of the characteristics of a Greek tragedy. It then explains the purpose of the book, which is to shed new light on one of the central concerns of tragedy, and contribute to the understanding of the peculiar quiddity of this inescapably absorbing genre. An overview of the succeeding chapters is presented.
N. J. Sewell‐Rutter
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780199227334
- eISBN:
- 9780191711152
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199227334.003.0008
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This concluding chapter presents a synthesis of the discussions in the preceding chapters. It argues that issues of familial interaction, causation, human action, and moral responsibility in Attic ...
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This concluding chapter presents a synthesis of the discussions in the preceding chapters. It argues that issues of familial interaction, causation, human action, and moral responsibility in Attic tragedy are by no means settled; and that interpreters of these endlessly absorbing and undeniably intoxicating texts ignore them at their peril.Less
This concluding chapter presents a synthesis of the discussions in the preceding chapters. It argues that issues of familial interaction, causation, human action, and moral responsibility in Attic tragedy are by no means settled; and that interpreters of these endlessly absorbing and undeniably intoxicating texts ignore them at their peril.
Helma Dik
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199279296
- eISBN:
- 9780191706905
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279296.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book approaches word order in Greek tragic dialogue from the perspective of language rather than metre. The tragic poets engaged in mimesis of natural dialogue; therefore the analysis of the ...
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This book approaches word order in Greek tragic dialogue from the perspective of language rather than metre. The tragic poets engaged in mimesis of natural dialogue; therefore the analysis of the linguistic characteristics of the dialogue precedes exploration of the metrical dimension, on the assumption that poets would not be overly constrained by the iambic trimeter, which, after all, was the most natural speaking verse according to Aristotle. The book analyses the word order of tragic dialogue in pragmatic terms, arguing that, in sentences, words functioning as Topic (the ‘starting point’ of an utterance) or Focus (the most salient piece of information) will come early, and that other less important words will follow. Similarly, the position of adjectives within noun phrases is analysed as a function of their relative salience rather than in terms of their semantics. This approach aims to account for word order in sentences generally, but it also allows for a new interpretation of familiar phenomena in Greek, such as ‘postponed interrogatives’. The book concludes with a commentary on the word order in four passages of Sophocles' Electra.Less
This book approaches word order in Greek tragic dialogue from the perspective of language rather than metre. The tragic poets engaged in mimesis of natural dialogue; therefore the analysis of the linguistic characteristics of the dialogue precedes exploration of the metrical dimension, on the assumption that poets would not be overly constrained by the iambic trimeter, which, after all, was the most natural speaking verse according to Aristotle. The book analyses the word order of tragic dialogue in pragmatic terms, arguing that, in sentences, words functioning as Topic (the ‘starting point’ of an utterance) or Focus (the most salient piece of information) will come early, and that other less important words will follow. Similarly, the position of adjectives within noun phrases is analysed as a function of their relative salience rather than in terms of their semantics. This approach aims to account for word order in sentences generally, but it also allows for a new interpretation of familiar phenomena in Greek, such as ‘postponed interrogatives’. The book concludes with a commentary on the word order in four passages of Sophocles' Electra.
Andrea Rotstein
- Published in print:
- 2009
- Published Online:
- January 2010
- ISBN:
- 9780199286270
- eISBN:
- 9780191713330
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286270.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This study of the genre of Greek iambic poetry, from the perspective provided by ancient testimonies, places research on iambos in the framework of a new methodological approach to ancient genres ...
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This study of the genre of Greek iambic poetry, from the perspective provided by ancient testimonies, places research on iambos in the framework of a new methodological approach to ancient genres based on the cognitive sciences, offering an unprecedented study of ancient theories of genres and the way they affected ancient scholarship. It examines the possibility of musical performance of iambic poetry as well as the various occasions of public performance, particularly at musical contests and rhapsodic recitals. The author argues that, from the Archaic to the Classical period, there was a shift from the notion of literary class depending primarily on rhythm and on its archetypical representative, Archilochus, towards iambos as a genre defined mainly by invective as its dominant feature.Less
This study of the genre of Greek iambic poetry, from the perspective provided by ancient testimonies, places research on iambos in the framework of a new methodological approach to ancient genres based on the cognitive sciences, offering an unprecedented study of ancient theories of genres and the way they affected ancient scholarship. It examines the possibility of musical performance of iambic poetry as well as the various occasions of public performance, particularly at musical contests and rhapsodic recitals. The author argues that, from the Archaic to the Classical period, there was a shift from the notion of literary class depending primarily on rhythm and on its archetypical representative, Archilochus, towards iambos as a genre defined mainly by invective as its dominant feature.
Oliver Taplin
- Published in print:
- 2006
- Published Online:
- January 2012
- ISBN:
- 9780197263235
- eISBN:
- 9780191734328
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263235.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some ...
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This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.Less
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.
W. S. Barrett
M. L. West (ed.)
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199203574
- eISBN:
- 9780191708183
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203574.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
W. S. Barrett (1914-2001) was one of the finest Hellenists of the second half of the 20th century, known above all for his celebrated edition of Euripides' Hippolytus. This volume of his collected ...
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W. S. Barrett (1914-2001) was one of the finest Hellenists of the second half of the 20th century, known above all for his celebrated edition of Euripides' Hippolytus. This volume of his collected scholarly papers includes five articles published between 1954 and 1978, together with a much larger number of others that remained unpublished in his lifetime and are presented here for the first time. They deal mainly with Greek lyric poetry (Stesichoros, Pindar, Bacchylides) and Tragedy.Less
W. S. Barrett (1914-2001) was one of the finest Hellenists of the second half of the 20th century, known above all for his celebrated edition of Euripides' Hippolytus. This volume of his collected scholarly papers includes five articles published between 1954 and 1978, together with a much larger number of others that remained unpublished in his lifetime and are presented here for the first time. They deal mainly with Greek lyric poetry (Stesichoros, Pindar, Bacchylides) and Tragedy.
Andrew Bell
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199242344
- eISBN:
- 9780191714092
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199242344.003.0007
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter argues that it is often a refrain of contemporary political critique that style seems to overshadow substance in republics or democracies. But perhaps it has always been like that. If to ...
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This chapter argues that it is often a refrain of contemporary political critique that style seems to overshadow substance in republics or democracies. But perhaps it has always been like that. If to be a Greek or Roman citizen was in some measure to have dignity in being a political consumer entitled to expect a good spectacle, then the study of classical politics has the power to offer insight into habits of consumption and affection, scrutiny and judgement. If rhetorics of visibility fix the models and memories of individual power, then we may all wonder at the capacity of even the humble to realize power in their cheers or jeers; and so enjoy liberal dignity.Less
This chapter argues that it is often a refrain of contemporary political critique that style seems to overshadow substance in republics or democracies. But perhaps it has always been like that. If to be a Greek or Roman citizen was in some measure to have dignity in being a political consumer entitled to expect a good spectacle, then the study of classical politics has the power to offer insight into habits of consumption and affection, scrutiny and judgement. If rhetorics of visibility fix the models and memories of individual power, then we may all wonder at the capacity of even the humble to realize power in their cheers or jeers; and so enjoy liberal dignity.
Torsten Meissner
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199280087
- eISBN:
- 9780191707100
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199280087.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This introductory chapter discusses the subject matter of this book, namely, word formation in Ancient Greek. The study will look at the morphological and semantic characteristics of the s-stem ...
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This introductory chapter discusses the subject matter of this book, namely, word formation in Ancient Greek. The study will look at the morphological and semantic characteristics of the s-stem formations. As a result of this investigation, a number of traditional views will be challenged. In particular, it will emerge that the conventional notion of ‘Caland's Law’ is inadequate, at least for Greek and quite possibly for the parent language as well. It is also shown that these morphological and semantic characteristics of the individual types and their historical development can be defined more closely.Less
This introductory chapter discusses the subject matter of this book, namely, word formation in Ancient Greek. The study will look at the morphological and semantic characteristics of the s-stem formations. As a result of this investigation, a number of traditional views will be challenged. In particular, it will emerge that the conventional notion of ‘Caland's Law’ is inadequate, at least for Greek and quite possibly for the parent language as well. It is also shown that these morphological and semantic characteristics of the individual types and their historical development can be defined more closely.
Isobel Hurst
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199283514
- eISBN:
- 9780191712715
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199283514.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Virginia Woolf's ironic attitude to the classics in On Not Knowing Greek is examined not as the bitterness of a woman who has been excluded from patriarchal culture, but as a fascinating and ...
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Virginia Woolf's ironic attitude to the classics in On Not Knowing Greek is examined not as the bitterness of a woman who has been excluded from patriarchal culture, but as a fascinating and idiosyncratic response to Greek, which owes much to her female predecessors. Not knowing the Greeks is not seen as a gendered deprivation, but a limitation which can only be overcome by using the imagination: finding pleasure in the strangeness of a new language and creating contemporary forms of literature in response to ancient myth are crucial to the development of the woman writer.Less
Virginia Woolf's ironic attitude to the classics in On Not Knowing Greek is examined not as the bitterness of a woman who has been excluded from patriarchal culture, but as a fascinating and idiosyncratic response to Greek, which owes much to her female predecessors. Not knowing the Greeks is not seen as a gendered deprivation, but a limitation which can only be overcome by using the imagination: finding pleasure in the strangeness of a new language and creating contemporary forms of literature in response to ancient myth are crucial to the development of the woman writer.
Jessica N. Berry
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195368420
- eISBN:
- 9780199867479
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195368420.001.0001
- Subject:
- Philosophy, General
The impact of Nietzsche's engagement with the Greek skeptics has never been systematically explored in a book-length work—an inattention that belies the interpretive weight Nietzsche scholars ...
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The impact of Nietzsche's engagement with the Greek skeptics has never been systematically explored in a book-length work—an inattention that belies the interpretive weight Nietzsche scholars otherwise attribute to his early career as a professor of classical philology and to the fascination with Greek literature and culture that persisted throughout his productive academic life. This book brings together and expands on previously published work on Nietzsche and the Greek skeptics to fill this gap in the literature on Nietzsche by demonstrating how an understanding of ancient skepticism—the Pyrrhonian tradition in particular—promises to illuminate Nietzsche's own reflections on truth, knowledge, and ultimately, the nature and value of philosophic inquiry. It also presents an entirely new reading of Nietzsche's epistemological and ethical views, one that promises to make sense out of some of his most perplexing remarks on these topics. The reading of Nietzsche's work developed here helps to make clear and render coherent his provocative but often opaque remarks on the topics of truth and knowledge and to grant us further insight into his ethics, since the Greek skeptics, like Nietzsche, take up the position they do as a means of promoting well-being and psychological health. In addition, it allows us to recover a portrait of Nietzsche as a philologist and philosophical psychologist that has been too often obscured by commentaries on his thought.Less
The impact of Nietzsche's engagement with the Greek skeptics has never been systematically explored in a book-length work—an inattention that belies the interpretive weight Nietzsche scholars otherwise attribute to his early career as a professor of classical philology and to the fascination with Greek literature and culture that persisted throughout his productive academic life. This book brings together and expands on previously published work on Nietzsche and the Greek skeptics to fill this gap in the literature on Nietzsche by demonstrating how an understanding of ancient skepticism—the Pyrrhonian tradition in particular—promises to illuminate Nietzsche's own reflections on truth, knowledge, and ultimately, the nature and value of philosophic inquiry. It also presents an entirely new reading of Nietzsche's epistemological and ethical views, one that promises to make sense out of some of his most perplexing remarks on these topics. The reading of Nietzsche's work developed here helps to make clear and render coherent his provocative but often opaque remarks on the topics of truth and knowledge and to grant us further insight into his ethics, since the Greek skeptics, like Nietzsche, take up the position they do as a means of promoting well-being and psychological health. In addition, it allows us to recover a portrait of Nietzsche as a philologist and philosophical psychologist that has been too often obscured by commentaries on his thought.
A. D. Nuttall
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780198187660
- eISBN:
- 9780191674747
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198187660.001.0001
- Subject:
- Literature, Drama
Why does tragedy give pleasure? Why do people who are neither wicked nor depraved enjoy watching plays about suffering or death? Is it because we see horrific matter controlled by majestic art? Or ...
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Why does tragedy give pleasure? Why do people who are neither wicked nor depraved enjoy watching plays about suffering or death? Is it because we see horrific matter controlled by majestic art? Or because tragedy actually reaches out to the dark side of human nature? This wide-ranging, lively and engaging book offers a new answer to this perennial question. The ‘classical’ answer to the question is rooted in Aristotle and rests on the unreality of the tragic presentation: no one really dies; we are free to enjoy watching potentially horrible events controlled and disposed in majestic sequence by art. In the nineteenth century, Nietzsche dared to suggest that Greek tragedy is involved with darkness and unreason and Freud asserted that we are all, at the unconscious level, quite wicked enough to rejoice in death. But the problem persists: how can the conscious mind assent to such enjoyment? Strenuous bodily exercise is pleasurable. Could we, when we respond to a tragedy, be exercising our emotions, preparing for real grief and fear? King Lear actually destroys an expected majestic sequence. Might the pleasure of tragedy have more to do with possible truth than with ‘splendid evasion’?Less
Why does tragedy give pleasure? Why do people who are neither wicked nor depraved enjoy watching plays about suffering or death? Is it because we see horrific matter controlled by majestic art? Or because tragedy actually reaches out to the dark side of human nature? This wide-ranging, lively and engaging book offers a new answer to this perennial question. The ‘classical’ answer to the question is rooted in Aristotle and rests on the unreality of the tragic presentation: no one really dies; we are free to enjoy watching potentially horrible events controlled and disposed in majestic sequence by art. In the nineteenth century, Nietzsche dared to suggest that Greek tragedy is involved with darkness and unreason and Freud asserted that we are all, at the unconscious level, quite wicked enough to rejoice in death. But the problem persists: how can the conscious mind assent to such enjoyment? Strenuous bodily exercise is pleasurable. Could we, when we respond to a tragedy, be exercising our emotions, preparing for real grief and fear? King Lear actually destroys an expected majestic sequence. Might the pleasure of tragedy have more to do with possible truth than with ‘splendid evasion’?
