John Scheid
- Published in print:
- 2012
- Published Online:
- May 2012
- ISBN:
- 9780199572069
- eISBN:
- 9780191738739
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572069.003.0008
- Subject:
- Classical Studies, European History: BCE to 500CE
A graffito discovered in the temple of Hercules Curinus at Sulmo allows us to explore the ritual logic of the Roman vow, undoubtedly one of the most characteristic rites in Roman religion, with its ...
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A graffito discovered in the temple of Hercules Curinus at Sulmo allows us to explore the ritual logic of the Roman vow, undoubtedly one of the most characteristic rites in Roman religion, with its specific vocabulary and timing, unlike, for example, the Christian vow. In most cases, vows — whether they are modest such as the one from the temple at Sulmo, or grand such as those we find on offerings in metal or marble — recall one aspect or phase of the rite. The text from Sulmo is one of the rare votive texts that gives us the two principal phases of the vow, announcement and fulfilment.Less
A graffito discovered in the temple of Hercules Curinus at Sulmo allows us to explore the ritual logic of the Roman vow, undoubtedly one of the most characteristic rites in Roman religion, with its specific vocabulary and timing, unlike, for example, the Christian vow. In most cases, vows — whether they are modest such as the one from the temple at Sulmo, or grand such as those we find on offerings in metal or marble — recall one aspect or phase of the rite. The text from Sulmo is one of the rare votive texts that gives us the two principal phases of the vow, announcement and fulfilment.
T. P. Wiseman
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199558681
- eISBN:
- 9780191720888
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199558681.003.0005
- Subject:
- Classical Studies, European History: BCE to 500CE
This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the ...
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This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the foundations of cities and colonies, and the succession of monarchical power (imperium) in Greece and Asia. The discussion concentrates on Velleius' interest in Hercules, whose apotheosis he even uses as a dating marker like the Trojan War or the foundation of Rome. Comparison with Diodorus's narrative of Hercules' deeds, and with the first Nemean Ode of Pindar (written for a Sicilian patron), suggests that Velleius may have been following a western tradition in which Hercules became a god after the defeat of the Giants in Campania. Velleius himself was Campanian, as was his patron M. Vinicius, whose family's presence there can be traced back to the 5th century BC.Less
This chapter discusses the first surviving part of Velleius Paterculus' history (1.1-8), which covers the period from the Trojan War to the reign of Romulus, with particular reference to the foundations of cities and colonies, and the succession of monarchical power (imperium) in Greece and Asia. The discussion concentrates on Velleius' interest in Hercules, whose apotheosis he even uses as a dating marker like the Trojan War or the foundation of Rome. Comparison with Diodorus's narrative of Hercules' deeds, and with the first Nemean Ode of Pindar (written for a Sicilian patron), suggests that Velleius may have been following a western tradition in which Hercules became a god after the defeat of the Giants in Campania. Velleius himself was Campanian, as was his patron M. Vinicius, whose family's presence there can be traced back to the 5th century BC.
Alan Cameron
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780199747276
- eISBN:
- 9780199866212
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199747276.003.0003
- Subject:
- Classical Studies, Ancient Religions
This chapter discusses why Gratian changed his policy toward Roman paganism, Gratian's repudiation of the ancient pagan title of pontifex maximus, Theodosius and the cults of Rome, Theodosius's ...
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This chapter discusses why Gratian changed his policy toward Roman paganism, Gratian's repudiation of the ancient pagan title of pontifex maximus, Theodosius and the cults of Rome, Theodosius's anti-pagan legislation, Eugenius and the state cults, and Proiectus and the “temple of Hercules”. It argues that there is no serious evidence that Eugenius revoked or modified in any way the anti-pagan measures of either Gratian or Theodosius.Less
This chapter discusses why Gratian changed his policy toward Roman paganism, Gratian's repudiation of the ancient pagan title of pontifex maximus, Theodosius and the cults of Rome, Theodosius's anti-pagan legislation, Eugenius and the state cults, and Proiectus and the “temple of Hercules”. It argues that there is no serious evidence that Eugenius revoked or modified in any way the anti-pagan measures of either Gratian or Theodosius.
Kathleen Riley
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199534487
- eISBN:
- 9780191715945
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199534487.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter is an analysis of Seneca's Hercules Furens in which, for the first time, the madness is internalized. Seneca dispenses with the interventionist figures, Iris and Lyssa, thereby obscuring ...
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This chapter is an analysis of Seneca's Hercules Furens in which, for the first time, the madness is internalized. Seneca dispenses with the interventionist figures, Iris and Lyssa, thereby obscuring the boundary between sanity and insanity. He portrays Hercules throughout as a megalomaniac and menacingly autarkic overreacher, whose madness triggers a latent psychosis, and whose hallucinations merely extrapolate his ‘rational’ aspirations. He thus restores the traditional theodicy, which Euripides dismantled, and introduces to this particular tale of madness both psychological and ethical coherence.Less
This chapter is an analysis of Seneca's Hercules Furens in which, for the first time, the madness is internalized. Seneca dispenses with the interventionist figures, Iris and Lyssa, thereby obscuring the boundary between sanity and insanity. He portrays Hercules throughout as a megalomaniac and menacingly autarkic overreacher, whose madness triggers a latent psychosis, and whose hallucinations merely extrapolate his ‘rational’ aspirations. He thus restores the traditional theodicy, which Euripides dismantled, and introduces to this particular tale of madness both psychological and ethical coherence.
Kathleen Riley
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199534487
- eISBN:
- 9780191715945
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199534487.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter considers the peculiar compound that is Renaissance Hercules, around whom two main traditions evolved, one focusing on his heroic virtue, the other on his madness. It demonstrates that, ...
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This chapter considers the peculiar compound that is Renaissance Hercules, around whom two main traditions evolved, one focusing on his heroic virtue, the other on his madness. It demonstrates that, in each case, Hercules was a distinguishable type. His most popular and pervasive incarnation was as ‘Hercules at the Crossroads’, the triumphant hero of a Manichean struggle between Virtue and Vice. As such he was appropriated into civil humanism and Christian metaphysics alike. The Renaissance conception of mad Hercules was very different from this paragon of virtus, reason, and restraint, but an equally composite and adaptable creation. What is known as the ‘Hercules furens tradition’ is neither exclusively Senecan nor essentially tragic. It is a wholesale description applied to a group of overlapping traditions – philosophical, medical, literary, and histrionic – whose ancient sources include Hippocrates, Aristotle, Macrobius, Ovid, and, of course, Seneca. In the 16th and 17th centuries translations of Seneca's Hercules Furens appeared in England and on the Continent, helping to establish the Herculean hero as a defining presence in Renaissance drama.Less
This chapter considers the peculiar compound that is Renaissance Hercules, around whom two main traditions evolved, one focusing on his heroic virtue, the other on his madness. It demonstrates that, in each case, Hercules was a distinguishable type. His most popular and pervasive incarnation was as ‘Hercules at the Crossroads’, the triumphant hero of a Manichean struggle between Virtue and Vice. As such he was appropriated into civil humanism and Christian metaphysics alike. The Renaissance conception of mad Hercules was very different from this paragon of virtus, reason, and restraint, but an equally composite and adaptable creation. What is known as the ‘Hercules furens tradition’ is neither exclusively Senecan nor essentially tragic. It is a wholesale description applied to a group of overlapping traditions – philosophical, medical, literary, and histrionic – whose ancient sources include Hippocrates, Aristotle, Macrobius, Ovid, and, of course, Seneca. In the 16th and 17th centuries translations of Seneca's Hercules Furens appeared in England and on the Continent, helping to establish the Herculean hero as a defining presence in Renaissance drama.
Kathleen Riley
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780199534487
- eISBN:
- 9780191715945
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199534487.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines the influence of Seneca's psychologically and ethically challenging Hercules on Elizabethan tragedy. It argues that political and cultural similarities between imperial Rome and ...
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This chapter examines the influence of Seneca's psychologically and ethically challenging Hercules on Elizabethan tragedy. It argues that political and cultural similarities between imperial Rome and Tudor England ensured the responsiveness of Elizabethan playwrights to the Senecan overreacher's magnetism as well as his menace. Madness and tyranny in the plays of Shakespeare and his contemporaries are frequently construed in terms of Herculean furor, which, in turn, is rendered synonymous with an apocalyptic sense of selfhood. Among the plays discussed are Tamburlaine, Macbeth, and Coriolanus. The chapter concludes by considering the reasons why, following the Renaissance, mad Hercules disappeared from the stage and the cultural consciousness for nearly two hundred years.Less
This chapter examines the influence of Seneca's psychologically and ethically challenging Hercules on Elizabethan tragedy. It argues that political and cultural similarities between imperial Rome and Tudor England ensured the responsiveness of Elizabethan playwrights to the Senecan overreacher's magnetism as well as his menace. Madness and tyranny in the plays of Shakespeare and his contemporaries are frequently construed in terms of Herculean furor, which, in turn, is rendered synonymous with an apocalyptic sense of selfhood. Among the plays discussed are Tamburlaine, Macbeth, and Coriolanus. The chapter concludes by considering the reasons why, following the Renaissance, mad Hercules disappeared from the stage and the cultural consciousness for nearly two hundred years.
Scott McGill
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780195175646
- eISBN:
- 9780199789337
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195175646.003.0004
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter offers readings of seven of the ancient Virgilian centos that relate traditional mythological stories. The aim is to show that each text contains elements that permit and indeed demand ...
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This chapter offers readings of seven of the ancient Virgilian centos that relate traditional mythological stories. The aim is to show that each text contains elements that permit and indeed demand differentiated assessments, and therefore each is a distinct literary work, rather than just one in an undifferentiated mass of curiosities. How the centos in different ways speak to issues in Virgil's reception and literary studies is also explored.Less
This chapter offers readings of seven of the ancient Virgilian centos that relate traditional mythological stories. The aim is to show that each text contains elements that permit and indeed demand differentiated assessments, and therefore each is a distinct literary work, rather than just one in an undifferentiated mass of curiosities. How the centos in different ways speak to issues in Virgil's reception and literary studies is also explored.
Liv Mariah Yarrow
- Published in print:
- 2006
- Published Online:
- September 2007
- ISBN:
- 9780199277544
- eISBN:
- 9780191708022
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199277544.003.0004
- Subject:
- Classical Studies, European History: BCE to 500CE
In the contemporary histories of the Late Republic written by non-Romans, we can find preserved the attitudes of those dispossessed of their power by the establishment of Roman hegemony. The ...
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In the contemporary histories of the Late Republic written by non-Romans, we can find preserved the attitudes of those dispossessed of their power by the establishment of Roman hegemony. The historical texts themselves, like any intellectual product, have a distinctive form. The genre employed by each author and the structural choices made reflect the nature of the historian's objectives and political position. Choices regarding the integration of Rome into the narrative structure are of particular significance. Two categories have been recognized in Hellenistic historical writing: universal history and local chronicles.Less
In the contemporary histories of the Late Republic written by non-Romans, we can find preserved the attitudes of those dispossessed of their power by the establishment of Roman hegemony. The historical texts themselves, like any intellectual product, have a distinctive form. The genre employed by each author and the structural choices made reflect the nature of the historian's objectives and political position. Choices regarding the integration of Rome into the narrative structure are of particular significance. Two categories have been recognized in Hellenistic historical writing: universal history and local chronicles.
Paul Hammond
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780199572601
- eISBN:
- 9780191702099
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199572601.003.0001
- Subject:
- Literature, Drama
In Seneca's Hercules, the tragic protagonist has been displaced into a form of space which no one else shares. His time is not their time, either, for his act endures impervious to the motions of ...
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In Seneca's Hercules, the tragic protagonist has been displaced into a form of space which no one else shares. His time is not their time, either, for his act endures impervious to the motions of change and decay which are the rhythms of the ordinary world. The case of Hercules exemplifies a mode of estrangement which seems to be characteristic of tragedy, a movement of translation and of decomposition. This book explores the ways in which tragedy effects radical forms of estrangement by translating the protagonist into modes of time, space, and language which are alienated from those forms of time, space, and language which, in the different imaginations of different societies, constitute the human home. In this new world, metaphor, tense, and syntax forget their habitual ways of establishing identity or likeness, the sequence of cause and effect, and the distinction between agent and patient. The plays chosen for discussion range from Aeschylus' Agamemnon to Jean Racine's Phèdre, from classical Greek drama to its reworking in the sixteenth and seventeenth centuries.Less
In Seneca's Hercules, the tragic protagonist has been displaced into a form of space which no one else shares. His time is not their time, either, for his act endures impervious to the motions of change and decay which are the rhythms of the ordinary world. The case of Hercules exemplifies a mode of estrangement which seems to be characteristic of tragedy, a movement of translation and of decomposition. This book explores the ways in which tragedy effects radical forms of estrangement by translating the protagonist into modes of time, space, and language which are alienated from those forms of time, space, and language which, in the different imaginations of different societies, constitute the human home. In this new world, metaphor, tense, and syntax forget their habitual ways of establishing identity or likeness, the sequence of cause and effect, and the distinction between agent and patient. The plays chosen for discussion range from Aeschylus' Agamemnon to Jean Racine's Phèdre, from classical Greek drama to its reworking in the sixteenth and seventeenth centuries.
William G. Thalmann
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780199731572
- eISBN:
- 9780199896752
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199731572.003.0002
- Subject:
- Classical Studies, World History: BCE to 500CE
This chapter applies spatial theory to the general themes of the poem. The Argo’s voyage involves a material, bodily experience of space, but it produces space by connecting the places on its ...
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This chapter applies spatial theory to the general themes of the poem. The Argo’s voyage involves a material, bodily experience of space, but it produces space by connecting the places on its itinerary as interrelated constituents of a spatial system. It defines that space also by tracing routes or “pathways” on the sea, and also because the Argonauts leave signs of their presence in places where they stop. These signs imply narratives of what they did, and these narratives explain landmarks or ritual and other cultural practices associated with the Argonauts and exemplary for later times. In these stories (called aitia by the Greeks), space and time fuse together, and space is a signifying system, as is the poem itself, which is self-reflexively identified with the voyage. The Argo is a mobile embodiment of Greek space, confronting the alterity of foreign places and peoples. Herakles’ random movement through space provides a contrast with the systematic production of it by Jason and the Argonauts.Less
This chapter applies spatial theory to the general themes of the poem. The Argo’s voyage involves a material, bodily experience of space, but it produces space by connecting the places on its itinerary as interrelated constituents of a spatial system. It defines that space also by tracing routes or “pathways” on the sea, and also because the Argonauts leave signs of their presence in places where they stop. These signs imply narratives of what they did, and these narratives explain landmarks or ritual and other cultural practices associated with the Argonauts and exemplary for later times. In these stories (called aitia by the Greeks), space and time fuse together, and space is a signifying system, as is the poem itself, which is self-reflexively identified with the voyage. The Argo is a mobile embodiment of Greek space, confronting the alterity of foreign places and peoples. Herakles’ random movement through space provides a contrast with the systematic production of it by Jason and the Argonauts.
Graham Shipley
- Published in print:
- 2020
- Published Online:
- May 2020
- ISBN:
- 9781789620917
- eISBN:
- 9781789623680
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781789620917.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This section of the book contains the English translation of the text. It contains the following sections: Introduction; Europe: Antion to Iapygia; the Adriatic; Epeiros; continuous Hellas; ...
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This section of the book contains the English translation of the text. It contains the following sections: Introduction; Europe: Antion to Iapygia; the Adriatic; Epeiros; continuous Hellas; Peloponnese with Crete and southern Cyclades; Macedonia to the Tanaïs; the Black Sea; length of Europe; Asia: Tanaïs to Propontis; Mysia to Kilikia; Cyprus; Syria-Phoenicia to Egypt; length of Asia; Libyē: Non-Carthaginian Libyē; Carthaginian territory; length of Libyē; Beyond the Pillars of Hercules; end matter.Less
This section of the book contains the English translation of the text. It contains the following sections: Introduction; Europe: Antion to Iapygia; the Adriatic; Epeiros; continuous Hellas; Peloponnese with Crete and southern Cyclades; Macedonia to the Tanaïs; the Black Sea; length of Europe; Asia: Tanaïs to Propontis; Mysia to Kilikia; Cyprus; Syria-Phoenicia to Egypt; length of Asia; Libyē: Non-Carthaginian Libyē; Carthaginian territory; length of Libyē; Beyond the Pillars of Hercules; end matter.
Olga Taxidou
- Published in print:
- 2004
- Published Online:
- March 2012
- ISBN:
- 9780748619870
- eISBN:
- 9780748651719
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748619870.003.0006
- Subject:
- Literature, 20th-century and Contemporary Literature
This chapter discusses two plays that present readings of masculinity and femininity. It first studies a reading of The Madness of Hercules that is concerned with the centrality of male-to-male ...
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This chapter discusses two plays that present readings of masculinity and femininity. It first studies a reading of The Madness of Hercules that is concerned with the centrality of male-to-male philia, both to Euripides's rereading of the Hercules myth, and to the overall proposed aesthetics. The chapter suggests that The Madness of Hercules demonstrates some aspects of male hysteria. The next play examined in the chapter is Euripides' Helen, which is traditionally received as a light comedy. It shows that Helen can be included in any discussion about aesthetic theory and tragic form in general.Less
This chapter discusses two plays that present readings of masculinity and femininity. It first studies a reading of The Madness of Hercules that is concerned with the centrality of male-to-male philia, both to Euripides's rereading of the Hercules myth, and to the overall proposed aesthetics. The chapter suggests that The Madness of Hercules demonstrates some aspects of male hysteria. The next play examined in the chapter is Euripides' Helen, which is traditionally received as a light comedy. It shows that Helen can be included in any discussion about aesthetic theory and tragic form in general.
C. A. J. Littlewood
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780199267613
- eISBN:
- 9780191708350
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199267613.003.0002
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
This chapter discusses the ambiguities of self-representation in a world of moral and physical disorder. Particularly in the bare paradoxes exchanged as sententiae it becomes difficult to distinguish ...
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This chapter discusses the ambiguities of self-representation in a world of moral and physical disorder. Particularly in the bare paradoxes exchanged as sententiae it becomes difficult to distinguish the polar opposites of vice and virtue, the inhuman alienation of the maniac from the autonomy of the Stoic sage. Seneca's distinctively artificial style — his presentation of reality and fate as mere constructions — poses distinctive moral challenges for his characters. There are discussions of Medea's knowledge of her own myth, Lycus' statement (in Hercules Furens) that the victors write the histories, and the intervention of the second chorus in Troades which dismisses the reality of Achilles' ghost as empty words, and a play like a bad dream.Less
This chapter discusses the ambiguities of self-representation in a world of moral and physical disorder. Particularly in the bare paradoxes exchanged as sententiae it becomes difficult to distinguish the polar opposites of vice and virtue, the inhuman alienation of the maniac from the autonomy of the Stoic sage. Seneca's distinctively artificial style — his presentation of reality and fate as mere constructions — poses distinctive moral challenges for his characters. There are discussions of Medea's knowledge of her own myth, Lycus' statement (in Hercules Furens) that the victors write the histories, and the intervention of the second chorus in Troades which dismisses the reality of Achilles' ghost as empty words, and a play like a bad dream.
Vincent Tomasso
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781474440844
- eISBN:
- 9781474460279
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440844.003.0002
- Subject:
- Classical Studies, Plays and Playwrights: Classical, Early, and Medieval
In this first chapter investigating the golden ages of heroes, Tomasso examines how nostalgia for the mid-twentieth century golden age of peplum (“sword and sandal”) films, which inspired the heroic ...
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In this first chapter investigating the golden ages of heroes, Tomasso examines how nostalgia for the mid-twentieth century golden age of peplum (“sword and sandal”) films, which inspired the heroic “golden age” world of Hercules: The Legendary Journeys (1995–9), is redoubled in “Once a Hero” (Episode 2.14, 1996). In staging a second voyage to re-claim the Golden Fleece, the episode presents Hercules as a guide for the demoralized Jason’s recuperation of his masculinity and status as the titular hero, in the wake of his ex-wife Medea’s killing of their two children and the mysterious disappearance of the Golden Fleece. In defining heroism within the scope of the series’ interpretation of the classical golden age, the episode highlights the challenge of reconciling the regressive sexual politics inherent in the peplum genre with the “girl power” Zeitgeist of 1990s American society and culture. On the one hand, the episode leans into the traditional villainization of Medea as a femme fatale; on the other, it also presents an invented character, Phoebe, who earns her own place as a hero among the Argonauts.Less
In this first chapter investigating the golden ages of heroes, Tomasso examines how nostalgia for the mid-twentieth century golden age of peplum (“sword and sandal”) films, which inspired the heroic “golden age” world of Hercules: The Legendary Journeys (1995–9), is redoubled in “Once a Hero” (Episode 2.14, 1996). In staging a second voyage to re-claim the Golden Fleece, the episode presents Hercules as a guide for the demoralized Jason’s recuperation of his masculinity and status as the titular hero, in the wake of his ex-wife Medea’s killing of their two children and the mysterious disappearance of the Golden Fleece. In defining heroism within the scope of the series’ interpretation of the classical golden age, the episode highlights the challenge of reconciling the regressive sexual politics inherent in the peplum genre with the “girl power” Zeitgeist of 1990s American society and culture. On the one hand, the episode leans into the traditional villainization of Medea as a femme fatale; on the other, it also presents an invented character, Phoebe, who earns her own place as a hero among the Argonauts.
A. K. Bate (ed.)
- Published in print:
- 1986
- Published Online:
- February 2021
- ISBN:
- 9780856682940
- eISBN:
- 9781800342729
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780856682940.003.0003
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter provides the commentary for Joseph of Exeter's The Trojan War, which includes Iliadum lacrimas or the author's use for various synonyms for Troy or Trojan. It explains the two wars that ...
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This chapter provides the commentary for Joseph of Exeter's The Trojan War, which includes Iliadum lacrimas or the author's use for various synonyms for Troy or Trojan. It explains the two wars that refer to the first sacking of Troy by Hercules and the second by Agamemnon and the humble voice as a self-deprecation or 'humility topos' that is regularly employed by medieval writers. It also contains the laughter of the mob and several other derogatory references to the lower classes that show that Joseph was unhappy about his origins. The chapter mentions Dares, who was supposed to have been an eyewitness to the second Trojan War and a much more reliable source than Homer or Virgil. It talks about the bride Medea, who helped Jason in his expedition to Colchis to obtain the Golden Fleece.Less
This chapter provides the commentary for Joseph of Exeter's The Trojan War, which includes Iliadum lacrimas or the author's use for various synonyms for Troy or Trojan. It explains the two wars that refer to the first sacking of Troy by Hercules and the second by Agamemnon and the humble voice as a self-deprecation or 'humility topos' that is regularly employed by medieval writers. It also contains the laughter of the mob and several other derogatory references to the lower classes that show that Joseph was unhappy about his origins. The chapter mentions Dares, who was supposed to have been an eyewitness to the second Trojan War and a much more reliable source than Homer or Virgil. It talks about the bride Medea, who helped Jason in his expedition to Colchis to obtain the Golden Fleece.
Emma Stafford
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781474424516
- eISBN:
- 9781474449533
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474424516.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter places the two recent 2014 Hercules films, The Legend of Hercules and Hercules, including the lesser known “mockbuster” Hercules Reborn (2014), in dialogue with the Hercules display of ...
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This chapter places the two recent 2014 Hercules films, The Legend of Hercules and Hercules, including the lesser known “mockbuster” Hercules Reborn (2014), in dialogue with the Hercules display of Russian president Vladimir Putin. It focuses particularly on aesthetic elements: the visual presentation of their central figure – his costume, his accoutrements, and the type of action shots that showcase the heroic body – and the settings against which the heroic action occurs. The chapter shows more broadly the importance of examining the place of Hercules and classical mythology in modern political discourse.Less
This chapter places the two recent 2014 Hercules films, The Legend of Hercules and Hercules, including the lesser known “mockbuster” Hercules Reborn (2014), in dialogue with the Hercules display of Russian president Vladimir Putin. It focuses particularly on aesthetic elements: the visual presentation of their central figure – his costume, his accoutrements, and the type of action shots that showcase the heroic body – and the settings against which the heroic action occurs. The chapter shows more broadly the importance of examining the place of Hercules and classical mythology in modern political discourse.
D. E. Hill
- Published in print:
- 2000
- Published Online:
- February 2021
- ISBN:
- 9780856687334
- eISBN:
- 9781800343153
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9780856687334.003.0003
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter includes the commentary on books 13 to 15 of Ovid's Metamorphoses. It cites the Pagasae, which was a town on the borders of Magnesia and Thessaly where the Argo was built, and Colchis, ...
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This chapter includes the commentary on books 13 to 15 of Ovid's Metamorphoses. It cites the Pagasae, which was a town on the borders of Magnesia and Thessaly where the Argo was built, and Colchis, which was the destination of the Argonauts. The Tyrrhenian is a Greek word for those called 'Tuscan' or 'Etruscan' by the Romans, which was then given to name the sea between Italy and Sardinia. It also mentions Circe's father, the Sun, who had seen the adultery of Aphrodite (Venus) and Ares (Mars) and had informed her husband Hephaestus (Vulcan). Ovid makes no mention of Croton's death, but he agrees that Hercules had reason to honour him.Less
This chapter includes the commentary on books 13 to 15 of Ovid's Metamorphoses. It cites the Pagasae, which was a town on the borders of Magnesia and Thessaly where the Argo was built, and Colchis, which was the destination of the Argonauts. The Tyrrhenian is a Greek word for those called 'Tuscan' or 'Etruscan' by the Romans, which was then given to name the sea between Italy and Sardinia. It also mentions Circe's father, the Sun, who had seen the adultery of Aphrodite (Venus) and Ares (Mars) and had informed her husband Hephaestus (Vulcan). Ovid makes no mention of Croton's death, but he agrees that Hercules had reason to honour him.
Sebastian Zeidler
- Published in print:
- 2016
- Published Online:
- August 2016
- ISBN:
- 9781501702082
- eISBN:
- 9781501701900
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501702082.003.0006
- Subject:
- Art, Art History
This chapter focuses on Documents, a magazine cofounded by Carl Einstein with Georges Bataille and Michel Leiris. It examines how, as his purview broadened under Documents' all-inclusive masthead, ...
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This chapter focuses on Documents, a magazine cofounded by Carl Einstein with Georges Bataille and Michel Leiris. It examines how, as his purview broadened under Documents' all-inclusive masthead, Einstein began to probe art history on the lookout for congenial personas. He discovered one in the seventeenth-century printmaker Hercules Segers, whose etchings prompted Einstein to compose a text that, written from a point of indifference, opened itself onto their bottomless vertigo. In turn, Einstein was drawn to central Asian art because of the way in which certain ritual objects became both the map and the territory of nomad art. This chapter also considers Einstein's writings on the work of Pablo Picasso in the later 1920s, with particular emphasis on his argument that Picasso's oeuvre was riven by a “double style” and how he tracked that doubleness both visually and theoretically.Less
This chapter focuses on Documents, a magazine cofounded by Carl Einstein with Georges Bataille and Michel Leiris. It examines how, as his purview broadened under Documents' all-inclusive masthead, Einstein began to probe art history on the lookout for congenial personas. He discovered one in the seventeenth-century printmaker Hercules Segers, whose etchings prompted Einstein to compose a text that, written from a point of indifference, opened itself onto their bottomless vertigo. In turn, Einstein was drawn to central Asian art because of the way in which certain ritual objects became both the map and the territory of nomad art. This chapter also considers Einstein's writings on the work of Pablo Picasso in the later 1920s, with particular emphasis on his argument that Picasso's oeuvre was riven by a “double style” and how he tracked that doubleness both visually and theoretically.
Katharina N. Piechocki
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780226641188
- eISBN:
- 9780226641218
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226641218.003.0004
- Subject:
- Literature, 16th-century and Renaissance Literature
The rise of print culture in tandem with a resurgent interest in Ptolemy’s Geography prompted a radical transformation of the imagining of Europe’s continental boundaries. Geoffroy Tory, France’s ...
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The rise of print culture in tandem with a resurgent interest in Ptolemy’s Geography prompted a radical transformation of the imagining of Europe’s continental boundaries. Geoffroy Tory, France’s first royal printer and typographer and the first editor of Enea Silvio Piccolomini’s De Europa, powerfully seized these new tools to conceptualize Europe’s borders with Asia. His groundbreaking Champ fleury (1529) links diverse spatial imageries to the question of the origin and transformation of European and non-European languages. It investigates Europe’s shifting image from a landmass intimately connected with the oikoumene to an isolated entity detached from its shared heritage with Asia in the context of the formation and circulation of alphabets. The Champ fleury constitutes an astounding cartographic surface, a vibrant map upon which letters, as graphic, somatic, and numeric signs, form a new cartographic language in constant transformation and translation. In Tory’s hand, the “flowery field” of its title becomes a platform for the generation of complex cartographic signs that this chapter, following Ján Pravda, calls “cartographemes.”Less
The rise of print culture in tandem with a resurgent interest in Ptolemy’s Geography prompted a radical transformation of the imagining of Europe’s continental boundaries. Geoffroy Tory, France’s first royal printer and typographer and the first editor of Enea Silvio Piccolomini’s De Europa, powerfully seized these new tools to conceptualize Europe’s borders with Asia. His groundbreaking Champ fleury (1529) links diverse spatial imageries to the question of the origin and transformation of European and non-European languages. It investigates Europe’s shifting image from a landmass intimately connected with the oikoumene to an isolated entity detached from its shared heritage with Asia in the context of the formation and circulation of alphabets. The Champ fleury constitutes an astounding cartographic surface, a vibrant map upon which letters, as graphic, somatic, and numeric signs, form a new cartographic language in constant transformation and translation. In Tory’s hand, the “flowery field” of its title becomes a platform for the generation of complex cartographic signs that this chapter, following Ján Pravda, calls “cartographemes.”
Lewis Lockwood
- Published in print:
- 2009
- Published Online:
- October 2011
- ISBN:
- 9780195378276
- eISBN:
- 9780199852376
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195378276.003.0024
- Subject:
- Music, History, Western
The theoretical background of the “Hercules” Mass has rarely been subjected to close scrutiny. This chapter distinguishes three levels of consideration: the systematic, the conventional, and the ...
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The theoretical background of the “Hercules” Mass has rarely been subjected to close scrutiny. This chapter distinguishes three levels of consideration: the systematic, the conventional, and the individual. By “systematic”, it means the basic tone-system of the period, as expounded by the best-informed and most authoritative theorists of Josquin’s time, especially Tinctoris. By “conventional”, it means particularly those features of design it shares with other polyphonic Mass settings, or with certain branches of the Mass literature with which it has most in common. There is also ample evidence that the “Hercules” Mass was recognized as being a distinctive type of glorification. What had originally been a fusion of the Mass as liturgy and as political celebration had become a tradition.Less
The theoretical background of the “Hercules” Mass has rarely been subjected to close scrutiny. This chapter distinguishes three levels of consideration: the systematic, the conventional, and the individual. By “systematic”, it means the basic tone-system of the period, as expounded by the best-informed and most authoritative theorists of Josquin’s time, especially Tinctoris. By “conventional”, it means particularly those features of design it shares with other polyphonic Mass settings, or with certain branches of the Mass literature with which it has most in common. There is also ample evidence that the “Hercules” Mass was recognized as being a distinctive type of glorification. What had originally been a fusion of the Mass as liturgy and as political celebration had become a tradition.
