RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE最新文献

{"title":"QUEER SOCIALITY AND PETRONIAN FRATERNITY","authors":"Jay T. Oliver","doi":"10.1017/rmu.2022.13","DOIUrl":"https://doi.org/10.1017/rmu.2022.13","url":null,"abstract":"‘How tough it is for outlaws’ (quam male est extra legem uiuentibus, Sat. 125.4), laments Encolpius, the petty-criminal narrator of Petronius’ Satyrica, as he frets about whether he and his buddies will be found out as they engage in a scheme to fleece the legacy hunters of Croton. But Encolpius and his crew are outlaws in more senses than one. Having forgotten, or simply disregarded, marital-reproductive household arrangements, they engage in novel forms of relationality that their cultural lexicon can barely cover as they quest after sex, feasts, money, or simply subsistence. Much Petronian scholarship, promoting a reading that looks down on the characters, views these forms of relationality as parodic and ‘purely comic’, ludicrously failed attempts by low, satirized characters to appropriate sublime Roman social institutions like fraternal pietas. In this article, taking as my primary example the reformulation of brotherhood and the use of the kin term frater by Encolpius, Ascyltos, and Giton, I read these forms of sociality as queer: that is to say, potentially challenging to normativity rather than simply inadequate to meet its demands. Petronian brotherhood, read in this light, appears richly shaded and contested, not merely a one-dimensional misappropriation composed for the benefit of a ‘superior’ elite audience. What exactly it means to be a ‘brother’ in this postlapsarian world is always an active question in the scenes involving the trio. I offer in this article a more detailed close reading of Petronian brotherhood than has been possible in other, briefer scholarly accounts, focusing in particular on the competing conceptualizations of ‘brotherhood’ by different characters, from Encolpius’ exclusive use of the term as something like ‘boyfriend’ to Ascyltos’ more capacious use of the word.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"32 1","pages":"224 - 240"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87030994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"LIES, DECEITS, MANIPULATIONS, AND OTHER FORMS OF AESTHETIC EXPRESSION IN HORACE, SATIRES 2.5","authors":"A. Horne","doi":"10.1017/rmu.2022.12","DOIUrl":"https://doi.org/10.1017/rmu.2022.12","url":null,"abstract":"Finagling an inheritance is one time-tested way of resolving a money shortage: just flatter your way into the good graces of the aged and rich. In Satires 2.5 Horace parodies the Roman version of this vice, known as captatio or ‘legacy-hunting’; with baroque imagination, he presents Odysseus, the mythological hero, consulting the prophet Tiresias in the Underworld and learning how to increase his fortune by amassing inheritances. Odysseus asks: tu protinus, unde | diuitias aerisque ruam, dic, augur, aceruos (‘tell me forthwith, prophet, where I can dig up riches and heaps of money’, 21f.). Tiresias responds: captes astutus ubique | testamenta senum (‘cleverly snatch on all sides the testaments of old men’, 23f.). Social critique naturally looms large in this poem about venal dishonesty. In major studies, Niall Rudd and Klaus Sallmann have examined the poem's criticism of contemporary Roman society, and later scholars have taken a similar line, often reading the poem as a send-up of flattery. All true, but there is more to say. Even as it treats of wills, money, and flattery, the satire also shows a quiet concern with aesthetic issues, especially the state of contemporary poetry.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"108 1","pages":"203 - 223"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89417999","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"RMU volume 51 issue 2 Cover and Front matter","authors":"","doi":"10.1017/rmu.2022.16","DOIUrl":"https://doi.org/10.1017/rmu.2022.16","url":null,"abstract":"","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"64 1","pages":"f1 - f5"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85025943","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"METAGENRE AND THE COMPETENT AUDIENCE OF PLAUTUS’ CAPTIVI","authors":"Rachel Mazzara","doi":"10.1017/rmu.2022.10","DOIUrl":"https://doi.org/10.1017/rmu.2022.10","url":null,"abstract":"Writing on Poenulus and Plautus’ genre, Henderson has proposed that the extant Plautine plays are ‘emphatically heterogeneous’, such that ‘no one play typifies the oeuvre.’ His argument counters a charge often leveled against Roman Comedy, that the plays are all the same, or at least that they all amount to the same thing. Henderson was right that they are not and do not, but the fact remains that Plautus’ plays have a certain predictability. Their formulaic nature is what promises, in the face of manifold obstacles, a happy ending. It is what indicates that the fragments of Vidularia once added up to a recognition play—and what defines ‘recognition plays’ as a group. It is what prompts claims that Captiui is ‘unusual’, filled with ‘oddities’ and ‘mistakes’.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"41 1","pages":"160 - 181"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79732277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CONFLICT, TRAGEDY, AND INTERRACIALITY: BOB THOMPSON PAINTS VERGIL'S CAMILLA","authors":"Allannah Karas","doi":"10.1017/rmu.2022.15","DOIUrl":"https://doi.org/10.1017/rmu.2022.15","url":null,"abstract":"In The Death of Camilla (1964), Black American painter Bob Thompson fascinates, disturbs, and provokes enduring questions about race in the United States. In this painting (Figure 1), multicolored nudes clash in battle around two figures frozen in a moment of anguish: a light-skinned female warrioress dying in the arms of a dark-hued male opponent. The power of this painting lies not only in its raw emotion, symbolism, and color, but also in Thompson's daring signification upon the story of Camilla from Vergil's Aeneid and on a seventeenth-century drawing by Nicolas Poussin. While a relatively ‘underknown’ artist, during his life Robert Louis Thompson (1937–1966) received extensive recognition for his compelling reconfigurations of the European old masters and their Classical (Greco-Roman) subjects. Thompson, according to his early biographer, Judith Wilson, may also be ‘the first American artist to put the nation's interracial sex life/sex fantasies on public view.’ In many of his works of reception, Thompson combines these two artistic preoccupations into compelling pieces that foreground tragic contradictions around interraciality in the United States. In his The Death of Camilla painting, I argue, Thompson expands upon the symbolic trajectory of Vergil's story and ‘colors’ Poussin in such a way as to re-present Camilla as collateral damage of the sort of nation building that necessitates interracial conflict.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"9 1","pages":"268 - 288"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74563401","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"RHETORICAL DISPLAY AND PRODUCTIVE DISSONANCE IN QUINTILIAN'S QUOTATIONS OF POETRY","authors":"Curtis Dozier","doi":"10.1017/rmu.2022.14","DOIUrl":"https://doi.org/10.1017/rmu.2022.14","url":null,"abstract":"Among Latin rhetorical treatises and imperial writers on technical subjects, the Institutio Oratoria stands out for the sheer number of quotations of poetry that Quintilian incorporates into his discussion. Whereas Cicero's De Inuentione has 13 quotations of poetry and the Rhetorica ad Herennium 16, the index locorum in Russell's Loeb edition of the Institutio records 320 quotations from Greek and Latin poets. Despite the distinctive scale of Quintilian's engagement with poetry, scholars have not taken much interest in it, perhaps under the influence of the persistent belief that in the imperial period ‘the introduction of poetry into orations as an ornament of style’ was ‘often a useless affectation’ or that such quotations constitute mere ‘window dressing’. Early twentieth-century treatments such as that of Cole, who evaluated Quintilian's citations of poets for their ‘textual accuracy’, and Odgers, who used the relative infrequency of Quintilian's quotation of Greek literature to establish the limits of Quintilian's knowledge of Greek, set a tone of dismissiveness in relation to any question of how and why Quintilian quotes poetry as he does: Cole and Odgers attribute any ‘discrepancies’ between Quintilian's quotations and those found in the manuscripts of the poets he quoted to a (presumed) tendency to quote from memory that made him ‘rather liable to errors’. Later critics have extrapolated from their findings to attribute to Quintilian the ‘grave deficiency’ of ‘know[ing] little directly of the major Greek writers’ and to diagnose ‘intellectual stagnation’ in his engagement with Latin literature. These negative judgements are, of course, in line with the traditional assessment of Quintilian as ‘neither a great writer nor a great thinker’, one who is ‘more often belittled than understood’.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"43 1","pages":"241 - 267"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88058104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"RMU volume 51 issue 2 Cover and Back matter","authors":"","doi":"10.1017/rmu.2022.17","DOIUrl":"https://doi.org/10.1017/rmu.2022.17","url":null,"abstract":"","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"10 1","pages":"b1 - b2"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84189436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"THE THIRD LIFECYCLE OF PHILOKLEON IN ARISTOPHANES’ WASPS","authors":"Robert Cowan","doi":"10.1017/rmu.2022.9","DOIUrl":"https://doi.org/10.1017/rmu.2022.9","url":null,"abstract":"The mutability of Philokleon's generational identity in Aristophanes’ Wasps is well established. Critics routinely write of his ‘rejuvenation’ in the second half of the play, and it is in the scene with the αὐλητρίϲ (‘aulos-girl’), Dardanis, that the old man most explicitly plays the part of an irresponsible youth waiting for his son (in the role of father) to die. However, inversions and perversions of generational identity pervade the whole play. Even before Philokleon has undergone his liberating transformation at the symposion, the educational roles of father and son are reversed as Bdelykleon schools him in the proper way to behave in polite society. More subtly and extensively, Bowie has shown how the three agones in which Philokleon unsuccessfully engages during the first half of the play correspond to the three stages of an Athenian male citizen's life: ephebeia, maturity in the hoplite phalanx, and old age in the jury. However, critics have not observed that Philokleon goes through another, parallel journey from youth through maturity to old age in the three ‘iambic scenes’ where he is confronted by the victims of his outrageous behaviour on his way home from the symposion. This article will show how Aristophanes constructs this third lifecycle (counting Bowie's agones and his literal maturation before the play's action begins) before considering its implications for the wider characterization of Philokleon and in particular the final scene.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"8 1","pages":"131 - 159"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77632534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ERASING THE AETHIOPIAN IN CICERO'S POST REDITUM IN SENATU","authors":"Hannah Čulík-Baird","doi":"10.1017/rmu.2022.11","DOIUrl":"https://doi.org/10.1017/rmu.2022.11","url":null,"abstract":"The Roman attitude toward the Ethiopian as expressed in scattered passages is far less kindly than the Greek. The usage in Terence and the Auctor ad Herennium which imply a vogue for Ethiopians is probably in imitation of Greek usage. How early the Roman attitude crystalized into racial feeling it is hard to say, and as those who express it are chiefly satirists one must be careful in drawing conclusions. Nevertheless in the absence of an expressed good will and in the face of references which have a superior or contemptuous tone it is evident that the Romans had no special affection for Ethiopians at Rome, however romantically they may have spoken of the races of distant India. The earliest passage in which they are spoken of slightingly seems to be in Cicero—cum hoc homine an cum stipite Aethiope, Cicero, De Sen., 6. The word does not occur in all the manuscripts and the Oxford and Teubner texts omit it entirely. In notes it is translated ‘blockhead’ and the statement made that in antiquity the Ethiopians were synonymous with stupidity, a conclusion obviously drawn from the passage and the modern attitude toward them. Even if the word was actually used by Cicero, this passage alone is basis for such a theory. Mrs. Beardsley (op. cit., pp.119–120), in my judgement, is wrong in her conclusion that the Roman attitude toward the Negro crystallized into racial feeling. In support of her view that the Romans referred to the Ethiopians at Rome in a superior and contemptuous tone, Mrs. Beardsley includes the following passages: (1) Cicero, Red. in Sen., 6.14 (cited incorrectly as De Sen., 6); (2) Martial, VI, 39, 6; (3) Juvenal, II, 23. Cicero, Red in Sen., 6.14…cum hoc homine an stipite Aethiope…, as Mrs. Beardsley admits, does not appear in all the manuscripts and is omitted in the best established texts. A consideration of the context leads me to believe that the editors (Oxford, Teubner, Loeb) are right in rejecting Aethiope or stipite Aethiope and in reading stipite. Nevertheless, the appearance of the variant indicates that the author of the reading used Aethiope in a derogatory sense. (It is possible that the pejorative meaning of aethiops was a medieval development.) In these two excerpts, Grace Hadley Beardsley and Frank M. Snowden, Jr., discuss the appearance of the word Aethiops (‘Aethiopian’) in Cicero's Post reditum in senatu 14. Beardsley, whose intellectual project was motivated, as Maghan Keita and, more recently, Najee Olya have discussed, by racial animus and who sought to find evidence of Greco-Roman anti-Blackness that was both consistent with, and therefore a legitimizing exemplum for, contemporary anti-Blackness in 20th-century America, took Cicero's words as ‘the earliest passage in which [Aethiopians] are spoken of slightingly’ at Rome—doing so cautiously, given the fact that most editors had deleted it from the text. Frank M. Snowden, Jr.—whose own work W.E.B. Du Bois explicitly contrasted with Beardsley—responded to Beardsley'","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"32 1","pages":"182 - 202"},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80777531","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CATEGORIES IN JEOPARDY: ARGINUSAE IN ARISTOPHANES’ FROGS","authors":"Clara Bosak-Schroeder","doi":"10.1017/rmu.2022.1","DOIUrl":"https://doi.org/10.1017/rmu.2022.1","url":null,"abstract":"In October of 2016, less than two weeks before the election of Donald J. Trump to the White House, Saturday Night Live (SNL) aired a stunning installment of ‘Black Jeopardy!’, a recurring sketch hosted by Kenan Thompson as Darnell Hayes. In this episode, Keeley (Sasheer Zamata) and Shanice (Leslie Jones), two Black women, were joined by Tom Hanks as Doug, a white man and MAGA-hat wearing Trump supporter. Though Darnell is initially skeptical that Doug is prepared to play ‘Black Jeopardy!’ the four bond over their shared appreciation for ‘big girls’, lottery tickets, and Tyler Perry movies, and their aversion to dogs, corporations, and the government. At one point, Darnell approaches Doug for a handshake; at first taken aback (and literally stepping back), Doug then gratefully clasps the other man's hand. The sketch ends when a new category is announced, ‘Lives That Matter’, and the fragile bonds between Doug, Darnell, and the other contestants begin to fray. Doug announces that he ‘has a lot to say’ about the category. ‘Well, it was good while it lasted’, Darnell replies.","PeriodicalId":43863,"journal":{"name":"RAMUS-CRITICAL STUDIES IN GREEK AND ROMAN LITERATURE","volume":"269 1","pages":"1 - 20"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77538434","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}