bluuebunny/crossref_metadata_2025_split huggingface dataset:
Iraq Government Excavations at ‘Aqar Qūf First Interim Report 1942–1943
Authors: Baqir Taha 
Published: August 2016

In May 1942 the Directorate-General of Antiquities decided to make soundings in the ancient site called ‘Aqar Qüf, whose ruined ziggurat is a familiar landmark in the plain about 20 miles to the west of Baghdad. There proved to be very little difficulty in tracing the four buttressed sides of the ziggurat itself, and on the south-east side the remains were found of a triple staircase of kiln-baked brick which had evidently led up to the summit, and corresponded closely to that of the Kassite ziggurat at Ur. Stamped bricks in the fabric of this staircase confirmed the identification of the site with the Kassite city called Dûr Kurigalzu.Early in the following year the Excavations Committee of the Department, headed by Mr. Seton Lloyd, F.S.A., Technical Adviser, decided on further large-scale excavations at ‘Aqar Qūf. One reason for the selection of the site was an economic one. Owing to war-time transport difficulties it was essential that any excavating work should be in the vicinity of Baghdad. Secondly the work provided an opportunity both for visitors to Baghdad and Iraqis themselves to see an archaeological excavation in progress. Many hundreds of Allied troops visited the site while the work was in progress, and parties of school-teachers and students were frequently escorted round the ruins. Finally, the archaeological importance of the site has long been evident. It represents a period in the history of Iraq concerning which there are few sources of information, and whose chronology is still controversial. Furthermore, it is a period during which the international relations of the various Middle East States are extremely interesting, as witnessed, for example, by the Amarnah Letters'.
The Radical Theology of Prometheus Bound; or, on Prometheus' God Problem
Authors: Rader Richard 
Published: August 2016

Prometheus Bound (PV) is a meditation on God par excellence, second only perhaps to the Bible or Paradise Lost. It is, accordingly, the only extant tragedy from the ancient world featuring the most characters as gods. For this reason it stands out in a genre fixated principally on human suffering, where ‘death carries overwhelmingly more weight than salvation’. Gods, of course, do not suffer like humans: Prometheus, the play's protagonist extraordinaire, may be subject to an eternity of punishment for stealing fire from Zeus, but his pain, real and visceral as it is, differs from ours in that it lacks the potential closure of death. It is perhaps justifiable then to suggest the play's focus is not just the awful things gods are capable of doing to one another (just like humans), but rather the meaning of such behaviour without the ultimate consequence (death). That is, the portrayal of Prometheus suffering and Zeus menacing redounds equally to the type of characters they are as to simply what they are. Whereas the former aspect is of psychological or political interest, the latter is a theological concern. And PV is theological in its implications as much as it is political. Hence the question: What type of theology does it convey? The answer is complex.In the modern world PV has primarily been read for its political allegory—as a meditation on oppression, or martyrdom for the intellectual cause. Eric Havelock's translation and study of the play, to cite an illustrative example, was called The Crucifixion of Intellectual Man (1950). Many critics therefore argue that the play articulates the conflict between Prometheus and Zeus in terms of freedom versus authoritarianism. As Shelley famously wrote in the prologue to his Prometheus Unbound, the imprisoned Prometheus represents ‘the highest perfection of moral and intellectual nature impelled by the purest and the truest motives to the best and noblest ends’ (1820). Marx and Goethe felt similarly. This position aligns Prometheus with the forces of enlightenment and progress over against the brutality of Zeus's authority.
The Road to Sicily: Lucilius to Seneca
Authors: Gowers Emily 
Published: August 2016

One of Horace's best-known allegations inEpistles1 is that where in the world you are is neither here nor there, as long as you have peace of mind (animus aequus):caelum non animum mutant qui trans mare currunt.strenua nos exercet inertia; nauibus atquequadrigis petimus bene uiuere. quod petis, hie est,est Vlubris, animus si te non deficit aequus.(Hor.Ep. 1.11.27-30)Cross the sea, and you change your climate, not your mental state. Restless idleness drives us on. In ships and chariots we seek the good life. What you seek is here, it's even at Ulubrae—if your mind is only at peace with itself.This turns out to be one of the book's hugest lies. It makes all the difference how Horace and his correspondents are placed when he is writing to them: Rome is different from backwater Ulubrae, Baiae from Brundisium. InMorals and Villas in Seneca's Letters, John Henderson has attached similar importance to named locations in calibrating metaphorical distance between Seneca and the correspondent of hisEpistles, Lucilius. This paper aims to close a gap of two centuries between two of the most disparate figures in Latin literature: the same Seneca, that knotted-up recluse, and another Lucilius, the laughing cavalier satirist. The link: a journey made from Rome to Sicily, or, more precisely, the uses of the road to Sicily in epistolary-philosophical discourse (by way of Horace'sSatiresandEpistles). Lucilius'Iter Siculumand Seneca's mental journeys to Sicily in theEpistulae Moralesare related stages, I will argue, in the philosophical applications of travel writing.
Evolution of An Assassin: The Letters of Chion of Heraclea
Authors: Penwill J.L. 
Published: August 2016

In 364 BCE Clearchus, a former student of Isocrates and Plato, staged acoup d'étatin his native city of Heraclea Pontica and made himself tyrant. Twelve years later in 352 Clearchus fell victim to a conspiracy led by another former student of Plato and native Heraclean, by the name of Chion. Some centuries later an author whose name we do not know and about whose date and place of residence we can only speculate fixed on this event as the basis of a historical epistolary novel, which comprises a sequence of seventeen letters purportedly written by Chion himself. The novel survives in a number of manuscripts, the majority of which give it the titleLetters of Chion. It is with this text that this article is concerned.The sequence tracks Chion's progress from the time he leaves home in order to pursue his studies at the Academy to two days before the assassination. Most of the letters are addressed to Chion's father Matris, and so fall into the category of ‘letters home’ in which Chion narrates and reflects on his encounters and thoughts at various stages of his sojourn abroad. The final one however is written from Heraclea back to Athens; it is addressed to Plato, and from its tone and content Chion clearly expects of his master that he regard the upcoming assassination as his student's graduationsumma cum laudein the field of political ethics. Critical opinion on theLettersis largely unanimous in maintaining that the author shares this view; that the whole sequence is designed to show Chion developing the philosophical acumen needed to make the right decision on the on the ethical issues that confront him and the emotional maturity needed to take decisive political action at the appropriate time.
On Choosing a Life: Variations on an Epic Theme in Apuleius Met 10 & 11
Authors: Penwill J.L. 
Published: August 2016

In the course of the evolution of an epic hero, there comes a point at which he has to make a choice between two ways of life. It is a motif that goes right back to the Iliad:Hom. Il. 9.410-16For my goddess mother, silver-footed Thetis, tells me that the doom I carry towards the finality of death is twofold. If I stay here and fight around the Trojans' city, my return home is lost, but I shall have imperishable glory. But if I return home to the dear land of my fathers, that noble glory is lost, but I shall have long life and the finality of death will not come to me quickly.
The Failure of Rhetoric in Josephus' Bellum Judaicum
Authors: Price Jonathan J. 
Published: August 2016

Like any good Greek historian, Josephus salted hisBJwith rhetorically elaborate speeches in direct discourse in order to explore the psychological interior of important historical players and to provide insight into motivations for the characters' actions at critical junctures in the narrative. The earliest methodological statement about speech-writing in an historical narrative fairly describes Josephus' own method in theBJ.I refer of course to Thucydides' famous, if perennially debated and reinterpreted, declaration at the end of his so-called Archaeology:Regarding the speeches which each speaker made either on the eve of war or when they were already in it, it has been difficult to remember with perfect accuracy the spoken words, both for me, of the speeches which I myself heard, being present, and for those who reported to me [speeches] given at different times and places; so that each speaker is made to say what seemed to me most essential for him to say, given the circumstances in each case, while I have tried to keep as close as possible to the overall intention of the actual speech.(Thuc. 1. 22)
Conivnx in Limine Primo: Regulus and Marcia in Punica 6
Authors: Augoustakis Antony 
Published: August 2016

The sixth book of Silius Italicus'Punicaopens with the aftermath of the battle at lake Trasimene: the victory of the Carthaginians has been total. An analeptic narrative on the adventures of Regulus in Libya during the First Punic War occupies a large portion of this book (62-551). Regulus' son, Serranus, wounded after the battle at Trasimene, finds refuge at the house of his father's faithful companion, Marus. In a flash-back narrative, Marus relates the killing of a serpent at the river Bagrada (140-293), the capture of Regulus and his mission to Rome (299-402), Marcia's reaction to her husband's uncompromising attitude, Regulus' speech to the Senate (403-520), and his final return to Carthage, resulting in his death (521-51).The poet brings several innovations into his account in Book 6 in comparison to pre-Silian tradition. He introduces three persons around the figure of Regulus who are otherwise unknown or remain anonymous in other sources. The first is Serranus, Regulus' son. Although Regulus' son must have participated in the battle at Trasimene, this fabricated Serranus is callediuuenis(‘young man’, 101, 415) andflore nitens primo(‘in the flower of his youth’, 65), references which further complicate historical chronology. Another Silian innovation is Marus, Regulus' faithful companion during his tribulations in Africa. His presence fits into the scheme of Silius' portrayal of Serranus' ‘education’ by Marus, who will tell the story of Regulus' heroic adventures in Africa and Rome. Generational continuity would be guaranteed through the precepts of an older man. And finally, Silius gives Marcia herself a substantial role.
Under the Cover of Epic: Pretexts, Subtexts and Textiles in Catullus' Carmen 64
Authors: Robinson Timothy J. 
Published: August 2016

Catullus'Carmen64 unfurls a narrative tapestry rich in meaning and allusion. Its account of the marriage of Thetis and Peleus recalls the Trojan cycle, theIliadand theCypriain particular, and offers a response to and program for epic. Although Catullus' Alexandrian poem revels in its own retrospection and nostalgia,Carmen64 expresses the futility of attempting to achieve any true νόστος (‘return’) to the dominating yet foreclosed world of Homeric epic.Carmen64 reveals new perspectives in which traditional epic elements are reversed, reordered or juxtaposed in unexpected ways; these challenge received notions such as the admissible constituents of epic background, foreground, narrative and digression; the definitions of heroic deeds; and the implications of speech and writing.In the course of this revisionary projectCarmen64 avails itself of a systematic imagery involving cloths, clothes and textiles that are viewed and accessed by the poem's characters throughout to convey or receive knowledge: messages that are ‘written’ or ‘read’ or even ‘missed’ (as in the case of Aegeus seeing the forgetful Theseus' sails) in a variety of textile mediums: theuestis uariataof the central ekphrasis, Ariadne's clothes, her thread in the labyrinth, Theseus' sails, the threads of the Parcae, the thread to measure the neck of the newlywed Thetis—all these inform a text that is unified fromCarmen64's textiles. Recollection and representation are central to much fiction—μνῆσαι (‘remember’) is Priam's first word to Achilles atIliad24.486—andCarmen64 reaches far back into memory to cull myths from the epic repertoire to weave into its fabric.
Terence's Selbstaussöhnung: Payback Time for the Self (Hautontimorumenus)
Authors: Henderson John 
Published: August 2016

There is no such thing as society.ThatchFriends and neighbours, that's where it's atfriends and neighbours, that's a fact.Ornette Coleman (1970)All Terence's ½-doz. plays come complete with instructions on how to read them. They give you a fair idea, for a start, of what you're going to get yourself involved in. They always did, delivering audiences to the exponentially expanding Roman culture of the 160s BCE, delivering drama, and theatre culture, from that critical world-beating juncture in the history of the West to a constantly self-renewing, and ultimately perpetual, Graeco-Roman education, through language + learning: Prologue (§1).Before all, this is the play with the unpronounceable Greek handle. Just about its only Hellenism to survive processing into Terence's expertly screened Latinity. A word-and-a-half set to catch any lover of language—it made Baudelaire write a poem, just so he could list Hautontimoroumenos as a title in Fleurs du Mal: Je te frapperai sans colèrelet sans haine comme un boucher.… (For us, his line-and-a-half must be: Je suis de mon coeur le vampire.) The word-title is a paradigmatic slogan that roars—fortissimo—that complex internal relations between the person and the self feature as the semiotic-cum-problematic of this play. L'innommable—beyond Latinity to put into words, hence the compulsion to dramatise: Title (§2).
Buy Young, Sell Old: Playing the Market Economies of Phormio and Terence
Authors: Smith Joseph A. 
Published: August 2016

…mihi prospiciam et Phaedriae.Phormio 1036…I'd better look ahead for my own interest, and Phaedria's.If the anecdotal material from Terence's biography can be trusted, 161 BCE was the playwright's breakthrough year in which he secured his position in Rome as the premier comedian of his generation. At the Ludi Megalenses in April Terence's Eunuch was such a popular success it earned a same-day repeat performance and the unprecedented payment of 8,000 sesterces for its author. In September of that same year Terence was hired by the curule aediles once again to bring another play, the fifth he would compose, to the stage at the Ludi Romani. On that occasion, far from opening his prologue with the vaunting self-promotion of a poet who had recently pleased his audience so thoroughly, Terence returned for the fourth time to his customary complaints against some unnamed old poet who had yet again levelled criticism at his young rival. And while it appears that Terence was simply sticking with a proven, successful formula, in other regards the young poet was in fact showing signs of a new confidence of privileged position by varying from another of his regular compositional practices: he had, he tells his audience, changed the name of the original Greek play by Apollodorus to one of his own choosing:
nunc quid uelim animum attendite: adporto nouamEpidicazomenon quam uocant comoediamGraeci, Latini Phormionem nominantquia primas partis qui aget is erit Phormioparasitus, per quem res geretur maxume,uoluntas uostra si ad poetam accesserit.(Phorm. 24-29)Now pay attention to what I want: I bring anew comedy which the Greeks call Epidikazomenos,and Latin speakers entitle Phormiobecause the man who’ll play the chief part will bethe parasite Phormio, on whom the plot will mostly dependif you’ll throw your favour to the poet.
The Joker in the Pack: Slaves in Terence
Authors: McCarthy Kathleen 
Published: August 2016

Where social relations are concerned, the servile condition was the joker in the pack: the true slave could be given a different value or significance according to prevailing principles of social organization. The slave was an outsider without a past or a future, without separate interests or compromising associations. In principle the slave was a creature of his or her owner. If necessary, the slave could act as a surrogate. The slave condition cancelled out all prior belonging or autonomy and enabled the slaveowners to claim the slave's reproductive powers, productive energy, administrative or military capacity and personal initiative.Blackburn (1996), 161Boiled down to its essentials, domestic comedy is about the business of getting and begetting, about economics and reproduction. True, it might be more fair to say that it is about the sense individuals have about their own roles and actions in these enterprises—about love and fear and regret, for example—but the twin concerns of household wealth and the status of future generations provide the structure within which these emotions take on meaning. To be more precise, these concerns are not just twinned, but are part of a single process which we might call ‘familial reproduction’, i.e. the process of using material, cultural and biological resources to stabilise the family's identity and status in the present and to extend the family's identity and status into the future. One important resource that Roman families drew on was the rich and manifold resource of the slave members of the familia.
The Life of Objects: Bounds of Creativity in Theocritus' First Idyll
Authors: Purchase Philip 
Published: August 2016

A moment in Tom Stoppard's post-pastoralArcadiasuggests a way into the pre-pastoral scene of Theocritus' firstIdyll.Stoppard's play generates two narratives that are divided by almost two hundred years, yet linked by identity of location. The estate of Sidley Park, soon to be ‘gothicised’, houses overlaid stories from past and present that separately inhabit the same room until they finally achieve simultaneous existence on stage. In this exchange from 1809, Lady Croom is looking over the plan to transform her gardens; Thomasina is her ‘pert’ daughter:LADY CROOM: But Sidley Park is already a picture, and a most amiable picture too. The slopes are green and gentle. The trees are companionably grouped at intervals that show them to advantage. The rill is a serpentine ribbon unwound from the lake peaceably contained by meadows on which the right amount of sheep are tastefully arranged—in short, it is as God intended, and I can say with the painter, ‘Et in Arcadia ego!’‘Here I am in Arcadia,’ Thomasina.THOMASINA: Yes, mama, if you would have it so.LADY CROOM: Is she correcting my taste or my translation?THOMASINA: Neither are beyond correction, mama, but it was your geography caused the doubt.
Triumph Songs, Reversal and Plautus' Amphitruo
Authors: Peter O'Neill  
Published: August 2016

Partout dans la pièce on sent frémir la vie romaine.(Henri Janne)This paper aims to read Plautus'Amphitruoin the light of the Roman triumph. Local references and allusions to the triumph in theAmphitruohave often been pointed out, but only rarely has the play as a whole, with its story of the arrival home and treatment of a returning victorious general, been seen as reflecting the triumph. However, Mary Beard, in the recent collectionRome the Cosmopolis, has made this connection, seeing in theAmphitruoa theatrical and metatheatrical parody of thetriumphator. For Beard, the triumph is a ceremony which problematises issues of mimesis and representation. Thetriumphator, dressed and painted to imitate perhaps Jupiter himself, perhaps a statue of Jupiter, or perhaps the Etruscan Kings, exemplifies this problem. As Beard says, just as thetableaux vivants, carried at triumphs, with their depictions of thetriumphator's various achievements, can be seen as replications of reality, as artifice, or as pure and simple sham, so the general can be seen as Jupiter's double, as a living statue, or as an actor making a fool of himself at a costume party. According to Beard, what is at stake in thetriumphator's performance is the hermeneutic question of how can one tell the difference between ‘being’, ‘playing’ or ‘acting’ god. It is in this light that Beard locates theAmphitruo, reading the play as a parody of triumphal mimesis. Whereas thetriumphatorusually imitates Jupiter at the triumph, here Jupiter imitates thetriumphator.
Written on the Body: Ekphrasis, Perception and Deception in Heliodorus' Aethiopica
Authors: Whitmarsh Tim 
Published: August 2016

Novels have so much solid and monolithic bulk when they sit in a hand or on a shelf; inside, the pages are forests of symbols, as though even in books of such magnitude the sentences needed compression to fit on to pages. How different to poetic volumes, beguilingly slender, their pages brilliant with blank, white space, across which the spindly words stretch like gossamer. In terms of content, however, novels are rarely as monolithic as their physical form suggests. From earliest times since, the genre has dealt, centrally, with themes of metamorphosis, transubstantiation, the fundamentally permeable nature of the self. The solid material aspect of the novel often masks a central preoccupation with the fluidity of identity.In the compass of this article, I want to explore the central role accorded by Heliodorus, arguably the greatest of ancient novelists, to questions of perceptual deception, to seeing and seeming; and in particular, I want to explore the role of artworks within Heliodorus' narrative economy. The narrative turns, as is well known, on the amazing paradox of an Ethiopian girl born white. Charicleia's skin colour is a visual trap, an illusion. Given that her freakish pigmentation is the result of her mother's glancing at an art-work at the moment of conception, Charicleia can almost be said to be a walking ekphrasis, an embodiment of the illusory traps of the unreal.
The Fabrication of Tradition: Horace, Augustus and the Secular Games
Authors: Davis P.J. 
Published: August 2016

Now, at this season when selected girlsAnd the boys who are about to venture upon them,Though still in bud, sing what will please London…(C.H. Sisson, 1974)Rome's first emperor proved remarkably successful in shaping a positive image for himself in his own and subsequent eras. Here was a man who came to power through that most criminal of means, through victory in civil war, and yet managed to persuade his own and succeeding generations of his right to rule. How did the enthusiastic proscriber of the innocent and the brutal destroyer of Perusia transform himself into the sublime Augustus? Here was one of Rome's great militarists, a man who, by one reckoning, doubled the size of the Roman empire. How could this warlord be perceived as a ‘prince of peace’? One answer to these questions is that this transformation of perception, both ancient and modern, was achieved through die emperor's promotion of a complex of ideas designed to accomplish precisely this perceptual shift, a complex of ideas which we variously call ‘Augustan ideology’, ‘Augustan discourse’ or even ‘Augustan cultural thematics’.