bluuebunny/crossref_metadata_2025_split huggingface dataset:
The Character and Content of Water in Nonnus and Claudian
Authors: Newbold R. 
Published: August 2016

While it is the common nature of water to mirror the exact image of the body, it alone boasts the strange power that it mimics not human forms but human character (mores).ClaudianAs Claudian observes, water can display some very human moods and emotions, such as anger or calm. It can be quite anthropomorphic. Rivers, springs, the sea are readily personified. But, further than that, when water is imagined, it can also reveal many of the fantasies, wishes, fears and preoccupations of the person who does the imagining. The rich symbolism of water comes about, at least in part, because of the readiness of people to project on to it, as if on to a screen, the contents of their psyche, the character of their inner lives. Sadistic or lustful drives, nostalgic longings and much more may emerge in dreams, fantasies and images associated with water. Even when an author's work teems with traditional aquatic imagery, such images have to be selected from the larger cultural storehouse and the consequent array and treatment of these has a particular cumulative effect. Certain attitudes may reveal themselves. Imagined water that is particularly turbulent, for example,mayreflect the turbulence of an author's psyche. Through an author's treatment of water one can often gain some idea of how changeable, comforting and threatening the world appears to him or her.
The Ties that Bind: Transformations of Costume and Connection in Euripides' Heracles
Authors: Worman Nancy 
Published: August 2016

Cependant, elle, qui croyait bien connaître Jacques, s'étonnait. Il avait sa tête ronde de beau garçon, ses cheveux frisés, ses moustaches très noires, ses yeux bruns diamantés d'or, mais sa mâchoire inférieure avançait tellement, dans une sôrte de coup de geule, qu'il s'en trouvait défiguré.Zola, LaBête HumaineIt may seem banal to note that in its original conception Greek tragedy depended for much of its force on costume and visual effect. The dramas themselves often make clear, however, that costume, as a central feature of a character's visible type, communicates essential aspects of how she is situated both literally and figuratively. Not only do characters often enter in heroic or royal regalia, but the more elaborate or bedraggled one's appearance, the more likely it is that other characters comment upon it and thereby give it some overarching significance. As historians of Athenian drama have noted, the plays themselves do not provide very detailed evidence about the actual costumes that actors wore. Nor do vase paintings of particular stories always supplement the dramas with sufficiently detailed images of characters; and die written sources are too late to be definitive. I would nevertheless suggest that in Sophocles and especially in Euripides the plays draw attention to differentiations among the appearances of characters when the character's visible type contributes importantly to understanding her place in the social and symbolic structure of the play.
Nossis, Sappho and Hellenistic Poetry
Authors: Bowman Laurel 
Published: August 2016

Nossis 11 (AP7.718)Stranger, if you're sailing towards Mitylene of the beautiful dancesto draw inspiration from the flower of the graces of Sappho,say that I was dear to the Muses, and that the Locrian land bore me, and once you know that my name was Nossis, go.Reading is a difficult art. We read best, that is, not only with most sensitivity but with greatest pleasure, those texts which we have been taught to read well. Learning to read a new author, or in a new genre, is a great effort, the more difficult if it must be self-taught. Few readers are equipped to make the attempt wholly unaided. A new poet who wishes to become well-known does well to attempt visibly to attach her work to that of a canonical predecessor, to indicate how she wants her work to be read, and that it can be read with the critical tools already in the reader's possession.
Ovid's Heroides and Tristia: Voices from Exile
Authors: Rosenmeyer P.A. 
Published: August 2016

exulis haec uox est: praebet mihi littera linguam,et si non liceat scribere, rautus ero.Epist. ex Pont.2.6.3f.This is the exile's voice; the written word gives me a tongue,and if writing is forbidden, I shall be dumb.Ovid's exilic persona reveals itself over the course of his correspondence as a literary pastiche of other texts and identities. We hear the narrator's voice in theTristiaandEpistulae ex Pontoechoing that of Horace and Propertius, Homer's Odysseus and Vergil's Aeneas. These allusions to canonical works are widely recognised and catalogued. But equally crucial to Ovid's self-presentation are allusions to his own previous masterpieces. I interpret his choice of the letter form for the exile poems as not only an allusion to, but also an authorial statement of identification—on some level—with his earlier epistolary work, theHeroides. TheHeroidesmay be read as letters from exile,epistulae ex exilioin which Ovid pursues his fascination with the genre of letters and the subject of abandonment through literary characters; theTristiatake that fascination one step further as the author himself, in letters to loved ones, writes from the position of an abandoned hero of sorts.
The Role of the Book in Tristia 3.1
Authors: Newlands Carole 
Published: August 2016

The third book of the Tristia is the first to have been written in Tomis, Ovid's place of exile. The long journey from Rome, the subject of the first book of the Tristia, is over. The distractions of the journey can no longer sustain him, and his only pleasure is to weep, in other words to write the elegy of lament:
dum tamen et uentis dubius iactabar et undis,fallebat curas aegraque corda labor:ut uia finita est, et opus requieuit eundi,et poenae tellus est mini tacta meae,nil nisi flere libet…(Tr. 3.2.15-19)But while in turmoil I was being tossed around by winds and waves, my worries and sad heart were distracted by the battle for survival. Now that the journey is over, the effort involved in travel is spent, and the land of my punishment has been reached, weeping is my only pleasure.
The Ending of Sense: Death as Closure in Lucretius Book 6
Authors: Penwill J.L. 
Published: August 2016

Dis Manibus Peter James ConnorOf the things that wisdom provides for blessedness throughout life, by far the greatest is the possession of friendship.Epicurus,Principal Doctrines27No man is anIland, intire of it selfe…any mansdeathdiminishesme, because I am involved inMankinde; And therefore never send to know for whom thebelltolls; It tolls forthee.John Donne,Devotions17That Lucretius should choose to end his Epicurean representation of the world with a long and harrowing account of the plague that struck Athens in 430 BCE is certainly one of the more remarkable facts in classical Roman poetry. More remarkable still is the suddenness of the ending. The poem simply breaks off as one critic says ‘almost in mid-sentence’; and even if we follow this same critic in tidying up the end by transferring 6.1247-51 to follow 1286 we are still left very muchin mediis rebus, with the plague at its height and death and misery all around. Our initial response is one of surprise and puzzlement as we feel cheated of a sense of an ending; this in turn leads to questions about overall design and authorial intent. Why does the poem end this way? Indeed, has it ended at all?
Alogia and Emphasis in Juvenal's Fourth Satire
Authors: Winkler Martin M. 
Published: August 2016

D MJ. P. SullivanIn chapters 24 and 25 of thePoeticsAristotle discusses an aspect of poetry which is important even for satire. Aristotle states thatto thaumaston, the element of ‘the wondrous’ necessary for tragedy, depends on what he termsto alogon, ‘the irrational’ (Poet.1460a11-14). He continues to explain that ‘once the irrational has been introduced and an air of likelihood imparted to it, we must accept it in spite of the absurdity’ inherent in it (an de thēi kai phainētai eulogōterōs, endekhesthai kai atopon<on>). Accordingly, Aristotle postulates that the poet should prefer ‘likely impossibilities to unlikely possibilities’ (adunata eikota mallon ē dunata apithana). Aristotle stresses the importance of this demand by repeating it later (Poet.1461b11f.). The poet's justification for proceeding along such lines rests on the effect he achieves: his composition becomes ‘more striking’ (ekplēktikōteron, Poet.1460b24-27). The irrational does not necessarily violate reason, ‘for it is likely that something may happen contrary to likelihood’ (eikos gar kai para to eikos ginesthai;Poet.1461b15). Although not real, the irrational is ‘better’ (beltion); it is not that which is, but that which ‘ought to be’ (hōs dei). S.H. Butcher summarises the subject by observing: ‘These so-calledadunataare the verydunataof art, the stuff and substance of which poetry is made …. Theadunata, things impossible in fact, becomepithana[likely].’
Martialis Redivivus: Evaluating the Unexpected Classic The First J.P. Sullivan Annual Lecture in Classics, UCSB March 10, 1994
Authors: Boyle A.J. 
Published: August 2016

Pignus AmorisI begin with apre-text. It is a short poem about intellectual hypocrisy which might have been written by Martial had he lived in southern California in the 1990's. Its author is in fact John Sullivan. The title of the poem is ‘Pop Sociologist’.
Introduction
Authors: Boyle A. J. 
Published: August 2016

Martial offers not only an anatomy of Roman sexuality but an ideology of it.J. P. Sullivan,Martial: The Unexpected ClassicWhat persuades men and women to mistake each other from time to time for gods or vermin is ideology.T. Eagleton,Ideology: An IntroductionJohn Sullivan's last public engagement was to deliver a paper at the third USC-UCLA Seminar in Roman Studies on St. Patrick's day 1993. The subject of the seminar was ‘Literature and Ideology’, and featured Tom Habinek (USC), Carole Newlands (UCLA), myself as moderator, and John himself, who was to speak on ‘Martial and Flavian Ideology’. John's deteriorating condition prevented him from attending the seminar and a timely replacement was found in the person of a fellow ‘Patrician’, Patrick Sinclair of UC Irvine. The seminar was crowded with John's southern Californian friends and colleagues, and the three and a half hours of lively, rigorous, intellectually tough but friendly discourse were very much in the spirit of the missing speaker, whose absence was incontrovertibly the defining presence. I approached the speakers later with the idea of aFestschriftfor John, built upon the theme of the seminar and containing revised versions of their own papers. They warmly agreed. Such is the germination of this volume. To those initial three papers have been added two papers (those of Malamud and Winkler) from the Pacific Rim Roman Literature seminar organised by Frederick Ahl in honour of John at Cornell in August 1993, five specially commissioned pieces from other friends and literary colleagues, and the text of the first J.P. Sullivan Annual Lecture in Classics held at UCSB in March 1994. The aim has been to treat a topic which was becoming central to John Sullivan's own inquiries and to produce a volume with more intellectual and critical cohesion than is often the case with honorific collections. I wanted the result to be as worthy as is possible of the man and the values he embodied in work and life.
John Patrick Sullivan
Authors: Boyle A.J. 
Published: August 2016

The other day, I heard that an old friend from Cambridge was gravely ill. Thinking of him, I became aware, belatedly, that he was remarkable in never having expected anything of me, except friendliness. He combines scholarship with tolerance. It is impossible to quarrel with him, though easy to diasagree; rigorous with himself, he is easy with others. He inscribed his books to me, ‘amicitiae causa’. Such men are rare, in anyone's life, and even more rarely deserved.Frederic Raphael, The Independent Magazine (April 1993)
Hanno's Punic Heirs: Der Poenulusneid des Plautus
Authors: Henderson John 
Published: August 2016

I accept chaos. I'm not sure whether it accepts me.If you like a right mess, then Plautus' Poenulus (‘The Little Carthaginian’) is the play for you. When it is not being slatered, it is konstanly passed by, rarely translated [& then only for completeness' sake: one series or another] and left out of the chiefest recuperations of the oeuvre, of the chicest innovations of the genre (viz. Konstan, 1983; Slater, 1985: but do see Endnote). Poen. gets written off as ‘One of the least successful…’. [Only successful, it may be, in getting waves of Orientalist experts to brush up our Mediterranean languages. If that counts: little Latine, lesse Greek—and now beginners' Punic.] Otherwise, study of Poenulus has centred on two projects: ‘logical’ analysis of the unacceptabihty of the structuring of the plot and ‘archaeological’ dialysis of the text as botched, contaminated, interpolated miscegenation. That is, in both cases, everything that can hardly be dumped on the Greek dramatist Alexis, if it was his lost ‘Karkhēdónios' play that first Plautus mauled and meshed, then in succession his theatre-companies thrashed and threaded and through time his scribes sliced and stitched. Even its warmest admirers must hack Poenulus to bits, for a start, in order to suture some sort of text to admire (Maurach 1975, Zwierlein 1990). And the finicky pundits of this play impugn away with impunity, their fun the display of pungent finesse. Try reading them for laughs—and smile through the Poen.
On the Two Voices of the Birds in Birds
Authors: Perkell Christine 
Published: August 2016

In his 1980 article ‘Aristophanes as a Lyric Poet’, Michael Silk argued that Aristophanes' lyrics, widely admired as jewels of Greek poetry, were overrated. He faulted them above all for lack of intellectual point and profundity, for a generic, timeless lyricism that lacked a genuine metaphysical dimension. To the hoopoe's song inBirds, for example, he juxtaposed Pindar's famous—(Pythian8.95-97)Creatures of a day!What is someone?What is no one?Man: a shadow's dream.But when god-given glory comes a bright light shines upon us and our life is sweet.(tr. Frank J. Nisetich)
Rescuing Horace, Pyrrha and Aphra Behn: A Directive
Authors: Nielsen Rosemary M. , Solomon Robert H. 
Published: August 2016

The question before us at the turn of both century and millennium is how one determines whether Horace is a dangerous love-poet (unrecognised because we read badly). Or a panderer, playing to our delight in the comedy of manners. Or a serious analyst of communication between the sexes—even a prophet for our time. The choice varies from villain to vates, the extremes reminding us how certainly the past exists, as Robert Frost laments in ‘Directive’: ‘Back in a time made simple by the loss/Of detail, burned, dissolved, and broken off,/Like a graveyard marble sculpture in the weather.’Recently, a Classical scholar, writing about what she termed ‘Horace's detachment as a love poet’, asserted that his readers ‘remain trapped, perhaps by necessity, in male assumptions about desire that they are unable to question.’ She believes that there is a ‘disturbing picture of love and desire’ which critics have missed because we read, almost all of us, with half-closed eyes, ignoring ‘erotic subterfuge’ in the love-odes. We overlook, she insists, ‘the overpowering desire’ of the male ‘poet/lover’ because, in ‘unacknowledged identification’ with Horace, we put on Horatian eyes. This charge raises disquieting questions about distinctions between speaker and poet, persona and historical figure, art and life.
Intellectual Pluralism and the Common Pursuit Ramus Twenty Years
Authors: Boyle A.J. 
Published: August 2016

Criticism, far from being a simple and orderly field of beneficent activity, from which impostors can be readily ejected, is no better than a Sunday park of contending and contentious orators, who have not even arrived at the articulation of their differences. Here, one would suppose, was a place for quiet co-operative labour. The critic, one would suppose, if he is to justify his existence, should endeavour to discipline his personal prejudices and cranks—tares to which we are all subject—and compose his differences with as many of his fellows as possible, in the common pursuit of true judgment. When we find that quite the contrary prevails, we begin to suspect that the critic owes his livelihood to the violence and extremity of his opposition to other critics, or else to some trifling oddities of his own with which he contrives to season the opinions which men already hold, and which out of vanity or sloth they prefer to maintain. We are tempted to expel the lot.T.S. Eliot, ‘The Function of Criticism’ (1923)legere enim et non intellegereneglegere est.(To read and to misread is to miss a reading of one's world.)Prologue to Dicta Catonis 1 (3rd Cent. CE)
Voice and Sign in Pindar
Authors: Dickson Keith M. 
Published: August 2016

We all secretly venerate the ideal of a language which in the last analysis would deliver us from language by delivering us to things.M. Merleau-Ponty,The Prose of the WorldIn a study published some years ago, J.-P. Vernant drew attention to the fundamental distinction Greek thought makes between spoken and all other modes of divination. It is a difference that reflects certain givens of ancient social and political structure, and that has its roots in the marked orientation of Greek society towards open discourse. What he has in mind as a paradigm of oral divination is the question-and-answer format of many ancient oracles. He argues that this provides far more direct and more ‘democratic’ access to the will of deity or the way of things than do styles of consultation dependent on interpretative schemes which, because of their indirect nature, are accessible only to a small and privileged group. The fine art of pyromancy, for instance, deploys a framework of transformational rules and techniques whose complexity removes the interpretation of ‘fire signs’ (empura sēmata) from the realm of ordinary skills and makes it instead the special province of a priestly caste, such as that of the Iamidai at Olympia.
The Battle of the Sexes in Euripides' Ion
Authors: Dunn Francis M. 
Published: August 2016

Euripides'Ionhas suffered from the attempt to find in the play an overriding message or moral. Verrall and his successors saw theIonas an attack against Apollo and organized religion; Wassermann and Burnett argue that it defends orthodox piety; Grégoire and Loraux view it as a hymn or lament on Athenian national pride; and Knox and Gellie respond that theIonis pure comedy with no deeper meaning. There is of course some truth to each of these interpretations, but it does not follow that the play's ‘real meaning’ lies somewhere in between them. I suggest that we read theIonnot as an abstract argument but as drama, and in particular as a social comedy whose ‘meaning’ lies not in an underlying message but in the action itself and in the conflicts among the play's characters, human and divine, male and female, foreign and Athenian.Such conflicts, in this play at least, focus attention upon the role of the gods, the place of foreigners in Athens, and relations between men and women. Of these three subjects, the first two have dominated discussion of theIon, both by those who find them central to the play's religious or nationalistic theme, and by those who consider them incidental to the play as comedy. I shall first show that the third area of conflict — relations between men and women — is equally important in theIonand reflects an important issue in contemporary Athens. Second, I shall argue that the gender issues raised somewhat provocatively in the first half of the play are upstaged by the melodramatic excitement of the second half. And I shall suggest, in conclusion, that although it is only one of many social and family conflicts in the drama, the battle between the sexes shows how theIonraises important and difficult questions without becoming an ‘issue play’.
Authoritarianism, Autonomy and Ammianus Marcellinus
Authors: Newbold R F. 
Published: August 2016

According to Ammianus, it was envy of the exploits of Gratian and anxiety to equal them that drove Valens to engage the Goths at Adrianople in 378 before Gratian could arrive. The quality of the intelligence Valens received about the numbers of the Gothic forces was poor but he was inclined to believe it because it suited his wish. At a meeting with senior officers he sided with those who argued against waiting for Gratian's army, encouraged, it is said, by courtiers who pandered to his desire to monopolise ttye glory of victory. Weakened by hunger, fatigue and heat, and incompetentfy led, the Roman soldiers mostly fought with courage and tenacity until overwhelmed and massacred by the barbarians. They were victims, apparently, of their leader's irrationality, vanity and insecurity.Norman Dixon has adduced authoritarianism as a major factor in military incompetence. Ammianus, product of an overwhelmingly authoritarian society, provides a detailed record of Roman history in the third quarter of the fourth century. Understanding of Rome's civil and military performance in that age and of the author could be enhanced by examination of the authoritarian syndrome.
Tacitus/The World in Pieces
Authors: Henderson John 
Published: August 2016

Time will say nothing but I told you soTime only knows the price we have to payIf I could tell you I would let you know‘History is one of the most harmless products ever elaborated by the chemistry of the intellect.’ Siesta hammock of History, that ancient ‘bunk’ — ‘an old man pipes icing of concordance: oneiric cake of ungrasped memories’ …But when thehistorianexorcises his work from his passions, theira et studiumof commitment, pastoral care, life-time, it gives pause: Why? — Whywrite procul habeo— the vatichekas hekasof the voice that means to speak the sacred ‘word’ of the community (1.1.)? The gesture does notsimplyseal Tacitus from implication in hisAnnalsbehind the impassive modality of the annalistic genre and a double safety-door of assassination and end of Dynasty. No, the formula invites inspection of its rhetorical role: disarming … disavowal, yes but/so challenging … conscription: any citizen ‘can’ and ‘must’ join this project, brought near to readers of Latin by the distance-annulling homoeostasis of affective discourse, that programme already spelled out by the opening text,Urhem Romam … et cetera. ‘Rome’ is, ahistorically, ‘the near’ the ‘here’ the ‘now’ the ‘us’ — the ‘wor(l)d’ thatwasin the beginning.