bluuebunny/crossref_metadata_2025_split huggingface dataset:
Akkadian poetry: metre and performance
Authors: West M. L. 
Published: August 2016

Despite scholarly efforts that now extend over more than a century, the governing principles of Akkadian verse remain elusive. It is obviously not based, like Greek or Latin verse, on the counting and measuring of syllables. The idea that it is based on the counting of accentual peaks has a much greater immediate appeal. There are long stretches of poetic texts that seem amenable to analysis on these lines. Most scholars would be willing to recognize the existence of a “standard” Vierheber, a verse with four apparent accentual peaks, giving the sense of a balance of two against two, as in Enūma eliš I 47–50:īpulma Mummu / Apsû imallik,sukkallum lā māgiru / milik mummīšu:“Hulliqamma, abī, / alkata ešīta;urriš lū šupšuhāt, / mūšiš lū ṣallāt.”This measure may be called “standard” because it occurs at all periods, and in many texts it predominates. But everywhere we find shorter lines interspersed, on no discernible principle, and often longer ones too. The shorter lines generally have three apparent accents, but on occasion only two, while the longer ones may have five or six. According to A. E. Housman,To think that two and two are fourAnd neither five nor threeThe heart of man has long been soreAnd long 'tis like to be.But what vexes the Akkadian metrician's heart, if he has one, isTo think that two and two are fourbut sometimes five or three.
Proem
Authors: Gadd Emeritus C. J. 
Published: August 2016

The entire volume of Iraq for the year 1969 is in honour of Professor Emeritus C. J. Gadd, a former Editor of this Journal and one of the most distinguished orientalists in this country. His 75th birthday which fell on 2nd July 1968 was celebrated by a small gathering of friends in London. The ensuing articles have been written by a number of colleagues, who have joined their contributions in token of the warm gratitute and friendship which they feel for one who has devoted a lifetime to oriental learning with signal success.It will be seen from the bibliography that C. J. Gadd has a remarkable record of continuous publication over a period of forty-seven years. The long list of titles is impressive not only for the weight but for the variety of his learning, which embraces linguistics, philology, literature, religion, history, art and archaeology. His contributions, which reflect a remarkable erudition, have been enlivened by a lively, human touch and a pungent wit. Such qualities endear him to his fellow academicians all of whom have enjoyed his writing and benefited from the generosity with which he has always been ready to impart his knowledge to others.
The Buddhist Origin of the ‘Sumerian’ Heads From Memphis
Authors: Gordon D. H. 
Published: August 2016

In the museum of the Department of Egyptology at the University of London there is a collection of terra-cotta heads and figures discovered by Sir Flinders Petrie in the workmen's quarter at Memphis. They have been published by the Egyptian Exploration Fund in the volumes Memphis I, Palace of Apries (Memphis II), and Meydum and Memphis III.My interest was aroused by the fact that there were among them a number of terra-cottas of Indian type, but I soon found that the dates given by Sir Flinders Petrie differed greatly from those which, on stylistic grounds, I should have myself assigned to figures of this type had they been discovered in India. In addition to this I felt very sceptical about the ‘Sumerian’ heads, which I considered had survived in a manner little short of miraculous. This article is an attempt to show that the ‘Sumerian’ heads are not in fact Sumerian at all but the heads of Buddhist priests, and that the whole collection covers a period not exceeding one hundred and fifty years: probably that of middle first century B.c. to the end of the first century A.D.
Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily
Authors: Bosher †Kathryn 
Published: August 2016

As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining plays not simply as literary works, but as integral parts of social and political systems, remains a useful method of inquiry. Indeed, one strand of useful research may build on the work that has been done to situate Greek drama in Athens to ask similar questions about theatre outside Athens.In the case of South Italy and Sicily, the problem is particularly pressing. This is not only because of the traditional separation between the fields of philology, epigraphy, history, archaeology, art history and political science, which made comprehensive examination of theatre as a social and political phenomenon difficult in Athens, but also because of competing histories of the development of theatre in the ancient Greek world. In particular, the history of Athenian theatre, both from the literary perspective and now from the socio-political perspective, is so dominant that it often incorporates into its own narrative what evidence there is for theatre outside Attica. Likewise, from the later period, Roman theatre includes the evidence from Sicily and South Italy into its own history, though to a lesser extent. Nothing to Do with Dionysos? may nevertheless serve as a model for the development of a vital, and still missing, perspective on the theatrical evidence that remains from the West. How did drama and the theatre fit into the socio-political contexts of Greek cities outside Attica? Is it possible to write the history of Sicilian and South Italian theatre, or were these new world cities only recipients of the Attic theatre and stepping stones to that of Rome?I attempt below to set out a few of the questions that, I think, frame the debate. This is a preliminary, tentative examination of some of the problems that arise in this field, and it is not in any way exhaustive.
‘A Simple Girl’? Medea in Ovid Heroides 12
Authors: Davis P. J. 
Published: August 2016

For Homer's Circe the story of Argo's voyage was already well known. Although we cannot be sure that the Odyssey's first audience was aware of Medea's role in Jason's story, we do know that by the time that Ovid came to write Heroides, she had already appeared in numerous Greek and Latin texts, in epic and lyric poetry and on the tragic stage. Given her complex textual and dramatic history, it seems hardly likely that any Ovidian Medea could actually be ‘a simple girl'. And yet precisely this charge of ‘simplicity’ has been levelled against Heroides 12 and its Active author. I propose to argue that the Medea of Heroides 12 is complex, not simple, and that her complexity derives from the fact that Ovid has positioned his elegiac heroine between past and future, guilt and innocence, epic and tragedy.Like all of Ovid's heroines, Medea writes at a critical juncture in her mythic life. But Medea's myth differs significantly from those of her fellow authors, for it requires her to play five distinct roles in four separate locations. Thus while Penelope, for example, plays only the part of Ulysses' loyal wife on Ithaca immediately before and during her husband's return, Medea plays the ‘simple girl’ in Colchis, the murderous wife in Iolcus, the abandoned mother in Corinth, the poisonous stepmother in Athens and the potential filicide back in Colchis. She is a heroine with a well-known and extensive history and so it is not surprising that the first line of Heroides 12 invokes the concept of memory: memini (‘I remember’).
Representing Medea on Roman Sarcophagi: Contemplating a Paradox
Authors: Buchanan Sophie 
Published: August 2016

It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and murderer—is fleshed out by her capacity to fascinate and repel. Modern scholarship fans the flames, as she remains a popular subject for scholars of Latin and Greek literature, mythology and gender studies.In contrast, Medea's visual sphere of interest has attracted less in-depth attention. Recent studies have acknowledged the implications of her presence on pots and in freestanding sculpture, and most notably, wall painting is beginning to receive careful treatment. Yet art-historians have been more reluctant to confront Medea within the enclosed and predisposed funerary context. Traditional approaches to mythological sarcophagi more generally have favoured consolado as the dominant mode of commemoration, in which empathy and pothos are paramount and protagonists like Adonis and Endymion seen as positive exempla worthy of analogy and assimilation. The deceased is elevated by association with these figures (an association which is often underlined by the use of a portrait head) and the bereaved reassured by the implied interaction of mundane and heroic, mortal and divine. In this way, desire becomes a gloss for grief and loss is translated as yearning.
Festina Lente: Progress and Delay in Ovid's Fasti
Authors: Geue Tom 
Published: August 2016

‘Wait a minute.’Martin Amis,Time's ArrowWe start with a stop. In recent years, long pause has been taken for inquest into the narrative dynamics of ancient literature. How stories are told, by whom, in what order—these have become key questions of narratology, a discipline whose tools most critics would now keepsomewherein their kit. Narratological criticism of poetry has ‘naturally’ drifted towards poems of long narrative span (i.e. hexameter epics). Recently, however, the ‘smaller’ genres have been extended the benefits of narratological civilisation, particularly in the realm of temporality. To take a loaded and leading example, Latin love elegy has been well serviced by narratology of late; what was once considered a genre ‘unfit’ for narrative, let alone narratological study, is now a prime setting for both. But it surprised me that the recent volumeLatin Elegy and Narratologyall but neglected Ovid's most ‘narrative’ elegy of all: theFasti. Such an editorial decision may have been motivated by the perception that theFastineeds no reclamation as a narrative poem; at any rate, the volume's interests lie in the processes of ‘fragmentation’, the way that elegy claims its own non-narrativity as alternative. Whatever the reasoning, I felt that theFasti'snear-relegation from this fascinating volume was something of an oversight. Many of the concerns emerging from the chapters on ‘other’ elegy can be usefully transferred to theFasti.
Jason at Colchis: Technology and Human Progress in Valerius Flaccus
Authors: Davis P J. 
Published: August 2016

For the Argonauts of Valerius Flaccus the Black Sea and its surrounding lands are an alien world. As Argo leaves the Mediterranean behind and enters the Propontis, we are told that the Minyans begin to gain ‘a view into another world’ (alium prospectus in orbem, 2.628). So too when the ship makes its way through the Bosporus, on the point of entering the Black Sea, we are told that the Greeks ‘see all things new’ (noua cuncta uident, 4.424). Clearly this voyage is presented by Valerius as a major event in world history.One question which must confront any reader of Valerius’ poem is whether the effects of this voyage should be viewed negatively or positively. Indeed the poem itself poses that question at the outset, through its inclusion of two versions of Argo's destiny: the negative prophecy of Mopsus (1.211-26) and the more reassuring prediction of Idmon (1.234-38). In this paper I propose to consider aspects of this problem through an examination not of Valerius' treatment of the voyage itself, but of its consequences as they are presented in the second half of the poem.
Introduction
Authors: Penwill John 
Published: August 2016

…sed pro his praeoptare me fateor uno chartario calamo me reficere poemata omnigenus apta uirgae, lyrae, socco, coturno, item satiras ac griphos, item historias uarias rerum nec non orationes laudatas disertis nec non dialogos laudatos philosophis atque haec et alia eiusdem modi tarn Graece quam Latine, gemino uoto, pari studio, simili stilo.ApuleiusFlorida9…but in place of these I confess that I prefer to employ one single reed to bring to life on papyrus poems of all kinds, ones attuned to the rod, the lyre, the slipper, the buskin, likewise satires and riddles, likewise various accounts of things, and of course speeches that win plaudits from experts, and again dialogues that win plaudits from philosophers—and these and other things of the same kind in both Greek and Latin: double offering, equal application, similar style.non respondeo tibi, Aemiliane, quem colam βασιλέα; quin si ipse proconsul in-terroget, quid sit deus meus, taceo.ApuleiusApology65I am not telling you, Aemilianus, who I worship as my king; nay, even if the proconsul himself should question me as to what my god is, my lips are sealed.‘immo uero,’ inquam, ‘impertite sermone non quidem curiosum, sed qui uelim scire uel cuncta, uel certe plurima.’ApuleiusMetamorphoses1.2
Homeric Flyting and How to Read It: Performance and Intratext in Iliad 20.83-109 and 20.178-258
Authors: Hesk Jon 
Published: August 2016

TheIliadandOdysseyare replete with single speeches or exchanges of speech which are described by the noun νεῖκος (‘quarrel’, ‘strife’) or its derived verb νεικέω. Some time ago, A.W.H. Adkins showed that νεῖκος and νεικείω are used in Homer to designate various kinds of agonistic discourse: threats, rebukes, insults, quarrels and judicial disputes. Critics often now describe νεῖκος-speeches and νεῖκος-exchanges in theIliadas examples of ‘flyting’. This term, shared by the languages of Anglo-Saxon and Old Norse and the dialect of Old Scots, is transferred to the combination of boasting, invective and threats which Homeric heroes hurl at each other. This is because Iliadic νεῖκος has affinities with the traditional and highly stylised verbal exchanges which take place in the feasting halls and battles depicted in Anglo-Saxon, Norse and Germanic heroic poetry.In his bookThe Language of HeroesRichard Martin has argued persuasively that the flyting νεῖκος is a significant speech-act genre performed by Homeric characters and that its competitive mode is analogous to the Homeric poet's poetic projecttout court. Just as Homer produces a monumental epic whose focus on Achilles may well be competitive with other renderings of epic tradition and is certainly derived through the manipulation of memory, Homeric heroes and gods flyte by manipulating and contesting the resources of memory. The best Homeric flyting is creatively poetic within existing conventions or strategies and is thereby rhetorically devastating. And Martin sees Achilles as the best flyter because he rhetorically manipulates memory better than any other hero. Thus, the hero is like his poet and the poet is like his hero. Achilles' competitive way with words is unique in (and to) theIliadand is emblematic of Homer's overpowering competitive poetic achievement.
Evasive Epiphanies in Ekphrastic Epigram
Authors: Platt Verity 
Published: August 2016

(Greek Anthology 16.160, attributed to ‘Plato’)Paphian Cytherea came through the waves to Knidos,Wishing to see her own image.Having viewed it from all sides in its open shrine,She cried, ‘Where did Praxiteles see me naked?’‘Through a glass, darkly:’ not just a hackneyed, Biblical phrase summing up our inability to apprehend God, but a pithy visualisation of the gap between divine truth and our perception of it. Yet Paul's words might also stand as an image for the trope of ekphrasis, the bewildering textual prism through which the frustrated reader attempts to view an enclosed and distant image. In this paper I will attempt to unite these two themes; one, the complexities of viewing and representing the divine, and two, the unrequited desire engendered by the ekphrastic text. Both of these rely upon an interplay of presence and absence which is, in a literary context, brilliantly communicated by the series of epigrams in the Greek Anthology dealing with images of gods, particularly, if we are to speak of desire, those which address images of Aphrodite.
Dazzling Likeness: Seeing Ekphrasis in Aeneid 10
Authors: Rogerson Anne 
Published: August 2016

What, exactly, identifies the ekphrastic at work? Some basic definitive properties can be agreed: ekphrasis is a descriptive trope that brings what it describes vividly before the imaginative gaze of its audience. It is through its vivid evocation of a scene or object unseen to this audience that the ekphrasis fulfils its purpose, and makes an emotional impact upon them. The affective power of ekphrasis thus draws its audience into the fictional world of its narrative, blurring the boundaries necessarily erected by its verbal frame, while at the same time the focus on crafted objects that we often see in ekphraseis (particularly in those on which scholars have predominantly chosen to concentrate)—and the break that an ekphrasis can create when it is interposed in a continuing narrative—serve to highlight the very createdness of this world.So ekphrasis is on the face of it a well-defined literary figure, easily recognisable both by its intrinsic attributes and by its effects. Nevertheless the boundaries of ekphrasis are not as clearly defined as the summary above might suggest. Ekphraseis of art objects have commanded the most scholarly attention: they allow for discussion of the fashioning of the text as well as its function and they conform to modern understandings of what an ekphrasis looks like. But defined in classical terms, ekphrasis covers a far broader descriptive territory than does verbal representation of representative art alone and can include, as well as descriptions of objets d'art, descriptions of battles, of cities, of persons, places, times and events, of plants and animals, and of festivals…
The Camillus Factory: Per Astra AD Ardeam
Authors: Henderson John 
Published: August 2016

None but dry-eyed, calculating, angular little gentlemen can take much delight in the studies of the University.(Tennyson on Cambridge)Hard to believe. We are told something obvious, something reassuring, something foundational by Servius at the outset of theAeneid:totius autem Italiae curiosissimum fuisse Vergilium multifariam apparet.(ad Aen.1.44)Virgil cared the most to know all Italy—it's obvious in many a way.Any Roman rhetoric graduate knew that the surefire way to subvert all arguments is to argue that theyprevaricate: clearly, since texts are systemically interpretable, there is always a gap between the ‘multifarious’ moves they make and their ‘totality’, there is always a point passed by which could, so arguably should, have been featured; copiousness is always interested distraction. Thus, as a display of love supreme for all Italy, theAeneidrevels in wholesale incuria, acknowledging the guilt of pretention in massive, genocidal, proportions.
Gnawing at the End of the Rope: Poets on the Field in Two Vergilian Catalogues
Authors: Malamud Martha 
Published: August 2016

(Iliad2.603-14)They who held Arkadia under the sheer peak, Kyllene,beside the tomb of Aipytos, where men fight at close quarters,they who dwelt in Orchomenos of the flocks, and Pheneos,about Rhipe and Stratia and windy Enispe;they who held Tegea and Mantineia the lovely,they who held Stymphalos, and dwelt about Parrhasia,their leader was Angkaios' son, powerful Agapenor.Sixty was the number of their ships, and in each shipwent many men of Arkadia, well skilled in battle.Agamemnon the lord of men himself had giventhese for the crossing of the wine-blue sea their strong-benched vessels,Atreus' son, since the work of the sea was nothing to these men.The Iliadic catalogue of ships stands as a monument to the victory of memory over time. Through the medium of hexameter verse, the names and deeds of the dead have been recalled and passed on to the living. The device of the catalogue, in fact, has the potential to stand as a pure model of epic recollection: the listing of names, places, and numbers of men, along with particular details, such as the Arkadians' ignorance of seafaring, provides the illusion that what is recalled is fact, that the poem is a screen on which the reality of the past is projected to the audience of the present for the purpose of commemoration, the safeguarding of communal memory.
Male Victimology in Juvenal 6
Authors: Johnson W.R. 
Published: August 2016

I use the words you taught me. If they don't mean anything anymore, teach me others, or let me be silent.Beckett, Endgameterra malos homines nunc educat atque pusillos.Today the earth breeds a race of degenerate weaklings.Juvenal 15.70nee galeam quassas, nee terram cuspide pulsas.You do not shake your helmet, nor beat the ground with your spear.Juvenal 2.130My intention here is to describe what seems to me an aspect of this superb and notorious poem that has been insufficiently examined, a major disruption in the sign-systems it makes use of and is used by. In order to do that I will be, as best I can, setting aside questions about the poem as a product (its meaning, how its form and content fuse to effect that meaning) and about the intentions its producer (the poet or his persona) had when he went about producing that product; whether the meaning and the intention are recoverable or not, whether they are decidable or not, is a moot question, and to try to answer it here would obscure my project (and doubtless waste our time). ‘To interpret a text,’ says Barthes, ‘is not to give it a (more or less justified, more or less free) meaning, but on the contrary to appreciate what plural constitutes it.’ To have some access to the portion of that plural that concerns me, I have to be arbitrary (and fictive) with the question of the poet's meaning/intention and to set aside as well questions of his poem's aesthetic charms.
Europe's Malleable Topos: Mythologising Ancient Greece
Authors: Fitzgerald Gerald 
Published: August 2016

The primacy of the Greeks in the canon of Western literature is neither an accident nor the result of a decision imposed by a higher authority; it is simply a reflection of the intrinsic worth of the material, its sheer originality and brilliance.Bernard Knox, The Oldest Dead White European MalesTo see the Acropolis is a dream one treasures without even dreaming to realize it. I don't know why this hill harbours the essence of artistic thought. I can appreciate the perfection of these temples and realize that nowhere else are they so extraordinary; and a long time ago I accepted the fact that this place should be like a repository of a sacred standard…Le Corbusier, Journey to the EastBy recalling the beginnings of history when Being unveiled itself in the thinking of the Greeks, it can be shown that the Greeks from the very beginning experienced the Being of beings as the presence of the present.Martin Heidegger, Existence and BeingGreece has played many roles in Europe's story. For a country that, unlike Rome, had very little geopolitical influence on Europe, these roles are neither, in their extent, expectable, nor, in their variety, consistent. Why Greece? As for territory, Egypt and Asia seem to have been more colonisable projects for the Greeks. The texts of Herodotus, Thucydides (Book VIII), Xenophon (ubiquitously) suggest a continuing engagement with Eastern cultures.