bluuebunny/crossref_metadata_2025_split huggingface dataset:
What Samuel Butler saw: Classics, authorship and Cultural Authority in late Victorian England
Authors: Whitmarsh Tim 
Published: April 2013

They are taught what is called the hypothetical language for many of their best years – a language which was originally composed at a time when the country was in a very different state of civilisation to what it is at present, a state which has long since disappeared and been superseded. Many valuable maxims and noble thoughts which were at one time concealed in it have become current in their modern literature, and have been translated over and over again into the language now spoken. Surely then it would seem that the study of the original language should be confined to the few whose instincts led them naturally to pursue it.But the Erewhonians think differently; the store they set by this hypothetical language can hardly be believed; they will even give any one a maintenance for life if he attains a considerable proficiency in the study of it; nay, they will spend years in learning to translate some of their own good poetry into the hypothetical language – to do so with fluency being the mark of a scholar and a gentleman. Heaven forbid that I should be flippant, but it appeared to me to be a wanton waste of good human energy that men should spend years and years in the perfection of so barren an exercise, when their own civilisation presented problems by the hundred which cried aloud for solution and would have paid the solver handsomely; but people know their own affairs best.
The language of tyranny in Cratinus,PCG258
Authors: Noussia Maria 
Published: April 2013

A mock theogony from Cratinus'Chironesseems straightforward and uncomplicated evidence of the jibes of the comic poets against Pericles. The source for this fragment, Plutarch'sLifeof Pericles, chapter 3, in fact connects it with the usual sallies of thearchaiaabout the shape of Pericles' head. Yet, the fragment equally reflects the presence of contemporary opposition in Periclean Athens against the statesman. Plutarch simply covers the density of its allusion, which is something beyond the comic resource of attacking marked peculiarities of appearance of politically prominent individuals: the Homeric-stylehapaxκεΦαληγερέτανalludes to the deformity of Pericles' head but also to his demagogic ability to assemble the masses in the so-called ‘language of the gods’.Many questions are, however, posed when we attempt to account for the allegories or the analogies the passage establishes. As Hanow wondered back in 1830:verum quidΧρόνος πρεσβυγενήςad Periclem faciat, non reperio; quamquam certam quandam rem a Cratino spectatam arbitror. The main purpose of this paper, therefore, is to examine the fragment afresh, in the hope of showing that the source for the parody of this piece of Cratinus may be traced elsewhere than so far suggested, and that there is good reason for Stasis and Chronus fathering this sinister infant.
Plutarch on the childhood of Alkibiades (Alk.2–3)
Authors: Duff Timothy E. 
Published: April 2013

Almost four decades ago, Donald Russell published in this journal an analysis of the first sixteen chapters of theLife of Alkibiades, which consist largely of short self-contained anecdotes about Alkibiades' childhood, youth and early career (Russell 1966b). As Russell demonstrated, most of these anecdotes are juxtaposed without any causal link. Although there are the occasional chronological markers – indications, for example, that Alkibiades is getting older and passing from childhood to early manhood – some are plainly out of chronological order and it is impossible to extract a clear chronology from them. Russell argued, however, that to try to extract such a chronological narrative would be to misunderstand the function of this material, which is not to provide a narrative of Alkibiades' early years but rather to illuminate and illustrate his character.Russell's argument, in particular the stress on Plutarch's interest in character, was seminal; together with two other papers published at roughly the same time, it marked the beginning of a new appreciation of Plutarch as an author of literary merit. But Russell was rather less convinced of the logic of selection of the first five anecdotes, which relate to Alkibiades' youth and comprise some one-and-a-half pages of Teubner text (Alk.2–3).
Antigone, the political and the ethics of psychoanalysis
Authors: Leonard Miriam 
Published: April 2013

The Freudian engagement with the classical world represents one of the most important and intriguing episodes in the ongoing dialogue between antiquity and modernity. That Freud returned to antiquity to formulate his revolutionary theories of the human mind should strike classicists and psychoanalysts alike as a fascinating enigma. And yet classicists have to a large extent given short shrift to this issue. They have not only shown themselves indifferent to the question of why Freud takes the ancient world as the starting-point for his examination of modern man, they have also, by and large, rejected psychoanalysis as a methodological tool for providing insights into the classical world. Even those classicists who are most open to the benefits of contemporary theory have largely isolated psychoanalysis as a uniquely inappropriate methodology for understanding antiquity.So, for instance, those classicists who display an interest in the complex series of discourses and practices which surround the construction of the ancient self have explicitly distanced their analyses from the insights of psychoanalysis. Thus in Christopher Gill's 500-page work on ‘Personality’ in Greek culture, Freud gets a mere three perfunctory citations.
Plato's Treatment of Callicles in the ‘Gorgias’
Authors: Kerferd G. B. 
Published: April 2013

Three main views have been put forward as attempts to answer the question what were the political affiliations of Callicles in Plato's Gorgias. According to one view Callicles is seen as the very archetype of the tyrant and the oligarch, a man prepared to indulge in himself an unbridled lust for power, the absolute antithesis of the democrat and all that democracy stands for, giving expression to a doctrine, in the words of Grote, ‘not simply anti-popular – not simply despotic – but the drunken extravagance of despotism’. This view was associated with repeated attempts to identify Callicles with one or other of the known oligarchs in the fifth century – Critias being the favourite. Such attempts are now generally abandoned. But the overall view of Callicles' doctrine probably remains the orthodox one, at least in the English-speaking world, and the comparison with Nietzsche and Carlyle has become commonplace.According to a second view, however, the opposite is the case – Callicles was not aristocratic, oligarchic or tyrannical in his views, rather he was a democrat, indeed even ‘the typical Athenian democrat’. Finally it is possible to distinguish a third view, according to which initially Callicles is presented as a champion of absolutism but is shown as undergoing ‘a strange transformation’ in the course of the dialogue to a position more in accord with ‘the growing love of equality’.
Statius'Thebaid/ Form premade
Authors: Henderson John 
Published: April 2013

The symbol:‘/’, for ‘Antithesis’, is used throughout this essay to indicate the main alternations in its voicing. What I have in mind is to project the contentiousness that constitutes narration through this discussion of Statius' epic. ‘/’ will mark exchange between the (binary/convergent) views of an ‘Eteocles’ and a ‘Polynices’, then, yes, but also between warring textual ‘forces’ such asuirtus/planctus, etc. / etc. For faction and fraction / threaten to / multiply in, and as, ‘Thebaid’ - to the power of Seven, or regression to Infinity. The essay exploresThebais'- / Barthes' insight:(T)he antithesis is the battle between two plenitudes set ritually face to face like two fully armed warriors; the Antithesis is the figure of thegivenopposition, eternal, eternally recurrent: the figure of the inexpiable. Every passage through the wall of the Antithesis thus constitutes a transgression …
‘Empathic understanding’: emotion and cognition in classical dramatic audience-response
Authors: Lada Ismene 
Published: April 2013

In the closing chapter of hisGreek tragedy in actionOliver Taplin writes:Understanding, reason, learning, moral discrimination – these things are not, in my experience, incompatible with emotion (nor presumably in the experience of Gorgias and Aristotle): what is incompatible is cold insensibility […] our emotions in the theatre, far from driving out thought and meaning, are indivisible from them: they are simultaneous and mutually dependent.On the other hand, Malcolm Heath's work inveighs against Taplin's suggestion of a balance between reason and emotion, and proposesa third possibility: intense but ordered emotion, controlled not by intellectual interests, but by the coherence of the whole simplyasan emotional experience, by the aesthetic satisfaction which the audience receives through its experience of the emotions as an ordered sequence.
Dionysius of Halicarnassus and Roman chronology
Authors: Schultze C. E. 
Published: April 2013

For Dionysius of Halicarnassus, an important part of the historian's task is the gathering and analysis of material. The present article is concerned with one particular aspect of this, namely, the investigation of chronology. It has two aims: first, to defend the accuracy of Dionysius' chronological system against the sometimes unfair criticisms of modern scholars; second, to assess how, in his perception, the role of chronographical research related to a historical work on a noncontemporary subject.The research qualities Dionysius singled out for praise in the writings of Theopompus – a historian he much admired – were care, effort, preparation, and autoptic investigation. Not all of these were applicable to a historian who chose a non-contemporary theme. However, within the limits determined by his subject – Rome's origins and history to 264 B.C. – Dionysius similarly attempted preparatory work and investigation of data for his history.
God and man in the classical latin panegyric
Authors: Levene D.S. 
Published: April 2013

This paper is specifically concerned with the classical Latin panegyric, thus excluding both panegyrics from late antiquity, where the religious context is substantially different, and (at least in the first instance) panegyrical literature in Greek, with its distinctive linguistic and hence ideological background. I am, moreover, defining ‘panegyric’ to comprise only speeches in praise of a living person or persons: the religious status of living people, and the language applied to them, manifestly raise particular problems not present with other objects of praise.But there are on the face of things difficulties with this definition. There is an obvious overlap between panegyrical speeches and other forms of oratory: themes of praise can clearly play a role, for example, in forensic speeches. Conversely, according to both ancient theorists and modern commentators, panegyrics can be used to give advice, either openly or covertly – the latter when, for example, one recommends future clemency to a tyrant under the guise of praising examples of clemency in the past. I shall be dealing only with speeches that are overtly panegyrical in form, those whose ostensible object is not persuasion, but simple praise; but the limitation seems rather artificial.
Genealogical thinking, Hesiod'sCatalogue, and the creation of the Hellenes
Authors: Fowler Robert L. 
Published: April 2013

Genealogy was important in early Greece. One thinks readily of aristocratic lineages proudly recited by Homeric heroes, and the family lore carefully recorded by epinician poets; but passing remarks are even more revealing. In the seventh book of theIliadNestor tells of an embassy he once led north to Phthia, where he hoped to enlist the aid of Peleus' mighty son in the coming campaign. Welcoming his Argive guests, Peleus asks eagerly about their ‘ancestry and descent’, and hears the answers with much pleasure:In Peleus' part of the country southerners were not often seen. He seeks by his questions to relate the unknown to the known; he is hoping that somewhere in the pedigree a familiar name will turn up to give him a point of reference. Genealogy gives him his bearings. For those within the system a genealogy is a map. They can read its signs. To the names are attached stories, thousands of them; collectively they gave the listeners their sense of history and their place in the world. Hence Peleus' great pleasure in hearing the answers. Centuries later, the Greeks were no different; the sophist Hippias says that the crowds at Olympia like to hear nothing better than his recitations of genealogies.
Notes on the text and interpretation of Catullus
Authors: Harrison S. J. , Heyworth S. J. 
Published: April 2013

2 Passer, deliciae meae puellae,quicum ludere, quem in sinu tenere,cui primum digitum dare appetentiet acris solet incitare morsus,cum desiderio meo nitenti 5carum nescio quid lubet iocari,et solaciolum sui doloris,credo ut tum grauis acquiescat ardor;tecum ludere sicut ipsa possem,et tristis animi leuare curas! 10***2b tam gratum est mihi quam ferunt puellaepernici aureolum fuisse malum,quod zonam soluit diu ligatam.Robin Nisbet, whose masterly article on the text of Catullus it is a particular pleasure to be able to salute in a piece appearing in the same journal twenty years later, adduced an important parallel for verse 5, πόθωι στίλβων (Anacreon,PMG444), and thus demonstrated that the probable sense is ‘the woman shining with longing for me’.
Dangerous supplements: Etymology and Genealogy in Euripides'Heracles
Authors: Kraus Christina S. 
Published: April 2013

The complex patterns of repetition and reversal in theHeracleshave been carefully and convincingly explored. Whether dividing the play into two, three, or even four major scenes, scholars have shown that it is not simply imagery or language, but whole actions or plot-elements which recur from scene to scene, and indeed from generation to generation. A consensus has developed that the play's violent disruptions and juxta-positions of opposites work together with near-obsessive repetitions of language, plot, and myth to stage Euripides’ vision of epic valour savagely mutated into a new, moral heroism contained by a new, democraticphilia.It is appropriate that repetition, and repetition-as-reversal, should figure so largely in this drama, whose action depends on a doubly-fathered hero and whose centrepiece is the triply repeated description of an action which is itself a play within a play. In a prominent ode the chorus long for a second youth as a sign of goodness (655-72), a desire apparently realised by Heracles' reappearance from the dead. Nor is he the only one to be reborn: in the last act, Theseus' appearance, also – ultimately – from Hades (1170), redoubles Heracles' first entrance: another hero with two fathers, another monster-killer, another rescuer from the dead.
Epistolary Fictions: Authorial identity inHeroides15
Authors: Rimell Vicky 
Published: April 2013

Heroides15, Sappho's letter to Phaon, is an enigma in its present context for many different reasons. What is Sappho doing, heterosexualised, at the end of a string of elegiac epistles written by women plucked straight from myth and each given their fifteen minutes of fame? Despite the mythology that grew up around her, of which Phaon was a part, Sappho was a real woman and a real writer,theGreek love poetpar excellence; not only that, she was and is a figure who, in her poetic persona at least, is famous for communicating her love for women, not for the local ferryman. This Sappho looks verywritten, yet as the only heroine–writer, and as the love-poet often cited as Ovid's influential predecessor, she can represent the culmination and reification of theHeroides'illusion of female authorship.In doing so, Sappho functions asthecrucial figure in a collection of poems in which the Ovidian author writes in disguise; in what becomes finally a life or death situation, her poem radically questions the definition and definability of authorship, gender and identity. We are constantly asked, and are prompted to ask: Just how authentic, or how written is Sappho in this self-conscious erotic alignment of His ‘n’ Hers, Roman and Greek love poets? What is it for an Ovidian author conspicuously to write, through and over, the poetess whose work he recommends should be read alongside his own, and whose influence on his own writing and love-affairs he hints at on several occasions?
‘Oblongae scvtvlae vel bipenni’: Tacitus, ‘Agricola’, 10, 3
Authors: Lacey W. K. 
Published: April 2013

‘The shape of the whole of Britain Livy, the best of the older school, and Fabius Rusticus, the best of the moderns, have compared to an elongated scutula or a battle-axe.’So runs the context in which these words are situated. On the surface all is plain, but when one asks further ‘what shape has Tacitus in mind?’ serious difficulties are met. Editors usually get round these by analysing the words separately and deciding on parallels from Strabo that vagueness was all that was needed, and that though Tacitus links the words with vel they need not be strikingly similar.But this is impossible: first, Tacitus must have had in mind objects of mutually similar shape; secondly they must have had a clearly recognizable shape, which conveyed a very definite picture to the minds of those for whom Tacitus wrote. Thirdly why did Tacitus prefer oblongae scutulae vel bipenni to the descriptions of ‘the many writers who have spoken of the geography of Britain’? Tacitus does not claim that Livy and Fabius are most correct, only that they are eloquentissimi.
Two notes on Latin poets
Authors: Mayer Roland 
Published: April 2013

(i) On Statius Theb. 9.248—50talis agit sparsos mediisque in fluctibus herosfrena manu pariter pariter regit arm a, pedumqueremigio sustentat equum.249 sq. pedumque … equum Pω: pedum se (quem Housman) … equus JortinKlotz rejected both Jortin's and Housman's conjectures on the grounds that they were ‘contra sensum non minus quam contra metricam Stati’. It will be my purpose in this note to demonstrate that Klotz knew what he was talking about when he said that the conjectures fail to accord with Statius's metrical practice.
Some Platonist readings of Aristotle
Authors: Blumenthal H. J. 
Published: April 2013

The first point I should make is that ‘Platonist readings’ in the context of this paper means the reading of Aristotle by Neoplatonist interpreters who were armed with powerful Platonic prejudices. If I have avoided starting with the description ‘Neoplatonist’ that is because the philosophers involved would not so have described themselves. Notoriously they thought that they were Platonists, and, moreover, Platonists like Plato himself. This might be thought to be pointless reiteration of what is ‘allgemein bekannt’ – if not well-known – but it does have some bearing on the present subject, for it meant that the commentators were trying to find in Aristotle the thought of Plato as they understood it. Had they thought of themselves as ‘Neoplatonists’, with a full historical consciousness of the implications of that term, and, in particular, an awareness of how some parts of Plato's thought had, in the course of the Platonic tradition, been thoroughly Aristotelianised, they could not have approached Aristotle in the way that they did.At this stage it might be as well to set out a few facts and also some assumptions which I shall try to prove, or illustrate, by looking at a few samples of the late Greek interpretation of Aristotle.
Plato and Aristotle on Form and Substance
Authors: Fine Gail 
Published: April 2013

Plato and Aristotle give different answers to the question ‘What are the substances (ousiai)?’. One way Aristotle defends his answer is by arguing that his candidate substances – particulars such as Socrates or Callias – better satisfy the criteria for substance than do Plato's candidates – eternal, unchanging, nonsensible universals called ‘Forms’. This defense goes along with another. For Aristotle disagrees with Plato, not only about the candidates, but also about the criteria, for substance: one reason Plato fastens on to the wrong candidates is that he focuses on some of the wrong criteria.Aristotle mounts his defense in different ways in theCategoriesandMetaphysics. In both works he defends the priority of particulars. In theCat., however, their nature is left unanalysed; and their priority is defended largely by appeal to unPlatonic criteria. In theMet., by contrast, Aristotle analyzes particulars into compound, form, and matter. Socrates, for example, may be viewed as a compound of his form (his soul) and his matter (his body); or he may be viewed as his form or soul. Further, Aristotle now invokes additional, Platonic criteria for substance; and this leads him to argue that it is Socrates as form that counts as primary substance; the primary substances are individual forms.
Eupolis the unruly
Authors: Parker L. P. E. 
Published: April 2013

In his excellent treatment of comic dicola, M. L. West provides a schema of the eupolidean:adding that initial ◡◡ − theoretically admitted by the symbol o) is not actually found: ◡◡ at the beginning of either colon is always followed by ◡. At first sight, this is a mind-boggling rhythmic structure. One can make a start towards comprehension by noting that the two cola begin with aeolic base, in its Attic versio − −, − ◡, ◡ − or ◡◡◡, for which I shall here use Hermann's symbol: .. ... There is, then, no difficulty about the first half of the verse. It consists of base + − × − ◡◡ −, the colon known variously as choriambic dimeter, wilamowitzian (-us), polyschematist, anaclastic glyconic, etc. With some reluctance, I adopt ‘polyschematist’, partly on grounds of length; it is not short, but the alternatives are longer. Its close relationship with the glyconic is evident from its first appearance, which is in correspondence with glyconic in Sappho (LP 96.7).
Deviant focalisation in Virgil'sAeneid
Authors: Fowler Don 
Published: April 2013

My subject is point of view in theAeneid. I want to make some theoretical points about that concept, and to discuss some examples. In writing this paper, however, I have come to realise that underneath there lies an attempt to come to terms with the work on Virgil of two of my elders, betters, and friends, Oliver Lyne and Gian Biagio Conte, to whom this piece is offered with affection. But I shall not try to conceal the Oedipal nature of these encounters. As will be seen, there is also an element ofprolepsis: I want to forestall a particular line of interpretation about theAeneidwhich I sense is about to make its appearance.In my title I use the term ‘focalisation’ rather than ‘point of view’. The term is Genette's, later taken up especially by Mieke Bal. I use it for three reasons. First, I believe the reason that led Genette to coin it was a valid one, and perhaps the single most important proposition in his narratology. Genette criticised traditional accounts of point of view for confusing two distinct questions: ‘who speaks?’, and ‘who sees?’. In relation to any textual feature, the answers to these questions may be different. For the first phenomenon, we have the term ‘voice’, and it is helpful to have a separate term for the second; that is, focalisation.