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What significance does the voice or projected persona in which a text is written have for our understanding of the meaning of that text? This volume explores the persona of the author in antiquity, from Homer to late antiquity, taking into account both Latin and Greek authors from a range of disciplines. The thirteen chapters are divided into two main sections, the first of which focuses on the diverse forms of writing adopted by various ancient authors, and the different ways these forms were used to present and project an authorial voice. The second part of the volume considers questions regarding authority and ascription in relation to the authorial voice. In particular, it looks at how later readers - and later authors - may understand the authority of a text's author or supposed author. The volume contains chapters on pseudo-epigraphy and fictional letters, as well as the use of texts as authoritative in philosophical schools, and the ancient ascription of authorship to works of art.
Explores the persona of the author in classical Greek and Latin authors from a range of disciplines and considers authority and ascription in relation to the authorial voice.
Many new and fruitful avenues of investigation open up when scholars consider forgery as a creative act rather than a crime. We invited authors to contribute work without imposing any restrictions beyond a willingness to consider new approaches to the subject of ancient fakes, forgeries, and questions of authenticity. The result is this volume, in which our aim is to display some of the many possibilities available to scholarship. The exposure of fraud and the pursuit of truth may still be valid scholarly goals, but they implicitly demand that we confront the status of any text as a focal point for matters of belief and conviction. Recent approaches to forgery have begun to ask new questions, some intended purely for the sake of debate: Ought we to consider any author to have some inherent authenticity that precludes the possibility of a forger's successful parody? If every fake text has a real context, what can be learned about the cultural circumstances which give rise to forgeries? If every real text can potentially engender a parallel history of fakes, what can this alternative narrative teach us? What epistemological prejudices can lead us to swear a fake is genuine, or dismiss the real thing as inauthentic? Following Splendide Mendax and Animo Decipiendi?, this is the latest installment of an ongoing inquiry, conducted by scholars in numerous countries, into how the ancient world - its literature and culture, its history and art - appears when viewed through the lens of fakes and forgeries, sincerities and authenticities, genuine signatures and pseudepigrapha. How does scholarship tell the truth if evidence doesn't? But fabula docet: The falsum does not simply make the great, annoying stone before the door of the truth (otherwise this here would really be a "council of antiquarians and paleographers"). The falsum makes a delicate, fine tissue. It allows the verum to shine through, in nuances and reliefs that were less noticeable without its counterpart, really tied at the head. And, treated differentiated, it becomes even itself perlucidum, shines out with "hidden values."
Identity is a 'trendy' and 'hot' topic in classics Eminent contributors, including Pat Easterling, Gillian Clarke Identity examined from different perspectives and as different structures - sexual, ethnic, geographic, status, religions - comprehensive Theoretically and critically up-to-date
The first of its kind, A Companion to Ancient Aesthetics presents a synoptic view of the arts, which crosses traditional boundaries and explores the aesthetic experience of the ancients across a range of media—oral, aural, visual, and literary. Investigates the many ways in which the arts were experienced and conceptualized in the ancient world Explores the aesthetic experience of the ancients across a range of media, treating literary, oral, aural, and visual arts together in a single volume Presents an integrated perspective on the major themes of ancient aesthetics which challenges traditional demarcations Raises questions about the similarities and differences between ancient and modern ways of thinking about the place of art in society
Epistolary Narratives presents detailed literary readings of a wide range of Greek literary letter collections across a range of genres, cultural backgrounds, and time periods, leading collectively towards a better appreciation of Greek epistolary collections as a unique literary phenomenon.
Sidonius' rich and varied letters recount the defining stories of Roman Gaul's transition into the barbarian successor kingdoms.
In The Reception of Greek Lyric Poetry in the Ancient World: Transmission, Canonization and Paratext, a team of international scholars consider the afterlife of early Greek lyric poetry (iambic, elegiac, and melic) up to the 12th century CE, from a variety of intersecting perspectives: reperformance, textualization, the direct and indirect tradition, anthologies, poets’ Lives, and the disquisitions of philosophers and scholars. Particular attention is given to the poets Tyrtaeus, Solon, Theognis, Sappho, Alcaeus, Stesichorus, Pindar, and Timotheus. Consideration is given to their reception in authors such as Aristophanes, Herodotus, Plato, Plutarch, Athenaeus, Aelius Aristides, Catullus, Horace, Virgil, Ovid, and Statius, as well as their discussion by Peripatetic scholars, the Hellenistic scholia to Pindar, Horace’s commentator Porphyrio, and Eustathius on Pindar.
Vitruvius' De architectura is the only extant classical text on architecture, and its impact on Renaissance masters including Leonardo da Vinci is well-known. But what was the text's purpose in its own time (ca. 20s BCE)? In this book, Marden Fitzpatrick Nichols reveals how Vitruvius pitched the Greek discipline of architecture to his Roman readers, most of whom were undoubtedly laymen. The inaccuracy of Vitruvius' architectural rules, when compared with surviving ancient buildings, has knocked Vitruvius off his pedestal. Nichols argues that the author never intended to provide an accurate view of contemporary buildings. Instead, Vitruvius crafted his authorial persona and remarks on architecture to appeal to elites (and would-be elites) eager to secure their positions within an expanding empire. In this major new analysis of De architectura from archaeological and literary perspectives, Vitruvius emerges as a knowing critic of a social landscape in which the house made the man.
The Handbook of Greek Sculpture aims to provide a detailed examination of current research and directions in the field. Bringing together an international cast of contributors from Greece, Italy, France, Great Britain, Germany, and the United States, the volume incorporates new areas of research, such as the sculptures of Messene and Macedonia, sculpture in Roman Greece, and the contribution of Greek sculptors in Rome, as well as important aspects of Greek sculpture like techniques and patronage. The written sources (literary and epigraphical) are explored in dedicated chapters, as are function and iconography and the reception of Greek sculpture in modern Europe. Inspired by recent exhibitions on Lysippos and Praxiteles, the book also revisits the style and the personal contributions of the great masters.