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Statius' Silvae, written late in the reign of Domitian (AD 81–96), are a new kind of poetry that confronts the challenge of imperial majesty or private wealth by new poetic strategies and forms. As poems of praise, they delight in poetic excess whether they honour the emperor or the poet's friends. Yet extravagant speech is also capacious speech. It functions as a strategy for conveying the wealth and grandeur of villas, statues and precious works of art as well as the complex emotions aroused by the material and political culture of empire. The Silvae are the product of a divided, self-fashioning voice. Statius was born in Naples of non-aristocratic parents. His position as outsider to the culture he celebrates gives him a unique perspective on it. The Silvae are poems of anxiety as well as praise, expressive of the tensions within the later period of Domitian's reign.
Preliminary material -- INTRODUCTION -- THE EGYPTIAN BENU AND THE CLASSICAL PHOENIX -- A COPTIC TEXT ON THE PHOENIX -- THE NAME PHOENIX -- LIFESPAN AND APPEARANCES -- THE DEATH AND REBIRTH OF THE PHOENIX -- THE PHOENIX AS BIRD OF THE SUN -- THE ABODE -- THE FOOD -- THE SEX -- THE DEVELOPMENT OF THE MYTH OF THE PHOENIX SOME CONCLUSIONS -- THE PHOENIX IN CLASSICAL AND EARLY CHRISTIAN ART -- BIBLICAL AND JEWISH TEXTS -- CORRIGENDA ET ADDENDA -- Maps I and II.
Although writing in Latin, Statius (first-century AD) was, by origin and training, a Greek poet, and his collection of "occasional" poems, the Silvae, are a Roman extension of contemporary trends in Greek display poetry. No reading of the Silvae can be accurate without an understanding of this Graeco-Roman poetic milieu. This book therefore begins with a reconstruction of the professional background to the Silvae - the festival circuit, the conditions of work for writers, their opportunities for advancement in the Greek and Roman worlds - both in the Hellenistic period and in the first century A.D. In this setting, display oratory and poetry are shown to have developed in parallel and to have had a profound mutual influence. Further chapters consider Statius' performances as a Neapolitan poet at Rome, his portrayal of his own society and his friends, and his attitudes to his Latin predecessors. Literary patronage, both imperial and private, is a vital element in Statius' poetic career, and Hardie goes on to investigate the identity and social standing of the addressees of the Silvae . He also considers the career of the contemporary epigrammatist Martial in comparison to that of Statius. Many essential features of Flavian taste emerge from these studies. Large-scale interpretations of individual poems are offered throughout this volume, making many new suggestions about both points of detail and the overall significance of the major poems in the Silvae . Statius and the Silvae is an important contribution to the debate on the relationship between poetry and rhetoric, and to the understanding of how society and literature interconnected in the Flavian age.
The Art of Complicity in Martial and Statius examines the relationship between politics and aesthetics in two poets from the reign of Domitian. Gunderson offers a comprehensive overview of the Epigrams of Martial and the Siluae of Statius. The praise of power found in these texts is not something forced upon these poems, nor is it a mere appendage to these works. Instead, power and poetry as a pair are a fundamental dyad that can and should be traced throughout the two collections. It is present even when the emperor himself is not the topic of discussion. In Martial the portrait of power is constantly shifting. Poetic play takes up the topic of political power and 'plays around with it'. The initial relatively sportive attitude darkens over time. Late in the game we have ecstasies of humiliation. After Domitian dies the project tries to get back to the old games, but it cannot. Statius' Siluae merge the lies one tells to power with the lies of poetry more generally. Poetic mastery and political mastery cannot be dissociated. The glib, glitzy poetry of contemporary life articulates a radical modernism that is self-authorizing, and so complicit with a power whose structure it mirrors. What does it mean to praise praise poetry? To celebrate celebrations? Gunderson's discussion opens and closes with a meditation upon the dangers of complicit criticism and the seductions of a discourse of pure art in a world where the art is anything but pure.
This book offers an appraisal of both the panegyric poems of Statius written for Domitian, and of their place in the context of imperial panegyric as a whole. For a variety of reasons, these poems, the Silvae, which are included in Statius' collection of occasional poems, have been largely ignored or misread by scholars who fail to see the literary techniques employed by Statius. In an attempt to understand these techniques and to appreciate Statius' handling of them, this study focuses on Silvae 1.1, the opening poem in the collection, commemorating the dedication of an equestrian statue to the emperor.
The Bioarchaeology of Ritual and Religion is the first volume dedicated to exploring ritual and religious practice in past societies from a variety of ‘environmental’ remains. Building on recent debates surrounding, for instance, performance, materiality and the false dichotomy between ritualistic and secular behavior, this book investigates notions of ritual and religion through the lens of perishable material culture. Research centering on bioarchaeological evidence and drawing on methods from archaeological science has traditionally focused on functional questions surrounding environment and economy. However, recent years have seen an increased recognition of the under-exploited potential for scientific data to provide detailed information relating to ritual and religious practice. This volume explores the diverse roles of plant, animal, and other organic remains in ritual and religion, as foods, offerings, sensory or healing mediums, grave goods, and worked artifacts. It also provides insights into how archaeological science can shed light on the reconstruction of ritual processes and the framing of rituals. The 14 papers showcase current and new approaches in the investigation of bioarchaeological evidence for elucidating complex social issues and worldviews. The case studies are intentionally broad, encompassing a range of sub-disciplines of bioarchaeology including archaeobotany, anthracology, palynology, micromorphology, geoarchaeology, zooarchaeology (including avian and worked bone studies), archaeomalacology, and organic residue analysis. The temporal and geographical coverage is equally wide, extending across Europe from the Mediterranean and Aegean to the Baltic and North Atlantic regions, and from the Mesolithic to the medieval period. The volume also includes a discursive paper by Prof. Brian Hayden, who suggests a different interpretative framework of archaeological contexts and rituals.
In the light of recent scholarly work on tragic patterns and allusions in Flavian epic, the publication of a volume exclusively dedicated to the relationship between Flavian epic and tragedy is timely. The volume, concentrating on the poetic works of Silius Italicus, Statius and Valerius Flaccus, consists of eight original contributions, two by the editors themselves and a further six by experts on Flavian epic. The volume is preceded by an introduction by the editors and it concludes with an ‘Afterword’ by Carole E. Newlands. Among key themes analysed are narrative patterns, strategies or type-scenes that appear to derive from tragedy, the Aristotelian notions of hamartia and anagnorisis, human and divine causation, the ‘transfer’ of individual characters from tragedy to epic, as well as instances of tragic language and imagery. The volume at hand showcases an array of methodological approaches to the question of the presence of tragic elements in epic. Hence, it will be of interest to scholars and students in the area of Classics or Literary Studies focusing on such intergeneric and intertextual connections; it will be also of interest to scholars working on Flavian epic or on the ancient reception of Greek and Roman tragedy.
In Gardens of the Roman Empire, the pioneering archaeologist Wilhelmina F. Jashemski sets out to examine the role of ancient Roman gardens in daily life throughout the empire. This study, therefore, includes for the first time, archaeological, literary, and artistic evidence about ancient Roman gardens across the entire Roman Empire from Britain to Arabia. Through well-illustrated essays by leading scholars in the field, various types of gardens are examined, from how Romans actually created their gardens to the experience of gardens as revealed in literature and art. Demonstrating the central role and value of gardens in Roman civilization, Jashemski and a distinguished, international team of contributors have created a landmark reference work that will serve as the foundation for future scholarship on this topic. An accompanying digital catalogue will be made available at: www.gardensoftheromanempire.org.