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A long overdue study of the genre of Greek iambic poetry from the 7th to the late 4th centuries BCE. Employing the evidence of ancient testimonies, Andrea Rotstein also considers the more general question of how literary genres were perceived in ancient Greece.
References to the body's sexual and excretory functions occupy a peculiarly ambivalent space in Greece and Rome
"With its judicious sampling of topics, each developed in impressive detail, Iambic Ideas itself rates as a perfectly brilliant idea. The book provides a much-needed sense of 'iambic' as a self-standing generic enterprise within the literatures of Greece and Rome, poetry that both writes and plays by its own rules. The book is thus a first of its kind, and fundamental to the study of verse invective in antiquity. -- Kirk Freudenburg, Ohio State University The collection is strong and provocative in both its breadth and its depth. Iambic Ideas is nicely produced, organized, and balanced. * Bryn Mawr Classical Review * Iambic Ideas offers a rich selection of essays from a range of international experts...Each contribution is of considerable value on its own merits, and the collection as a whole reveals both the coherence and the diversity of the 'genre.' * Greek and Rome, Oxford Academic Journals * The collection as a whole is useful and important. * Journal Of Roman Studies * Iambic Ideas is a must read for anyone interested in Greek and Roman poetry. These twelve thought-provoking essays are constructed to move beyond formal generic classifications and to focus on the broader continuities, interactions, and significance of the iambic impulse from the archaic to late antique. The temporal span of these essays enables the readers to gain access to material that might otherwise be unfamiliar and allows for a far richer understanding of poetic processes in play" -- Susan Stephens, Stanford University.
Scholarly investigations of the rich field of verbal and extraverbal Athenian insults have typically been undertaken piecemeal. Deborah Kamen provides an overview of this vast terrain and synthesizes the rules, content, functions, and consequences of insulting fellow Athenians. The result is the first volume to map out the full spectrum of insults, from obscene banter at festivals, to invective in the courtroom, to slander and even hubristic assaults on another's honor. While the classical city celebrated the democratic equality of "autochthonous" citizens, it counted a large population of noncitizens as inhabitants, so that ancient Athenians developed a preoccupation with negotiating, affirming, and restricting citizenship. Kamen raises key questions about what it meant to be a citizen in democratic Athens and demonstrates how insults were deployed to police the boundaries of acceptable behavior. In doing so, she illuminates surprising differences between antiquity and today and sheds light on the ways a democratic society valuing "free speech" can nonetheless curb language considered damaging to the community as a whole.
For over two centuries, iambus and elegy attracted some of the finest poetic talents in Greek history and played a major role in public and private life, surviving as living forms into the fourth century BC. This edited collection provides the first comprehensive exploration devoted specifically to iambus and elegy, offering an important insight into the key issues within current research on the genres. Chapters by leading international scholars in the fieldexamine the forms from a broad range of perspectives and provide a solid foundation for future research.
In what questions are scholars of Horace currently interested? What opportunities does this core Roman author offer twenty-first-century critics? This book discusses recent work on Horace by genre, moving from the early Satires through to the late Epistles. It also suggests new scholarly approaches to the poet, providing various ways of interpreting Horace’s background, genre categories, metaphors, and ethics. The target readership consists of scholars new to the field seeking to familiarize themselves swiftly with the formidable bibliography, and of specialists interested in a different perspective on this important but notoriously evasive author.
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.
Aristophanes and the Generation of Greek Comedy challenges the ways in which both ancient and modern scholarship have created the figure we know as Aristophanes and it builds on Telo's the long-term project to study the genres of ancient Greek literature (particularly plays) as well as genre theory more generally.Telo asks, how did the image we know of Aristophanes arose? Aristophanes' supremacy is traced, by Telo, back to the playwright himself. Early scholars presented Aristophanes' work as a prestigious object, an expression of supposedly transhistorical values of dignity (semnotes) and self-control (sophrosune). This construction of the merits of Aristophanic comedy over that of other varieties depends on its textual connections with other works, particularly tragedies. Telo shows, through close readings of Wasps and Clouds, for example, how the Aristophanic style is actually figured in the plays as the tactile experience of a garment, a soft, protective cloak intended to shield an audience from the debilitating effects of competitors' comedies during the Dionysia. Aristophanes' narratives of sons and fathers, poet and audience, is thus at the center of the discourse that has shaped his canonical dominance ever since.
Recent scholarship has acknowledged that the intertextual discourse of ancient comedy with previous and contemporary literary traditions is not limited to tragedy. This book is a timely response to the more sophisticated and theory-grounded way of viewing comedy's interactions with its cultural and intellectual context. It shows that in the process of its self-definition, comedy emerges as voracious and multifarious with a wide spectrum of literary, sub-literary and paraliterary traditions, the engagement with which emerges as central to its projected literary identity and, subsequently, to the reception of the genre itself. Comedy's self-definition through generic discourse far transcends the (narrowly conceived) 'high-low' division of genres. This book explores ancient comedy's interactions with Homeric and Hesiodic epic, iambos, lyric, tragedy, the fable tradition, the ritual performances of the Greek polis, and its reception in Platonic writings and Alexandrian scholarship, within a unified interpretative framework.
In recent decades literary approaches to drama have multiplied: new historical, intertextual, political, performative and metatheatrical, socio-linguistic, gender-driven, transgenre-driven. New information has been amassed, sometimes by re-examination of extant literary texts and material artifacts, at other times from new discoveries from the fields of archaeology, epigraphy, art history, and literary studies. The Oxford Handbook of Greek and Roman Comedy marks the first comprehensive introduction to and reference work for the unified study of ancient comedy. From the birth of comedy in Greece to its end in Rome, from the Hellenistic diffusion of performances after the death of Menander to its artistic, scholarly, and literary receptions in the later Roman Empire, no topic is neglected. 41 essays spread across Greek Comedy, Roman Comedy, and the transmission and reception of Ancient comedy by an international team of experts offer cutting-edge guides through the immense terrain of the field, while an expert introduction surveys the major trends and shifts in scholarly study of comedy from the 1960s to today. The Handbook includes two detailed appendices that provide invaluable research tools for both scholars and students. The result offers Hellenists an excellent overview of the earliest reception and creative reuse of Greek New Comedy, Latinists a broad perspective of the evolution of Roman Comedy, and scholars and students of classics an excellent resource and tipping point for future interdisciplinary research.