American Journal of Philology 129 (2008), 2
|Zeitschrift:||American Journal of Philology (AJPh)|
|Herausgeber:||Barbara K. Gold|
|ISSN:||0002-9475 (print); 1086-3168 (E)|
|Johns Hopkins University Press,|
|Preis:||Individuals: $38.00 ; Institutions: $104.40 (print)|
|Weitere Angaben:||is published quarterly in March, June, September, and December|
|Ausgabe:||129 (2008), 2|
American Journal of Philology
Volume 129, Number 2 (Whole Number 514), Summer 2008
E-ISSN: 1086-3168; Print ISSN: 0002-9475
Table of Contents
Memorial Minute for Isaac Jacob Meyers
Barbara K. Gold
Reinterpreting the Homeric Simile of Iliad 16.7–11: The Girl and Her Mother In Ancient Greek Warfare
Kathy L. Gaca
Though long regarded as a scene of mother-daughter domesticity during peacetime, Iliad 16.7–11 reveals the destruction of normal life for a daughter and her mother on the verge of being captured by ancient Greek warriors. As such it provides exemplary insight into this fundamental aspect of ancient warfare. Further, as reinterpreted here, the simile gains great dramatic and emotive power, strengthens the Homeric characterization of Achilles as a forthright speaker given to poetic realism, and heightens the tragedy of Patroclus by revealing how Achilles by his own admission fails to fulfill his protective role as Patroclus' warrior mother.
Aeschylus, Euripides, and Tragic Painting: Two Scenes from Agamemnon and Hecuba
Aeschylus' famous simile comparing Iphigeneia to a painting just before her sacrifice (Ag. 239–42) rests not just on the girl's silence and unbroken gaze at her killers but also on the strikingly pitiable nature of her expression. The Euripidean Hecuba's plea to Agamemnon to pity her by gazing on her "like a painter" (Hec. 807–8) develops this idea and comprises a parallel to aspects of ancient literary criticism that prescribe an emotive identity between poets and their works. The incorporation of painting into these highly charged moments focuses on its ability to arouse pity, a preeminent emotion of tragedy overall.
Reining in the Passions: The Allegorical Interpretation of Parmenides B Fragment 1
Max J. Latona
This article attempts to determine whether Parmenides intended the chariot imagery of his poem to be construed allegorically, as argued by Sextus Empiricus. Modern interpreters have rejected the allegorical reading, arguing that Sextus was biased by Plato, the allegory's true author. There are, however, reasons to believe that a tradition (either native or imported) of employing the chariot image allegorically preexisted Plato and Parmenides. This article argues that Parmenides was drawing upon such a tradition and did portray mind as a charioteer upon a path of knowledge, and impulse as the horses, requiring guidance in order to reach the destination.
Octavian and Egyptian Cults: Redrawing the Boundaries of Romanness
Eric M. Orlin
Octavian's decision in 28 B.C.E. to ban Egyptian cults from within the pomerium was not a sign of hostility to foreign cults, especially since the emperor himself arranged for the restoration of those shrines outside the city's religious boundary. Rather, his action served to reassert the Roman openness to foreign religions while at the same time underlining the distinctions between Roman and foreign religious practices. Using the pomerium to demarcate a clear boundary between Roman and non-Roman helped to reconstruct the sense of Roman identity that had been shattered by the civil wars of the previous fifty years.
Ut Sculptura Poesis: Statius, Martial, and the Hercules Epitrapezios of Novius Vindex
Statius' Silvae 4.6 and Martial's Epigrams 9.43 and 9.44 concern a Greek statue that, after a storied history, has ended up in the hands of Novius Vindex, an otherwise obscure Roman of the early imperial period. While Vindex manifestly fits into the pattern of Romans who use Greek art to enhance their position and status, the two poets also use the statue to demonstrate their inheritance and control of the work of generic predecessors in order to underscore their own poetic accomplishments in an imperial Roman world.
Homeric Voices: Discourse, Memory, Gender (review)
Euripides, Freud, and the Romance of Belonging (review)
Nancy Sorkin Rabinowitz
Roman Eyes: Visuality and Subjectivity in Art and Text (review)
Eleanor Winsor Leach
Power and Eroticism in Imperial Rome (review)
Anise K. Strong
The Johns Hopkins University Press
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