Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Abstract: Epicurus’s opinion on the shape of the earth forms a delicate issue that has animated recent scholarship. Similarly, in the reconstruction of Epicurus’s philosophy by the French polymath Pierre Gassendi (1592–1655), the issue emerged under various guises. Interestingly, the question played a particularly puzzling role in Gassendi’s considerations of Epicurus’s atomic motion. By comparing the unpublished manuscript book De atomis (1636–1637) to the published Animadversiones (1649) and Syntagma philosophicum (1658), I will reveal that, in his quest for an accurate presentation of the original theory, Gassendi considerably modified his initial manuscript reconstruction of Epicurus’s atomic movements and developed an account in which the concept of a plane terrestrial surface was indispensable. At the same time, the article will indicate that Gassendi, from his own point of view, also proposed an alternative to Epicurus’s atomic motion in which he reinterpreted the original concepts in such a way that he could abstract himself from the Epicurean swerve of the atoms. PubDate: 2022-06-01
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Abstract: Abstract The various possibilities of scanning and enacting some Latin metres imply that modern poets or translators trying to reshape them in their own language have first and foremost to choose what to reshape. Though Latin metres govern syllabic duration, verse ictus and word accent, their modern equivalents tend to stick to ictuses or accents alone. The most prominent feature in the few exceptions to this rule is attention to counterpoint. Having translated Odi Barbare into Portuguese, keeping the original metre and style, I argue that Hill is one of these exceptions, study his debts to Carducci, Sidney, and Horace, and show how he deals with counterpoint in one programmatic ode (whose Portuguese translation is given in an appendix). PubDate: 2022-06-01
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Abstract: Abstract The unique six-page preface to Henry Fielding’s novel Joseph Andrews (1742) has generated great acclaim for supplying an adroit analysis of classical genres and the several subspecies of comedy in its proposal that his novel should be considered a ‘comic Epic-Poem in Prose’. Judith Frank has suggested that Fielding’s preface might be “at once the most assigned and [yet] least analyzed discussion of the aesthetics of the novel in English studies”, alluding to both the importance of the preface for undergraduate conceptions of the novel genre and the inimitable vagaries of Fielding’s articulate style. Where critical understandings of the preface might therefore be disproportionate to its acclaim, and where only two articles have previously examined Fielding’s applications of formal rhetoric in his work, this paper addresses both lacunas by proposing that Fielding made use of Cicero’s scheme of topical invention (from his Topica) to assist with the composition of his preface. Cicero’s topical scheme is a system of sixteen prescribed loci or ‘topics’ (places for locating or inventing arguments) and these were promoted as a universal and comprehensive scheme for discovering the best arguments for any subject under consideration. This paper demonstrates that Fielding’s preface engages with ten out of sixteen of Cicero’s topical terms and displays an informed understanding of the logical processes pertaining to those topics. It also demonstrates that Fielding makes use of a fountain metaphor in much the same way that Cicero used a fountain metaphor in his Topica, and furthermore, that the sequence of topical terms in Fielding’s preface run in much the same sequence as promoted by Cicero in the Topica. Where the new logic and rhetoric of the eighteenth century rejected the informal processes of topical invention for their relative focus on probable arguments, the applications of Cicero’s topics in the preface to Joseph Andrews helps characterize Fielding as both a dedicated classicist and a Ciceronian rhetor. PubDate: 2022-06-01
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Abstract: Abstract Two major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy’s poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy’s incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy’s homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy’s poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy’s beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, ‘created’ using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω [‘to make’] in descriptions of ‘those made like me’) and he employs Hellenistic statues as a productive link between his desires and so-called ‘Greek desire’, placing himself within a continuum of queer, Greek men. PubDate: 2022-06-01
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Abstract: Abstract Edith Wharton’s reputation as the grande dame of American letters rests largely on her imaginative prose fiction about Gilded Age New Yorkers, whose vices it subtly, yet scathingly, criticizes. In her most autobiographical novel, The Reef, she satirizes members of her society, including her own family and familiars, through characters who not only resemble them but also, for added effect, assume the traits of figures from the myth of the house of Atreus, widely considered to be the evilest clan in literature. In constantly alluding to the Greek, Roman, and post-classical tragedies that comprise the ancient story, Wharton demonstrates how woefully decadent old New York is. Each of her book's main character will be compared with their corresponding historical personage and mythological figure to analyse the transgression they have either committed or suffered. Then, the various relationships between every set of three will be further studied. While some observations will reveal critiques of such wrongs as infidelity, as well as direct attacks on objectionable persons, others will go beyond mere association and suggest that certain aspects of high society are even worse than those found in the wicked household of Agamemnon and Clytemnestra. PubDate: 2022-05-15
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Abstract: Abstract The modernist period was one of intense engagement with antiquity. It was also a period concerned with radical ideas about time put forward by Henri Bergson and Albert Einstein that questioned traditional understandings of the relationship between past and present. This article considers these two aspects of the modernist period through H.D.’s translations of Euripides: it argues that H.D.’s equivocal position in literary modernism and the imagist movement (as demonstrated by her translations from Hippolytus), her prosodic experimentation with Greek verse forms in her translations from Hecuba and Iphigenia at Aulis and finally her emphasis on temporal themes in her Freud-inspired translation of Ion can be all read in such a way to cast new light on the complex temporalities of the translation of classical texts and the modernist reception of the classics. PubDate: 2022-03-01 DOI: 10.1007/s12138-020-00588-7
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Abstract: Abstract This article is a contribution to the history of classical education, focused on the reception of Roman texts about Germania in German schools between 1945 and 1989. The period under discussion here represents a time during which there was an aversion to handling material tainted by its appropriation under Nazi ideology, and traces the development of new approaches to its treatment. PubDate: 2022-03-01 DOI: 10.1007/s12138-020-00581-0
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Abstract: Abstract In his 1877 Storia della letteratura (History of Literature), Luigi Settembrini wrote that Petrarch’s fourteenth-century poem, the Africa, ‘is forgotten …; very few have read it, and it was judged—I don’t know when and by whom—a paltry thing’. Yet, just four decades later, the early Renaissance poet’s epic of the Second Punic War, written in Latin hexameters, was being promoted as the national poem of Italy by eminent classical scholar, Nicola Festa, who published the only critical edition of the epic in 1926. This article uncovers the hitherto untold story of the revival of Petrarch’s poetic retelling of Scipio’s defeat of Hannibal in Fascist Italy, and its role in promoting ideas of nation and empire during the Fascist period in Italy. After briefly outlining the Africa’s increasing popularity in the nineteenth century, I consider some key publications that contributed to the revival of the poem under Fascism. I proceed chronologically to show how the Africa was shaped into a poem of the Italian nation, and later, after Italy’s invasion of Ethiopia, of Italy’s new Roman Empire. I suggest that the contestations over the significance of the Africa during the Fascist period, over whether it was a national poem of Roman revival or a poem of the universal ideal of empire, demonstrate more profound tensions in how Italian Fascism saw itself. PubDate: 2022-03-01 DOI: 10.1007/s12138-020-00584-x
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