The 'Second Sophistic' is arguably the fastest-growing area in contemporary classical scholarship. This short, accessible account explores the various ways in which modern scholarship has approached one of the most extraordinary literary phenomena of antiquity, the dazzling oratorical culture of the Early Imperial period. Successive chapters deal with historical and cultural background, sophistic performance, technical treatises (including the issue of Atticism and Asianism), the concept of identity, and the wider impact of sophistic performance on major authors of the time, including (...) Plutarch, Lucian and the Greek novelists. (shrink)

This chapter begins with Augustine of Hippo’s curious assumption, in The City of God, that in The Golden Ass the claim to have been transformed into a donkey was Apuleius’, rather than that of the fictional narrator, Lucius. Why should Augustine have made such a glaring error? The chapter argues that antiquity lacked a strong sense of ‘the narrator’. What we tend to call ‘first-person’, antiquity would have understood as ‘fictional autobiography’, in which the author illusionistically impersonates the narrating character.

Were the Greek novels titled according to a consistent convention? This article confronts the view that the original titles were always historiographical in form (Assyriaka, Lesbiaka, Aithiopika, etc.) and that readers were thus steered to expect, in the first instance, realistic narrative. Examining the evidence in detail, it argues that the formula the novels were likeliest to have shared was ta kata + girl's name (or girl's + boy's names). On this basis, it is concluded that what the titles of (...) the novels promised was primarily invasive narratives of private life. (shrink)

This volume of new essays is based on a conference with the same title held at the University of Exeter in 2005. All those speaking on that occasion have written chapters in this volume, along with Riccardo Chiaradonna whose chapter has been specially prepared for the volume. The aim of this volume, like the conference on which it is based, is to contribute to the upsurge of new research on Galen by focusing on a topic that bridges the interests of (...) specialists in ancient medical history and Classicists and philosophers more generally. The conference also represents the convergence of two current focuses of research in the Department of Classics and Ancient History at Exeter, on ancient medicine especially Galen and on Hellenistic and Imperial Greek culture more generally"--Provided by publisher. (shrink)

The Romans commanded the largest and most complex empire the world had ever seen, or would see until modern times. The challenges, however, were not just political, economic and military: Rome was also the hub of a vast information network, drawing in worldwide expertise and refashioning it for its own purposes. This fascinating collection of essays considers the dialogue between technical literature and imperial society, drawing on, developing and critiquing a range of modern cultural theories. How was knowledge shaped into (...) textual forms, and how did those forms encode relationships between emperor and subjects, theory and practice, Roman and Greek, centre and periphery? Ordering Knowledge in the Roman Empire will be required reading for those concerned with the intellectual and cultural history of the Roman Empire, and its lasting legacy in the medieval world and beyond. (shrink)

Other Greek novels open in poleis, before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius' Leucippe and Clitophon open in a house , and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house (...) principally embodies the authoritarian will of the father to order and control, it nevertheless provides the lovers with opportunities to re-encode space opportunistically as erotic. The house cannot be reconstructed archaeologically , but it is nevertheless clearly divided into different qualitative zones—diningroom, bedrooms, garden—each of which has its own psychosocial and emotional texture, its own challenges, and its own resources. Achilles' modelling of the house may reflect Roman ideas of domestic aristocratic display, and perhaps even the influence of Roman literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:...

Cet article se penche sur la représentation de la famille des Éolides dans le Catalogue des femmes du pseudo-Hésiode. Les Éolides, qui apparaissent très tôt dans le cycle mythique (et de façon particulièrement proche de la phase originelle de la vie humaine dans laquelle dieux et mortels ont été convives), présentent un cas remarquable de jalousie du divin. Ils cherchent en particulier à rivaliser avec la divinité en faisant usage d’artefacts humains : le langage, l’artisanat, le spectacle. Cette emphase sur (...) l’artificiel implique la croyance, parmi certains d’entre les Éolides (croyance qui cependant n’est pas à première vue assumée par le poème) que la divinité peut être elle-même considérée comme une invention humaine. On peut contextualiser cette croyance en la comparant aux forces culturelles de créativité technologique plus vastes à la période archaïque, en particulier au développement des représentations artistiques des dieux. (shrink)

Recent research on “psychotherapy” in Greek philosophy has not been fully integrated into thinking about philosophy as a way of life molded by personal relationships. This article focuses on how the enigma of Socratic eros sustains a network of thought experiments in the fourth century BCE about interpersonal dynamics and psychical transformation. It supplements existing work on Plato's Symposium and Phaedrus with comparative material from Aeschines of Sphettus, Xenophon, and the dubiously Platonic Alcibiades I and Theages. In order to select (...) and illuminate commonalities among all of these, it also draws critically upon Jacques Lacan's psychoanalytic technique and his numerous comparisons between Socrates and psychoanalysts. What emerges is a more complex and qualified but no less sincere appreciation for the ideal of reflective, cooperative aspiration toward Beauty portrayed in Plato's dialogues. (shrink)