The first collection on expurgation in the Classics, exploring the strategies used to deal with obscene and other textual material in conflict with post-classical values.
Made up of nine prominent scholars, The Postclassicisms Collective aims to map a space for theorizing and reflecting on the values attributed to antiquity. The product of these reflections, Postclassicisms takes up a set of questions about what it means to know and care about Greco-Roman antiquity in our turbulent world and offers suggestions for a discipline in transformation, as new communities are being built around the study of the ancient Greco-Roman world. Structured around three primary concepts—value, time, and responsibility—and nine additional concepts, Postclassicisms asks scholars to reflect upon why they choose to work in classics, to examine how proximity to and distance from antiquity has been—and continues to be—figured, and to consider what they seek to accomplish within their own scholarly practices. Together, the authors argue that a stronger critical self-awareness, an enhanced sense of the intellectual history of the methods of classics, and a greater understanding of the ethical and political implications of the decisions that the discipline makes will lead to a more engaged intellectual life, both for classicists and, ultimately, for society. A timely intervention into the present and future of the discipline, Postclassicisms will be required reading for professional classicists and students alike and a model for collaborative disciplinary intervention by scholars in other fields.
Sex is fundamental to society. We cannot think about politics, power, identity or culture without also thinking about sexuality. Despite this, the scientific study of sexual behaviour is a relatively recent phenomenon. Doctors, legal experts and other intellectuals have all pondered challenging questions in an attempt to stay abreast of the latest sexual research. How might we separate talking about sex scientifically from discussing and consuming pornography? How do we speak objectively about desire and pleasure? And how do the words that we use to talk about sex affect what we are able to say about it? Such questions increasingly inform public discourse across a variety of media. Showing how ancient words and ideas have left a significant imprint on present-day ideas about sex, Daniel Orrells offers a bold new narrative of how the scientific study of sexuality came into being. Uncovering the intriguing story of how the obscene and erotic verse of Roman epigram and love poetry became the sanitised language of nineteenth-century sexual science, this divertingly readable book demonstrates how the reception of both Latin and Greek texts was central to the development of modernmsexology and psychoanalysis. Ranging from Sappho, Catullus and Martial to Michel Foucault, Richard von Krafft-Ebing and Sigmund Freud, the author reveals just how profoundly classics has shaped the landscape of sexual identity that we inhabit today.
This collection brings together twenty eight chapters written by Stephen Harrison’s colleagues and former students from around the globe to celebrate both his distinguished teaching and research career as a classicist and his outstanding and admirable service to the international classical community. The wide variety of original contributions on topics ranging from Greek to Latin and ancient literature’s reception in opera and contemporary writing is divided into five parts. Each corresponds to the staggering publication record of the honorand, encompassing, as it does, a broad literary spectrum, starting from the literature of the end of the Roman Republic and coming down to Neo-Latin and the reception of Classics in Irish, in English poetry and in European literature and culture in general. This corpus of compelling chapters is hoped to match Stephen Harrison’s rich research output in an illuminating dialogue with it.
Horace's Epodes rank among the most under-valued texts of the early Roman principate. Abrasive in style and riddled with apparent inconsistencies, the Epodes have divided critics from the outset, infuriating and delighting them in equal measure. This collection of essays on the Epodes by new and established scholars seeks to overturn this work's ill-famed reputation and to reassert its place as a valid and valued member of Horace's literary corpus. Building upon a recent surge in scholarly interest in the Epodes, the volume goes one step further by looking beyond the collection itself to highlight the importance of intertext, context, and reception. Covering a wide range of topics including the iambic tradition and aspects of gender, it begins with a consideration of the influences of Greek iambic upon the Epodes and ends with a discussion on their reception during the seventeenth century and beyond. By focusing on the connections that can be drawn between the Epodes and other (ancient) works, as well as between the Epodes themselves, the volume will appeal to new and seasoned readers of the poems. In doing so it demonstrates that this smallest, and seemingly most insignificant, of Horace's works is worthy of a place alongside the much-lauded Satires and Odes.
Everyone who studies or researches ancient Greek uses the Greek-English Lexicon of Liddell and Scott: this volume brings together essays on all aspects of the history, constitution, and problematics of this extraordinary work, in order to better understand its significance for both Greek studies and the theory and practice of lexicography.
Horace’s book of seventeen iambi (by convention called ‘Epodes’) contains some of the most complex and controversial poetry of his entire career. This new interpretation exposes a poet in the throes of the torment of writing. Horace crafts an artwork which reveals the agony of expressing agony. He struggles to find the words as he gives voice to the anticipation of grief. The poet’s inner demons conspire against him. Anything that could go wrong, does go wrong. At the end we realise that Horace might have never wanted to write this book in the first place. But the fate of this writer is to be forever persecuted by his own writing. Horace’s iambi are methodically stitched together. Meter, intertextuality, wordplay, and theme combine strategically to provide an utterly compelling and vivid watercolor in words. It is a work of art which is able to hold its place amongst any top tier poetry, in any language, in any era.
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 1679 Hadriaan Beverland (1650-1716) was banished from the province of Holland. Why was this humanist scholar exiled from one of the most tolerant parts of Europe in the seventeenth century? To answer this question, this book places Beverland’s writings on sex, sin, and scholarship in their historical context for the first time. Beverland argued that sexual lust was the original sin and highlighted the importance of sex in human nature, ancient history, and his own society. His audacious works hit a raw nerve: Dutch theologians accused him of atheism, he was abandoned by his humanist colleagues, and he was banished by the University of Leiden. By positioning Beverland’s extraordinary scholarship in the context of the seventeenth-century Dutch Republic, this book examines how his radical studies challenged the intellectual, ecclesiastical, and political elite, providing a fresh perspective upon the Dutch Republic in the last decades of its Golden Age.
The Classics were core to the curriculum and ethos of the intensely homosocial Victorian and Edwardian public schools, yet ancient homosexuality and erotic pedagogy were problematic to the educational establishment, which expurgated classical texts with sexual content. This volume analyses the intimate and uncomfortable nexus between the Classics, sex, and education primarily through the figure of the schoolmaster Philip Gillespie Bainbrigge (1890-1918), whose clandestine writings not only explore homoerotic desires but also offer insightful comments on Classical education. Now a marginalized figure, Bainbrigge's surviving works - a verse drama entitled Achilles in Scyros featuring a cross-dressing Achilles and a Chorus of lesbian schoolgirls, and a Latin dialogue between schoolboys - vividly demonstrate the queer potential of Classics and are marked by a celebration of the pleasures of sex and a refusal to apologize for homoerotic desire. Reprinted here in their entirety, they are accompanied by chapters setting them in their social and literary context, including their parallels with the writings of Bainbrigge's contemporaries and near contemporaries, such as John Addington Symonds, E. M. Forster, and A. E. Housman. What emerges is a provocative new perspective on the history of sexuality and the place of the Classics within that history, which demonstrates that a highly queer version of Classics was possible in private contexts.