sexuality, textual representation of

Author(s):  
Marilyn B. Skinner

The basic dominance-submission model of sexual relations, involving a hierarchical distinction between the active and passive roles, was the same in Greek and Roman cultures and remained unchanged throughout classical antiquity. However, we find subtle modifications reflected in the literary tradition from the Homeric age to imperial Rome. In Homer and Hesiod, heterosexual relations are the only recognized form of sexual congress, and consensual sex is mutually pleasurable. Forced sex, in the form of abduction and rape, also occurs in epic narrative. Pederasty became a literary theme in Greek lyric poetry of the archaic age. In classical Athens, discourses of sexuality were tied to political ideology, because self-control was a civic virtue enabling the free adult male householder to manage his estate correctly and serve the city-state in war and peace. Tragedy illustrates the dire impact of unbridled erōs, while comedy mocks those who trespass against moderation or violate gender norms, and forensic oratory seeks to disqualify such offenders from participating in government. Philosophical schools disagreed over the proper place of erōs in a virtuous life. While pederastic relations dominated discussions of love in philosophic works, romantic affairs between men and women received greater attention in Hellenistic poetry, in keeping with an increased emphasis on shared pleasure and reciprocal emotional satisfaction. During the late Republic and the Augustan age, Roman authors incorporated erotic motifs from archaic lyric and Hellenistic epigram into their own first-person love poems. The genre of love elegy, in which the poet-lover professes himself enslaved to a harsh mistress, became widely popular during Augustus’ reign but disappeared shortly thereafter. Meanwhile, Lucretius’ didactic epic On the Nature of Things, and Vergil’s Aeneid, a heroic account of the founding of Rome, both treat erotic obsession as destructive. In the Imperial period, elite anxieties were displaced onto concerns about gender deviance on the part of males and females alike: the figures of the cinaedus and the tribas were castigated in moralizing poetry, especially satire and satiric epigram. Roman novels focused upon the sexual escapades of marginal displaced types. Under Roman rule, on the other hand, Greek literature saw a new flowering in the Second Sophistic movement. While pederasty remained a favorite subject, hotly championed against heterosexual relations in prose treatises, the Greek novel explored a new model of heterosexuality in which premarital chastity and mutual fidelity appear to anticipate later Christian values.

Ramus ◽  
2008 ◽  
Vol 37 (1-2) ◽  
pp. 11-31
Author(s):  
J.L. Lightfoot

Dionysios gehört zu den interessantesten Problemen der griechischen Literaturgeschichte.Knaack (1905) 916.34f.Within the general context of increasing interest in Greek literature in the Roman period, interest in Dionysius the Periegete is certainly on the rise. Our knowledge of his extensive textual tradition is still expanding, and further editions are under way; the ideologies that structure his work have been explored in a series of publications by Christian Jacob (1990, 1991); and the welcome increase in the volume of publications over the last five years or so includes a collection of essays which is especially geared to one of my themes in this essay, Dionysius' relations with Hellenistic poetry and poets. Yet there are some basic aspects of his poetics that remain un-, or under-, studied. At the heart of the matter, I suggest, are two major backgrounds that need to be explored further.The first is the reception of Hellenistic poetry in the imperial period. Dionysius is a neo-Hellenistic poet. Indeed, he is so convincing a neo-Hellenistic poet that a critic as astute as Tycho Mommsen placed him in the first century BCE on the basis of a whole array of stylistic and metrical and other sorts of linguistic criteria. Dionysius' true date has been known for a century and a quarter; but we are really none the wiser about what it was that gave rise to this extraordinarily competent and convincing Hellenistic imitation. It is not only that he imitates Apollonius, Callimachus, Nicander, Aratus and others in purple passages of his own, but that so many of his techniques of composition and allusion, and—as this paper will demonstrate—his formal evocation of certain styles of writing, are thoroughly Hellenistic. So the first thing that is needed is an exploration of the various ways in which imperial writers respond to the masters of the high Hellenistic period, and their successors: is Dionysius a representative of a special and distinctive strain in imperial poetics, or is he a particular instance of something more multiform and complex?


Author(s):  
David A. Bell

Two hundred and twenty-five years after 1789, the French Revolution is no longer invoked with great frequency in world politics. Few contemporary moments take its events as a script to follow. Nonetheless, many of its conceptual legacies remain strong. This article traces these legacies in six broad conceptual fields: nationalism, republicanism, human rights, war and peace, political ideology and ‘revolution’ itself. In each case, it makes clear that the concepts have not been transmitted down to the present unchanged. For instance, the linkage between human rights and citizenship in a particular polity, which the revolutionaries affirmed in their Declaration of the Rights of Man and Citizen, has given way to a widely shared idea that rights act as a limit on sovereign authority. The article closes by observing that the Revolution’s most powerful legacy may be the concept of ‘revolutionary’ change itself, and its status as a synecdoche for ‘modernity’ in general.


Author(s):  
Monika Woźniak

Dialogue in historical films is often the weakest component of the presumed ‘authenticity’ of the vision of the past to which they aspire. Its artificiality is especially evident in productions about ancient worlds, because the historical characters typically speak in a language which has nothing to do with the reality presented on the screen, yet somehow needs to convey the idea of diachronic distance and diversity. This chapter will examine the stylistic strategies used by the screenwriters of Quo Vadis in order to create a dialogue functional to the film’s ideological message, but at the same time sufficiently credible and ‘authentic’. Special attention will be paid to the way the scripts deal with forms of address and with military or honorific titles, as these are usually the most important and evident signals of ‘historicity’ in film dialogues. From this point of view, the verbal strategies of Mervyn LeRoy’s Quo Vadis (1951) are rather complex and multilayered, and they will be the focal point of the analysis. Produced in the aftermath of the Second World War, the film relied heavily on the strategy of presentism, clearly audible in large chunks of the dialogue. On the other hand, as part of a ‘trustworthy’ reconstruction of classical antiquity, its cinematographic speech had to be at least superficially compatible with the image of imperial Rome. Finally, Quo Vadis also drew generously on its literary source and adapted for the screen some of the novel’s elegant, literary dialogues. The chapter will also examine the relation between the cinematographic and literary dialogue in two later adaptations to screen: Franco Rossi’s 1985 TV miniseries and Jerzy Kawalerowicz’s Polish heritage production (2001).


Author(s):  
Charles Kimball

This chapter reviews the movement from pacifism to Just War and Crusade. It also tries to demonstrate the ways prominent Catholic and Protestant leaders have harshly used violent measures within their communities, and determines contemporary manifestations of these three approaches among twenty-first-century Christians. The Crusades constitute the third type of response to war and peace among Christians, joining the ongoing Just War and pacifist traditions. The Inquisition within the Catholic Church and the city-state of Geneva under John Calvin's leadership within the emerging Protestant movement are elaborated. These examples show how pervasive the use of violence in the name of religion had become. The Just Peacemaking Paradigm is the alternative to pacifism and Just War theory, an effort that tries to change the focus to initiatives which can help prevent war and foster peace.


2014 ◽  
Vol 57 (1) ◽  
pp. 49-60
Author(s):  
G. XANTHAKI-KARAMANOU ◽  
E. MIMIDOU

Abstract The paper deals with the reconstruction and the basic concepts and themes of E. Aeolus. The play is distinct of its purely tragic action with exploitation of pathetic and rhetorical motifs, and, particularly, of an admired agon logon as an ‘artificial speech’. The fragmentary evidence reveals a conjunction of tradition and innovation, of the earlier competitive excellencies, identifying the agathos with the noble and the rich, as against the new co-operative excellencies which do not presuppose high social status, but moral virtues, such as wisdom, self-control, and good social behaviour. The play displays typically Euripidean beliefs on wealth and poverty, prudent political decisions as a prime quality of a ruler, bravery in battle and rhetorical skill, nobility and virtue, the harmony of opposites, good marriage, the ingenuity of the human mind, all reflecting democratic concepts which form the moral background of the fifth-century Athenian City-State.


2015 ◽  
Vol 65 (2) ◽  
pp. 788-806 ◽  
Author(s):  
G.O. Hutchinson

If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By ‘rhythmic’ prose, this article means only prose that follows the Hellenistic system of rhythm started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first century a.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuries a.d. for over fifty years (more on accentual prose from the fourth). The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence.


2015 ◽  
Vol 112 (27) ◽  
pp. 8250-8253 ◽  
Author(s):  
Joshua J. Clarkson ◽  
John R. Chambers ◽  
Edward R. Hirt ◽  
Ashley S. Otto ◽  
Frank R. Kardes ◽  
...  

Evidence from three studies reveals a critical difference in self-control as a function of political ideology. Specifically, greater endorsement of political conservatism (versus liberalism) was associated with greater attention regulation and task persistence. Moreover, this relationship is shown to stem from varying beliefs in freewill; specifically, the association between political ideology and self-control is mediated by differences in the extent to which belief in freewill is endorsed, is independent of task performance or motivation, and is reversed when freewill is perceived to impede (rather than enhance) self-control. Collectively, these findings offer insight into the self-control consequences of political ideology by detailing conditions under which conservatives and liberals are better suited to engage in self-control and outlining the role of freewill beliefs in determining these conditions.


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