Writing Fictions in the Shadow of Empire: From the Second Sophistic to the Heian Imperial Court

2010 ◽  
Author(s):  
Sara R. Johnson
Keyword(s):  
Second Sophistic ◽  
Imperial Court

The Aristotelian Tradition

2017 ◽  
Author(s):  
Han Baltussen
Keyword(s):  
Second Sophistic ◽  
Imperial Court ◽  
Alexander Of Aphrodisias ◽  
The Relationship ◽  
Aristotelian Tradition

This chapter examines the relationship between the Aristotelian philosophers (30 bce to 200 ce) and the so-called Second Sophistic. It discusses how the study of Aristotle’s works experienced a revival, leading to a new text-based approach to his corpus. The evidence for the main protagonists of those interested in Aristotle is fragmentary. Some were leading thinkers of the school (Andronicus of Rhodes), others eclectic readers of Aristotle (Xenarchus of Seleucia, Galen of Pergamum). The views of both styles of scholar on Aristotle arose mostly in a didactic context, clarifying the texts to students. Thus philosophers began to engage in scholarly commentary as a standard way to practice philosophy. This trend quickly culminated in the running commentary, the prime example of which is the work of Alexander of Aphrodisias (ca. 200 ce), who also had connections to the imperial court.

Poets and Poetry

2017 ◽  
Author(s):  
Manuel Baumbach
Keyword(s):  
Roman Empire ◽  
Educational System ◽  
Essential Element ◽  
Literary Tradition ◽  
Second Sophistic ◽  
Cultural Backgrounds ◽  
Greek Poetry ◽  
The Core ◽  
Imperial Court ◽  
Literary Canons

This chapter gives an overview of the production and reception of Greek poetry in the Second Sophistic. It addresses questions of its performance and “setting in life,” looks at the generic tradition and creative innovation of epic, drama, melic poetry, epigram, and fable, and takes into account different cultural backgrounds and literary functions. Poetry was at the core of Greek paideia, functioned as a code for the educated elite, was regarded as an essential element of rhetoric, helped to shape Greek identity, and could be used for propaganda by poets belonging to the imperial court. Educated Greeks from all parts of the Roman Empire shared more or less the same knowledge of the Greek literary tradition regardless of their different cultural backgrounds, a function of the uniform Greek educational system based upon literary canons of established genres.

Beyond the Second Sophistic

2013 ◽  
Author(s):  
Tim Whitmarsh
Keyword(s):  
Second Sophistic

Classical Conceptions of Visuality and Representation in John of Damascus' Defense of Holy Images1

2020 ◽  
Vol 4 (3) ◽  
pp. 284-308
Author(s):  
James A. Francis
Keyword(s):  
Violent Conflict ◽  
Christian Theology ◽  
Late Antique ◽  
Second Sophistic ◽  
Word And Image ◽  
John Of Damascus ◽  
History Of ◽  
Classical Culture ◽  
Common Era ◽  
Iconoclastic Controversy

The Defense of Holy Images by John of Damascus stands as the archetypal exposition of the Christian theology of images. Written at the outbreak of the Iconoclastic Controversy, it has been mostly valued for its theological content and given scholarly short shrift as a narrowly focused polemic. The work is more than that. It presents a complex and profound explication of the nature of images and the phenomenon of representation, and is an important part of the “history of looking”in western culture. A long chain of visual conceptions connects classical Greek and Roman writers, such as Homer and Quintilian, to John: the living image, the interrelation of word and image, and image and memory, themes elaborated particularly in the Second Sophistic period of the early Common Era. For John to deploy this heritage so skillfully to the thorny problem of the place of images in Christianity, at the outbreak of a violent conflict that lasted a further 100 years after his writing, manifests an intellect and creativity that has not been sufficiently appreciated. The Defense of Holy Images, understood in this context, is another innovative synthesis of Christianity and classical culture produced by late antique Christian writers.

Unrivalled Influence

2013 ◽  
Author(s):  
Judith Herrin
Keyword(s):  
Political Life ◽  
General Introduction ◽  
Women And Gender ◽  
Mothers And Daughters ◽  
Diverse Range ◽  
Long Span ◽  
Imperial Court ◽  
And Gender ◽  
The Many ◽  
First Time

This book explores the exceptional roles that women played in the vibrant cultural and political life of medieval Byzantium. This book evokes the complex and exotic world of Byzantium's women, from empresses and saints to uneducated rural widows. Drawing on a diverse range of sources, the book sheds light on the importance of marriage in imperial statecraft, the tense coexistence of empresses in the imperial court, and the critical relationships of mothers and daughters. It looks at women's interactions with eunuchs, the in-between gender in Byzantine society, and shows how women defended their rights to hold land. The book describes how women controlled their inheritances, participated in urban crowds demanding the dismissal of corrupt officials, followed the processions of holy icons and relics, and marked religious feasts with liturgical celebrations, market activity, and holiday pleasures. The vivid portraits that emerge here reveal how women exerted an unrivalled influence on the patriarchal society of Byzantium, and remained active participants in the many changes that occurred throughout the empire's millennial history. The book brings together the author's finest essays on women and gender written throughout the long span of her career. This volume includes three new essays published here for the very first time and a new general introduction. It also provides a concise introduction to each essay that describes how it came to be written and how it fits into her broader views about women and Byzantium.

The Musical Discourse of Servitude

2020 ◽  
Author(s):  
Harry White
Keyword(s):  
Johann Sebastian Bach ◽  
George Frideric Handel ◽  
Cultural Significance ◽  
Imperial Court ◽  
Musical Works ◽  
Musical Discourse ◽  
Work Concept ◽  
Musical Genres ◽  
Church Service ◽  
Late Works

The Musical Discourse of Servitude examines the music of Johann Joseph Fux (ca. 1660–1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux’s long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late Baroque musical imagination which draws Fux, Bach, and Handel into the orbit of North Italian compositional practice. This typology depends on two primary concepts, both of which derive and dissent from Lydia Goehr’s formulation of the “work-concept” in The Imaginary Museum of Musical Works (1992), namely, the “authority concept” and a revised reading of the “work-concept” itself. Both concepts are engaged through the agency of two musical genres—the oratorio and the Mass ordinary—which Fux shared with Handel and Bach respectively. These genres functioned as conservative norms in Fux’s music (most of Fux’s working life was spent in writing for the church service), but they are very differently engaged by Bach and Handel. To establish a continuity between Fux, Bach and Handel, and between the servitude of common practice and the emerging autonomy of a work-based practice in the early eighteenth-century musical imagination are the principal objectives of this study.

A Riddling Recipe?

Mnemosyne ◽  
2018 ◽  
Vol 71 (4) ◽  
pp. 593-615
Author(s):  
Floris Overduin
Keyword(s):  
First Century ◽  
Greek Literature ◽  
Second Sophistic ◽  
Tone Of Voice ◽  
Detailed Interpretation

AbstractThis article provides a detailed interpretation and suggests a literary background for the brief (26 verses) elegiac recipe against colic (SH690), written by Philo of Tarsus in the first centuryAD. Although on one level it is a serious pharmacological prescription, on another level it is also a literary piece, concerned with a marked tone of voice, Homeric play, and general display ofpaideia. Particularly its play of substituting certain ingredients with mythological riddles is striking. Its appeal to both doctors and men of culture fits the intellectual pattern of the culture of the Second Sophistic. As a poetic hybrid it also plays on different genres inherited from the previous Hellenistic era. Moreover, it constitutes a telling example of the late subgenre of elegiac pharmacology, in an era in which elegiac had all but vanished from Greek literature.

Defining the Circle of Sophists: Philostratus and the Construction of the Second Sophistic

2008 ◽  
Vol 103 (4) ◽  
pp. 395-413
Author(s):  
Kendra Eshleman
Keyword(s):  
Second Sophistic

Rhetors at the wedding

1979 ◽  
Vol 25 ◽  
pp. 104-117 ◽  
Author(s):  
D. A. Russell
Keyword(s):  
Fourth Century ◽  
Second Sophistic ◽  
Way Of Life ◽  
High Class ◽  
Main Motive ◽  
Greek Rhetoric ◽  
Early Byzantine

In Lucian's Symposium, one of the wedding guests is a philosopher and another is a grammatikos. The grammatikos provides a bad elegiac epithalamium; the philosopher, who is called Ion, improves the occasion with a speech in which he declares that pederasty offers the best way of life, and the system of communal wives, as recommended in Plato's Republic, is the next best thing.This fantasy, of course, tells us nothing about what went on at weddings. Lucian's main motive is literary parody, of Plutarch's Erotikos or something of the kind. But it may serve to recall something of which we have evidence enough in Greek rhetoric, namely the practice of delivering speeches of some literary pretention at high-class weddings. The educated classes of the cities of the eastern provinces evidently cherished this habit: a display of culture, as well as of wealth, was admired, and elaborate orations took their place, alongside abundance of food and wine, music and song, elaborately decorated bridal chambers and beds, as concomitants of a wedding that was to do both families credit. This is true of the period of the ‘Second Sophistic’, and of its fourth-century and early Byzantine continuations. How far the practice was common before, say, the Antonine age is much less clear.

Sign in / Sign up

Export Citation Format

Share Document