Epigrams on Art: Voice and Voicelessness in Hellenistic Epigram

Männlein‐Robert, Irmgard

doi:10.1163/9789047419402_014

Cited by 47 publications

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“…21 One 20 Ecphrasis in the context of (primarily literary) epigram has received much scholarly attention. The bibliography is enormous: see, e.g., Manakidou 1993;Goldhill 1994;Männlein-Robert 2007;Bruss 2010;Floridi 2019. A well-known example is Myron's cow, whose exceptional lifelike quality was celebrated in at least 36 epigrams that have come to us in the Greek Anthology: AP 9.…”

Section: Commentarymentioning

confidence: 99%

Religion and family politics in Hellenistic Kalaureia. Three new inscriptions from the sanctuary of Poseidon

Papazarkadas

Wallensten

2020

OpAthRom

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This article presents three unpublished Hellenistic inscriptions from the sanctuary of Poseidon in Kalaureia (modern Poros): two found during archaeological excavations on the site and one recorded in a letter that was once part of Ioannis Kapodistrias’ official correspondence. All three inscriptions were dedicatory and carved on bases supporting portrait statues. Interestingly, they were offered to Poseidon by members of a single family already known from other documents in the Kalaureian epigraphic corpus. Remarkably, eight out of the 18 inscriptions discovered in Kalaureia make repeated references to men and women of this very family, which appears to have materially dominated Poseidon’s temenos and its environs during the 3rd and 2nd centuries BC through the careful placement of portraits of its members. Most of these statues were conspicuously placed by the entrance to the sanctuary, though at least one of them was erected inside of the god’s temple. In our article, we present in detail the three new inscriptions, one of them an epigram, and attempt an analysis of the religious behaviour of this prominent local family against the background of contemporary sociopolitical developments.

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Section: Commentarymentioning

confidence: 99%

Religion and family politics in Hellenistic Kalaureia. Three new inscriptions from the sanctuary of Poseidon

Papazarkadas

Wallensten

2020

OpAthRom

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“…18.478-608). On the related Horatian maxim of ut pictura poesis (Ars P. 361) see especially Hardie, 1993, along with the wide-ranging treatment of the posthumous reception in Barkan, 2013. 74 For some introductions see -now amid a burgeoning bibliography -Gutzwiller, 2002;Meyer, 2005;Petrovic, 2005;Männlein-Robert, 2007a;Männlein-Robert, 2007b;Tueller, 2008: esp. 141-54;Squire, 2010a;Squire, 2010b: esp.…”

Section: Masquerade: Reading Between the Lines?mentioning

confidence: 99%

‘HOW TO READ A ROMAN PORTRAIT’? OPTATIAN PORFYRY, CONSTANTINE AND THEVVLTVS AVGVSTI

Squire¹

2016

Pap. Br. Sch. Rome

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This article takes its lead from research into the ‘language’ of Roman portraiture. More specifically, it explores a work that literalizes the idea of ‘reading’ a Roman portrait (to quote Sheldon Nodelman's classic phrase): a picture-poem by Publilius Optatianus Porfyrius — a much maligned poet active in the first decades of the fourth centuryad— that purports, through its iconotextual form, to visualize the countenance of the emperor Constantine (uultus Augusti). After a brief introduction to Optatian and hisœuvre, the article offers a close reading of his third poem, demonstrating the sophisticated ways in which it probes the latent iconic potential of written script. What particularly interests me about this case study is its underlying paradox: on the one hand, Optatian boasts that his painted page will outstrip antiquity's most celebrated painter (it ‘will dare outdo the waxes of Apelles’,uincere Apelleas audebit pagina ceras); on the other, the actual form of the picture seems to eschew mimetic modes of representation, rendering Constantine's ‘portrait’ a geometric pattern. So how should we make sense of this image? What does the poem reveal about ideas of portraiture in the fourth century? And how might we contextualize Optatian's abiding fascination with the limits of ‘seeing’ and ‘reading’?

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“…That is, Posidippus' epigrams are ecphrastic in the ancient sense (i.e., they have energeia: seeWebb 2009: 87-106) and ecphrastic in the modern sense (i.e., they describe something). On the distinction between ancient and modern ecphrasis and the Hellenistic development of ecphrasis seeGoldhill 1994, Männlein-Robert 2007, and Webb 2009…”

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Horse and Herald: Posidippus’ EquestrianAngelia

Miller¹

2019

Mouseion

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Posidippus' epigrams for equestrian victors (the Hippika, AB 71-88) build on epinician convention by maintaining the central role of the herald's proclamationthe angelia-in the representation of athletic achievement. In a few of these epigrams, however, Posidippus embeds the horse itself in postvictory rituals. For example, the horse brings the crown to the victor, replacing the figure of the herald who announced and crowned victors; or, in a narrative of the race's aftermath, the horse, incredibly, chooses the victor. Posidippus' horses, therefore, act as causal agents for the glory of their owners, and his detailed descriptions transform the horse from f lesh-and-blood equine to everlasting (literary) monument. Les épigrammes de Posidippe sur les victoires équestres (les Hippiques, 71-88 A.-B.) s'appuient sur une convention poétique propre aux épinicies qui maintient le rôle de la proclamation du héraut-l'angelia-dans la représentation de la réussite athlétique. Cependant, dans quelques-unes de ces épigrammes, Posidippe intègre le cheval lui-même au rituel marquant la victoire. Par exemple, le cheval apporte la couronne au vainqueur en remplacement de la figure du héraut qui annonce et couronne les vainqueurs ; ou encore, dans le récit de l'après-course, le cheval choisit, de façon surprenante, le vainqueur. Les chevaux de Posidippe interviennent donc en tant qu'agents causaux dans la gloire de leur propriétaire. Ses descriptions détaillées transforment ainsi l'être de chair et de sang qu'est le cheval en un monument (littéraire) éternel. It is a privilege to be included in this collection in honour of Nigel Crowther, whose work, especially Athletika (2004), is ever-present on my desk. I thank Kevin Solez for inviting my contribution and the anonymous readers for the journal, whose comments improved my paper. The audience at CAMWS-SS (Atlanta, 2016) also offered valuable suggestions. Adriana Brook, Carla Manfredi, Brett Stine, and Carolyn Willekes generously read earlier drafts of this paper, and their comments and criticisms have greatly improved the final version. Any errors or omissions that remain are my own.

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Epigrams on Art: Voice and Voicelessness in Hellenistic Epigram

Cited by 47 publications

References 0 publications

Religion and family politics in Hellenistic Kalaureia. Three new inscriptions from the sanctuary of Poseidon

Religion and family politics in Hellenistic Kalaureia. Three new inscriptions from the sanctuary of Poseidon

‘HOW TO READ A ROMAN PORTRAIT’? OPTATIAN PORFYRY, CONSTANTINE AND THEVVLTVS AVGVSTI

Horse and Herald: Posidippus’ EquestrianAngelia

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