The Traffic in Shtick

Richlin, Amy

doi:10.1017/9781108290012.011

Cited by 4 publications

(10 citation statements)

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“…Some of these sets of mores 67 This dynamic is emphasised by Propertius' use of antrum to refer to the cave of Cacus at 4.9.9-12, implying that the puellae of the Bona Dea are like Cacus (especially as Hercules breaks down the door of both antra) and thus heroising Hercules' violation of ritual. 68 As Hinds (2000, 225-36) illustrates (and the following chapter addresses in more depth), elegy is a genre particularly concerned with transgression. 69 This will be discussed in more depth in the following chapter.…”

Section: Discussionmentioning

confidence: 98%

“…If it is not unreasonable to thus associate the lions Achilles eats with fetae leaenae, there is a certain vindictiveness inherent in the image of the hero eating the raw entrails of these animals which could just as easily have nurtured him. In a similar way, the mention of a lupa (a she-wolf) -which is unique to Statius in the tradition of Achilles' peculiar food as a baby 68 in a Roman context undoubtedly calls to mind the lupa (feta) which suckled Romulus and Remus (cf. Ov.…”

Section: Saevus Achillesmentioning

confidence: 99%

“…("What good would it be now for me to tell you of the 67 Heslin (2005), 174. 68 Cf. D. S. Robertson (1940), 177.…”

Section: Saevus Achillesmentioning

confidence: 99%

“…67 For Propertius, this problematic side is an end for its own sake. 68 Within the essentialised epic framework of the Achilleid, 69 on the other hand, Hercules becomes a hero who is not simply heroic despite his transvestism, but because of his transvestism. His propensity to act outside of cultural norms (figured here by his transvestism) is a prime signifier of his heroic nature.…”

Section: Bacchus Hercules and The Bona Deamentioning

confidence: 99%

“…some degree, as the courtship of Deidamia in the Ars Amatoria also ends in rapein fact, it is the pre-eminent example of a "willing rape" (Ars 1.697-700). Richlin argues that for Ovid, "when we want to know the gender of the adolescent hero dressed in women's clothing, the signifier of his maleness is his ability to commit rape," 68 and Statius' rape of Deidamia is partially the result of Achilles' desire to prove his masculinity through a more violent kind of love ("teque marem... nec amore probabis?" Ach.…”

Section: Servitium Amorismentioning

confidence: 99%

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Appropriate Transgression: An Intertextual Approach to Problems of Genre and Heroism in Statius' Achilleid

Mason¹

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Statius’ second epic poem, the Achilleid, deals with a subject matter that is particularly problematic: Achilles’ early life, in which he is raised by a centaur in the wilderness and then disguises himself as a woman in order to rape the princess of Scyros. Recent scholarship has also pointed to other problematic elements, such as Achilles’ troublesome relationship with his mother or the epic’s intertextual engagement with elegiac and ‘un-epic’ poetry. This thesis extends such scholarship by analysing Statius’ use of transgression in particular. It focuses primarily upon the heroic character of Achilles and the generic program of the Achilleid as a whole. The first chapter focuses upon Achilles’ childhood and early youth as a foster child and student of the centaur Chiron. It demonstrates that the hero’s upbringing is used to emphasise his ambiguous nature in line with the Homeric Iliad, as a hero who is capable of acting appropriately, but chooses not to. Achilles’ wild and bestial nature is emphasised by its difference to the half-human character of Chiron, who might be expected to be act like an animal, but instead becomes an example of civilisation overcoming innate savagery, an example of what Achilles could have been. The second chapter discusses the ambiguities inherent in a study of transgression, in the light of Achilles’ transvestite episode on Scyros. Numerous intertextual allusions construct various sets of expected behaviours for the transvestite youth, but his failure to live up to any of them portrays him as a truly transgressive hero. In this way, he is similar to Hercules or Bacchus, whose heroism is constructed partly upon their transgressive natures and inability to conform to societal custom. In the final chapter, the study of transgression is extended to Statius’ generic program, associating the epic with elegy. Statius employs many elegiac tropes, and makes numerous allusions to the poetry of elegists such as Ovid and Propertius. In particular, elegiac poetry’s peculiar trope of constructing and emphasising boundaries in order that they may be crossed (thus making the poetry feel more transgressive) is mirrored in the Achilleid. In this way, the Achilleid’s engagement with transgression is considered to be, in part, a method for presenting an innately problematic hero to Statius’ Flavian audience in an accessible and interesting manner.

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Section: Discussionmentioning

confidence: 98%

Section: Saevus Achillesmentioning

confidence: 99%

“…("What good would it be now for me to tell you of the 67 Heslin (2005), 174. 68 Cf. D. S. Robertson (1940), 177.…”

Section: Saevus Achillesmentioning

confidence: 99%

Section: Bacchus Hercules and The Bona Deamentioning

confidence: 99%

Section: Servitium Amorismentioning

confidence: 99%

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Appropriate Transgression: An Intertextual Approach to Problems of Genre and Heroism in Statius' Achilleid

Mason¹

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Dynamics of Telling Jokes in Plautus. The Case of the Self-Repair Routine

Berger

2023

10.14746/sppgl

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The study concerns one recurrent type of conversational joke in Plautus, which consists of three different steps: (1) some problematic formulation by the joke-teller, (2) a request for an explanation by the interlocutor, and (3) a punchline. Using methods of Conversation Analysis, I interpret the routine as a case of a self-repair sequence and examine responses it triggers in all the comedies by Plautus. According to the quantitative part of the study, in half of the cases, humour is not acknowledged by the in-play recipient of the joke who may understand it literally or ignore it whatsoever. In the rest of the examples the joker’s interlocutor mostly reacts negatively (with some form of verbal aggression or complaint) or continues the non-serious mode of talking by launching another joke. Ultimately, the jocular routine is associated with the figure of rebellious slave, who uses the powerful joker’s position to tease and abuse the rules of a collaborative conversation.

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Epistemicide: the Roman Case

Peralta

2020

Classica

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The desire to recover and preserve the antiquity that in some circles is designated as “classical” is rooted in the conviction that knowledge of that antiquity is a good. But does (or should) awareness of the epistemicides that define Greco-Roman antiquity modify the texture of that desire? Relying on the definition of epistemicide proposed by the postcolonial theorist Boaventura de Sousa Santos, this article argues that the Roman Republic and Empire engineered a staggering loss of epistemic diversity throughout the ancient Mediterranean, traceable along multiple vectors — from mass enslavement to ecological upheaval. It concludes with a summons to come to terms with the scope of ancient Rome’s epistemicide, and to embrace the epistemological and ethical recalibration needed to write its history.

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The Traffic in Shtick

Cited by 4 publications

References 0 publications

Appropriate Transgression: An Intertextual Approach to Problems of Genre and Heroism in Statius' Achilleid

Appropriate Transgression: An Intertextual Approach to Problems of Genre and Heroism in Statius' Achilleid

Dynamics of Telling Jokes in Plautus. The Case of the Self-Repair Routine

Epistemicide: the Roman Case

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