Ancient History, Greek and Roman through Late Antiquity Commons^™

Ammianus Marcellinus: An Annotated Bibliography, 1474 To The Present, Fred W. Jenkins

Fred W Jenkins

In Ammianus Marcellinus: An Annotated Bibliography, 1474 to the Present, Fred W. Jenkins surveys scholarship on Ammianus from the editio princeps to the present. Included are bibliographies, editions, translations, commentaries, concordances and indexes, Web sites, and secondary scholarship in many languages.

'Furor' As Failed 'Pietas': Roman Poetic Constructions Of Madness Through The Time Of Virgil, Emily A. Mcdermott

Emily A. McDermott

Roman poetic portrayals of mad characters through the time of Virgil construct a fundamental opposition between madness, an ipso facto self-absorbed or egoistic condition, and sanity, which duly fixes its gaze outside of itself, on parents, forebears, and the walls of state. The poets conceptualize furor less as what a modern sensibility would label insanity or mental illness than as a passion-fueled state antithetical to social order, able to be held in check only by rigorous adherence to the duty-oriented cultural code of pietas. In this moralized conception of madness, erotic furor is not a metaphorical by-path but a …

Oracula Mortis In The Pharsalia, John Makowski

John F Makowski

No abstract provided.

F.M. Ahl, Lucan: An Introduction, John Makowski

John F Makowski

No abstract provided.

Helen By Giovanni Boccaccio: A New Translation, With Text, And Commentary, Edward H. Campbell

E. H. Campbell

Violence In Plautus: Or, How I Learned To Stop Worrying And Love Performance, Christopher Bungard

Christopher Bungard

Christopher Bungard's contribution to the American Philological Association Annual Meeting, 2015.

Comedy, Violence, And Undergraduates, Christopher Bungard

Christopher Bungard

Christopher Bumgard's contribution to the CAMWS Annual Meeting: Boulder, Colorado, 2015.

Mercator, 691-802 In English, Version B. Neh Summer Institute: Roman Comedy In Performance, Christopher Bungard

Christopher Bungard

Dorippa has discovered that her husband Lysimachus is harboring a prostitute in their house. She wrongly thinks that it is his prostitute rather than his friend Demipho's. At the precisely the wrong time, the cook arrives who Demipho had asked Lysimachus to hire for a party. Lysimachus becomes increasingly frustrated with his friend Demipho. Filmed in Forest Theatre, on the campus of the University of North Carolina at Chapel Hill. Version 1: Performed in Latin to illustrate a scene that would have not been accompanied in the original performance. This is the only scene of the Institute that would have …

A Blast From The Ancient Past: Using Digital Storytelling In ‘Roman Perspectives’, Christopher Bungard

Christopher Bungard

Christopher Bumgard's contribution to the CAMWS Annual Meeting: Waco, Texas. 2014.

Reconsidering Zeus’ Order: The Reconciliation Of Apollo And Hermes, Christopher Bungard

Christopher Bungard

This paper argues that the Homeric Hymn to Hermes explores competing ways of approaching the world through the figures of Hermes and Apollo. Apollo’s reliance on the established world, partially marked by the knowledge of εἰδέναι, is insufficient in understanding Hermes, who aligns himself with the flexible capacity of νόος. Whereas Apollo eliminates his rivals in order to establish himself permanently, Hermes exploits unexplored potentials in order to create space alongside the established gods in the Olympian order. Ultimately, the newly forged friendship of Apollo and Hermes helps us understand the nature of Zeus more fully.

Mercator, 691-802 In English, Version A. Neh Summer Institute: Roman Comedy In Performance., Christopher Bungard

Christopher Bungard

Dorippa has discovered that her husband Lysimachus is harboring a prostitute in their house. She wrongly thinks that it is his prostitute rather than his friend Demipho's. At the precisely the wrong time, the cook arrives who Demipho had asked Lysimachus to hire for a party. Lysimachus becomes increasingly frustrated with his friend Demipho. Filmed in Forest Theatre, on the campus of the University of North Carolina at Chapel Hill. Version 2: Performed in English. Dorippa is played assertively, and the cook unwittingly complicates Lysimachus' troubles. Translation by Sharon James with modifications by Christopher Bungard, Christine Woodworth, Dan Smith, and …

L’Ingannatore Ingannato: I Due Aspetti Di Milfione Nello Poenulo, Christopher Bungard

Christopher Bungard

Christopher Bungard's contribution to: Lecturae Plautinae Sarsinates XV: Poenulus. R. Raffaelli and A. Tontini, eds. Urbino: Edizioni QuattroVenti.

To Script Or Not To Script: Rethinking Pseudolus As Playwright, Christopher Bungard

Christopher Bungard

Christopher Bungard's contribution to Helios, 41(4).

Lies, Lyres, And Laughter: Surplus Potential In The Homeric Hymn To Hermes, Christopher Bungard

Christopher Bungard

This paper seeks to reevaluate scholarly responses to the laughter in the Homeric Hymn to Hermes. Using Zupančič's recent work on comedy, I argue that Hermes intentionally exploits surplus potentials that emerge from splits in the perceived unity and completeness of Zeus's cosmos. Through surpluses (a tortoise-lyre, a baby cattle rustler, a baby master of legal speech), Hermes is able to attain his place among the Olympians. The laughter of the audience is one final expression of this acceptance of Hermes and his potential.

Determinando Un Ruolo: Immo E Improvvisazione Nello Pseudolus, Christopher Bungard

Christopher Bungard

Christopher Bungard's contribution to: Lecturae Plautinae Sarsinates XVI: Pseudolus. R. Raffaelli and A. Tontini, eds. Urbino: Edizioni QuattroVenti.

Moore, T. 2012. Roman Theatre. Cambridge: Cambridge University Press, Christopher Bungard

Christopher Bungard

Christopher Bungard's review of Roman Theatre, by Timothy Moore.

Silent And Boisterous Slaves: Considerations In Staging Pseudolus 133-234, Christopher Bungard, Daniel Walin

Christopher Bungard

Christopher Bumgard's contribution to the CAMWS Annual Meeting: Iowa City, Iowa. 2013.

Mercator, 691-802 In Latin. Neh Summer Institute: Roman Comedy In Performance, Christopher Bungard

Christopher Bungard

Dorippa has discovered that her husband Lysimachus is harboring a prostitute in their house. She wrongly thinks that it is his prostitute rather than his friend Demipho's. At the precisely the wrong time, the cook arrives who Demipho had asked Lysimachus to hire for a party. Lysimachus becomes increasingly frustrated with his friend Demipho. Filmed in Forest Theatre, on the campus of the University of North Carolina at Chapel Hill. Version 1: Performed in Latin to illustrate a scene that would have not been accompanied in the original performance. This is the only scene of the Institute that would have …

Pseudolus, 133-234 In Latin. Neh Summer Institute: Roman Comedy In Performance, Christopher Bungard

Christopher Bungard

Plautus, Pseudolus (133-234). All-male cast, directed by Mark Damen, with collaboration from the other group members, Tarik Wareh, Christopher Bungard, Daniel Walin, and Michael Katchmer. Music composed by T. H. M. Gellar-Goad. Clarinetist: Tony Sprinkle. As the young lover Calidorus and his slave Pseudolus watch on, the pimp Ballio drives his slaves outside his brothel and denounces them for being lazy and wasting his money. He then leads out some prostitutes, including Calidorus' beloved Phoenicium, and insists they bring in more money and gifts. It is, he claims, his birthday. When he leads them back inside his house, Calidorus begs …

Two Documentary Papyri, Fred W. Jenkins

Fred W Jenkins

No abstract provided.

A Lease Of Land From The Tebtunis Grapheion Archive, Fred W. Jenkins

Fred W Jenkins

No abstract provided.

A Land Lease From The Michigan Collection, Fred W. Jenkins

Fred W Jenkins

Edition of P.Mich. inv. 632.

Review Of R. Stroud, Corinth Volume Xviii. 6. The Sanctuary Of Demeter And Kore: The Inscriptions, Laura Gawlinski

Laura Gawlinski

No abstract provided.

Well That Escalated Quickly: Infanticide And Duality In Euripides’ Medea As An Expression Of Athenian Anxieties In 431 Bc, Molly B. Hutt

Molly B Hutt

Euripides wrote his Medea at a time when normative and transgressive behaviors were confounded. After fighting one war against the barbarian Persians and in between two wars with the other Greeks from the Peloponnese, the Athenians could not be sure what to think about barbarians, other Greeks, and even themselves. It is against this background that I have read the Medea and closely examined it for the purposes of this paper. Euripides’ version of this myth emerged at a time when the lines between man and woman, Athenian and barbarian, and normative and transgressive were being blurred in Athens, and …

Sophoclean Fragments, Carolin Hahnemann

Carolin Hahnemann

Review Of D. Ogden, Drakōn: Dragon Myth And Serpent Cult In The Greek And Roman Worlds, Laura Gawlinski

Laura Gawlinski

No abstract provided.

Le Zarathoustra De Nietzsche Et Le Style Parodique. A Propos De L’Hyperanthropos De Lucien Et Du Surhomme De Nietzsche, Babette Babich

Babette Babich

Abstract Nietzsche’s Übermensch is derived from Lucian of Samosata’s term hyperanthropos. I argue that Zarathustra’s teaching of the overman acquires new resonances in the context of that terminological origination in Lucian’s Kataplous — literally: sailing into port — referring to the journey of the soul into the afterlife, as escorted by Hermes and ferried by Charon along with myriads of others facing the same fate. The Kataplous he tyrannos, a title usually rendered as the Downward Journey (or The Tyrant), is a Menippean satire telling the tale of the “overman” supposed superior to others of “lesser” station in this-worldly life …

Greek Bronze: Holding A Mirror To Life, Expanded Reprint From The Irish Philosophical Yearbook 2006: In Memoriam John J. Cleary 1949-2009, Babette Babich

Babette Babich

To explore the ethical and political role of life-sized bronzes in ancient Greece, as Pliny and others report between 3,000 and 73,000 such statues in a city like Rhodes, this article asks what these bronzes looked like. Using the resources of hermeneutic phenomenological reflection, as well as a review of the nature of bronze and casting techniques, it is argued that the ancient Greeks encountered such statues as images of themselves in agonistic tension in dynamic and political fashion. The Greek saw, and at the same time felt himself regarded by, the statue not as he believed the statue divine …

Tech Watch Column: So Long, Farewell, Sonnet Ireland

Sonnet Ireland

No abstract provided.

Lucan's Poetic Geographies: Center And Periphery In Civil War Epic, Micah Myers

Micah Myers