Anna Jackson’s I, Clodia: Catullus, women’s voices, and feminist implications

Lewis, Maxine

doi:10.1093/crj/clx018

Classical Receptions Journal

2018

DOI: 10.1093/crj/clx018

|View full text |Cite

Anna Jackson’s I, Clodia: Catullus, women’s voices, and feminist implications

Maxine Lewis¹

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...

Citation Types

Supporting

Mentioning

Contrasting

Year Published

2021

2023

Publication Types

Select...

Article2

Relationship

Self Cite1

Independent1

Authors

Journals

Cited by 2 publications

(1 citation statement)

References 33 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“… 115 See Balmer (2012) 266 on how few women engaged with Catullus until the late twentieth century. On later women's responses, see Balmer (2014) Chapter 9, Theodorakopoulos (2012) and (2014), Wasdin (2017), and Lewis (2018). …”

mentioning

confidence: 99%

Shameful Kisses: A History of the Reception – and Rejection – of Homoeroticism in Catullus

Lewis¹,

Robertson²

2021

Antichthon

Self Cite

View full text Add to dashboard Cite

The history of Catullus’ reception has been one of exclusion as much as inclusion. Since the seventeenth century, many Anglophone writers have used Catullus as inspiration for their translations, poetic adaptations, and novels. A great deal of these works occluded the role that male homoeroticism played in the Latin poems, especially by omitting Catullus’ male love object, Juventius. Writers have employed various techniques to deal with Catullus’ ‘problematic’ pagan mores: choosing to ignore the suite of poems associated with homoeroticism (for example, Wilder 1948); bowdlerising homoerotic language (such as Nott 1795, Cranstoun 1867, and Macnaghten 1899); and performing ‘gender swaps’ to portray male-male relationships as male-female (a technique employed to memorable effect by de La Chapelle in 1680, and later by Lamb in 1821). Excision of whole poems or bowdlerisation of obscene terms was also often used to deal with Catullus’ depictions of male-on-male sexual violence, a topic regularly entwined with the gentler homoerotic content. This article surveys, analyses, and explains this aspect of Catullus’ reception in English from 1659–1915.

show abstract

mentioning

confidence: 99%

Shameful Kisses: A History of the Reception – and Rejection – of Homoeroticism in Catullus

Lewis¹,

Robertson²

2021

Antichthon

Self Cite

View full text Add to dashboard Cite

show abstract

‘If Clodia despised Catullus, you can very well, Dionysus, despise Ariadne’: classical receptions and Roman elegy in Hilda Hilst’s Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969)

Leme

2023

Classical Receptions Journal

View full text Add to dashboard Cite

After her depiction in Catullus 64, Ariadne became a model for the relicta, the abandoned woman. The tapestry that ornamented the wedding of Peleus and Thetis told exactly of her dismay and anger upon learning that Theseus left her. As far as the myth goes, following her abandonment, Dionysus took her as a wife. Modernist Brazilian author Hilda Hilst (1930–2004) revisits this portion of the tale in her cycle of ten poems Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969). This introduces the poems as works of reception vis-à-vis the ancient figurations of Ariadne, as well as the context of Hilst’s biography, it analyses them as reimaginations of the Roman elegy, and presents their first complete English translation, all original endeavours. On the surface, Hilst’s Ariadne fashions herself as a learned poet who reads Catullus and rejoices in her abandonment. I argue that upon a closer look, however, this endlessly unrequited woman desires instead union and permanence. Hilst, herself an underappreciated and disreputable figure, unveils Ariadne’s labyrinthic mind as she negotiates her devotion to poetry and her desire for the man she loves, revealing the afterlife of the myth of a heroine who found her own voice.

show abstract

scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.

Contact Info

customersupport@researchsolutions.com

10624 S. Eastern Ave., Ste. A-614

Henderson, NV 89052, USA

Blog Terms and Conditions API Terms Privacy Policy Contact Cookie Preferences Do Not Sell or Share My Personal Information

Made with 💙 for researchers

Part of the Research Solutions Family.

Anna Jackson’s I, Clodia: Catullus, women’s voices, and feminist implications

Cited by 2 publications

References 33 publications

Shameful Kisses: A History of the Reception – and Rejection – of Homoeroticism in Catullus

Shameful Kisses: A History of the Reception – and Rejection – of Homoeroticism in Catullus

‘If Clodia despised Catullus, you can very well, Dionysus, despise Ariadne’: classical receptions and Roman elegy in Hilda Hilst’s Discontinuous and Remote Ode for Flute and Oboe. From Ariadne to Dionysus (1969)

Contact Info

Product

Resources

About