Ariadne's Lament: The Semiotic Impulse of Catullus 64

Gardner, Hunter H.

doi:10.1353/apa.2007.0001

apa

2007

DOI: 10.1353/apa.2007.0001

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Ariadne's Lament: The Semiotic Impulse of Catullus 64

Hunter H. Gardner¹

Abstract: This paper argues that Catullus's characterization of Ariadne in c. 64 plays an important role in shaping the puellae of Augustan elegy. In particular, Ariadne's spatial, temporal, and social marginalization, as well as her power to disrupt teleological progress, become defining attributes of the elegiac beloved. Julia Kristeva's configuration of "women's time" and her linking of female subjectivity with the semiotic (as opposed to symbolic) components of language provide theoretical models that offer one expl… Show more

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Cited by 4 publications

References 32 publications

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Don’t Stand So Close to Me: Antigone’s Pietas in Seneca’s Phoenissae

Ginsberg¹

2015

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summary: Seneca’s Phoenissae imbues Antigone’s canonical pietas with elegiac associations. Her appeals to her father recycle familiar topoi from amatory poetry, especially the amator ’s pledge to follow ( sequor ) the beloved anywhere. Her father, in turn, is often disturbed by her physical proximity and attempts to escape further incestuous temptation ( timeo post matrem omnia ). In the end, however, Oedipus capitulates to his daughter’s elegiac rhetoric and responds to her in similarly amatory terms. In this way Seneca subverts the loyalty that defined Antigone in prior literary treatments to create the potential for an incestuous sequel to his earlier tragedy of Thebes.

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Don’t Stand So Close to Me: Antigone’s Pietas in Seneca’s Phoenissae

Ginsberg¹

2015

apa

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Gender Reversals and Intertextuality in Tibullus

Damer¹

2014

clw

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This paper argues that Tibullus' practice of altering the gender of his intertextual references destabilizes gender as a biological, social, and even grammatical category in his elegies. In 1.8, Tibullus draws on images of women's adornment from Callimachus, Philitas, and Propertius to create the opening image of the puer Marathus. In 2.6, Tibullus draws from Catullus' lament for his brother in carmen 101 as he describes Nemesis' dead young sister and demonstrates his technical skill in manipulating the fl exibility of grammatical gender in Latin.

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Reception and Receptivity in Catullus 64

Dufallo¹

2010

Cultural Critique

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Cl assical reception implies two interrelated sets of cultural practices. One is the use of speciWc classical sources in literary works, paintings, systems of thought, "cultural events," and other forms of cultural production, the whole gamut of citational techniques constituting what is usually addressed by "classical reception studies." Another-often harder to identify with speciWc ancient sources-is the staging of receptivity to the classical past, a notionally passive state but very much dependent on active behaviors and tied, like the Wrst kind, to the occupation of certain social, cultural, and political roles within a given society. Displaying receptivity to the ancient world is intermingled with citation as a guarantee of its collective import, even as such display divides those who are receptive in the same way from those who are not. Indeed, any act of classical reception both invites and excludes other participants. Invitation and exclusion can occur in the same gesture, even with the same audience as their target. When Keats, for example, hears and allows us to hear his Grecian Urn declare, "Beauty is truth, truth beauty," he makes a statement about receptivity to ancient Greece over which learned debate, a sense of not quite being "in" on the meaning of this ultimately cryptic pronouncement, has long continued. 1 Staging receptivity to antiquity is a political practice with a complex history extending back to our classical sources themselves, and so forms a natural complement to the study of reception within a volume such as this one. To underscore this idea, I have chosen to concentrate on a culture among the earliest receivers of the Greek classics, ancient Rome, and, further, on a series of Wctive objects existing in the imagination of an ancient poet and his audience: the Argo, the royal palace of Peleus, and an embroidered coverlet depicting the story of Ariadne, all as described by Catullus in his famous "epyllion" on the

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Ariadne's Lament: The Semiotic Impulse of Catullus 64

Cited by 4 publications

References 32 publications

Don’t Stand So Close to Me: Antigone’s Pietas in Seneca’s Phoenissae

Don’t Stand So Close to Me: Antigone’s Pietas in Seneca’s Phoenissae

Gender Reversals and Intertextuality in Tibullus

Reception and Receptivity in Catullus 64

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