"Domestici Hostes": The Nausicaa in Medea, the Catiline in Hannibal

Clauss, James J.

doi:10.2307/40236111

Cited by 9 publications

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“…In general, on the "self-other" dichotomy engendered by intertextual phenomena see Clauss 1997. 106. On Trygaeus as a yeiopYOç see Jones 2004: 203-206 andHall 2006: 325-26.…”

Section: Enacting the Metaphor: Trygaeus As A Paternal Sonmentioning

confidence: 99%

Embodying the Tragic Father(s): Autobiography and Intertextuality in Aristophanes

Telò

2010

Classical Antiquity

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This paper examines the role of the generation gap in Aristophanes' construction of his persona throughout Wasps, Clouds, and Peace. It contends that in Wasps and Clouds Aristophanes defines the relationship with his audience and his rivals by presenting himself as the figure of a paternal son. The same stance shapes the comic poet's generic self-positioning in the initial scene of Peace, where the parody of Euripides' Aeolus and Bellerophon evinces a corrective attitude in relation not only to the troubled images of fatherhood offered in the two tragic plays, but also to Aristophanes' unsuccessful performances as a paternal son in his earlier comedies. Euripidean intertextuality thus serves as a discursive medium through which Aristophanes dramatizes the turning points of his poetic autobiography. INTERGENERATIONAL AND INTERGENERIC FRICTIONSAs is well known, Aristophanic drama displays a thematic preoccupation with the generation gap.' In several of his plays Aristophanes portrays irreconcilable conflicts between fathers and sons. To be sure, the poet stages other kinds of rivalries, but for Aristophanes the paternal-filial conflict appears to be both a

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“…In general, on the "self-other" dichotomy engendered by intertextual phenomena see Clauss 1997. 106. On Trygaeus as a yeiopYOç see Jones 2004: 203-206 andHall 2006: 325-26.…”

Section: Enacting the Metaphor: Trygaeus As A Paternal Sonmentioning

confidence: 99%

Embodying the Tragic Father(s): Autobiography and Intertextuality in Aristophanes

Telò

2010

Classical Antiquity

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“…34 Just as important, Polybius identifies an emerging historical tradition at a pivotal moment in the historiographic corpus. The Hellenistic historians, including Polybius at the tail end, serve as a key nexus point for the canonical histories �� in historiographical intertextuality without overt citation are given by O'Gorman 2009, Martin and Woodman 1989, Clauss 1997, and Moles 1998 of Greece and Rome. Aside from Polybius and Livy, Felix Jacoby's landmark compilation, Die Fragmente der griechischen Historiker (FGrHist), has made amply clear the high frequency with which the now fragmentary Hellenistic historians recur in Roman imperial ethnographers, geographers, historians, and encyclopedists such as Pomponius Mela, Pliny the Elder, Strabo, and Arrian-including such historians as Megasthenes (BNJ 715), Nearchus (BNJ 133), Onesicritus (BNJ 134), Berossus of Babylon (BNJ 680), and Daimachus (BNJ 716), to name only a few.…”

Section: � From Tangent To Tradition: Polybius and The Historiographimentioning

confidence: 99%

Incomplete and Disconnected: Polybius, Digression, and its Historiographical Afterlife

Khellaf¹

2018

Polybius and His Legacy

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What may be most important, however, is the success Foucault has had as a catalyst. The reaction to and debate over The History of Sexuality is ongoing and rich". 4 Thucydides' digressions have been explicated in detail by Pothou 2009. For the moralizing tendency of digressions in classical and hellenistic historiography-and a useful schema of the motivations for such discursions-see Hau 2016, 9-11. For an analysis of the digression in Herodotus, Thucydides, and Xenophon, see Spada 2008.

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“…85 Apollonios also recasts the couple as Nausikaa and Odysseus who provide a better model of how the courtship process occurs in the civilized world. For parallels and discussions see Clauss (1997). Her conversation with the moon also reveals to the audience the true extent of her acquaintance with dark magic: she prevents the moon from shining at night so she can work (4.57ff), and hunt for poisonous roots and corpses (4.50, 4.385ff).…”

Section: Chapter I: Psychopathologymentioning

confidence: 99%

“And Her Heart Fluttered”: The Psychopathology of Desire in the Argonautika

Simons¹

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<p>This thesis investigates the way that Apollonios constructs Medea’s psyche and body in response to contemporary medical and philosophical influences in order to portray realistically the way that erōs manifests itself in Medea as both sickness and mental illness. Apollonios delves into Medea’s psyche and exposes how it functions in moments of intense desire, pain, indecision and introspection while under the powerful sways of erōs. Medea’s erōs manifests as erratic and dangerous behaviour and crippling indecision, the analysis of which is done in light of Chrusippos’ discussion of Euripides’ Medea’s akrasia. Apollonios draws from Euripides’ version to depict Medea in a different stage of her life, making a similar life-altering decision: whether or not to help Jason and betray her family or stay at home and watch him die. Apollonios makes the audience sympathize with Medea by showing her as a victim of destructive erōs and by exhibiting her emotional suffering. He heightens the degree that the internal is depicted and the very fact that he does internalize Medea shows an interest in her side of the story. It humanizes her to see her motivations, her fears, her desires and her moral dilemmas. Apollonios twists the image of Medea that an audience may expect to see by focusing, in Book 3 at least, almost entirely on her maidenhood and her struggle between exercising maidenly shame and giving in to the temptation of Jason. Apollonios makes the audience understand and sympathize with Medea by delving into the workings of her psyche and explaining her pleasure and pain, and most importantly, explaining why she cannot act rationally. erōs also manifests itself inside Medea and in turn this is expressed in Medea’s outward appearance as medical symptoms, like those of fever. In addition, by incorporating contemporary medical discoveries like the nervous system Apollonios is able to utilize the new conceptions of sense-perception to realistically show the way that destructive emotions manifest themselves as perceivable physical pain. Apollonios draws on philosophical and medical influences to heighten the realism of Medea’s physical and psychological pain and pleasure while simultaneously providing a forceful warning of the destructiveness of erōs’ nature.</p>

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"Domestici Hostes": The Nausicaa in Medea, the Catiline in Hannibal

Cited by 9 publications

References 0 publications

Embodying the Tragic Father(s): Autobiography and Intertextuality in Aristophanes

Embodying the Tragic Father(s): Autobiography and Intertextuality in Aristophanes

Incomplete and Disconnected: Polybius, Digression, and its Historiographical Afterlife

“And Her Heart Fluttered”: The Psychopathology of Desire in the Argonautika

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