<i>VNA CVM SCRIPTORE MEO</i>: poetry, Principate and the traditions of literary history in the Epistle to Augustus

Woodman, Tony; Feeney, Denis

doi:10.1017/cbo9780511482427.013

Cited by 23 publications

(3 citation statements)

References 85 publications

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“…On the complicated gift language of Epist. 2.1, see Feeney 2009: 382, n. 91. On fat gifts expecting fat poems, see Freudenburg 2006: 157-8.…”

Section: The Horatian Response Partmentioning

confidence: 99%

Recusatioas Political Theatre: Horace's Letter to Augustus

Freudenburg

2014

J. Rom. Stud.

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Among the most potent devices that Roman emperors had at their disposal to disavow autocratic aims and to put on display the consensus of ruler and ruled was the artful refusal of exceptional powers, or recusatio imperii. The practice had a long history in Rome prior to the reign of Augustus, but it was Augustus especially who, over the course of several decades, perfected the recusatio as a means of performing his hesitancy towards power. The poets of the Augustan period were similarly well practised in the art of refusal, writing dozens of poetic recusationes that purported to refuse offers urged upon them by their patrons, or by the greater expectations of the Augustan age, to take on projects. It is the purpose of this paper to put the one type of refusal alongside the other, in order to show to what extent the refusals of the Augustan poets are informed not just by aesthetic principles that derive, most obviously, from Callimachus, but by the many, high-prole acts of denial that were performed as political art by the emperor himself.

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“…On the complicated gift language of Epist. 2.1, see Feeney 2009: 382, n. 91. On fat gifts expecting fat poems, see Freudenburg 2006: 157-8.…”

Section: The Horatian Response Partmentioning

confidence: 99%

Recusatioas Political Theatre: Horace's Letter to Augustus

Freudenburg

2014

J. Rom. Stud.

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“…Housman Lecture (University College London, 20 March 2014, which unfortunately remains inedita cura (I am grateful to Denis Feeney for sharing with me a printed version of the lecture); it is now accessible at https://www.ucl.ac.uk/classics/ sites/classics/files/housman.feeney.2014.pdf (not to mention https://youtu.be/zZ44J_ujdVg). For the impact of Ciceronian conceptions on Augustan poetry, see also Feeney 2002on Horace. 58 Feeney 2014 argues that "Ovid is working with Cicero, but simultaneously working with the way that Horace had already worked with Cicero" (here 11).…”

Section:  Contemporary Literature In Augustan Romementioning

confidence: 99%

Cataloguing Contemporaries: Ovid Ex Ponto 4.16 in Context

Laemmle¹

2021

Lists and Catalogues in Ancient Literature and Beyond

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At the 2005 Biennale in Venice, visitors entering the German Pavilion were confronted with the sculptures and paintings of Thomas Scheibitz. With their colossal proportions and loud colours, these attracted the gaze of the visitors and commanded their attention. Yet, in their extreme abstraction, Scheibitz' works remained curiously inaccessible. As a critic in Frankfurter Allgemeine Zeitung wrote at the time, they were "completely introverted artifacts, far removed from current relevance or any referential framework". 1 Only a few visitors will immediately have noticed the large number of museum attendants present, casually wandering through the rooms, with an encouraging smile for those contemplating Scheibitz' works or a mild rebuke if someone came too close to the exhibits. All of a sudden, however, they started dancing and broke into awkward sing-song, repeating, time and again, the phrase: "This is so contemporary! Oh, so very contemporary!"The uniform-wearing men and women were not attending to the artworks: they were participating in a work of art themselves: 2 the second exhibit of the German Pavilion was a performance orchestrated by concept-artist Tino Sehgal. But what was the meaning of the attendants' chant? What was 'contemporary'? Was the litany of contemporariness an ironic comment on Scheibitz' abstract art? Or did the guards draw attention to the fleeting presence of their own performance? 3 And more fundamentally: what is 'contemporary art'? Is an artwork mediated by art historians, curators, critics and dealers, and indeed: watched over by museum attendants, still 'contemporary'?  1 Richter 2005 ("in sich selbst zurückgezogene, jeder Aktualität und Bezüglichkeit enthobene Artefakte").

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“…On Horace as ‘an elitist’, see Lowrie (2009) 257. More generally on Horace's fear of vulgarisation, see Feeney (2002) and (2009).…”

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confidence: 99%

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Lada‐Richards

2019

Camb. class. j.

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Starting from the comparative standpoint of elite hostility to nineteenth-century British melodrama, this article posits pantomime's ‘melodramatic’ mode of exhibitionist excess as one of the missing links in the landscape against which Horace composed his Ars poetica. It suggests that lines 182–8 of the Ars that disapprove the display of death, violence and physical impossibilities on the tragic stage may be better understood as Horace's hostile response to pantomime's increasing prominence in Roman theatrical life, more precisely to the dislocation of ‘horror’ and ‘marvel’ from the realm of the ‘heard’ to that of the ‘seen’ favoured by the pantomime genre.

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VNA CVM SCRIPTORE MEO: poetry, Principate and the traditions of literary history in the Epistle to Augustus

Cited by 23 publications

References 85 publications

Recusatioas Political Theatre: Horace's Letter to Augustus

Recusatioas Political Theatre: Horace's Letter to Augustus

Cataloguing Contemporaries: Ovid Ex Ponto 4.16 in Context

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

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