Tenui ... Latens Discrimine: Spotting the Differences in Statins' Achilleid

Feeney, Denis

doi:10.2307/40236446

Cited by 10 publications

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“…(1.264: nec magnum ambigui fregerunt caenea sexus). 38 Again, we read this collocation of fregerunt and sexus against Silvae 3.4's frangere 104 CrAiG M. rUssell 39 For the ways in which the Achilleid mixes the destabilization of gender with an uncertainty about its genre, see also Feeney 2004, McAuley 2010 sexum, but the two phrases are grammatically inverted. in Silvae 3.4, the image is of breaking a man's gender; in the Achilleid, of gender breaking a man.…”

Section: Liminality Of Gendermentioning

confidence: 96%

The Most Unkindest Cut: Gender, Genre, and Castration in Statius’ Achilleid and Silvae 3.4

Russell¹

2014

ajp

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This article examines how two of Statius’ late works—the Achilleid and Silvae 3.4, composed roughly contemporaneously—use their central characters for similar explorations of issues of gender and genre. Both poems feature boys whose journeys to manhood are arrested by detours into situations with troubled gender boundaries: Achilles’ stay on Scyros as a girl and an imperial eunuch’s celebration of a rite of passage into adulthood. Similarities in plot, character, and language invite a close reading of both poems together as part of the poet’s exploration of the genre boundaries so intimately connected with epic’s self-definition through gender and masculinity.

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Section: Liminality Of Gendermentioning

confidence: 96%

The Most Unkindest Cut: Gender, Genre, and Castration in Statius’ Achilleid and Silvae 3.4

Russell¹

2014

ajp

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“…76Alternative translation: ‘hiding itself in a narrow distinction’. For a fascinating kaleidoscopic reading of this particular couple of lines from Statius see Feeney (2004). For gender (and genre)-specific readings of Statius’ Scyrian episode see also Cyrino (1998), esp.…”

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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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“…G.4.111,Ov.Fasti 1.440,Petron.139.2.v.8; cf deus Hellesponti (Fasti 6.341), 5 Cf. Feeney (2004) 101 on the Hellespont as both 'barrier and access'. 6 See Rimell (2006) 180-204. pressure rather than via expatiation: it sharpens the edges of empire's 'logic of expansive becoming', as well as lending it three dimensions.…”

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confidence: 99%

Rome’s Dire Straits

Rimell¹

2018

Oxford Scholarship Online

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This chapter considers the poetics of Roman imperial expansion in three dimensions. It investigates the depth and density of straits and clogged waterways—paradigmatically the Hellespont—in Latin poetry from Catullus to Statius, arguing that such spaces become laboratories for the ways in which poetic and military power is amplified in imperial texts via restriction, contraction, and pressure rather than by expatiation. The aim here is to go beyond recent critical appraisals of straits on either side of the Black Sea as simply representing an ‘overcrowded literary tradition’, in which expectations are confounded, bellicose epic is mitigated or postponed, and Alexandrian principles ironically reconfirmed. By the second half of the first century CE, as Roman poetry gets to grips with and reshapes discourses of empire, the spatial metaphors that underpin its evolution are smashed apart.

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Tenui ... Latens Discrimine: Spotting the Differences in Statins' Achilleid

Cited by 10 publications

References 0 publications

The Most Unkindest Cut: Gender, Genre, and Castration in Statius’ Achilleid and Silvae 3.4

The Most Unkindest Cut: Gender, Genre, and Castration in Statius’ Achilleid and Silvae 3.4

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

Rome’s Dire Straits

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