This paper finds its origin in a debate between Georges Bataille (1897-1962) and Octavio Paz (1914-1998) on what is central to the idea of eroticism. Bataille posits that violence and transgression are fundamental to eroticism, and without prohibition, eroticism would cease to exist. Paz, however, views violence and transgression as merely intersecting with, rather than being intrinsic to, eroticism. Paz places focus on imagination, and transforms eroticism from a transgressive, to a ritualistic act. Eroticism thus functions as an intermediary, turning (...) animal sexuality into ceremony and rite. In this paper, I argue that Paz and Bataille are not fundamentally at odds in their conceptualisation of eroticism. Instead, Paz redefines the locus of eroticism by subverting its unsettling aspects. His conception of eroticism gives precedence to the imagination, which in itself is an act of violation. Imagination transgresses normal life, but this transgression – the violation of the habitual world – also introduces a glimpse of the numinous that Paz associates with belongingness. The paper further explores eroticism, as this is perceived today, and argues that it ultimately eliminates the threshold marked by transgression. The rise of the contemporary pornographic society is marked by a loss of imagination and transcendence, which ultimately reduces the subject into a mere automaton that demands instant gratification. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Repetition in Latin Poetry: Figures of AllusionMichael C. J. PutnamJeffrey Wills. Repetition in Latin Poetry: Figures of Allusion. Oxford: Clarendon Press, 1996. xvi 1 506 pp. Cloth, $90.Wills offers the first fully systematic codification of repetition in Latin poetry. The introduction deals with the various means, such as morphological or lexical markings, word order, position and the like, that can help the (...) reader distinguish allusion in an act of repetition, and there follow several detailed examples of practice built on theory. But the main body of the book consists of a “grammar” of repetition.The first major segment is devoted to gemination, the repetition of identical forms within the same sense unit. This in turn is divided between a cataloguing of simple gemination, either in nominal form or of verbs and adverbs, and of expanded gemination, where one of the elements repeated is qualified with further detail. Four chapters are devoted to the next rubric, polyptoton and its elaborations, the repetitions of different forms within a simple clause. Then follow detailed discussions of the same phenomena but located across units, entitled “parallelism” where, as in the case of gemination, the forms are the same; and “modification,” akin to polyptoton in that the forms are different. The book concludes with three more general chapters devoted to a detailed analysis of the positional patterns repetition most regularly takes, of compounds as part of repetition, and to prosody and semantic variations in repetition.Such a bald summary does scant justice not only to the sheer quantity of material Wills gathers—a monumental accomplishment in itself—but also to the learning, intelligence and critical sophistication that characterize the undertaking. At the start Wills lays claim only to illustrating the process whereby allusion is generated through repetition, but throughout the whole enterprise, whether in theoretical discussions or in the practical criticism that emanates from his compendia, the results are equally valuable, for the investigation of individual poems and authors as well as for a deeper understanding of the development of Latin modes of imaginative expression, often as analyzed against their Greek intellectual background. If I were to focus on one single accomplishment beyond the mere careful, discrete amassing of material, it would be the stress not only on diction, that is, on the iteration of words, but on such categories [End Page 295] as form, syntax, and word placement in the creation of allusion through repetition. But the main value of this rich work will be as much in the detailed analyses of countless specific instances as in the manifold possibilities for referencing, and cross-referencing, across the history of classical poetry that now become readily available to its scholars.A good example of Wills’s methodology is his initial illustration (26–28), tracing how Virgil adopts and adapts Catullus’ repetitions of perfide, at the opening of Ariadne’s lament (64.132–33) and later (174), through the central reaches of Aeneid 4, from 305 to 421. But there are a myriad others of which I may single out only a few brief samples: on the connection of Cat. 62.20–24 and Vir. Ecl. 8.47–50 where chiasmus and parallel stanzaic structure reinforce repetition’s allusiveness (p. 181); on the repetition of acies at Aen. 10.360 in what Wills calls “battle polyptoton” (194); on the assumed communality of clashing horses (Aen. 11.614–15) and wrestling humans (Ov. Met. 6.243) that allusion from one text to another brings (199); on the connection between Aen. 3.156 and 10.670–72 and the resulting linkage of Aeneas and Turnus at moments of loss (267); on Virgil’s melding of Homeric syntax with Lucretian diction in the impressive phrase gravis graviterque (Aen. 5.447) (239); on the resulting combination of form as well as diction as Propertius borrows from both Ecl. 7.44 and Ecl. 6.55–58 to describe the cattle of Hercules (4.9.16–19) (101–2).From time to time Wills seems swept along by the fact of repetition to the neglect of counterevidence which would be useful to the reader in weighing the value of an exemplum. A case in point is the... (shrink)

The passage is thought to refer to the efforts of the Macedonians to honour the memory of their dead king. Who are meant by reges is not at all clear, and summa nituntur opum ui, as we may infer from other passages where the same or a similar expression is used, can hardly refer to anything but the labour of the hands. Probably we ought to read regis, i.e. Philippi. The lines will then refer to the work of the people.

Although many historians of science acknowledge the extent to which Greek and Roman ideals framed eighteenth-century thought, many classical references in the texts they study remain obscure. Poems played an important role not only in spreading ideas about natural philosophy, but also in changing people’s perceptions of its value; they contributed to Newton’s swelling reputation as an English hero. By writing about Latin poetry, we focus on the intersection of two literary genres that were significant for eighteenth-century natural (...) philosophy, but seem alien to modern science. We classify Augustan Latinate scientific poetry by considering the audiences for whom the poems were intended. We distinguish three broad categories. One type of poetry was circulated amongst gentlemanly scholars. A second group comprised poetry written specifically to promote or criticise Newton and his books, particularly the Principia. After Newton’s death, a third type of poetry became increasingly significant, included in collections of poems rather than in texts of natural philosophy. Overall, we show how the classical past was vital for creating the scientific future.Author Keywords: Isaac Newton; Neo-Latin; Lucretius; Oxford and Cambridge verse; Edmond Halley; Queen Caroline. (shrink)

Although it is now fifteen years since G. Williams' thorough-going criticism of B. Axelson's Unpoetische Wörter, his discussion has failed to elicit the adverse response which might have been expected in view of the widespread influence exerted by the earlier work. The reason for this may be that Axelson's theory is so widely accepted that any refutation thereof may be disregarded. Yet surely Williams was right to point to the dangers of total reliance on statistics and to the necessity of (...) considering the contexts in which words occur in Latin poetry. In this respect, he was not so much rejecting Axelson's work as pointing to its inadequacies: whereas Axelson would be content to label a word that occurs only rarely in poetry as ‘unpoetisch’, it is necessary, as Williams demonstrates, to take the further step of determining the effect that such a word has in a given context. This approach will be particularly helpful, for example, in the case of parvulus at Virg. Aen. 4.328, where the heightened pathos achieved by Virgil's use of a diminutive is better appreciated by the reader who is aware of the scarcity of diminutive adjectives in poetry and in epic above all. To recognise parvulus as an ‘unpoetic word’, with Axelson, is the essential first step, but we should proceed a stage further to inquire what effect was intended by the employment of a form not normally found in elevated poetry. Of greater importance is Williams' rejection of the ‘hierarchy of genres’ theory, taken for granted by Axelson, that is, that Latin poetry may be divided into a number of higher- or lower-ranking genres and that the more elevated a genre the less unpoetic vocabulary it is liable to employ. (shrink)

International array of contributors, bringing together both traditional and more recent approaches to provide valuable insights into the poets’ use of language.Covers authors from Lucilius to Juvenal.Of the peoples of ancient Italy, only the Romans committed newly composed poems to writing, and for 250 years Latin-speakers developed an impressive verse literature.The language had traditional resources of high style, e.g., alliteration, lexical and morphological archaism or grecism, and of course metaphor and word order; and there were also less obvious resources (...) in the technical vocabularies of law, philosophy and medicine.The essays in this volume show how the poets in the classical period combined these elements, and so created a poetic medium that could comprehend satire, invective, erotic elegy, drama, lyric, and the grandest heroic epos. (shrink)

From the scholarly activity of the fourth and fifth centuries A.D. stem several collections of scholia to the poems of Virgil, most of which make copious reference to prose and verse composed in Latin before Virgil's time. The authors of these scholia were the last of a long line of commentators whose labours began soon after Virgil's death. Just as Virgil walked in the tracks of Theocritus, Hesiod, Aratus, Nicander, Homer, and Apollonius, so did his students in the tracks (...) of the great Alexandrian expositors of the Greek poets. They sought to explain Virgil not only through Virgil himself, but also through the poets and prose writers, Greek and Latin, whom they imagined Virgil to have read. Thus we have scholia citing early republican literature in order to parallel words uncommon in or absent from the fourth-century classical syllabus, as well as unclassical usages, inflections, and constructions; in order to demonstrate ‘imitations’ on the part of Virgil; and in order to elucidate the structure of episodes of the three poems where Virgil appears to depart from the most commonly known versions of myth and history. Argument concerning the text or interpretation of a disputed passage is frequently based on appeal to the usage of Virgil's Latin predecessors. (shrink)

Ce bouquet d’articles est un cadeau offert à Jenny Strauss Clay par de « vieux amis » qui connaissent aussi bien son travail que sa personne. Les thèmes choisis pour honorer celle qui fut professeure à l’Université de Virginie à Charlottesville, créent un jeu de miroir avec les intérêts scientifiques qu’elle a déployés tout au long d’une riche carrière d’enseignante et de chercheuse : les dieux et les mortels, la poésie, qu’elle soit grecque ou latine. Au-delà de réflexions personnelles (la (...) t... (shrink)

Journal Name: Philologus Issue: Ahead of print.

In each example an adjective is separated from its noun by a verb and an unqualified noun. The separation by the verb may be regarded as conditioned by the metre, but not the further separation by the unqualified noun, as the qualified and unqualified nouns are metrically interchangeable. Horace would appear to prefer the wider separation to the less wide.

There are signs that a list of parallelisms containing quite lengthy citations of republican works in prose and all kinds of verse, as well as remarks highly critical of Virgil, provided the material of Saturnalia 6. 2, Saturnalia 6. 3, and Saturnalia 6. 1. 55–65.1 Whereas Macrobius transmits the uersus parallelisms practically without comment, the locus parallelisms have a certain amount of discussion clustered at the beginning and at the end. This is for the most part neutral and matter of (...) fact but in 6. 2. 33 the harsh tone of an obtrectator makes itself heard: nee Tullio conpilando, dummodo undique ornamenta sibi conferret, abstinuit. The original list was excerpted very carelessly: in 6. 2. 29 the Virgil citation ought to continue for two more verses; in 6. 2. 7, 9, and 24 the Lucretius citations are likewise defective. (shrink)