Emotion in Action: Thucydides and the Tragic Chorus offers a new approach to the tragic chorus by examining how certain choruses ‘act’ on their shared feelings. Eirene Visvardi redefines choral action, analyzes choruses that enact fear and pity, and juxtaposes them to the Athenian
dêmos in Thucydides’
History. Considered together, these texts undermine the sharp divide between emotion and reason and address a preoccupation that emerges as central in Athenian life: how to channel the motivational power of collective emotion into judicious action and render it conducive to cohesion and collective prosperity. Through their performance of emotion, tragic choruses raise the question of which collective voices deserve a hearing in the institutions of the polis and suggest diverse ways to envision passionate judgment and action.
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Jonathan P. Zarecki
Abstract
In sections 34-35 of the First Philippic, Cicero makes a powerful threat against Antony by engaging in allusive role-play that makes dual use of Marcus Antonius orator as an exemplum. Cicero first declares himself Antonius to Antony’s Cinna, thus acknowledging the limitations of rhetoric in the face of violence and indicating that he is prepared to accept a martyr’s role. Second, Cicero invites conflation of himself with Marius/Cinna and Antony to his grandfather Antonius, thereby declaring that Cicero had decided to oppose Antony and work towards Antony’s destruction. This role-play represents not only a powerful warning to Antony, but also a sign of Cicero’s change in attitude towards Antony, an attitudinal change reinforced by Cicero’s wordplay on reversio. The allusive threats in sections 34-35 also indicate that Cicero had decided by no later than 2 September 44, and not with the dissemination of the Second Philippic, that there would be no reconciliation between himself and Antony.
Ioanna Patera
qui sont le signe de la réconciliation. 93 Ainsi Achille continue de refuser les dons que lui propose Agamemnon en réparation de la perte de Briséis. Ce dernier donne beaucoup, mais il sait qu’Achille vaut plusieurs hommes, lui qui est aimé par Zeus. 94 Par conséquent, Agamemnon se rachète : ‘j
Benjamin Sammons
. Translations are my own. 12 Admittedly, Proclus’s account pretty much rules out that Neoptolemus would have helped fetch Philoctetes on Lemnos, so the heroes could only meet after the latter’s reconciliation with the Achaeans (if any reconciliation was necessary in the epic version). 13 On the form of the
Variations on the Myth of the Abduction of Ganymede
Intertextuality and Narratology
Polyxeni Strolonga
subsequent use of the object contrasts with its past noble employment. An object of reconciliation becomes an object associated with trickery. In Hellanicus’s and Apollodorus’s versions, the gift of horses that reconciles Zeus and Tros after Ganymede’s abduction becomes an object of contention, leading to
Zina Giannopoulou
Odyssey 23–24; and (3) the cultural motif of reconciliation between Odysseus and the families of the dead suitors (2007: 19). Kahane sees closure in the fact that “the end of the poem binds together the poem’s many common themes: the return, both ‘outer’ … and ‘inner,’ as Odysseus regains his identity
Alex Andrew Antoniou
dedicated to Augustus posthumously. 49 The second is that the games were dedicated to Augustus while he was alive, but because Neapolis was so fundamentally Greek in heritage, Dio must not have considered the city to have been part of Italy. 50 Again, such attempts at reconciliation are unnecessary. The
Huss, Bernhard (Berlin)
there for the first time (cf. Discovery, Rediscovery). The L. of the Renaissance thus came about through a reconciliation of practical and theoretical literary approaches and forms of the Middle Ages...
geographical reconciliation of modern and ancient place names and the index for locating place names in the Index Volume of Brill’s New Pauly (forthc.).