Philostratus

The article explores the semantic and historical tension between heresy and orthodoxy. It seeks also an answer to the question whether there were any saved examples and evidence of accusations of heresy in the polemics between representatives of Judaism, Christianity and Gnosticism in time of late antiquity.

Private portraits of women as mythological figures in cross-gendered dress were set up in the funerary contexts of Rome especially between the late 1st and early 4th centuries A.D. This might initially seem surprising. Female-to-male cross-dressing was typically perceived as a transgressive act in Roman society; moreover, conventional portrait types tended to emphasize femininity, modesty, and passivity. As argued here, the gender-b(l)ending sartorial codes had the capacity to express particularly female forms of virtus (›manliness‹), both on their own terms and in connection with other visual codes. This complemented their more traditional virtues in meaningful ways.

L’ouvrage
examine la polémique qui a visé le « savoir de l’invisible », appelé
« météorologie » parce que s’enquérant des « choses d’en
haut » (μετέωρα). Après qu’Aristophane et l’auteur d’Ancienne
médecine ont attaqué la météorologie, Platon s’efforce
de la défendre en la redéfinissant comme philosophie.

The book examines the polemic that targeted the “knowledge of the invisible”, called “meteorology” because it inquired into “things above” (μετέωρα). After Aristophanes and the author of On Ancient Medicine attack meteorology, Plato seeks to defend it by redefining it as
philosophy.

This chapter explores the overlaps and points of intersection between Plutarch and Dio of Prusa with regard to Roman-era assembly politics. More precisely, it compares Plutarch’s advice on demegoric rhetoric, articulated in the Political Precepts (Praecepta gerendae reipublicae § 5–9, 801C–804C), to the rhetorical strategies employed by Dio in the speeches addressed to the assembly of his native city (Or. 40, 43–48, 51). While the Political Precepts contains the advice of one elite politician to the other, Dio’s orations were designed to persuade the city’s demos gathered in the assembly. These works thus provide us with two radically different perspectives on the phenomenon of popular politics, which, as recent studies have shown, still constituted a vital aspect of civic life in the imperial period. A comparison between the Political Precepts and Dio’s assembly speeches can be mutually illuminating: while Plutarch’s advice helps us better understand the strategies behind Dio’s rhetoric, the assembly speeches show how Plutarch’s instructions could be put into practice. This comparison, moreover, supports Plutarch’s claims about the practical orientation and usefulness of his advice, which have been called into question by scholarship. The conclusions of this paper thus give further reason to consider Plutarch not only as a philosopher or moralist but also as someone whose works actively shaped the political life of his time.

Of the three versions of the so-called "ass-tale" that circulated in the Roman Empire from the second century AD onwards,1 two have been preserved-the Greek Lucius or the Ass transmitted among Lucian's writings and Apuleius's Latin Metamorphoses. Both tell the story of a Greco-Roman aristocrat named Lucius who, driven by an unbridled curiosity for Thessalian magic, travels from his hometown (Patrae in Ps.-Lucian and Corinth in Apuleius) to the city of Hypata (Luc. Asin. 1-4; Apul. Met. 1.2, 2.1), where, instead of satisfying his wish to master the art of sorcery, he experiences a comic mishap that transforms him into a donkey (Luc. Asin. 12-13; Apul. Met. 3.21-5).2 What follows is a long series of episodes in which Lucius-turned-ass becomes a plaything of fortunerepeatedly abducted, sold, exploited, and abused (Luc. Asin. 16-46; Apul. Met. 3.28-10.13).3 The adventure narrative of the ass-tale is a story of gratuitous violence that the protagonist suffers at the hands of his changing owners-a long string of episodes in which, time after time, Lucius approaches the threshold of mutilation or death only to be suddenly delivered from impending danger and to be catapulted into another similar episode.4 In the end, however, his 1 On the three versions of the ass-tale (the third one being the lost Metamorphoses identified by the Byzantine patriarch Photius as an "autobiography" of Lucius of Patrae, the protagonist of Ps.-Lucian's narrative),

A patera attributed to the artist Galeazzo Mondella from Verona is published. It depicts a series of duels. The warriors engaged in these duels are inspired by figures of the Trajan Column. Probably it dates to the late 1510s and early 1520s, when Mondella lived in Rome, admiring ancient monuments and taking inspiration from them. This patera reveals the interest for ancient models in the oeuvre of Mondella, an artist who is often regarded not very interested to the imitation of ancient art. Thus it may lead to a change in our consideration of this artist.

In the present paper I examine a rhetorical game played by Plutarch, Lucian, and Aelius Aristides. This game entails citations of mutilated verses, verses where the authors have replaced one or more words in the original text, and verses that are included in the writings of these authors, as if they were written in prose by the authors themselves. Decoding these tampered citations was this so-called rhetorical game, while the more complicated the existing alteration in the quoted text, the greater the satisfaction the pepaideumenoi experienced.

Standard narratives of the overthrow of the emperor Elagabalus in 222 tend to see the event as an anomaly, caused especially by his aggressive and unpopular promotion of the Syrian god Elagabal. This view is not properly supported by the literary sources, and we should instead see the events of 222 in the context of a repeated pattern in the early third century whereby unstable coalitions drawn from various political constituencies ruled through young figurehead emperors. The article consists of an in-depth analysis of each of the main literary traditions (Dio, HA, Herodian) followed by an alternative reconstruction of the last part of Elagabalus' reign. Keywords: Seveřan Dynasty-Cassius Dio-Roman Historiography-Roman Emperors-Historia Augusta-Roman Political Culture * This article began as a presentation at the work-in-progress seminar of the York-Toronto Collaborative Program in Ancient History, and the author would like to thank all the participants in that workshop, and especially Jeremy Trevett for his kind invitation to participate. Thanks are also due to Kai Juntunen,

The paradigmatic form of hybris in Greek sources (consistent with how the concept is conceptualised in modern psychology and business studies) had to do with the self-assertion of the rich and powerful, which results in their disrespecting their subordinates in arrogating to themselves claims to respect to which they are not entitled. This contribution looks at the flipside of this scenario, because hybris, as the arrogating of timē to which a person has no right, can also operate in Greek thought in the opposite direction: from the bottom up. The concept of timē, that is, can accommodate also instances of individuals of subordinate status overstepping the remit of their position in the social hierarchy and arrogating to themselves prerogatives that are reserved for those higher up the social ladder. While denouncing the hybris of the powerful has egalitarian implications – it defends the right to equal respect (or at least to some respect) on the part of those who are disrespected – denouncing the hybris of the downtrodden towards their superiors is a tool for maintaining and reproducing a social hierarchy by grounding it in an allegedly shared (yet heavily asymmetrical) system of recognition.

After introducing the author and the addressee of Philoshatus' letter to Julia Domna,
this paper offers a characterisation of their relationship, a concise analysis of the functions of imperial cultural patronage for the parties involved, the first Dutch-language translation of the letter, and a discussion of its contents. Special attention is given to the place of the letter in the 'querelle des philosophes et des rhéteurs', and to the comparison of Julia Domna with Aspasia implied in the references to Aeschines' dialogue Aspasia.

The Ambrosian Iliad is a Late Antique manuscript that depicts Homer's Iliad. Originally written in Greek, much of its text was lost when the pictures were later removed from the original codex and pasted on separate sheets of vellum. Scholars have previously analyzed the Ambrosian Iliad using paleographic and stylistic analysis as a means to determine the work's provenance and

The Didache and other documents of the post-Apostolic Christians demonstrate their concept of a universal church. This evidence is explored in the context of the world of the Mediterranean Roman Empire in which these Christian communities were situated.

The article discusses the tremendous impact of the Greek language on sport terminology, especially referring to the Olympic events. The authors present the nature of the Greek language and its historical role as a source of loanwords in other languages. Then the article focuses on the etymology, historical background and descriptions of the main ancient Olympic events such as stadion, discus throw, the pentathlon and the marathon.

L’immagine rappresenta un medium linguistico in cui si esplicano forme che si possono tradurre in espressioni verbali, creando una connessione reciproca di due processi apparentemente distinti. Nel caso di un’opera d’arte, il nostro sguardo legge l’intreccio sotteso alla relazione immagine-parola, elaborando una figurazione verbale che scaturisce dal risultato di una ricostruzione del dato visibile. La descrizione e la narrazione artistica si dispiegano come strumenti di lettura per cogliere la realtà che si fa conoscenza del mondo. La descrizione di un’opera d’arte visiva, come ad esempio un quadro, una scultura o un’opera architettonica viene designata con il termine ékphrasis, dal greco “esporre, descrivere”. L’ékphrasis indica il processo letterario-stilistico in cui un’arte tenta di correlarsi a un’altra definendone l’essenza in una relazione semiotica.
La connessione interartistica produce sul piano didattico un coinvolgimento emotivo e intellettuale, atto ad estendere nuove dimensioni visivo-linguistiche, in un’operazione cognitiva che implica una trasformazione di significato, costruendo una re-invenzione, rispetto alla matrice di origine come educazione alla creazione personale, rieditando le conoscenze note in conoscenze nuove. Partendo dalla genealogia dell’ékphrasis si indagherà il suo mutato apporto con la realtà sintetica figlia di nuovi scenari creati dall’Artificial Intelligence (AI) che diventa strumento per la formulazione di  immagini inedite, le quali recano l'impronta generatrice dell'interpretazione algoritmica non senza conseguenze etiche. Parole e/o testi si traducono in illustrazioni articolate che vengono narrate attraverso recenti strumenti comunicativi dando vita a un nuovo modello visuale: l'ékphrAIsis. Le forme di narrazione adoperate - siano esse prosa o poesia - ispirate dalle opere originali, producono per opera dell’AI, metaimmagini che seppur differenti intrattengono con queste un'analogia superficiale il cui divario diminuisce, senza arrivare mai alla coincidenza, con l’esattezza delle parole che servono per descriverle.
In questo contesto si inserisce il progetto pilota Synaesthesia che mira alla creazione di percorsi dialogici tra le opere della GAN, la Galleria dell’Accademia di Napoli. I quadri ri-vivono nella forza esplicativa della narrazione come un racconto inedito, garantendo al visitatore un’esperienza sinestesica grazie ai podcast fruibili per mezzo di QR code. Il podcast rappresenta infatti un nuovo paradigma di narrazione, un continuum tra la società a oralità primaria delle epoche primitive e quella in cui viviamo, rivestendo un ruolo centrale nell’appropriazione di un valore comunicativo esteso soprattutto al campo della didattica assistita dalla tecnologia.

This article addresses how the sophistic-style analysis in Philostratus' Gymnasticus gives expression to the physical and social complexities involved in ancient athletic training. As a case in point, the article provides a close reading of Philostratus' description and criticism of the Tetrad, a four-day sequence of training, which resulted in the death of an Olympic athlete. To make physiological sense of the Tetrad, this method of training is compared to the role of periodization in ancient medicine and modern kinesiology. At the same time, Philostratus' own critique of the Tetrad is compared to Foucauldian models of discipline and bodily attention. Ultimately, it is argued that the Tetrad fails because it does not incorporate καιρός, a theme common to athletics, medicine, and rhetoric. Overall, therefore, Philostratus' critique of the Tetrad helps us to appreciate the underrepresented role that γυμναστική occupied in the larger debates on bodily knowledge in anti...

My essay wants to clarify some aspects on which Eric Dodds dealt with in two of his famous works: some extracts are from The Greeks and the Irrational, published in 1951, and other elements are from the book Pagan and Christian in an Age of Anxiety, published in 1965.

The notion of a martyr, or martys, has undergone a significant conceptual shift since its first attestation in the Iliad, where the martyroi are those witnesses who punish oath-violators with gruesome deaths rather than those who suffer gruesome deaths, as in later usage. This essay traces the conceptual shift of the Greek term martys from the Homeric precedent through the Book of Revelation. Then it explores the visual focus on dying in the Iliad and in ancient martyr texts, as well as some rhetorical means for conveying it. It concludes with a glance at some common ritual features between the Iliad's oath-sacrifices and Christian martyr spectacles.

Trama: Ned, un pubblicitario di New York, si è sottratto alla massacrante futilità della corsa al successo rifugiandosi in un paesino del New England. A contatto con la gente del luogo, in un'atmosfera un po' ottocentesca, legata alla terra, Ned scopre valori antichi e superstizioni. Ad un tratto, tutto cambia. Intorno a lui si fa un silenzio opaco. Crede di vedere un fantasma... poi trova uno scheletro nel cavo di un albero. Dissotterra una bara piena di granoturco... si trova di fronte un uomo con la lingua mozzata e la bocca cucita. E tutto il paese si rifiuta di dargli spiegazioni. Questo, più di ogni altra cosa, fa scattare in lui l'angoscia, e il bisogno ossessivo di sapere. E durante la notte del Raccolto in Casa, Ned sconterà la pena di chi ha voluto vedere troppo.

El pasaje de Filóstrato sobre Menipo y la Empusa (VA IV 25) se examina aquí desde una perspectiva tipológica doble: en primer lugar, señalando los elementos que tiene en común con otras historias sobre amantes serpentinas y demoníacas, siendo ella misma una historia de amor frustrado entre un mortal y una mujer fatal sobrenatural; luego, tomando en consideración el libro de Filóstrato en su conjunto, como un caso particular de la lucha de Apolonio contra el impulso sexual y el poder ctónico.

The following paper deals with the rep- resentation, visualisation and perception of monuments and architecture in the Ancient world. Scholarship on ancient images of architecture has displayed marked in- terest in the subjects represented (namely architecture and monuments) so as to propose or modify recon- structive hypotheses regarding the buildings being de- picted. On the contrary, studies have so far less widely investigated the modalities of display and observation we can reconstruct for these images. Moving from the concept of ‘lived architecture’ and reflecting on how built environments shape each and everyone’s knowl- edge of external reality, the paper will thus focus on some Roman depictions of monuments and architec- ture (e.g. the Anaglypha from the Forum Romanum, the ‘riot fresco’ from Pompeii, the Columns of Trajan and Marcus Aurelius). In doing so, it will suggest some of the reactions such images might have stimulated in ancient viewers, eventually concluding that depictions of architecture and spaces can be fully interpreted as expressions of the interactive relationship between hu- mans and the environment/landscape.

Bu çalışmanın amacı Antik dönemlerdeki Yunan güreşinin diğer medeniyetlere yansımasının araştırılması amaçlanmıştır. Literatür taraması yapılmıştır. Güreş antik dönemde Yunan destanlarında çokça yer bulmuştur. Antik Olimpiyatlarda uygulanmıştır. Antik dönemde Yunanistan'da güreşin ayakta ve yerde olma üzere iki şekilde yapıldığı kabul edilmektedir. Ayaktaki güreşte yenmek için rakibi üç defa yere atmak gerekli idi. Yerdeki güreş türü ise boks ve pankreas karışımı bir spor olarak kendini göstermiştir. Yerdeki güreşte Günümüz Judo sporundaki boğmaya benzer uygulama vardı. Yer güreşi çamur bir yerde ve ayakta güreşler ise kum alanlarda yapılıyordu. Güreşçiler vücuduna zeytinyağı ve ince kum (pudralama) sürerlerdi. Yağ sürme günümüz yağlı güreşlerinde devam eden bir uygulamadır. Güreşçi müsabaka ve antrenmandan sonra yıkanıyor ve vücudundaki kir ve yağı "strigil" denen kavisli tunç alet ile temizliyorlardı. Güreşlerde eşleşmeler günümüzde olduğu gibi kura ile yapılıyordu. Güreşlerde rakibi yumruklamak, gözleri oymak ve ısırmak yasaktı. Ceza olarak kırbaç vurma uygulaması vardı. Güreşçilerin çıplak güreştikleri kabul gören bir inanıştır. Antik dönem Yunan güreşlerinde günümüz minder güreşinde mevcut uygulamalar ve tekniklerin birçoğu yapılmıştır. Sonuç: Antik dönemde yapılan Yunanda yapılan güreş zaman içinde değişerek günümüz serbest ve özellikle de grekoromen güreşin temeli olarak görülebilir. Yunan güreş faaliyetleri antik Roma'ya ve oradan da diğer milletlere yansımış olabilir. Üç defa yere atma şeklinde ortaya çıkan yenilgi kuralı bugün hala Afrika ülkeleri geleneksel güreşlerinin birçoğunda uygulanmaktadır.

Le film de Fellini, dont le sujet est pourtant « antique », n'est pas, n'est en rien, un peplum. En tout cas, il ne s'inscrit pas dans la tradition du peplum, il n'en partage pas les caracteristiques habituelles ni la facon de concevoir l'Antiquite, ni les valeurs. Il n'est pas non plus une adaptation du roman de Petrone. Pourtant, les deux oeuvres participent d'un imaginaire qui, s'il etait anachronique de le qualifier de commun, sert neanmoins de support a une vision decentree de Rome.

Allo stesso modo, al giungere della Primavera, si scioglierà la neve nel vostro cuore ed il vostro segreto di trasformerà in un ruscello che corre alla ricerca del Fiume della Vita. Ed il Fiume della Vita lo accoglierà nel suo seno, conducendolo sino al Grande Mare dell'Esistenza. Quando giungerà la Primavera, ogni cosa si scioglierà e si trasformerà in un canto. Pure le stelle, i grandi fiocchi di neve che cadono lenti sui vostri campi, si scioglieranno e formeranno canori ruscelli. E quando il sole del suo viso si illuminerà un più vasto orizzonte, quale gelida simmetria non si trasformerà in una liquida melodia? (...) E come potrebbe essere diversamente? Nei boschi e negli ombrosi recessi, quando la pioggia danza sulle foglie, quando cade la neve, benedizione e patto solenne; nella valle, quando conducete le greggi al fiume; nei prati, dove i ruscelli, simili a rivi argentei, ricuciono assieme il verde mantello; nei vostri giardini, quando la rugiada mattutina è uno specchio che riflette il cielo; nei campi, quando la bruma della sera quasi nasconde il vostro cammino; in tutti questi luoghi il mare è con voi, silente testimone del vostro retaggio, ad esigere ancora che voi lo amiate. Ed il vostro fiocco di neve interiore correrà a sciogliersi nella sua

Rencontre avec Maxime Rovere, philosophe, et Valentin Decloquement, helléniste, autour de leurs derniers ouvrages : Le Livre de l'amour infini et Vie d'Apollonios de Tyane. Avec des lectures par les étudiant•es de la licence Études théâtrales.

Ce document a été généré automatiquement le 19 mai 2021. Les contenus de la revue Exercices de rhétorique sont mis à disposition selon les termes de la Licence Creative Commons Attribution-Pas d'Utilisation Commerciale-Partage dans les Mêmes Conditions 4.0 International. La pratique et les fonctions de la σύγκρισις chez le sophiste Himérius Thierry Grandjean La pratique et les fonctions de la σύγκρισις chez le sophiste Himérius Exercices de rhétorique, 16 | 2021 La pratique et les fonctions de la σύγκρισις chez le sophiste Himérius Exercices de rhétorique, 16 | 2021 La pratique et les fonctions de la σύγκρισις chez le sophiste Himérius Exercices de rhétorique, 16 | 2021

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This paper on Lucian's De morte Peregrini aims to analyse Peregrinus's extravagant suicide of in contrast with the significance of the death of heroes in epic poetry, as well as with the death of citizens. The death of those who died fighting for their city was a sign of identity of the Athenian polis - at least in so far as it is remembered by oratory during the classical period. I identify certain compositional elements and structural features that Lucian uses to build a satire on Peregrinus Proteus as a literary character, and, through his account, to convert Peregrinus' death into an unworthy and ridiculous act

La Médée de Sénèque ne laisse aucun lecteur indifférent. Ou bien elle nous plaît pour ses références philosophiques à peine voilées, son style impérial un brin pompeux, sa myriade de référents culturels, ses descriptions poignantes de la folie abyssale dans laquelle sombre la protagoniste et sa mise en scène de l’horreur ordinairement monstrueuse de l’infanticide — ou bien on la déteste exactement pour les mêmes raisons. Dans ce mémoire, nous proposons une interprétation nouvelle de cette œuvre phare de Sénèque dans l’espoir que celle-ci contribue au débat sur la pertinence et la portée philosophique des tragédies de notre auteur. En puisant dans les fragments de Chrysippe et d’autres stoïciens grecs, nous démontrerons que la Médée latine est au centre d’une éthique pratique que Sénèque a voulu mettre en place par son théâtre. En effet, nous sommes d’avis que Sénèque a voulu, par le biais de son théâtre, avoir un impact réel et significatif sur le caractère des auditeurs; alors que ...

Emerging from scholarship on ancient fiction, "pseudo-documentarism" describes the invocation of fabricated sources in a narrative work. This article places pseudodocumentarism into a constellation of attributive practices, of which pseudepigraphy is also a part, that work to shape the identity of a purported "author." To do so, it analyzes an assemblage of letters attributed to the first-century wonderworker Apollonius of Tyana and their deployment in his only extant biography, composed by the third-century sophist Philostratus of Athens. Through a narratological reading of the Life of Apollonius, this article traces the subtle pseudo-documentarist strategies -- the invocation of Apollonian letters -- by which Philostratus characterizes his biographical subject as the supreme Pythagorean philosopher, as an alternative to the magician whom his detractors present.

In the earliest versions of the Lamia myth, she is portrayed as a childkilling monster. In the later tradition, however, the figure of Lamia is reshaped into an archetypal seductress/sorceress figure, who preys upon and devours attractive young men. The extension of the monstrous Lamia's predatory activities in the supernatural sphere from the killing of babies to the devouring of handsome young men mirrors the hostile treatment of the historical Lamia (notorious as the mistress of Demetrius Poliorcetes) as the seducer and ultimate destroyer of the handsome young Demetrius in the earthly realm.

The decision to include a chapter on 'material culture' in a Critical Guide to Latin Literature bears witness to a fundamental truth: without 'material culture' there would be no 'Latin literature' to speak of. 1 The study of Latin is predicated on a series of physical survivals. Sometimes, albeit comparatively rarely, Latin texts are transmitted on scraps of ancient papyrus rolls or early parchment codices. 2 More often, they are preserved through Carolingian, later mediaeval and Renaissance manuscriptsthat is, by scribes who copy a text from one material context to another, thereby providing a principal source for later printed editions. 3 At other times, Latin texts come to us via epigraphic means 4whether inscribed as grand monumental declarations in stone, marble or metal (consider Augustus' Res gestae, which survives only epigraphically), 5 or else as wholly