Classics

Pythian ode, the first extant, non-fragmentary version in European literature of the famous myth of Jason and the Argonauts, presents Orpheus as an active participant, sent by Apollo, the father of song (Pyth. 4.176-177). 2 His part in the expedition is highlighted further in Apollonius' Argonautica. 3 In the narrative he is

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Publié avec le soutien du Conseil Européen de la Recherche (ERC) dans le cadre du projet ERC advanced Locus Ludi. The Cultural Fabric of Play and Games in Classical Antiquity basé à l'Université de Fribourg-programme de recherche et d'innovation de l'Union Européenne Horizon 2020 (contrat de financement n o 741520). Site du projet : <locusludi.ch>. Comme tous les livres publiés dans les collections et les séries des Presses universitaires de Liège, ceux de la collection « Jeu / Play / Spiel » sont soumis, avant publication, à un processus d'évaluation par les pairs. Couverture : Jeton en os de Zadar avec Éros courant avec une couronne de victoire. © Musée Archéologique de Zadar, inv. A10281 (photo de Kornelija A. Giunio).

The tragic deaths of their sisters impelled both Gregory of Nyssa and Gregory Nazianzen to write moving encomia for the departed women. While Nyssa’s biography of Macrina has received a great amount of attention, scholars have not fully realized the potential in studying Nazianzen’ eulogy for Gorgonia. This is particularly troubling because this oration offers a compelling source for the study of gender dynamics in fourth-century Cappadocia. In this paper, I perform a close reading of Nazianzen’ speech in order to tease out some of the social aspects of Cappadocian gender politics. An investigation Gregory’s language reveals a great amount of continuity with pre-Christian gender expectations. A comparison with similar encomia for women from earlier periods reveals that Gorgonia’s virtues, as Gregory describes them, fit neatly with what would be expected of an elite woman centuries prior. Nazianzen emphasizes Gorgonia’s matronly qualities and goes to great lengths to excuse behaviors that might appear unseemly for a married woman. If this eulogy can, as Virginia Burrus (2006) suggests, be considered the first female hagiography, then the sanctification of Gorgonia solidified the social expectations among the elite rather than troubling them.

Doctoral students were randomly assigned to a five-week (30-hour) faculty-led writing workshop intervention, either preceded by a five-week (waiting list) control phase or followed by a five-week maintenance phase. In the workshop, students wrote together, received instruction in genres of academic writing (literature reviews, scientific articles, funding proposals, and presentations), and exchanged feedback on drafts. As a result of the workshop students enjoyed writing more, found writing easier, and gained confidence in themselves as academic writers. They felt able to write productively in shorter blocks of time, and they engaged in more short-term, medium-term, and long-term planning of their research. The intervention also caused participants to pause more frequently for reflection or positive thinking and to generate more new writing. Effects were maintained in a peer-led writing maintenance group for at least five weeks after the intervention ended. This is the first randomi...

As artificial intelligence (AI) becomes ubiquitous, it will be increasingly involved in novel, morally significant situations. Thus, understanding what it means for a machine to be morally responsible is important for machine ethics. Any method for ascribing moral responsibility to AI must be intelligible and intuitive to the humans who interact with it. We argue that the appropriate approach is to determine how AIs might fare on a standard account of human moral responsibility: a Strawsonian account. We make no claim that our Strawsonian approach is either the only one worthy of consideration or the obviously correct approach, but we think it is preferable to trying to marry fundamentally different ideas of moral responsibility (i.e. one for AI, one for humans) into a single cohesive account. Under a Strawsonian framework, people are morally responsible when they are appropriately subject to a particular set of attitudes—reactive attitudes—and determine under what conditions it mig...

With a primary focus on the character of the Chantyman, this essay traces a system of allusion to Virgil's Aeneid in Eugene O'Neill's adaptation of the Oresteia, Mourning Becomes Electra. O'Neill's drunken and enigmatic sailor has no corresponding character in Aeschylus' Oresteia, nor in its subsequent classical iterations. As I show, the Chantyman is explicitly crafted after the mythological Charon, imported from Book 6 of Virgil's Aeneid. Moreover, the use of this epic archetype serves to promote O'Neill's mechanism of predetermined causality, both by means of its thematic implications and structural position within the narrative of Aeneid 6. The allusion recalls the Virgilian unveiling of Aeneas' familial destiny and thereby underscores the broader and inevitable consequences of Brant's death upon the House of Mannon. Ultimately, this intertextual strategy augments O'Neill's self-professed project in this play: to recreate on the modern stage a tragic world order governed by fate, in the conspicuous absence of a divine apparatus.

This essay interprets Eminem's song, "Criminal" (2000, The Marshall Mathers LP, Track 18), as a Catullan project in establishing distance between the poet and poetic persona, accomplished through Catullan invective. Drawing upon pedagogical experience, I argue that Catullus (a Roman poet of the 1st Century BCE) and Eminem use analogous rhetorical tactics and structures to challenge accusations (real or imagined) of poor character stemming from their poetry. Catullus and Eminem vociferously articulate a separation of art from artist, using common transgressive poetics. Each poet disavows his own self-constructed stance of authenticity with similar threats of violence and postures of hyper-masculine dominance. In so doing, Catullus and Eminem challenge interpretative practices they elsewhere seem to assume and even encourage. Finally, I suggest that the programmatic poems of Catullus and Eminem construct similar readerly personae and that, ultimately, this confluence suggests not only a common poetics but also common discursive strategies in ancient and modern audiences.

We can analyse a society"s dreams and anxieties through the myths in which it chooses to mirror itself". 1 In a twentieth century devastated by war, many turned to the classical myths of antiquity for solace and guidance. In the latter half of the century, many others turned to those myths in the struggle for representation and freedom from oppression. Isobel Hurst states: "Reworkings of the androcentric mythology of the ancient world proved indispensable for the feminists who fought against restrictions on women"s identity in the second half of the twentieth century. 2 Monique Wittig responds to the feminist debate of the twentieth century with her text, Les Guérillères. In this article I shall argue that Les Guérillères constitutes a feminist reworking of the patriarchal epic as epitomisied by Homer"s Iliad and Odyssey. It is the Iliad, that "canonical text of warfare and male heroism", 3 which provides the main inspiration for her feminist epic. In blatant defiance of the assertion in Aeschylus"s Agamemnon that "it is not womanly to desire combat", Wittig places the female centre stage. The "guérillères" are the central protagonists of the work, complete with their own unique weapons, their own military procedure, and their own community. With her text, Wittig questions the status of the male-dominated perspective of the patriarchal epic. Aware that myth is instrumental in both the establishment and challenge of deep-seated ideologies and stereotypes, Wittig chooses to manipulate this duplicity and execute an attack from within. She exploits classical myth to voice the concerns and experiences of the female and to reinsert woman into maledominated history. In this way, I shall claim that her work constitutes a gap in the patriarchal transmission and reception of Homer"s Iliad and Odyssey. "Mythical characters or plots offer writers a distinctive perspective on the language and ideas of their day, enabling them to explore contemporary life with some critical distance". 4 This is

This paper focuses on the interaction of Roman moral discourse and autonomous female voices in the Argonautica and Ovid's Heroides. It argues that Valerius' heroines use the moral language of the Heroides to reflect on the function of traditional language. By assigning culturally encoded roles to themselves and one another, these heroines present the audience with alternative versions of their stories that undermine the very terms they employ: they thus enact the problems inherent in using the language of the past to interpret the present. The cultural vocabulary that authorizes their voices to an internal audience presents a serious threat to the community, when coming from the mouths of marginalized characters. In illustrating the slippage between the roles of wife, witch, heroine and whore, Valerius invites his audience to consider the function of tradition, both social and literary, as a lens through which to understand the present. στοχαστέον γὰρ καὶ τοῦ προσώπου ᾧ γράφεται• ("Indeed one must consider the person to whom the letter is written," Dem. On Style 234.2-3) * I would like to thank the anonymous referees who offered valuable suggestions at the submission stage. Kirk Freudenburg, Christina S. Kraus, and Thomas Biggs all read early versions of this paper; it is far richer for their comments. 1 Many critics have noted the place of the Heroides in the Argonautica's literary background. Davis (2016) offers a concise summary, arguing that the Valerian Hypsipyle and Medea are informed by Catullus' Ariadne, Vergil's Dido and Ovid's Medea, Ariadne and Hyspipyle.

The Battle of the Bulls: Poetic and Political Rivalry in the Argonatuica of Valerius Flaccus This paper will examine the heroic competitors that threaten to overshadow Jason's visibility in the Argonautica of Valerius Flaccus. In doing so, I will demonstrate the subjectivity inherent in the heroization of Jason through visual cues, and the relevance of such interaction between protagonist and audience to the literary tradition in which Valerius writes. I will argue that the question of preeminence among the company of heroes is central to the Argonautica, in which it speaks to the political circumstances of the Ptolemaic and Flavian periods, when the political sphere was dominated by family dynasties and leaders emerged through genealogical circumstance rather than merit.

A recent wave of scholarship on Valerius Flaccus's Argonautica seeks to tie literary-historical analysis to the poem's political context, rather than focus on the poetics of the work in terms of its response to Vergil and Apollonius Rhodius. In his new book, Epic and Empire in Vespasianic Rome, Tim Stover offers an innovative reading of the poem as a whole that explores the idea of Flavian rebirth in terms of both politics and poetics. Stover views Lucan's Bellum Civile as the key intertext for the Argonautica, and seeks to "elucidate how Valerius's Argonautica is implicated in the discourse of Vespasianic Rome."(p. 2) In doing so, he argues that a new space for heroic virtus is created and mutually reinforced by the beginning of the Flavian regime and the rebirth of epic represented by the (re)launch of the Argo.