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Rezension von Fabian Zogg (Hg.): Appendix Vergiliana. Lateinisch – deutsch: De Gruyter (Berlin/Boston 2020) (= Sammlung Tusculum), 346 S. ISBN: 978311046805 2, 49,95 €
No full textRezension von Victoria Austen: Analysing the Boundaries of the Ancient Roman Garden. (Re)Framing the Hortus: Bloomsbury Academic (London 2023) (Ancient Environments), 211 S., 30 Abb . ISBN 978-1-3502-6518-9, 98,00 $ (gebunden; weitere Formate verfügbar)
No full textReview of Hamish Williams: J. R. R. Tolkien’s Utopianism and the Classics: Bloomsbury Academic (London 2023) (= Classical Receptions in 20th Century Writing), 206 pp. ISBN: 978-1-350-24145-9, $100.00/£75.00 (hardback; alternative formats available)
No full textSnatched from Spring: Persephone as a paradigm for young adult fantasy heroines
No full textAlthough often making direct appearances in YA fantasy literature as actual characters, Hades and Persephone – and their myth – can also be used as a paradigm based on which authors develop their characters and plots. This type of reinterpretation is at the core of two recently published books in the aforementioned genre: A court of mist and fury (2016), by Sarah J. Maas; and Midnight sun (2020), by Stephenie Meyer. In both books, some of the main aspects of the myth as well as distinguishable attributes from the gods are used to structure the relationship between the main characters. Therefore, the aim of this paper is to analyse how Maas and Meyer appropriated elements from the Greek myth to create their own innovative versions of the rape of Persephone, especially concerning the love relationship resulting from these retellings
Teodora: Un’odierna lettura romanzata in Italia
No full textThis paper examines two Italian novels by Mariangela Galatea Vaglio, a historian, novelist, and blogger. The novels, published in 2018 and 2022, are titled Teodora. La figlia del circo and Teodora. I demoni del potere. In my analysis, I will focus on a few key aspects that are, in my opinion, essential to the novels. First, I will briefly analyze the techniques used to represent the cultural situation of the time. Secondly, the focus will be on Vaglio’s characterization of Theodora and Justinian as complementary examples of ‘nonconformist’ femininity and masculinity. In particular, I will consider the Nika revolt of 532 CE, which is presented in I demoni del potere as a crucial moment in the empress’s path. To highlight the unique aspects of Vaglio’s narrative, a comparison will be made between her depiction of Theodora’s famous speech during the revolt and Procopius’ narrative in his History of the Wars, as well as Stella Duffy’s description of the event in her novel The Purple Shroud. Finally, the author herself briefly explains the reasons for reexamining the figure of Theodora today in a short interview.This paper examines two Italian novels by Mariangela Galatea Vaglio, a historian, novelist, and blogger. The novels, published in 2018 and 2022, are titled Teodora. La figlia del circo and Teodora. I demoni del potere. In my analysis, I will focus on a few key aspects that are, in my opinion, essential to the novels. First, I will briefly analyze the techniques used to represent the cultural situation of the time. Secondly, the focus will be on Vaglio’s characterization of Theodora and Justinian as complementary examples of ‘nonconformist’ femininity and masculinity. In particular, I will consider the Nika revolt of 532 CE, which is presented in I demoni del potere as a crucial moment in the empress’s path. To highlight the unique aspects of Vaglio’s narrative, a comparison will be made between her depiction of Theodora’s famous speech during the revolt and Procopius’ narrative in his History of the Wars, as well as Stella Duffy’s description of the event in her novel The Purple Shroud. Finally, the author herself briefly explains the reasons for reexamining the figure of Theodora today in a short interview
Ovid zwischen Biographie und Roman: Diane Middlebrooks unvollendeter Ovid: Der junge Ovid (2012) und Young Ovid (2015)
No full textIn 2012, Der junge Ovid, the unfinished work of the late Diane Middlebrook (1939–2007) was published in Austria. Different aspects make it a very special book: The translation appeared more than two years before the original: The Augustan poet comes to life in chapters full of social and cultural history, and biographical, rather fictitious passages depicting a possible reality. Middlebrook’s widower, Carl Djerassi (1923–2015), widely known as the ‘mother of the pill’ and as author of novels and plays, belonging to the by him newly created genres of ‘science-in-fiction’ and ‘science-in-theatre’, asked me to check philological details, before the manuscript was printed. In close cooperation with the publisher Andres Müry, Djerassi’s wishes came true: The publication was followed by a book release, readings from the book, and a major event at the University of Vienna (including a keynote and a round table): Ovid is shown as new-born baby, as child adoring his mother, the first storyteller in his life, as young man full of literary talent, making his first steps in the city of Rome, and as famous author at the age of 46, surrounded by frescoes showing scenes of his opus magnum, the Metamorphoses. The next pages will retell the fascinating story of publishing a modern book about an ancient author under unconventional circumstances, comparing the translation to the original.In 2012, Der junge Ovid, the unfinished work of the late Diane Middlebrook (1939–2007), was published in Austria. Various aspects make it a very special book: the translation was published more than two years before the original: The Augustan poet is brought to life in social and cultural history chapters and biographical, fictional passages that depict a possible reality. Middlebrook’s widower, Carl Djerassi (1923–2015), widely known as the ‘Mother of the Pill’ and as the author of novels and plays belonging to the new genres he created, “science-in-fiction” and “science-in-theatre”, asked me to check philological details before going to press. In close cooperation with the publisher Andres Müry, Djerassi’s wishes came true: the publication was followed by a book launch, readings from the book and a major event at the University of Vienna (with keynote and round table): Ovid is shown as a newborn, as a child hanging on the lips of his mother, the first storyteller of his life, as a young man full of literary talent taking his first steps in the city of Rome, and as a famous author at the age of 46, surrounded by frescoes depicting scenes from his opus magnum, the Metamorphoses. The following pages retell the fascinating story of the publication of a modern book about an ancient author under unconventional circumstances and compare the translation with the original
‘The Wide Canvas of Human Drama’: Fantasizing Antiquity Through Graphic Novel
No full textThis paper argues that representation of classical antiquity through graphic novel runs a risk of idealizing reconstructed antiquity. In a way similar to the archaic and classical Greek representation in visual arts of the content of heroic (fragmentary) epic, 21st-century retelling in Age of Bronze fantasizes with regard to both narratology and outlook. In 1998 Eisner Award-wining cartoonist Eric Shanower started Age of Bronze, a serialized Trojan War account, 34 episodes of which have appeared up to date. The graphic novelization aims to ‘present the complete story of the world-famous War at Troy, freshly retold for the 21st century’. Its format serves to have ‘all the drama of the ancient and thrilling tradition unfold before your eyes.’ As its sources it lists Homer’s Iliad, works from classical, medieval and renaissance literature, and archaeological excavations. The artist uses different styles for episodes from various sources, thus imitating the archaic and classical vase paintings’ attempt to stereotype the narrative in visual representation. Shanower’s detailed processing of contemporary visualization enforces a new standard of the heroic world’s representation. The decision to translate antiquity’s patchwork of stories, fragments and testimonia into a single all-encompassing thread echoes both ancient epics’ tendency to ‘contain’, and novels’ to work against medias in res. The series’ attempt ‘to be true to all traditions’ does cater ‘those who think visually’, but envisions, I argue, a fantasy rather than ‘Troy sprung to life’
Ovid at Cair Paravel: Periodization and the Ages of Man in C. S. Lewis’s Chronicles of Narnia
No full textUnlike many fantasy series, the Chronicles of Narnia have an explicit beginning, middle, and an end – a chronology. A mainstay of children’s literature since their publication in the 1950s, the Chronicles have received a great deal of scholarly attention, but most of it directed to Christian allegorical themes. The way that Lewis composed his novels out of order, or the strategies with which he shaped the reader’s expectations by doing interesting things with time, has gone largely unnoticed. Yet, in recent years scholarly approaches to the Chronicles have expanded to consider questions of mythology, cosmology, environmentalism, ideology, and even politics. This paper adds to that expansion by turning to the classical elements in the Chronicles. By examining the ways in which C. S. Lewis uses narrative techniques borrowed from Ovid’s periodization in the Metamorphoses, this paper argues that Ovid was Lewis’s main source of inspiration for devising a chronology for Narnia, and moreover, that we should not be surprised to find such a presence in Lewis’s work. Although mostly remembered as a medievalist, Lewis wrote with a dizzying array of inspiration and influences, and to underplay his classical training is to obfuscate the subtlety in his compositional technique
‘Fanfiction’ and the Canon in Elodie Harper’s The Wolf Den Trilogy
No full textThis article examines how the idea of ‘fanfiction’ can help scholars of the ancient world create accessible and informative ways of introducing non-expert audiences to the ancient world, and show how Harper’s The Wolf Den trilogy is a good example. Harper uses a mix of material evidence and quotations from canonical texts to recreate the lives of ordinary Romans. The immersion in the ancient world created by this combination of material and literary evidence challenges the idea that the ancient world is exactly as represented by canonical literature. For example, Amara must alter her behavior many times to fit into the expectations of the upper class man she is acting as courtesan for as well as Pliny, who rents her for a week. In addition, rather than depicting Amara meekly accepting her fate, Harper shows how she and her fellow shewolves strive to break the cycle of oppression
Vorsicht vor Spartacus? Ideologisierte Schulbuchdarstellungen aus der Zeit des geteilten Deutschlands
No full textStarting with the hypothesis that textbooks are strongly ideologically charged, this paper analyses the representation of the Spartacus uprising in history textbooks that were in use between 1949 and 1989 in the FRG and the GDR. Due to its identity-defining function for European cultures, Roman antiquity has always been an important reference in recent and modern history. Spartacus, as a slave leader, has been interpreted very differently in different contexts and is therefore ideally suited to examine how in such social and political contexts textbooks were produced and read, showing further how ideologically biased perceptions of history would force their way unhindered into the historical consciousness of younger generations.Starting with the hypothesis that textbooks are strongly ideologically charged, this paper analyses the representation of the Spartacus uprising in history textbooks that were in use between 1949 and 1989 in the FRG and the GDR. Due to its identity-defining function for European cultures, Roman antiquity has always been an important reference in recent and modern history. Spartacus, as a slave leader, has been interpreted very differently in different contexts and is therefore ideally suited to examine how in such social and political contexts textbooks were produced and read, showing further how ideologically biased perceptions of history would force their way unhindered into the historical consciousness of younger generations