Basil Dufallo
Datos Biográficos
| ID | 1098053 |
|---|---|
| NOMBRE | Basil Dufallo |
| NOMBRES | Basil |
| APELLIDO | Dufallo |
| FIRMA | DUFALLO B |
| AFILIACIONES | American School of Classical Studies at Athens |
| VERIFICADO | No |
| TOTAL DE OBRAS | 16 |
| TOTAL DE CITAS | 16 |
| TOTAL COMO AUTOR | 14 |
| TOTAL COMO EDITOR | 2 |
| PRIMER AÑO DE PUBLICACIÓN | 2000 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2023 |
| ÍNDICE H | 3 |
Comparing Roman Hellenisms in Italy
The story of Roman Hellenism—defined as the imitation or adoption of something Greek by those subject to or operating under Roman power—begins not with Roman incursions into the Greek mainland, but in Italy, where our most plentiful and spectacular surviving evidence is concentrated. Think of the architecture of the Roman capital, the Campanian towns of Pompeii and Herculaneum buried by Vesuvius, and the Hellenic culture of the Etruscans. Perhaps…
Disorienting Empire
Disorienting Empire is the first book to examine Republican Latin poetry’s recurring interest in characters who become lost. The book explains the prevalence of this theme with reference to the rapid expansion of Rome’s empire in the Middle and Late Republic. It was both a threatening and an enticing prospect, the book argues, to imagine the ever-widening spaces of Roman power as a place where one could become disoriented, both in terms of geogra…
Roman Error
In the eyes of posterity, ancient Rome is deeply flawed, whether because of political corruption or imperial domination, the practice of slavery or religious intolerance, sexual immorality or other “decadence”—the list could extend considerably. Without denying the good reasons why certain aspects of Roman behavior are unacceptable within our present worldview, this volume reveals how, for centuries, the Romans’ “errors” have not only provoked op…
Rethinking Roman Alliance
414 PHOENIX Enfin, les dernières contributions reviennent sur le texte des œuvres historiques et géographiques de Strabon, notamment l’histoire de la Géographie et ses difficultés textuelles pour l’éditeur et le traducteur s’astreignant aux exigences scientifiques modernes11 . On nuancera l’idée selon laquelle Strabon était inconnu pendant le Haut Empire. S’il est vrai que Pline ne le cite pas, c’est peut-être aussi parce que ce dernier avait enc…
Epilogue
Capping the book’s theme of cultural hybridity, the epilogue proposes two alternative end-points for its discussion: the ecphrasis of a statue of Acteon and Diana in Apuleius’s Metamorphoses (2.4), one of the last surviving examples of pagan Latin literature, and a Greek text, the Eikones (“Paintings”) ascribed to the Elder Philostratus, a characteristic work of the Second Sophistic. Philostratus well illustrates what the Apuleian and earlier Rom…
Heroic Objects
After four chapters treating non- or anti-epic genres, Chapter 5 turns to the Augustan epics, Vergil’s Aeneid and Ovid’s Metamorphoses. A monument such as the Forum of Augustus reveals the emperor’s ambitions to glorify Rome as both non-Greek (i.e. Trojan) and supremely Greek. Vergil and Ovid’s much-studied ecphrases complicate the easy assimilation of these perspectives by constructing an ambivalent viewer, one who might both appreciate and resi…
Describing the Divine
Religious iconography has been marginalized in modern ecphrastic theory at least since Lessing’s foundational Laocoon. Confronting the secularizing tendencies of theory, chapter 4 considers statues of divinities as a kind of image that the ecphrastic text cannot entirely dominate, but that determines the Greek influence on Roman identity in powerful ways. In the temple ecphrasis of Georgics 3, a passage clearly modelled on Greek antecedents inclu…
The Patron’s Image
While the technique of lauding a patron by praising his art is implicit in earlier chapters, this chapter explores the first extant Latin poetry in which it is explicit: the occasional verse of Statius and Martial written under the Flavian emperor Domitian. The two poets’ subjection to their patrons, expressed in poetry that calls particular attention to the latter’s philhellenism, problematizes still further the idea of a text’s struggle for dom…
The Challenge of Rustic Art
This chapter argues that Vergil’s Eclogues 3 and Horace’s Satires 1.8, two texts of the tumultuous triumviral period, use ecphrasis to scrutinize, assess, and play with the notion of Greek culture as a remedy for Roman civil discord. Within the poems’ ecphrases, each with suggestive parallels in actual art, the notion of the text’s aesthetic mastery over its image confronts the idea that the image’s Hellenic traits might help transform the Roman …
Staging Ecphrasis in Early Latin Literature
This chapter examines some of the earliest examples of ecphrasis in Latin literature: in Naevius’s Bellum Punicum, Plautus’s Menaechmi, and Terence’s Eunuchus. All point to Rome’s increasing fascination with the Hellenic image in the context of Roman imperial expansion, and what is more, Rome’s self-conscious interest in its own philhellenism. The comic examples, in which self-undermining characters describe paintings of Greek mythology within a …
Becoming Ariadne
Chapter 2 focuses on Catullus’s poem 64, his “epyllion” (“miniature epic”) on the marriage of Peleus and Thetis, with its great central ecphrasis of a tapestry depicting the myth of Ariadne and Theseus. Adopting an immensely allusive technique typical of the Hellenistic Greek poetry of Alexandria, Catullus here puts forward an inconsistent narrator who laments moral decline from archaic Greece to contemporary Rome while expressing a highly ambiva…
The captor's image
"An influential view of ecphrasis--the literary description of art objects--chiefly treats it as a way for authors to write about their own texts without appearing to do so, and even insist upon the aesthetic dominance of the literary text over the visual image. However, when considering its use in ancient Roman literature, this interpretation proves insufficient. The Captor's Image argues for the need to see Roman ecphrasis, with its prevalent f…
Reception and Receptivity in Catullus 64
Ecphrasis and cultural identification in Petronius' art gallery
At section 83 of Petronius' Satyricon, Encolpius enters a wondrous art gallery hung with a variety of paintings. Surveying its contents, he finds himself drawn to what he perceives to be the work of the great Greek masters Zeuxis, Protogenes and Apelles, whom he praises in extravagant terms for their realism. He becomes fixated on images depicting the gods' loves for young boys: ‘In one’, he says, ‘the eagle was carrying the Idaean boy [Ganymede]…
Words Born and Made
The defense of neologisms at Horace Ars Poetica 48-69, with its famous simile comparing words to both leaves and feats of engineering (60-69), is among the most memorably poetic passages in Horace's great poem on poetics.1 The question of sources and analogues in the work of earlier poets as well as in poetic, rhetorical, and grammatical theory has consequently attracted much interest, since the passage, as has been shown, provides striking testi…
Satis/Satura
Roman Error
In the eyes of posterity, ancient Rome is deeply flawed, whether because of political corruption or imperial domination, the practice of slavery or religious intolerance, sexual immorality or other “decadence”—the list could extend considerably. Without denying the good reasons why certain aspects of Roman behavior are unacceptable within our present worldview, this volume reveals how, for centuries, the Romans’ “errors” have not only provoked op…
Satis/Satura
Words Born and Made
The defense of neologisms at Horace Ars Poetica 48-69, with its famous simile comparing words to both leaves and feats of engineering (60-69), is among the most memorably poetic passages in Horace's great poem on poetics.1 The question of sources and analogues in the work of earlier poets as well as in poetic, rhetorical, and grammatical theory has consequently attracted much interest, since the passage, as has been shown, provides striking testi…
Reception and Receptivity in Catullus 64
Satis/Satura
Words Born and Made
The defense of neologisms at Horace Ars Poetica 48-69, with its famous simile comparing words to both leaves and feats of engineering (60-69), is among the most memorably poetic passages in Horace's great poem on poetics.1 The question of sources and analogues in the work of earlier poets as well as in poetic, rhetorical, and grammatical theory has consequently attracted much interest, since the passage, as has been shown, provides striking testi…
Ecphrasis and cultural identification in Petronius' art gallery
At section 83 of Petronius' Satyricon, Encolpius enters a wondrous art gallery hung with a variety of paintings. Surveying its contents, he finds himself drawn to what he perceives to be the work of the great Greek masters Zeuxis, Protogenes and Apelles, whom he praises in extravagant terms for their realism. He becomes fixated on images depicting the gods' loves for young boys: ‘In one’, he says, ‘the eagle was carrying the Idaean boy [Ganymede]…
Reception and Receptivity in Catullus 64
The captor's image
"An influential view of ecphrasis--the literary description of art objects--chiefly treats it as a way for authors to write about their own texts without appearing to do so, and even insist upon the aesthetic dominance of the literary text over the visual image. However, when considering its use in ancient Roman literature, this interpretation proves insufficient. The Captor's Image argues for the need to see Roman ecphrasis, with its prevalent f…
Epilogue
Capping the book’s theme of cultural hybridity, the epilogue proposes two alternative end-points for its discussion: the ecphrasis of a statue of Acteon and Diana in Apuleius’s Metamorphoses (2.4), one of the last surviving examples of pagan Latin literature, and a Greek text, the Eikones (“Paintings”) ascribed to the Elder Philostratus, a characteristic work of the Second Sophistic. Philostratus well illustrates what the Apuleian and earlier Rom…
Heroic Objects
After four chapters treating non- or anti-epic genres, Chapter 5 turns to the Augustan epics, Vergil’s Aeneid and Ovid’s Metamorphoses. A monument such as the Forum of Augustus reveals the emperor’s ambitions to glorify Rome as both non-Greek (i.e. Trojan) and supremely Greek. Vergil and Ovid’s much-studied ecphrases complicate the easy assimilation of these perspectives by constructing an ambivalent viewer, one who might both appreciate and resi…
Describing the Divine
Religious iconography has been marginalized in modern ecphrastic theory at least since Lessing’s foundational Laocoon. Confronting the secularizing tendencies of theory, chapter 4 considers statues of divinities as a kind of image that the ecphrastic text cannot entirely dominate, but that determines the Greek influence on Roman identity in powerful ways. In the temple ecphrasis of Georgics 3, a passage clearly modelled on Greek antecedents inclu…
The Patron’s Image
While the technique of lauding a patron by praising his art is implicit in earlier chapters, this chapter explores the first extant Latin poetry in which it is explicit: the occasional verse of Statius and Martial written under the Flavian emperor Domitian. The two poets’ subjection to their patrons, expressed in poetry that calls particular attention to the latter’s philhellenism, problematizes still further the idea of a text’s struggle for dom…
The Challenge of Rustic Art
This chapter argues that Vergil’s Eclogues 3 and Horace’s Satires 1.8, two texts of the tumultuous triumviral period, use ecphrasis to scrutinize, assess, and play with the notion of Greek culture as a remedy for Roman civil discord. Within the poems’ ecphrases, each with suggestive parallels in actual art, the notion of the text’s aesthetic mastery over its image confronts the idea that the image’s Hellenic traits might help transform the Roman …
Staging Ecphrasis in Early Latin Literature
This chapter examines some of the earliest examples of ecphrasis in Latin literature: in Naevius’s Bellum Punicum, Plautus’s Menaechmi, and Terence’s Eunuchus. All point to Rome’s increasing fascination with the Hellenic image in the context of Roman imperial expansion, and what is more, Rome’s self-conscious interest in its own philhellenism. The comic examples, in which self-undermining characters describe paintings of Greek mythology within a …
Becoming Ariadne
Chapter 2 focuses on Catullus’s poem 64, his “epyllion” (“miniature epic”) on the marriage of Peleus and Thetis, with its great central ecphrasis of a tapestry depicting the myth of Ariadne and Theseus. Adopting an immensely allusive technique typical of the Hellenistic Greek poetry of Alexandria, Catullus here puts forward an inconsistent narrator who laments moral decline from archaic Greece to contemporary Rome while expressing a highly ambiva…
Rethinking Roman Alliance
414 PHOENIX Enfin, les dernières contributions reviennent sur le texte des œuvres historiques et géographiques de Strabon, notamment l’histoire de la Géographie et ses difficultés textuelles pour l’éditeur et le traducteur s’astreignant aux exigences scientifiques modernes11 . On nuancera l’idée selon laquelle Strabon était inconnu pendant le Haut Empire. S’il est vrai que Pline ne le cite pas, c’est peut-être aussi parce que ce dernier avait enc…
Roman Error
In the eyes of posterity, ancient Rome is deeply flawed, whether because of political corruption or imperial domination, the practice of slavery or religious intolerance, sexual immorality or other “decadence”—the list could extend considerably. Without denying the good reasons why certain aspects of Roman behavior are unacceptable within our present worldview, this volume reveals how, for centuries, the Romans’ “errors” have not only provoked op…
Disorienting Empire
Disorienting Empire is the first book to examine Republican Latin poetry’s recurring interest in characters who become lost. The book explains the prevalence of this theme with reference to the rapid expansion of Rome’s empire in the Middle and Late Republic. It was both a threatening and an enticing prospect, the book argues, to imagine the ever-widening spaces of Roman power as a place where one could become disoriented, both in terms of geogra…
Comparing Roman Hellenisms in Italy
The story of Roman Hellenism—defined as the imitation or adoption of something Greek by those subject to or operating under Roman power—begins not with Roman incursions into the Greek mainland, but in Italy, where our most plentiful and spectacular surviving evidence is concentrated. Think of the architecture of the Roman capital, the Campanian towns of Pompeii and Herculaneum buried by Vesuvius, and the Hellenic culture of the Etruscans. Perhaps…
Art (15 obras) · Classical Antiquity Studies (14 obras) · Literature (11 obras) · History (9 obras) · Philosophy (9 obras) · Historical, Religious, and Philosophical Studies (7 obras) · Ancient history (5 obras) · Art history (5 obras) · Philosophy (5 obras) · Poetry (5 obras)