Jeremy B Lefkowitz
Biographic Data
| ID | 2503153 |
|---|---|
| NAME | Jeremy B Lefkowitz |
| GIVEN NAMES | Jeremy B |
| FAMILY NAME | Lefkowitz |
| SIGNATURE | LEFKOWITZ J B |
| AFFILIATIONS | Swarthmore College |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 6 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 2 |
A Companion to Aristophanes
Companion to Aristophanes
Reflection
The legendary Aesop, whom Herodotus ( Histories , 2.134) places on Samos in the sixth century BCE, did not write a single fable with his own hand. The fables that have survived under his name were written in the centuries after his death, composed by a diverse set of writers who labeled their stories “Aesop’s” with little concern for historical accuracy. We are left with hundreds of tales and anecdotes scattered across the remains of classical li…
Innovation and Artistry in Phaedrus’ Morals
In his creative and original deployment of the ‘morals’ attached to his fables, Phaedrus boldly asserts his independence from the prosaic fable tradition and embeds his work within the framework of a broadly fictionalized poetic career. While pro - and epimythia in Phaedrus have attracted scholarly attention as aides in calculating his chronology or deciphering his perspective on life in Rome, Phaedrian ‘morals’ do more than express a particular …
Grand Allusions
This article focuses on two allusions to Vergil in the opening of the third book of Phaedrus’ Aesopic fables (3.Prol.) and suggests that Vergilian poetry plays a surprisingly central role in Phaedrus’ reflections on the nature and purpose of his poetic project. By linking his own avowedly humble poetry to the Aeneid and Eclogues, Phaedrus draws attention to some unexpected points of contact with Vergil; but he also quite clearly presents himself …
Aesop and Animal Fable
This chapter examines the tensions between the symbolic valence of anthropomorphic animals and authentic concerns about real animals in fables of ancient times. It provides an overview of sources and scholarly approach in this study of the Graeco-Latin fable and explores the boundaries between human and animal in early Greek fable-telling. This chapter suggests that the fable tradition occasionally eschews symbolism and anthropomorphism entirely,…
Aesopic Conversations
178 PHOENIX labeled, and accurate. One quirk that annoyed this reviewer was the insertion of lighthearted subtitles to introduce highly technical material in Chapter Five on Canonic Theory in particular. Such irrelevant phrases as “Mules, semitones, and lukewarm coffee” (233), “The sore thumb: canonic division and the octave plus fourth” (239), and “Babylonios temptare numeros” (332), the latter leading to a footnote, “With apologies to Horace (C…
Grand Allusions
This article focuses on two allusions to Vergil in the opening of the third book of Phaedrus’ Aesopic fables (3.Prol.) and suggests that Vergilian poetry plays a surprisingly central role in Phaedrus’ reflections on the nature and purpose of his poetic project. By linking his own avowedly humble poetry to the Aeneid and Eclogues, Phaedrus draws attention to some unexpected points of contact with Vergil; but he also quite clearly presents himself …
Innovation and Artistry in Phaedrus’ Morals
In his creative and original deployment of the ‘morals’ attached to his fables, Phaedrus boldly asserts his independence from the prosaic fable tradition and embeds his work within the framework of a broadly fictionalized poetic career. While pro - and epimythia in Phaedrus have attracted scholarly attention as aides in calculating his chronology or deciphering his perspective on life in Rome, Phaedrian ‘morals’ do more than express a particular …
Aesop and Animal Fable
This chapter examines the tensions between the symbolic valence of anthropomorphic animals and authentic concerns about real animals in fables of ancient times. It provides an overview of sources and scholarly approach in this study of the Graeco-Latin fable and explores the boundaries between human and animal in early Greek fable-telling. This chapter suggests that the fable tradition occasionally eschews symbolism and anthropomorphism entirely,…
Aesopic Conversations
178 PHOENIX labeled, and accurate. One quirk that annoyed this reviewer was the insertion of lighthearted subtitles to introduce highly technical material in Chapter Five on Canonic Theory in particular. Such irrelevant phrases as “Mules, semitones, and lukewarm coffee” (233), “The sore thumb: canonic division and the octave plus fourth” (239), and “Babylonios temptare numeros” (332), the latter leading to a footnote, “With apologies to Horace (C…
Aesop and Animal Fable
This chapter examines the tensions between the symbolic valence of anthropomorphic animals and authentic concerns about real animals in fables of ancient times. It provides an overview of sources and scholarly approach in this study of the Graeco-Latin fable and explores the boundaries between human and animal in early Greek fable-telling. This chapter suggests that the fable tradition occasionally eschews symbolism and anthropomorphism entirely,…
Innovation and Artistry in Phaedrus’ Morals
In his creative and original deployment of the ‘morals’ attached to his fables, Phaedrus boldly asserts his independence from the prosaic fable tradition and embeds his work within the framework of a broadly fictionalized poetic career. While pro - and epimythia in Phaedrus have attracted scholarly attention as aides in calculating his chronology or deciphering his perspective on life in Rome, Phaedrian ‘morals’ do more than express a particular …
Grand Allusions
This article focuses on two allusions to Vergil in the opening of the third book of Phaedrus’ Aesopic fables (3.Prol.) and suggests that Vergilian poetry plays a surprisingly central role in Phaedrus’ reflections on the nature and purpose of his poetic project. By linking his own avowedly humble poetry to the Aeneid and Eclogues, Phaedrus draws attention to some unexpected points of contact with Vergil; but he also quite clearly presents himself …
Reflection
The legendary Aesop, whom Herodotus ( Histories , 2.134) places on Samos in the sixth century BCE, did not write a single fable with his own hand. The fables that have survived under his name were written in the centuries after his death, composed by a diverse set of writers who labeled their stories “Aesop’s” with little concern for historical accuracy. We are left with hundreds of tales and anecdotes scattered across the remains of classical li…
A Companion to Aristophanes
Companion to Aristophanes
Art (5 works) · Literature (5 works) · Classical Antiquity Studies (4 works) · Aesthetics (3 works) · Fable (3 works) · History (3 works) · History (3 works) · Philosophy (3 works) · Sociology (3 works) · Epistemology (2 works)