Martha Malamud
Biographic Data
| ID | 4008515 |
|---|---|
| NAME | Martha Malamud |
| GIVEN NAMES | Martha |
| FAMILY NAME | Malamud |
| SIGNATURE | MALAMUD M |
| AFFILIATIONS | University at Buffalo, State University of New York |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 50 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1989 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 3 |
As if
Double, Double
When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Me…
Tacitus and the twentieth-century novel
“Opus adgredior opimum casibus, atrox proeliis, discors seditionibus, ipsa etiam pace saeuum” ( H . 1.2.1) / “I am entering on a work rich in disasters, ferocious in its wars, ripped apart by civil strife, savage even in peace” / Tacitus frames his histories as an account of catastrophic and historic change at home and abroad. In both the Histories , the extant books of which cover the civil wars of 69, and the Annals , which recount the history …
The Cambridge Companion to Tacitus
Tacitus is universally recognised as ancient Rome's greatest writer of history, and his account of the Roman Empire in the first century AD has been fundamental in shaping the modern perception of Rome and its emperors. This Companion provides a new, up-to-date and authoritative assessment of his work and influence which will be invaluable for students and non-specialists as well as of interest to established scholars in the field. First situatin…
Primitive Politics
A Spectacular Feast
This paper examines how Statius sets up his portrait of Domitian as host in Silvae 4.2 through a series of interrelated allusions, mostly to the epic tradition. Though the poem is often read as a flattering panegyric, in keeping with Domitian's own use of feasting as part of his self-presentation as a benevolent emperor, an analysis of the pattern of allusions employed in the poem suggests a more complex text. The portrait of Domitian that emerge…
Pompey’s Head and Cato’s Snakes
Writing Original Sin 1
Prudentius' Hamartigenia ("The Origin of Sin") places the corruption of language, emblematized in the poem by the splitting of Satan's tongue, at the origin of human sin. This article explores how Prudentius associates human sin with the inherently deceptive nature of language. In Hamartigenia, language and its snares, in particular figurative language, are programmatically associated with figures who represent the evils of division and imitation…
That's Entertainment! Dining with Domitian in Statius' Silvae
Dining with Domitian could be a trying experience. Dio describes one memorable meal with the emperor: He prepared a room that was pitch black on every side—ceiling, walls and floor—and had made ready uncovered couches of the same colour resting on the bare floor. He then invited in his guests alone at night without their servants. First he set a slab shaped like a gravestone engraved with each guest's name next to them, together with a small lamp…
Gnawing at the End of the Rope
( Iliad 2.603-14) They who held Arkadia under the sheer peak, Kyllene, beside the tomb of Aipytos, where men fight at close quarters, they who dwelt in Orchomenos of the flocks, and Pheneos, about Rhipe and Stratia and windy Enispe; they who held Tegea and Mantineia the lovely, they who held Stymphalos, and dwelt about Parrhasia, their leader was Angkaios' son, powerful Agapenor. Sixty was the number of their ships, and in each ship went many men…
Out of Circulation? An Essay on Exchange in Persius' Satires
Twenty five years ago in the infant Ramus , J.P. Sullivan wrote ‘In Defence of Persius’. Not many scholars writing today would think of choosing that title: having contemplated the indefensible aspects of Classical literature, most are far too wary to leap to the defence of any classical author, let alone a writer of Satire, a genre distinguished by its combination of crassness and cruelty, its insistence on turning its audience into victimisers.…
Vandalising Epic
William Levitan concluded a study of the fourth century poet Optatian with the sentence, ‘The marble bones of Rome itself were chopped for a thousand years to raise the buildings of Europe.’ The theatres, baths and other edifices constructed by the Romans never wholly perished; they served the local populations for centuries as quarries for building materials. The writers of late antiquity treated the Latin literary tradition the same way that la…
A Poetics of Transformation
Making A Virtue of Perversity
Not long ago, the publication of two volumes of essays devoted to a rereading and rethinking of imperial Latin literature would have been held up as a classic example of professional Latinists making a virtue out of necessity — since we cannot all write on Vergil and Horace, some of us must therefore stiffen our upper lips and attempt to produce ‘sound’ scholarship on the reams of inferior poetry that make up the rest of Latin literature. The uns…
A Poetics of Transformation
Pompey’s Head and Cato’s Snakes
A Spectacular Feast
This paper examines how Statius sets up his portrait of Domitian as host in Silvae 4.2 through a series of interrelated allusions, mostly to the epic tradition. Though the poem is often read as a flattering panegyric, in keeping with Domitian's own use of feasting as part of his self-presentation as a benevolent emperor, an analysis of the pattern of allusions employed in the poem suggests a more complex text. The portrait of Domitian that emerge…
Writing Original Sin 1
Prudentius' Hamartigenia ("The Origin of Sin") places the corruption of language, emblematized in the poem by the splitting of Satan's tongue, at the origin of human sin. This article explores how Prudentius associates human sin with the inherently deceptive nature of language. In Hamartigenia, language and its snares, in particular figurative language, are programmatically associated with figures who represent the evils of division and imitation…
Gnawing at the End of the Rope
( Iliad 2.603-14) They who held Arkadia under the sheer peak, Kyllene, beside the tomb of Aipytos, where men fight at close quarters, they who dwelt in Orchomenos of the flocks, and Pheneos, about Rhipe and Stratia and windy Enispe; they who held Tegea and Mantineia the lovely, they who held Stymphalos, and dwelt about Parrhasia, their leader was Angkaios' son, powerful Agapenor. Sixty was the number of their ships, and in each ship went many men…
Double, Double
When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Me…
That's Entertainment! Dining with Domitian in Statius' Silvae
Dining with Domitian could be a trying experience. Dio describes one memorable meal with the emperor: He prepared a room that was pitch black on every side—ceiling, walls and floor—and had made ready uncovered couches of the same colour resting on the bare floor. He then invited in his guests alone at night without their servants. First he set a slab shaped like a gravestone engraved with each guest's name next to them, together with a small lamp…
Making A Virtue of Perversity
Not long ago, the publication of two volumes of essays devoted to a rereading and rethinking of imperial Latin literature would have been held up as a classic example of professional Latinists making a virtue out of necessity — since we cannot all write on Vergil and Horace, some of us must therefore stiffen our upper lips and attempt to produce ‘sound’ scholarship on the reams of inferior poetry that make up the rest of Latin literature. The uns…
Vandalising Epic
William Levitan concluded a study of the fourth century poet Optatian with the sentence, ‘The marble bones of Rome itself were chopped for a thousand years to raise the buildings of Europe.’ The theatres, baths and other edifices constructed by the Romans never wholly perished; they served the local populations for centuries as quarries for building materials. The writers of late antiquity treated the Latin literary tradition the same way that la…
Making A Virtue of Perversity
Not long ago, the publication of two volumes of essays devoted to a rereading and rethinking of imperial Latin literature would have been held up as a classic example of professional Latinists making a virtue out of necessity — since we cannot all write on Vergil and Horace, some of us must therefore stiffen our upper lips and attempt to produce ‘sound’ scholarship on the reams of inferior poetry that make up the rest of Latin literature. The uns…
A Poetics of Transformation
Vandalising Epic
William Levitan concluded a study of the fourth century poet Optatian with the sentence, ‘The marble bones of Rome itself were chopped for a thousand years to raise the buildings of Europe.’ The theatres, baths and other edifices constructed by the Romans never wholly perished; they served the local populations for centuries as quarries for building materials. The writers of late antiquity treated the Latin literary tradition the same way that la…
Out of Circulation? An Essay on Exchange in Persius' Satires
Twenty five years ago in the infant Ramus , J.P. Sullivan wrote ‘In Defence of Persius’. Not many scholars writing today would think of choosing that title: having contemplated the indefensible aspects of Classical literature, most are far too wary to leap to the defence of any classical author, let alone a writer of Satire, a genre distinguished by its combination of crassness and cruelty, its insistence on turning its audience into victimisers.…
Gnawing at the End of the Rope
( Iliad 2.603-14) They who held Arkadia under the sheer peak, Kyllene, beside the tomb of Aipytos, where men fight at close quarters, they who dwelt in Orchomenos of the flocks, and Pheneos, about Rhipe and Stratia and windy Enispe; they who held Tegea and Mantineia the lovely, they who held Stymphalos, and dwelt about Parrhasia, their leader was Angkaios' son, powerful Agapenor. Sixty was the number of their ships, and in each ship went many men…
That's Entertainment! Dining with Domitian in Statius' Silvae
Dining with Domitian could be a trying experience. Dio describes one memorable meal with the emperor: He prepared a room that was pitch black on every side—ceiling, walls and floor—and had made ready uncovered couches of the same colour resting on the bare floor. He then invited in his guests alone at night without their servants. First he set a slab shaped like a gravestone engraved with each guest's name next to them, together with a small lamp…
Writing Original Sin 1
Prudentius' Hamartigenia ("The Origin of Sin") places the corruption of language, emblematized in the poem by the splitting of Satan's tongue, at the origin of human sin. This article explores how Prudentius associates human sin with the inherently deceptive nature of language. In Hamartigenia, language and its snares, in particular figurative language, are programmatically associated with figures who represent the evils of division and imitation…
Pompey’s Head and Cato’s Snakes
A Spectacular Feast
This paper examines how Statius sets up his portrait of Domitian as host in Silvae 4.2 through a series of interrelated allusions, mostly to the epic tradition. Though the poem is often read as a flattering panegyric, in keeping with Domitian's own use of feasting as part of his self-presentation as a benevolent emperor, an analysis of the pattern of allusions employed in the poem suggests a more complex text. The portrait of Domitian that emerge…
Primitive Politics
Tacitus and the twentieth-century novel
“Opus adgredior opimum casibus, atrox proeliis, discors seditionibus, ipsa etiam pace saeuum” ( H . 1.2.1) / “I am entering on a work rich in disasters, ferocious in its wars, ripped apart by civil strife, savage even in peace” / Tacitus frames his histories as an account of catastrophic and historic change at home and abroad. In both the Histories , the extant books of which cover the civil wars of 69, and the Annals , which recount the history …
The Cambridge Companion to Tacitus
Tacitus is universally recognised as ancient Rome's greatest writer of history, and his account of the Roman Empire in the first century AD has been fundamental in shaping the modern perception of Rome and its emperors. This Companion provides a new, up-to-date and authoritative assessment of his work and influence which will be invaluable for students and non-specialists as well as of interest to established scholars in the field. First situatin…
Double, Double
When Seneca's Medea flies off in her serpent-drawn chariot, shedding ruin, heartbreak and death and leaving it all behind her on the stage, we are too stunned to wonder where she might be headed. As it turns out, this enterprising exile continued her career with great success in Roman Africa. This essay considers two remarkable Later Roman Medeas: Hosidius Geta's early third (?) century tragedy Medea and Dracontius' late fifth century epyllion Me…
As if
Art (12 works) · Classical Antiquity Studies (12 works) · History (11 works) · Literature (10 works) · Law (8 works) · Ancient history (7 works) · History (7 works) · Philosophy (6 works) · Philosophy (6 works) · Poetry (6 works)