Raymond Marks
Biographic Data
| ID | 5629000 |
|---|---|
| NAME | Raymond Marks |
| GIVEN NAMES | Raymond |
| FAMILY NAME | Marks |
| SIGNATURE | MARKS R |
| AFFILIATIONS | Université de Lille |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2005 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Of Philosophers, Crowns, and Boundary Stones
This paper argues that Ovid was familiar with the philosophy of the Hellenistic dialectician Diodorus Cronus, in particular, his views on fate, which he probably knew from Cicero’s De Fato, and the so-called “horned” and “veiled” arguments associated with him. Ovid draws on these aspects of Diodorus’ philosophy to tell the story of Cipus in Metamorphoses 15 ; he uses them to portray Cipus’ attempt to avoid kingship as a highly ambiguous and unnec…
Sparsis Mauors agitatus in oris
Silius and Lucan
The relationship between Silius and Lucan is often viewed as one of contrasts and differences, a characterization to which there is a good amount of truth. Silius had deep concerns about Rome's history of civil strife, and it is principally through Lucan that he gives voice to them. On an allusive level, the civil war between Caesar and Pompey is replayed twice, from start to finish, in the Punica , first during Rome's decline, then during Cartha…
Julius Caesar in Domitianic Poetry
Augustus and I
Horace does not distinguish neatly between the public "Augustan" voice he adopts in stanzas 1-3 of Odes 3.14 and the private "Horatian" voice he adopts in stanzas 5-7. In the latter, Horace both differentiates himself from and assimilates himself to Augustus, as portrayed earlier in the poem, and thus offers a portrait of himself that is best understood as a Horatio-Augustan composite. As both voices coexist in his self-representation, the simila…
Getting Ahead
In Silius Italicus' Punica the Second Punic War is cast as a conflict fought over and between heads, and the decapitations in the epic thereby become ways of measuring the different trajectories and ultimate outcomes for each side in the war: the symbolic decapitation of Rome on the occasion of Paulus' death at Cannae in book 10 marks the low-ebb in the city's fortunes while the many decapitations perpetrated by Romans after Cannae reflect Cartha…
Per Vvlnera Regnvm
Over the past twenty-five years numerous studies have addressed the theme of sacrifice in Virgil's Aeneid . In 1993 the second chapter (‘Sacrifice and Substitution’) of Philip Hardie's The Epic Successors of Virgil broadened the scope of the topic to include post-Virgilian epic as well, but since then little attention has been paid to sacrifice in the case of at least one of Virgil's epic successors, Silius Italicus. The aim of the present paper …
Getting Ahead
In Silius Italicus' Punica the Second Punic War is cast as a conflict fought over and between heads, and the decapitations in the epic thereby become ways of measuring the different trajectories and ultimate outcomes for each side in the war: the symbolic decapitation of Rome on the occasion of Paulus' death at Cannae in book 10 marks the low-ebb in the city's fortunes while the many decapitations perpetrated by Romans after Cannae reflect Cartha…
Per Vvlnera Regnvm
Over the past twenty-five years numerous studies have addressed the theme of sacrifice in Virgil's Aeneid . In 1993 the second chapter (‘Sacrifice and Substitution’) of Philip Hardie's The Epic Successors of Virgil broadened the scope of the topic to include post-Virgilian epic as well, but since then little attention has been paid to sacrifice in the case of at least one of Virgil's epic successors, Silius Italicus. The aim of the present paper …
Getting Ahead
In Silius Italicus' Punica the Second Punic War is cast as a conflict fought over and between heads, and the decapitations in the epic thereby become ways of measuring the different trajectories and ultimate outcomes for each side in the war: the symbolic decapitation of Rome on the occasion of Paulus' death at Cannae in book 10 marks the low-ebb in the city's fortunes while the many decapitations perpetrated by Romans after Cannae reflect Cartha…
Augustus and I
Horace does not distinguish neatly between the public "Augustan" voice he adopts in stanzas 1-3 of Odes 3.14 and the private "Horatian" voice he adopts in stanzas 5-7. In the latter, Horace both differentiates himself from and assimilates himself to Augustus, as portrayed earlier in the poem, and thus offers a portrait of himself that is best understood as a Horatio-Augustan composite. As both voices coexist in his self-representation, the simila…
Silius and Lucan
The relationship between Silius and Lucan is often viewed as one of contrasts and differences, a characterization to which there is a good amount of truth. Silius had deep concerns about Rome's history of civil strife, and it is principally through Lucan that he gives voice to them. On an allusive level, the civil war between Caesar and Pompey is replayed twice, from start to finish, in the Punica , first during Rome's decline, then during Cartha…
Julius Caesar in Domitianic Poetry
Sparsis Mauors agitatus in oris
Of Philosophers, Crowns, and Boundary Stones
This paper argues that Ovid was familiar with the philosophy of the Hellenistic dialectician Diodorus Cronus, in particular, his views on fate, which he probably knew from Cicero’s De Fato, and the so-called “horned” and “veiled” arguments associated with him. Ovid draws on these aspects of Diodorus’ philosophy to tell the story of Cipus in Metamorphoses 15 ; he uses them to portray Cipus’ attempt to avoid kingship as a highly ambiguous and unnec…
Art (7 works) · Classical Antiquity Studies (7 works) · Literature (5 works) · Organic Chemistry Synthesis Methods (5 works) · Philosophy (5 works) · History (4 works) · Law (4 works) · Aesthetics (3 works) · Historical, Religious, and Philosophical Studies (3 works) · Philosophy (3 works)