T E Franklinos
Biographic Data
| ID | 5644200 |
|---|---|
| NAME | T E Franklinos |
| GIVEN NAMES | T E |
| FAMILY NAME | Franklinos |
| SIGNATURE | FRANKLINOS T E |
| AFFILIATIONS | Thiel College |
| ORCID | 0000-0001-7425-9814 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Ovid, Tristia 1.2 and Elegy Transformed
This article discusses Ovid’s allusive engagement in Tr. 1.2.75–80 with his own earlier works, as well as with the works of his elegiac predecessors—Propertius and Tibullus—and of Catullus. It is argued that this suggestive intertextuality may point toward Ovid’s re-articulation of his conceptualization of elegy as it is now to be written from exile
Essays on Propertian and Ovidian Elegy
This volume brings together eleven chapters on the genre of Latin elegy by leading scholars in the field, all of whom have been taught or mentored by Stephen Heyworth. Latin elegy is typically thought of as having flourished for a brief period at Rome between c.40 bc and the early decades of the first century ad; it was the pre-eminent vehicle for writing about amatory matters in this period and among its principal exponents were Propertius and O…
Essays on Propertian and Ovidian Elegy
Ovid's Fasti in Exile
This article takes as its starting point the frequency with which Ovid refers to his earlier works in his Tristia and Epistulae ex Ponto . Alongside his treatment of the Metamorphoses in the exile poetry, it is suggested that Ovid refers, on a number of occasions, to his Fasti and the progress he is making on it. He does so by using the incipit of his calendar poem, Tempora ; this term is sometimes combined with signa (‘stars’), which are also me…
Authoring, reading, and exploring an Appendix
This introduction outlines the primary contexts for the volume that follows, offering a way to conceive of appendical texts not only as fake or less-than, but as works of literature in their own right. What we know about the specific conditions of production of the three corpora is explored, together with what is and has historically been at stake in the determination of them as genuine or spurious. Taking the poems on their own terms, we suggest…
Construing the author as a Catullan reader in the pure iambic Catalepton (6, 10, 12)
It has long been recognized that the poems of the Catalepton betray their author’s intimate familiarity with the works of Catullus. This chapter revisits the holoiambic poems of the Catalepton (6, 10, and 12), the parts of the pseudo-Vergilian libellus that seem to engage most explicitly with the works of Catullus, his contemporaries, and his predecessors. After considering the unique relationship between Catalepton 10 and Catullus 4, this chapte…
The Cause of Idmon's Death at Seneca, Medea 652–3 and at Valerius Flaccus 5.2–3
‘The tale of the Argonauts was among the most popular myths in Greek and Roman literature of all periods.’ There was, however, not inconsiderable variation in certain aspects of the narrative: in the inclusion or exclusion of entire episodes; in (un)expected divergences from more authoritative versions of the story; and in the details of minutiae. In the Argonautic choral odes of Seneca's Medea (301–79 and 579–669), and in Valerius Flaccus’ incom…
Notes on the Text of Catalepton 10
Catalepton 10 ( Sabinus ille ) is a unique survival from antiquity: it is the only parody of an entire poem to reach us, and is written in pure iambic trimeters, a near intractable metre. Addressed to Sabinus, an upstart muleteer, the poem launches a stinging attack at him, and draws attention to his status as a parvenu. It remains incredibly close to its charming model—Catullus 4 ( Phaselos ille )—in structural, lexical, stylistic and metrical t…
Textual Notes on Palladius’ Opus agriculturae
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Textual Notes on Palladius’ Opus agriculturae
Notes on the Text of Catalepton 10
Catalepton 10 ( Sabinus ille ) is a unique survival from antiquity: it is the only parody of an entire poem to reach us, and is written in pure iambic trimeters, a near intractable metre. Addressed to Sabinus, an upstart muleteer, the poem launches a stinging attack at him, and draws attention to his status as a parvenu. It remains incredibly close to its charming model—Catullus 4 ( Phaselos ille )—in structural, lexical, stylistic and metrical t…
Authoring, reading, and exploring an Appendix
This introduction outlines the primary contexts for the volume that follows, offering a way to conceive of appendical texts not only as fake or less-than, but as works of literature in their own right. What we know about the specific conditions of production of the three corpora is explored, together with what is and has historically been at stake in the determination of them as genuine or spurious. Taking the poems on their own terms, we suggest…
Construing the author as a Catullan reader in the pure iambic Catalepton (6, 10, 12)
It has long been recognized that the poems of the Catalepton betray their author’s intimate familiarity with the works of Catullus. This chapter revisits the holoiambic poems of the Catalepton (6, 10, and 12), the parts of the pseudo-Vergilian libellus that seem to engage most explicitly with the works of Catullus, his contemporaries, and his predecessors. After considering the unique relationship between Catalepton 10 and Catullus 4, this chapte…
The Cause of Idmon's Death at Seneca, Medea 652–3 and at Valerius Flaccus 5.2–3
‘The tale of the Argonauts was among the most popular myths in Greek and Roman literature of all periods.’ There was, however, not inconsiderable variation in certain aspects of the narrative: in the inclusion or exclusion of entire episodes; in (un)expected divergences from more authoritative versions of the story; and in the details of minutiae. In the Argonautic choral odes of Seneca's Medea (301–79 and 579–669), and in Valerius Flaccus’ incom…
Ovid's Fasti in Exile
This article takes as its starting point the frequency with which Ovid refers to his earlier works in his Tristia and Epistulae ex Ponto . Alongside his treatment of the Metamorphoses in the exile poetry, it is suggested that Ovid refers, on a number of occasions, to his Fasti and the progress he is making on it. He does so by using the incipit of his calendar poem, Tempora ; this term is sometimes combined with signa (‘stars’), which are also me…
Essays on Propertian and Ovidian Elegy
This volume brings together eleven chapters on the genre of Latin elegy by leading scholars in the field, all of whom have been taught or mentored by Stephen Heyworth. Latin elegy is typically thought of as having flourished for a brief period at Rome between c.40 bc and the early decades of the first century ad; it was the pre-eminent vehicle for writing about amatory matters in this period and among its principal exponents were Propertius and O…
Essays on Propertian and Ovidian Elegy
Ovid, Tristia 1.2 and Elegy Transformed
This article discusses Ovid’s allusive engagement in Tr. 1.2.75–80 with his own earlier works, as well as with the works of his elegiac predecessors—Propertius and Tibullus—and of Catullus. It is argued that this suggestive intertextuality may point toward Ovid’s re-articulation of his conceptualization of elegy as it is now to be written from exile
Art (7 works) · Literature (7 works) · Classical Antiquity Studies (6 works) · Philosophy (5 works) · Poetry (5 works) · History (4 works) · History (4 works) · Philosophy (3 works) · Iambic pentameter (2 works) · Linguistics (2 works)