Benjamin Acosta-Hughes
Dados Biográficos
| ID | 1126473 |
|---|---|
| NOME | Benjamin Acosta-Hughes |
| PRENOMES | Benjamin |
| SOBRENOME | Acosta-Hughes |
| ASSINATURA | ACOSTA-HUGHES B |
| AFILIAÇÕES | The Ohio State University |
| VERIFICADO | Não |
| TOTAL DE OBRAS | 22 |
| TOTAL DE CITAÇÕES | 79 |
| TOTAL COMO AUTOR | 21 |
| TOTAL COMO EDITOR | 1 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2002 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2025 |
| ÍNDICE H | 3 |
An author’s ‘mihi paenitet’
Consider the Nightingale
Several epigrams of Callimachus showcase a larger content in a smaller format: one of these is Callim. Epigr. 2 Pf. = 34 G–P
The Prefigured Muse
The Laurel and the Olive
A central, much-studied feature of the poetry of 3rd cent. BCE Alexandria is the artistic treatment of the cultural past, the reception of earlier Greek poetry and artwork in the artistic creations of a new, Greco-Egyptian world deracinated both geographically and temporally from the heroes and models of Archaic and Classical Greece. Benjamin Acosta-Hughes has devoted a 30+ year professional scholarly career to the study of this reception, one of…
Greek and Latin Love
Herakles im griechischen Epos
Reviewed by: Herakles im griechischen Epos: Studien zur Narrativität und Poetizität eines Helden by Silvio Bär Benjamin Acosta-Hughes Herakles im griechischen Epos: Studien zur Narrativität und Poetizität eines Helden. By Silvio Bär. Stuttgart: Franz Steiner Verlag (Palingenesia 111). 2018. Pp. 184. A pair of sculptures proclaiming the divinity of the royal pair Ptolemy ii Philadelphus and his sister-wife Arsinoe ii faced the temples of Zeus and …
Callimachean ‘Lyric’
The present paper considers how Callimachus incorporates archaic lyric forms in new articulations in his poems. Despite writing in stichic rather than strophic meters, Callimachus works the epinician, the threnos and the paean into elegiac and hexametric works. In some cases, such as the
Composing the Masters
The Breast of Antinous. The Male Body as Erotic Object in Hellenistic Image and Text
The subject of this article is the brief period of young male beauty prior to becoming a fully mature man. For this state to endure beyond the brief time allotted by Nature, something must happen (usually death) that preserves the adolescent beauty at one particular moment. Here Hadrian’s beloved Antinous serves as an emblematic case, his early death, by drowning, insures that his memory (and subsequent wide-spread cult) remains that of an ideali…
Brill’s Companion to Greek and Latin Epyllion and Its Reception
In classical scholarship of the past two centuries, the term “epyllion” was used to label short hexametric texts mainly ascribable to the Hellenistic period (Greek) or the Neoterics (Latin). Apart from their brevity, characteristics such as a predilection for episodic narration or female characters were regarded as typically “epyllic” features. However, in Antiquity itself, the texts we call “epyllia” were not considered a coherent genre, which s…
“Nor when a man goes to Dionysus’ holy contests” (Theocritus 17.112)
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Miniaturizing the Huge
Callimachus in Context
Scholarly reception has bequeathed two Callimachuses: the Roman version is a poet of elegant non-heroic poetry (usually erotic elegy), represented by a handful of intertexts with a recurring set of images - slender Muse, instructing divinity, small voice, pure waters; the Greek version emphasizes a learned scholar who includes literary criticism within his poetry, an encomiast of the Ptolemies, a poet of the book whose narratives are often unders…
Epilogue
In responding to the reputation of Callimachus today, and particular in considering the whole of the achievement of the Brill’s Companion to Callimachus, this epilogue posits that we may best think of Callimachus as the first modern poet, one whose work is consciously, continually aware of another poetry as earlier. He is aware of the poem as text, and of the poem as song; he evokes performative occasion, and at the same time the labor of poetic …
Héraclès comme figure de l’archaïsme dans la poésie hellénistique
Christophe Cusset et Benjamin Acosta-Hughes s’intéressent ici aux traitements parallèles très différents que deux auteurs majeurs, Théocrite et Apollonios de Rhodes, ont consacrés dans leurs œuvres respectives à la figure d’Héraclès, figure emblématique de l’archaïsme que l’on peut donc, à loisir, réinventer, redimensionner ou au contraire écarter, suivant des choix qui paraissent, à chaque fois, porteurs de sens pour qui s’interroge sur l’esthét…
Brill's Companion to Callimachus
Few figures from Greco-Roman antiquity have undergone as much reassessment in recent decades as Callimachus of Cyrene, who was active at the Alexandrian court of the Ptolemies during the early third century BC. Once perceived as a supreme example of ivory tower detachment and abstruse learning, Callimachus has now come to be understood as an artificer of the images of a powerful and vibrant court and as a poet second only to Homer in his later re…
Reflections
The subject of this paper is the rapport of two epistolary poems of Catullus (poems 50 and 65) to the rendition of earlier poets that follow them (poems 51 and 66) as read through the prism of a Callimachean epigram (34 G.-P. = 2 Pf.). The paper seeks to further not only our understanding of Catullus’s use of Sappho and Callimachus as both artistic models and actual poetic figures of his own work, but to demonstrate how widely the intertextual re…
Arion's Lyre
Arion's Lyre examines how Hellenistic poetic culture adapted, reinterpreted, and transformed Archaic Greek lyric through a complex process of textual, cultural, and creative reception. Looking at the ways in which the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was preserved, edited, and read by Hellenistic scholars and poets, the book shows that Archaic poets often look very different in the new social, cultural, and political set…
Inscribing Lyric
Bucolic Singers of the Short Song
Aesthetics and recall
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Rereading Callimachus' "Aetia" Fragment 1
Brill's Companion to Callimachus
Few figures from Greco-Roman antiquity have undergone as much reassessment in recent decades as Callimachus of Cyrene, who was active at the Alexandrian court of the Ptolemies during the early third century BC. Once perceived as a supreme example of ivory tower detachment and abstruse learning, Callimachus has now come to be understood as an artificer of the images of a powerful and vibrant court and as a poet second only to Homer in his later re…
Arion's Lyre
Arion's Lyre examines how Hellenistic poetic culture adapted, reinterpreted, and transformed Archaic Greek lyric through a complex process of textual, cultural, and creative reception. Looking at the ways in which the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was preserved, edited, and read by Hellenistic scholars and poets, the book shows that Archaic poets often look very different in the new social, cultural, and political set…
Rereading Callimachus' "Aetia" Fragment 1
Aesthetics and recall
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Rereading Callimachus' "Aetia" Fragment 1
Aesthetics and recall
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Bucolic Singers of the Short Song
Inscribing Lyric
Reflections
The subject of this paper is the rapport of two epistolary poems of Catullus (poems 50 and 65) to the rendition of earlier poets that follow them (poems 51 and 66) as read through the prism of a Callimachean epigram (34 G.-P. = 2 Pf.). The paper seeks to further not only our understanding of Catullus’s use of Sappho and Callimachus as both artistic models and actual poetic figures of his own work, but to demonstrate how widely the intertextual re…
Arion's Lyre
Arion's Lyre examines how Hellenistic poetic culture adapted, reinterpreted, and transformed Archaic Greek lyric through a complex process of textual, cultural, and creative reception. Looking at the ways in which the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was preserved, edited, and read by Hellenistic scholars and poets, the book shows that Archaic poets often look very different in the new social, cultural, and political set…
Epilogue
In responding to the reputation of Callimachus today, and particular in considering the whole of the achievement of the Brill’s Companion to Callimachus, this epilogue posits that we may best think of Callimachus as the first modern poet, one whose work is consciously, continually aware of another poetry as earlier. He is aware of the poem as text, and of the poem as song; he evokes performative occasion, and at the same time the labor of poetic …
Héraclès comme figure de l’archaïsme dans la poésie hellénistique
Christophe Cusset et Benjamin Acosta-Hughes s’intéressent ici aux traitements parallèles très différents que deux auteurs majeurs, Théocrite et Apollonios de Rhodes, ont consacrés dans leurs œuvres respectives à la figure d’Héraclès, figure emblématique de l’archaïsme que l’on peut donc, à loisir, réinventer, redimensionner ou au contraire écarter, suivant des choix qui paraissent, à chaque fois, porteurs de sens pour qui s’interroge sur l’esthét…
Brill's Companion to Callimachus
Few figures from Greco-Roman antiquity have undergone as much reassessment in recent decades as Callimachus of Cyrene, who was active at the Alexandrian court of the Ptolemies during the early third century BC. Once perceived as a supreme example of ivory tower detachment and abstruse learning, Callimachus has now come to be understood as an artificer of the images of a powerful and vibrant court and as a poet second only to Homer in his later re…
Brill’s Companion to Greek and Latin Epyllion and Its Reception
In classical scholarship of the past two centuries, the term “epyllion” was used to label short hexametric texts mainly ascribable to the Hellenistic period (Greek) or the Neoterics (Latin). Apart from their brevity, characteristics such as a predilection for episodic narration or female characters were regarded as typically “epyllic” features. However, in Antiquity itself, the texts we call “epyllia” were not considered a coherent genre, which s…
“Nor when a man goes to Dionysus’ holy contests” (Theocritus 17.112)
A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Miniaturizing the Huge
Callimachus in Context
Scholarly reception has bequeathed two Callimachuses: the Roman version is a poet of elegant non-heroic poetry (usually erotic elegy), represented by a handful of intertexts with a recurring set of images - slender Muse, instructing divinity, small voice, pure waters; the Greek version emphasizes a learned scholar who includes literary criticism within his poetry, an encomiast of the Ptolemies, a poet of the book whose narratives are often unders…
Composing the Masters
The Breast of Antinous. The Male Body as Erotic Object in Hellenistic Image and Text
The subject of this article is the brief period of young male beauty prior to becoming a fully mature man. For this state to endure beyond the brief time allotted by Nature, something must happen (usually death) that preserves the adolescent beauty at one particular moment. Here Hadrian’s beloved Antinous serves as an emblematic case, his early death, by drowning, insures that his memory (and subsequent wide-spread cult) remains that of an ideali…
Callimachean ‘Lyric’
The present paper considers how Callimachus incorporates archaic lyric forms in new articulations in his poems. Despite writing in stichic rather than strophic meters, Callimachus works the epinician, the threnos and the paean into elegiac and hexametric works. In some cases, such as the
Greek and Latin Love
Herakles im griechischen Epos
Reviewed by: Herakles im griechischen Epos: Studien zur Narrativität und Poetizität eines Helden by Silvio Bär Benjamin Acosta-Hughes Herakles im griechischen Epos: Studien zur Narrativität und Poetizität eines Helden. By Silvio Bär. Stuttgart: Franz Steiner Verlag (Palingenesia 111). 2018. Pp. 184. A pair of sculptures proclaiming the divinity of the royal pair Ptolemy ii Philadelphus and his sister-wife Arsinoe ii faced the temples of Zeus and …
The Prefigured Muse
The Laurel and the Olive
A central, much-studied feature of the poetry of 3rd cent. BCE Alexandria is the artistic treatment of the cultural past, the reception of earlier Greek poetry and artwork in the artistic creations of a new, Greco-Egyptian world deracinated both geographically and temporally from the heroes and models of Archaic and Classical Greece. Benjamin Acosta-Hughes has devoted a 30+ year professional scholarly career to the study of this reception, one of…
An author’s ‘mihi paenitet’
Consider the Nightingale
Several epigrams of Callimachus showcase a larger content in a smaller format: one of these is Callim. Epigr. 2 Pf. = 34 G–P
Art (18 obras) · Classical Antiquity Studies (17 obras) · Literature (14 obras) · Poetry (11 obras) · Historical, Religious, and Philosophical Studies (10 obras) · Philosophy (10 obras) · Byzantine Studies and History (7 obras) · History (7 obras) · Computer Science (5 obras) · Organic Chemistry Synthesis Methods (5 obras)