Augustan Rome Research Articles

Sappho, Corinna and Colleagues in Ancient Rome. Tatian’s Catalogue of Statues (Oratio ad Graecos 33-4) Reconsidered

AbstractIn hisOratio ad GraecosTatian claims to have seen Sappho’s statue among a number of other female figures in Rome, which, according to a passage in Pliny the Elder, seem to have been in the Portico of Pompey. This article examines how difficulties in the scholarly reception of Tatian’sOratio ad Graecoscontinue to obstruct a fuller picture of the role of female figures such as Sappho in late Republican and Augustan Rome. Furthermore, by bringing fresh archaeological evidence into the discussion of Tatian’s text and pointing out previously ignored philological connections betweenOratio ad Graecosand late Republican and Augustan literature, the article refines the image of a woman like Sappho in Ancient Rome.

Vergil, Georgics 1.1-42 and the pompa circensis

In this paper we attempt to show that the prologue of the first book of the Georgics, in which a series of deities is invoked to preside over the beginning of Vergil’s text, should be related to the pompa circensis, the grand procession of deities which preceded the celebration of the ludi circenses. The Vergilian passage is compared with the descriptions of the pompa to be found in Dionysius of Halicarnassus, Roman Antiquities 7.72.1-18 and Ovid, Amores 3.2. It is also discussed in relation to the prologue of Georgics 3, where a pompa is explicitly mentioned. In addition, we relate the prologue’s prediction of Octavian’s apotheosis to the fact that the pompa circensis was Rome’s most remarkable display of images of the gods and hence a major focus for the categorization of the divine, particularly in Triumviral and early Augustan Rome.

Happiness, Life Models, and Social Order in Republican and Augustan Rome

The paper has three parts. The first examines texts that sketch the model Roman life, i.e. that of a member of the senatorial aristocracy. With its concentration on political and military achievement this life is by general consensus a (objectively) “good” life, the idea of (subjective) “happiness” remaining outside consideration. The second part of the paper looks at texts that favour alternative life choices, ones that give weight to the idea of “happiness”: the Epicurean life (Lucretius), the individualistic life (Lucilius and Horace), and the amatory life (Tibullus and Propertius). The analysis shows that these texts contrast the lives advocated with the model elite life and engage at the same time in a discourse with each other. The third part of the paper reflects on the philosophical significance and the social setting of the texts examined.

Christopher D'Addario, Exile and Journey in Seventeenth-Century LiteratureExile and Journey in Seventeenth-Century Literature. ChristopherD'Addario. Cambridge: Cambridge University Press, 2007. Pp. v+199.

<i>Christopher D'Addario,</i> Exile and Journey in Seventeenth-Century Literature<i>Exile and Journey in Seventeenth-Century Literature</i>. ChristopherD'Addario. Cambridge: Cambridge University Press, 2007. Pp. v+199.

The Boy as Metaphor: The Hermeneutics of Homoerotic Desire in Tibullus 1.9

This paper examines Tibullus 1.9, the closing poem of the Marathus cycle, in an attempt to depart from traditional interpretations of the elegiac puer as a real-life male beloved and establish the 'boy' as a distinct gender category in the genre, analogous to 'man' and 'woman.' The paper builds on Nikoloutsos 2007, which discussed Tibullus 1.4, the opening poem of the cycle. Challenging the autobiographical mode in which Tibullus's homoerotic poetry has commonly been analyzed, in that article I showed that the erotic discourse of 1.4 forges such a strong link between the theme of boy-love and the collection's central concerns (namely, elegiac composition, gender roles, economics, and the state) that any attempt to look into the poem for reliable information about same-sex practices in Roman antiquity is doomed to fail. Furthermore, I argued that in 1.4 Tibullus introduces a new strand in the collection, parallel to that about Delia and unique in the corpus of Augustan elegy. In this poetic strand, the puer is cast, like the puella in the heterosexual cycle, as a literary construct, a fictitious character with strong intertextual connections that serves as a vehicle through which the poet expresses his artistic and socio-moral ideology. Unlike a typical puer delicatus who is expected to be submissive, the puer that the god Priapus recommends in his erotodidactic speech in Tibullus 1.4 is demanding. He crosses gender and social boundaries and so defies binary categories, such as active/passive or elite/non-elite. As such, he highlights the precarious position of a man, such as the poet but also the reader/listener, in hierarchical spheres. Given the power asymmetries in both the private and the public domain, a man, as I argued, often can (or is forced to) play the role of the 'boy' (2007, 79). This paper applies this theoretical model to poem 1.9; its aim is to contextualize further Tibullus's choice of the theme of pederasty and thus restore a neglected group of poems to visibility in contemporary scholarship on gender and sexuality in classical antiquity. I shall argue that far from being a flesh-and-blood boy, as he has traditionally been understood, (1) Marathus is a scriptus puer modeled in accordance with the aesthetic principles of Latin elegy and the pressing social, moral, and political issues of a rather liminal period in Roman history. Published in late 27 or early 26 B.C.E., (2) Tibullus's book 1 was the product of a period during which Rome changed, after a series of civil wars, from Republic into an Empire under Augustus. Fashioned discursively, Marathus operates as a medium through which Tibullus achieves self-expression and communicates to his reader his goals and ambitions as a practitioner of elegy, as well as his concerns and anxieties as a male and citizen in post-civil war Rome. Although the subordination of the beloved to the protocols of writing elegy is an issue already explored in connection with the puella by Maria Wyke (2002, 1-191) and other critics, (3) a separate study of the elegiac puer and his semiotic role in the genre is necessary for two reasons. First, it can shed more light upon elegy's engagement with the big ideological debates of its time. Second, it can help build intellectual bridges between feminist and queer classical scholarship. A dialogue between these two strands of scholarship, as this paper proposes, can enrich and at the same time complicate the theorization of the interconnection between power, sex gender, class, economics, and poetic practice in late Republican and early Augustan Rome. Triangulating the Pederastic Affair I begin my analysis by focusing on the way the relation between amator and puer is portrayed in Tibullus 1.9. My goal in choosing to do so is to show that homoerotic desire is in intimate relation with power, a finding that can effect a smoother transition to the examination of the dynamics and asymmetries of amor puerilis as a poetic practice in the section 2 below. …

&lt;i&gt;Gendered Dynamics in Latin Love Poetry&lt;/i&gt; (review)

Reviewed by: Gendered Dynamics in Latin Love Poetry Aven McMaster Gendered Dynamics in Latin Love Poetry. Edited by Ronnie Ancona and Ellen Greene . Baltimore, MD: Johns Hopkins University Press, 2005. Pp. 372. $55.00 (cloth). The study of gender in the Roman world and in Latin literature is a growing and vibrant field, and this volume makes an impressive and thought-provoking contribution to the subject. It is a collection of thirteen essays, most published here for the first time, about the complexities of gender in Latin amatory poetry. It is designed to contribute to the developing discussion of gender and sexuality in classics in general and particularly to the increasing interest in the importance of Latin love poetry as a site for the construction of and anxiety about male and female identity in Rome. Catullus, Horace, Propertius, and Ovid are the poets examined here, with the majority of essays concentrating on either Propertius or Ovid. While the collection is aimed mainly at classics scholars and students, there is much here that should be of interest to those working in other areas of gender studies, and some of the essays take the needs of nonspecialists into consideration. Some of the essays give very full background information in the footnotes, with dates of works and explanations of technical terms, but others have mainly bibliographical notes, and some references may be unclear for those without specific background in Latin poetry. All the passages from Latin and Greek texts are given both in the original language and translated, but generally the entire poem or poems under discussion are not given in the book, however, so the reader will have to find the texts elsewhere. There is also no index locorum, which would have been a valuable addition, since there are many passages cited and many close readings of individual texts. Included are essays of particular value for scholars who are not specialists in Latin poetry or even classics. The first essay, Trevor Fear's "Propertian Closure: The Elegiac Inscription of the Liminal Male and Ideological [End Page 615] Contestation in Augustan Rome," outlines the relationship between the elegiac male lover (young, elite, and deliberately resisting maturation into a productive adult) and the rejection, promotion, or accommodation of the normative ideals of Augustan Rome. Fear uses the example of the closural motifs of Propertius's third book to demonstrate the complexities of the elegiac construction of masculinity within the changing social and political world of post-Actium Rome. This essay will give a nonspecialist reader a good outline of the world in which most of the poetry under discussion is set and is particularly valuable for the nuanced approach Fear takes. Too often Roman poetry is seen either as embracing and justifying or as rejecting or subverting Augustus's political and moral programs. Fear resists this simplistic approach, and his argument is compelling. In "Impossible Lesbians in Ovid's Metamorphoses," Kirk Ormand examines Ovid's portrayal of love between two women (Iphis and Ianthe) in terms of Roman sexual and gender categories to see if it can or should be read as depicting "homosexuality," "homophobia" (an attack on female homoeroticism), or something else. This essay should be useful for classicists and nonclassicists alike, because he gives an intelligent summary of recent scholarly discussion of gender categories and sexuality at Rome and provides clear definitions of his use of the terms. He focuses on what can be reconstructed about female sexuality and gender and makes the important point that the ancient conception of sex requires an active role and a passive role; there can be no equal sexual act: "Ancient Rome perceived sex as essentially predicated on an asymmetry of power" (85). He concludes that the story of Iphis and Ianthe is about the impossibility of love between equals, in which there is no hierarchy of dominance, rather than an attack on female homoeroticism per se. One minor criticism is that Ormand needs to state more clearly that he is reconstructing Roman male thought about women's sexuality, not its realities. Nonetheless, this is a valuable contribution to an important topic. Hérica Valladares, in "The Lover as a Model Viewer: Gendered Dynamics in Propertius...

Writing, Performance, and Authority in Augustan Rome by Michéle Lowrie

Writing, Performance, and Authority in Augustan Rome by Michéle Lowrie

Morals, piety, and representations of veiled women in augustan rome

(2010). Morals, piety, and representations of veiled women in augustan rome. Material Religion: Vol. 6, No. 3, pp. 377-378.

Textual Permanence: Roman Elegists and the Epigraphical Tradition (review)

Reviewed by: Textual Permanence: Roman Elegists and the Epigraphical Tradition Martin T. Dinter Teresa R. Ramsby . Textual Permanence: Roman Elegists and the Epigraphical Tradition. London: Duckworth2007. Pp. ix, 197. $81.50. ISBN 978-0-7156-3632-9. Mother told us not to peek into the back of books first. If we do, we usually find out who murdered whom or marries whom all too quickly. In the case of academic books, we usually encounter indices which often tell us much about the volume we are about to digest. In Ramsby's book, a half-page [End Page 262] index rerum with just eighteen entries gives the idea that this book is dealing with a well confined topic. A one-page index operum maiorum indicates that although we will be looking at Catullus, Ennius, Horace, and Virgil, most attention is going to be paid to Tibullus, Propertius, and Ovid. Worrying, though, is the index inscriptionum encompassing twenty-four entries, almost all of which are mentioned on 21–25 only. The realia of the epigraphical tradition seem to have been banned to an introductory section never to show up again in the main discussion. In the book's opening section, Ramsby explains why she considers embedded inscriptions in literature to be mimetic rather than ecphrastic, asserting that invented inscriptions "constitute a perfect marriage between the 'world-reflecting' and the 'world-creating' aspects of poetry" (8). After a brief overview of the existing scholarly literature on literary inscriptions, Ramsby provides a neat section that covers all the basics: the surge of the elegiac meter, slowly but surely replacing the Saturnian verse, and the encroachment of poetic aspects into the dry career-driven funerary inscriptions of the Roman Republic in the second century B.C. These developments are exemplified with a corpus of Scipio epitaphs (15–29). In addition, Ramsby outlines inscriptional types at Rome (epitaphs, votives, tituli, and graffiti) which have their counterparts in the types of epigraphic passages seen in Augustan poetry (29-38). With this groundwork behind us, Ramsby then embarks on literary analysis. Putting forward the idea that the elegists wrested the elegiac genre from the epig-raphers who had made elegy the preferred medium of memorial, adding the spice of Hellenistic poetics, she discusses Catullus' lament for his deceased brother (Cat. 65). This personal experience adds to the thematic development of Latin elegy, since Catullus intended his verses as a monument for his brother. This is an important precursor for Propertius' musings about his own legacy and his struggle as a poet to provide a career worth remembering as an alternative to the existing categories of Roman manhood in politics and in the military. In addition, Ramsby frequently links the elegists' drive for (self-)memorialization to the political situation in Augustan Rome, which usurped public honors for the princeps. Propertius thus "utilizes the elegy to memoralize those whose voices were lost [ . . . ] in the age of Empire" (71). A brief chapter on Tibullus' inscriptional formulations in Tib. 1.3 and 1.9 follows (73–87). The most stimulating part of the book, however, are the three final chapters on Ovid. Here Ramsby successfully adopts a thematic approach and thus showcases the workings of literary inscriptions by examining those in which Ovid parades his own name in the Amores, Ars Amatoria, and Tristia (89–112). Here Ramsby clearly finds her own path and her close readings provide numerous new insights. The highlight of this volume is the chapter on the most epigraphically minded of Ovid's texts, the Heroides (113–129), which brims with four epitaphs (Phyllis [2], Dido [7], Hypermestra [14], and Sappho [15]), one dedicatory inscription (Acontius' inscribed image of an apple, 20), Paris' tree graffito for Oenone (5), and his writing in wine to seduce Helen (17). Ramsby succeeds in connecting these instances and distils the relevance of embedded inscriptions for the whole of the Heroides. A final chapter (131–142) discusses examples from Ovid's Metamorphoses (Phaethon, Met. 2; Iphis, Met. 9; and Caieta, Met. 14). Each chapter is followed by a brief conclusion, and Ramsby also provides an overarching conclusion at the end of the volume. The reader thus follows a well signposted path. Ramsby well...

:Conceiving the Empire: China and Rome Compared

I. THE BIRTH OF THE IMPERIAL ORDER A. THE IDEA OF 'EMPIRE': ITS GENESIS BEFORE AND ITS UNFOLDING AFTER THE EMERGENCE OF THE EMPIRE 1. City and Empire 2. Interlude: Kingship and Empire 3. The Rhetoric of 'Empire' in the Classical Era in China B. HISTORIOGRAPHY AND THE EMERGING EMPIRE 1. Imagining the Empire? Concepts of 'Primeval Unity' in Pre-Imperial Historiographic Tradition 2. The Emergence of Empire: Rome and the Surrounding World in Historical Narratives from the Late Third Century BC to the Early First Century AD II.THE FIRMLY ESTABLISHED EMPIRE A. IMPERIAL GRANDEUR AND HISTORIOGRAPHY A LA GRANDE 1. The Problem of 'Imperial Historiography' in Rome 2. Forging Legacy: The Pact between Empire and Historiography in Ancient China B.THE SPATIAL DIMENSION OF THE UNIFIED WORLD: IMPERIAL GEOGRAPHY AND CARTOGRAPHICAL REPRESENTATIONS 1. Mapping China. The Spatial Dimension of the Unified World: Imperial Geography and Cartographical Representations in Early Imperial China 2. Text and Image: Mapping the Roman World C. SELF-IMAGE AND THE FORMATION OF IMPERIAL RHETORICS 1. Announcements from the Mountains: The Stele Inscriptions of the Qin First Emperor 2. The Res Gestae Divi Augusti and the Roman Empire D. THE POWER OF IMAGES: IMPERIAL ORDER AND IMPERIAL AURA AS REPRESENTED IN ART AND ARCHITECTURE 1. Image and Empire: The Shaping of Augustan Rome 2. Imperial Aura and the Image of the Other in Han Art III. THE WANING OF THE IMPERIAL ORDER A. HISTORY-WRITING IN THE FACE OF CRISIS 1. The Impact of the Empire's Crises on Historiography and Historical Thinking in Late Antiquity 2. Empire on the Brink: From the Demise of the Han Dynasty to the Fall of the Liang Dynasty. Notes on Chinese Historiography in the Wei-Jin-Nanbeichao Period B. WHEN THE IMPERIAL ORDER DISINTEGRATES: RETHINKING THE 'EMPIRE' UNDER RELIGIOUS AUSPICES 1. New Tendencies, Religious and Philosophical, in the Roman Empire of the Third to Early Fifth Centuries 2. New Tendencies, Religious and Philosophical, in the Chinese World of the Third through Sixth Centuries Epilogue

The Virgilian tradition: the first fifteen hundred years

This indispensable anthology gathers texts and translations that cover major aspects of the Virgilian tradition from the Roman poet's own lifetime to the year 1500. Unprecedented in scope, the book presents a vast compendium of materials that illuminate how poets, teachers, students, and common folk responded to Virgil and his poetry. The volume offers a brief commentary on each text, many of which are translated into English for the first time. The book begins with a chronological survey of Virgil's influence upon writers from Augustan Rome to Renaissance Italy. There follow detailed reviews of biographies of Virgil, of how his writings were received and used, and of how the poet was envisaged and explained through the centuries. The final section focuses on the tradition of legends associated with Virgil.

Enchanted Archive: Influence, Dissemination, and Media Transformation in Shelley’s “Ode to the West Wind”

In “Ode to the West Wind” Percy Shelley represents the instability of the archive and the tenuousness of literary transmission through allusions, via Dante’s Divine Comedy and Virgil’s Aeneid, to a formative period in the history of the book: the period from roughly the first century BCE to the fourth century CE when the classical volumen or scroll was giving way to the codex of cut and sewn pages or “leaves.” By registering the poet’s own anxieties over the survival of his poetry and the perils of fragmentary dissemination through the image of “leaves dead” by which his two great precursors imagined the afterlives of departed souls, Shelley’s prophetic ode speaks to our own anxieties over the possibility of archival displacement and dispersion in a digital age while reaching back two millennia to the re-establishment of state religion, transformations in writing practices, and the founding myth of the Cumaen Sybil in Augustan Rome.

Ovid before exile: art and punishment in the Metamorphoses

Ovid's epic masterpiece, the Metamorphoses, with its fiercely irreverent tone and its resolute defiance of the boundaries of genre, stands boldly apart both from the other poetry of its age and from the epic tradition that preceded it. A generation earlier, a high culture of poets and patrons had flourished, giving rise to the great works of Vergil, Horace, Propertius, and Tibullus. But, in this compelling new reading of the in its social and political context, Patricia Johnson demonstrates that Ovid was writing in an artistic atmosphere succumbing to a stranglehold of implicit censorship that culminated in his exile from Rome in 8 A.D.Johnson shows that, in the poem, danger permeates acts of artistic creation. In Ovid's portrayals of mythic figures - from Arachne and Minerva to Orpheus in the Underworld - artists who please their audience triumph; the defiant and subversive are destroyed. She reveals that in the poem, as in late Augustan Rome, the overriding criterion for artistic success was not aesthetic beauty but satisfying the expectations and desires of powerful audiences. She convincingly demonstrates just how unprecedented the Metamorphoses was in the epic tradition.

Editor's Note: Literary and Material Culture in Republican and Augustan Rome

Editor's NoteLiterary and Material Culture in Republican and Augustan Rome Paul Allen Miller With the third of our four clusters on literary and material culture, we move from Hellenistic Greece to Rome before the empire. In the original call for papers, material culture was defined broadly as everything from economic, political, and social practices to the actual conditions for the production, distribution, and interpretation of texts. Literary culture was defined as the poetics (or prosaics) of conventional genres, the works of specific authors, or individual texts. This cluster devoted to Literary and Material Culture in Republican and Augustan Rome features three papers that examine a broad range of literary and material practices. They each represent in their own fashion the way in which the most exciting work done in philology today crosses the boundaries of the text, not to leave it behind, but to expand and enrich it. The first paper, by Timothy J. Moore, "When Did the Tibicen Play? Meter and Musical Accompaniment in Roman Comedy" proposes a definitive answer to the question of the relation between the metrical structure of Roman comedy and the music that accompanied it. In this paper, he subjects the theories of Ritschl and Bergk to a thorough analysis in light of both recent scholarship and the corpus of comedy and its accompanying ancient commentaries. In the end, he demonstrates that the findings of these nineteenth-century philologists have remained remarkably resilient. Indeed their thesis that all meters other than iambic senarii were accompanied was even more powerfully and universally observed than they had conjectured. With Tara Welch's "Horace's Journey Through Arcadia," we move from the performance practice of Roman comedy to the complex weave that constitutes the text of Horatian satire. On one level, what could be more replete with the artifacts of material culture than the wonderfully low mimetic world of Sermones 1.5, the journey to Brundisium? Of course, as every student of Roman satire knows, this oblique narration of Horace's journey with Maecenas to broker an agreement between Octavian and Antony is never quite as realistic [End Page 1] as it pretends to be, founded as it is on the longer and even more low mimetic "Journey to Sicily" of Lucilius. Yet, as Welch demonstrates, Lucilian satire is hardly the only intertext haunting this poem. Echoes of Vergil's Eclogues saturate it as well, and those echoes point to another set of practices beyond either Lucilius's journey to his estates or Maecenas's diplomatic mission. They gesture instead to the world of epicurean philosophy and its particular practices of friendship and frank speech. Anthony Corbeill in "Genus quid est? Roman Scholars on Grammatical Gender and Biological Sex" takes readers on a fascinating tour of the byways of Roman literature beginning with Varro and ending with the last grammarians of the empire. He shows us scholars and poets struggling with the gap that threatens to open between the abstract world of Latin grammar and the seemingly more concrete world of physical sex and social gender. The writers discussed are involved in a persistent effort to knit the linguistic and material world back together, to assure themselves of a coherent whole in which the hierarchies of power associated with gender are founded simultaneously in the body and the word. In this struggle, it is the poets of the republican and the Augustan age whose usage becomes authoritative, with Vergil holding pride of place. [End Page 2] Copyright © 2008 American Philological Association

A global history of architecture

Preface. Color Portfolio. Introduction. 3500 BCE. Beginnings of China's Civilization. Early Indus Settlements. Predynastic Egypt. Mesopotamia. European Megalithic Tombs. 2500 BCE. Indus Ghaggar-Hakra Civilization. Early Empires of Mesopotamia. Egypt: The Old Kingdom. Megalithic Temples of Malta. Stonehenge. First Civilizations of the Americas. 1500 BCE. Egypt: The New Kingdom. Hittite Empire. Minoan Civilization. Mycenaean Civilization. Civilization of the High Andes. Poverty Point. Shang Dynasty China. 800 BCE. The Olmecs. Chavin de Huantar. Zhou Dynasty China. Varanasi: The Aryan Conquest. Etruscan Civilization. Greece: The Geometric Period. Temple of Solomon. Kingdom of Kush. Neo-Assyrian Empire. 400 BCE. Achaemenid Dynasty. Classical Greece. Early Hellenic Age. Advent of Bhuddism. China: The Warring States Period. Late Olmec Centers. 0. Republican Rome. Augustan Rome. Post-Augustan Rome. Imperial Rome. Mahayana Buddhism. Taxila: The Gandharan Cosmopolis. Qin Dynasty China. Shaft Tombs of Teuchitl n. 200 CE. Roman Empire. Zoroastrian Fire Temples. Buddhism of the Satvahanas. The Kushan. Han China. The Moche and Nazca Civilizations. Teotihuacan. Ohio's Hopewell Mounds. 400 CE. Hindu Renaissance. Kushans of Bamiyan. Establishment of Chinese Buddhism. Emergence of Christianity. Post-Constantinian Age. Zapotecs of Oaxaca. Kofun Period: Japan. 600 CE. Maya of the Yucatan. Tiwanaku. Age of Justinian. Armenian Architecture. Ries of the Temple Kingdoms. The Sui and Tang Dynasties. Nara Period: Japan. 800 CE. Chang'an, the Tang Capitol. Korean Buddhism. South Asian Hindu-Buddhism. Indonesia at a Crossroads. Hindu Kingdoms of Cambodia. Construction in Southeast Asia. Rise of Islam. Carolingian Empire. Byzantine Empire. Pueblo Bonito. Maya City-States. 1000. Rise of Rajput Kingdoms. Song Dynasty China. Pure-Land Buddhism. Seljuk Turks. The Fatimids. Almoravid Dynasty. Byzantine Revival. Ottonian Germany. The Normans. Pilgrimage Churches. Italian City-States. Medieval Scandanavia. Kievan Russia. Mayan Uxmal. Native Americans of Cahokia. 1200. Khmer Vrah Vishnulok. Kingdom of Pagan. Kamakura Japan. Southern Song Dynasty. Delhi Sultanate. The Hoysalas. African Kingdoms. Europe: The High Middle Ages. Republic of Novgorod. Nasrid Sultanate. Toltec Empire. 1400. The Mexica: Tenochtitlan. Nomadic Invaders. Ming Dynasty China. Joseon Dynasty. Muromachi Japan. Timurid Dynasty. The Deccan Sultanates. Ottoman Empire. Mamluk Sultanate. Republic of Venice. Italian Renaissance. French Chateaux. 1600. Tokugawa Shogunate. Voyages of Zheng He. The Mughals. Spanish Conquest of America. Italian High Renaissance. Place Royale. Elizabethan England. The Kremlin?s New Churches. Baroque Italy. The Dogons of Mali. Architecture of the Eurasian Power Bloc. 1700. Colonialism. The French Culture of Empire. England: House of Stuart. Spread of the Baroque. Georgian Architecture. Qing Dynasty China. Edo and The Kyoto Odoi. Choson Dynasty. Nayaks of Madurai. The Mallas of Nepal. End of the Mughals. 1800. Qianlong Emperor. Neo-Classicism. Japan: The Edo Period. Romantic Nationalism. Shakers. Greek Revival. Synagogues. Viollet le Duc. Wat Pra Kaeow. 1900. London Metropolitan Board of Works. World?s Fairs. National Museums. Colonial Bombay. cole des Beaux-Arts. Arts and Crafts Movement. The Indo-Saracenic. Dutch Kampung. Shingle Style. The City Beautiful Movement. Rise of Professionalism. Skyscrapers. Art Nouveau. International Beaux Arts. Colonial Africa. The Deutsche Werkbund. Expressionism. De Stijl. 679 Russian Constructivism. Bauhaus. 1950. Modernism. Postmodernism. The Postmodern Museum. The Postmodern Postcolonial World. Globalization. Glossary. Bibliography. Photo Credits. Index.

Augustan Religion and the Reshaping of Roman Memory

This paper argues that the Augustan period witnessed a dramatic reconception of Roman religion—a reconception that played a vital role in the emperor's efforts to create a unified sense of identity that included both Romans and Italians. Instead of a religion of place tied to specific historical developments, both Virgil in the Aeneid and Augustus in his rebuilding of the eighty-two temples emphasized religious practices ordained by a single authoritative figure and connected to pre-Roman Italy. The reconstruction program reshaped Roman memory as well as the physical city, because Roman temples served not only as religious sites, but also as monuments in which Roman memories and Roman history resided. This reordering of Roman topographical and chronological space thus linked Roman identity not to the history of expansionist Rome over the previous 500 years, but rather to Augustan Rome and its fuller inclusiveness of Italy.

Classics

Classics Christopher Stray University of Wales, Swansea A textbook can be classified as such in different ways: authorial intention, publisher's planning, conventional markets, pedagogic function, and so on. But the modern notion of 'textbook' as a book designed for a teaching situation, often with an adapted or specifically targeted text and/or with pedagogic additions (questions and answers, vocabulary, exercises, notes) seems to have solidified around 1830.3 Before the nineteenth century a 'text book' was usually a book containing an important text – often a religious one, though it might be a secular text to be discussed in a teaching context. By 1900 the spelling had generally (though by no means universally) shifted from 'text book' through 'text-book' to 'textbook', and this perhaps indicates a reification and commodification of the category. It may be significant that the period around 1830 also saw a moveto safer markets by some publishers after the commercial alarms and publishing crashes of the mid-1820s (John Taylor and John Murray both made such moves); but it was also the beginning, as Simon Eliot has suggested, of a distribution revolution which was accelerated in the 1840s by the penny post and the railways.4 The rural boarding schools which relied on access by rail for pupils were also sent books by the [End Page 263] same route. Earlier innovations had included lithography, which spread rapidly in the first two decades of the century, and which facilitated the flexible printing of 'exotic' (i.e. non-roman, including Greek and Hebrew) and mathematical texts. It also made possible cheap, short-run, in-house printing of teaching material, much of which has probably disappeared.5 It is important to remember the existence of this kind of material, complementing or even replacing conventional books, since little survives. The same is true for some kinds of manuscript material: for example, the teaching texts assembled by mathematical coaches in Cambridge in the later eighteenth and early nineteenth centuries.6 Almost all of this material will have escaped the clutches of copyright deposit libraries, though traces can be found in institutional archives. Classics offered a dual tradition: Greek and Latin. In 1800 a previously central Latin exemplar (Augustan Rome) was being upstaged by romantic hellenism, but Latin was embedded not only as the language of Rome but as the language of learning: both Latin and Greek grammars, for example, were usually written in Latin.7 Teaching in the lower forms of the English public and grammar schools was dominated by memorised grammar; after that by literary texts, mem-morised, parsed and translated. The pedagogical canon was restricted, though some schools had their own books of extracts covering a wider range. Language and literature were all, there being no formal teaching of history or archaeology. In 1800 the grammar was the centraltextbook: not only because grammar and syntax were so prominent in secondary school curricula, but also because it often included literary quotations which turn up again and again in literature (e.g. in thematic chapter headings in Trollope). The Eton Latin grammar (1758), an adapted version of a grammar dating back to the early sixteenth century, was the market leader and from the 1790s had spawned numerous piracies and 'editions', some translating the Latin text into English. The use of English notes or translation was a contentious issue in the 1820s and 1830s. It was variously deplored as untraditional, inefficient, or threatening to the semi-religious world of the classical languages and hence potentially to religious faith. An underworld of translations grew up in mid-century, the series being best remembered: for instance Henry Bohn's Classical Library (116 volumes, c.1847–1913) and Kelly's Keys to the Classics (roughly the same period; continued in the twentieth century by such firms as Brodie, Gill and Cornish). The growth of an informal but distinct public-school community through the century, and of the proprietary school sector from the 1840s, created an identifiable market especially important...

An gravius aliquid scribam: Roman seniores write to iuvenes

I USED TO WONDER WHEN READING HORACE SERMO 2.1 the fictive dialogue with the real-life jurisconsult, C. Trebatius Testa, why this expert advises the poet to oil up and swim the Tiber whenever the satirical impulse keeps him from sleep.' Although the exercise is certainly appropriate to young jocks of Augustan Rome, it seems like a frivolous antidote to the literary obsessions of a man almost 40. Unexpectedly the answer popped out at me from a letter that Cicero had written to a much younger Testa in December 54 while Trebatius was serving as a member of Caesar's camp in Gaul. Not Horace's athletic proclivities are in question, but those of Testa. More cautious in military than in judicial affairs, as Cicero styles him, Testa is a studiossissimus homo natandi, who has nonetheless balked at a swim in the ocean.2 Undoubtedly, Cicero is referring to Caesar's first British expedition from which Testa had somehow managed to excuse himself. Either from him, or more likely from his brother Quintus, who was a member of the invading company,3 Cicero had heard of the soldiers' difficult landing. As Caesar reports, the soldiers of the tenth legion,

‘NOR IS THE GLORY OF TRANSLATION LESS’

The Augustan Art of Poetry: Augustan Translation of the Classics. By Robin Sowerby. Oxford: Oxford University Press, 2006; £50. There's a threefold boldness about the title of Robin Sowerby's new book: The Augustan (no inverted commas, insisting on the relevance of an unfashionable term), Art (as against ‘race, gender, politics, commercialization’) of Poetry (as against ‘the rise of the novel’ and the like). All three emphases run against current trends. Take ‘Augustan’ first. The label no longer sticks as it used to. Those portentous scare quotes in Howard Weinbrot's Augustus Caesar in ‘Augustan’ England (1978), and, five years later, Michael Stapleton dismissing ‘Augustan’ as ‘a rather silly term … it would be better if the term were not used at all’ – these catch the spirit of the prevailing feeling, that to depict Augustan Rome and ‘Augustan’ London as politically, culturally, and aesthetically commensurable serves other interests than that of the truth. And yet: to be properly sceptical about the term ‘Augustan’ might require scepticism about our own capacity for attending to stylistic nuances common to both Augustan periods. For most readers now, such nuances in the original Augustans – Virgil and Horace, Propertius and Ovid – are no longer available to be felt. Not that we lack new translations (Englished Ovids are especially marketable), but that the subtleties of the Latin now lie outside most readers' experience, so that even the artistic aspect of the analogy – the aspect of ‘Augustanism’ least open to challenge – has lost much of its force.

The Neighborhoods of Augustan Rome (review)

The Neighborhoods of Augustan Rome (review)