Bibliographies thématiques / Leucippe and Clitophon (Achilles Tatius)

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Auteur : Grafiati
Publié le 26 juillet 2024

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Articles de revues sur le sujet "Leucippe and Clitophon (Achilles Tatius)"

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Litinas, Nikos. « ACHILLES TATIUS, LEUCIPPE AND CLITOPHON 5.1.3 ». Mnemosyne 53, no 3 (2000) : 347–49. http://dx.doi.org/10.1163/156852500510561.

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Skountakis, Manolis. « Achilles Tatius, Leucippe And Clitophon 4.19.6 ». Mnemosyne 52, no 5 (1999) : 567–68. http://dx.doi.org/10.1163/156852599323224662.

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Whitmarsh, Tim. « Domestic Poetics : Hippias' House in Achilles Tatius ». Classical Antiquity 29, no 2 (1 octobre 2010) : 327–48. http://dx.doi.org/10.1525/ca.2010.29.2.327.

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Other Greek novels open in poleis, before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius' Leucippe and Clitophon open in a house (with no sign of any political apparatus), and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house principally embodies the authoritarian will of the father to order and control, it nevertheless provides the lovers with opportunities to re-encode space opportunistically as erotic. The house cannot be reconstructed archaeologically (Clitophon is too flittish a narrator for that), but it is nevertheless clearly divided into different qualitative zones—diningroom, bedrooms, garden—each of which has its own psychosocial and emotional texture, its own challenges, and its own resources. Achilles' modelling of the house may reflect Roman ideas of domestic aristocratic display, and perhaps even the influence of Roman literature (particularly love elegy).
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CHAKAL, Inesa. « MYTHONYMS AS MARKERS OF NATIONAL AND CULTURAL TRADITION IN THE TEXT OF THE ANCIENT GREEK NOVEL BY ACHILLES TATIUS ». Folia Philologica, no 5 (2023) : 53–61. http://dx.doi.org/10.17721/folia.philologica/2023/5/8.

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The article attempts to generally characterize the proper mythological vocabulary as an integral component of the onomastic background of the novel “Leucippe and Clitophon” written by the ancient Greek writer of the 2nd century A.D. Achilles Tatius. The purpose of the research was a typological, lexical-semantic and functional-stylistic analysis of mythonyms detected in the text of the novel. The mythospace of the ancient Greek novel determined the specifics of the verbal functioning of mythological objects, which were analyzed with the involvement of descriptive and quantitative analysis methods. In the structure of the onymic space of the novel “Leucippe and Clitophon” among anthroponyms, toponyms, ethnonyms / katoikonyms and chrononyms, the mythonyms occupy a key place (out of 181 onyms, 77 lexemes are mythonyms). Although most of them belong to the onomastic periphery in the novel’s text (a total usage is 295 words), they still have a defining role in the idiostyle of Achilles Tatius. The scientific novelty of the obtained results lies in the firstever systematic analysis of mythonyms in the novel “Leucippe and Clitophon”, involving a classification of mythological nominations by lexical meaning into three groups: 1) names of ancient gods, deities and mythical creatures, 2) names of heroes and heroines of myths or ancient works, and 3) names of historical figures (writers, statesmen, inventors, kings, commanders); their functional and stylistic features. Mythonyms appear in the novel in descriptions of artistic paintings, mythical stories, and comparisons with novel characters. The novel’s heroes make sacrifices to the gods and turn to them in oaths, supplications and prayers. The names of gods and goddesses ἡ Ἀφροδίτη, ἡ Ἄρτεμις, ὁ Ἔρως and ὁ Ζεύς are dominant among mythonyms in the text of the novel, and we consider them as keywords. Conclusions. Mythological proper vocabulary performs characteristic and artistic-aesthetic functions in the novel’s text as an important means of cohesion.
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Hilton, John. « The Analgesic Elephant and the Black Rose of India (Achilles Tatius 4.2-5) ». Mnemosyne 72, no 4 (21 juin 2019) : 561–84. http://dx.doi.org/10.1163/1568525x-12342559.

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AbstractThis article examines the discourse of Charmides, an army general attempting to suppress the banditry of the boukoloi in the Nile delta, about the analgesic power of the breath of elephants fed on the ‘black rose of India’ in Achilles Tatius’ novel, Leucippe and Clitophon (4.2-5). It explores the narrative context, the characterization of the military commander, the use of elephants as moral exempla for human behaviour, and the sub-text of Charmides’ speech. It considers how the discourse of the general relates to the theme of Plato’s dialogue, Charmides—sōphrosynē (sexual restraint)—and argues that Charmides’ account of the elephant and the ‘black rose of India’ are best understood as extended metaphors that are designed to coerce Leucippe into having sexual relations with him.
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Baker, Ashli J. E. « Mȳthoi Erōtikoi ». Mnemosyne 73, no 6 (4 mai 2020) : 999–1024. http://dx.doi.org/10.1163/1568525x-12342751.

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Abstract This article examines the role of Heracles as a mythical figure and god in Achilles Tatius’ Leucippe and Clitophon in order to show the ways in which his representation shapes a reading of the novel. This analysis argues that Heracles, a frequent presence in L&C, is depicted as an erotic figure over a heroic one and that he, therefore, embodies the interweaving of myth, narrative, and eroticism captured in the phrase mȳthoi erōtikoi and thematized throughout the novel. Furthermore, I suggest that the novel’s emphasis on erotic Heracles not only influences the reader’s understanding of Clitophon, but also contributes to the novel’s disruption of the genre’s expectations around heteroeroticism, monogamy, and marriage as the telos of the plot.
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Corke-Webster, James. « Apologists on Trials : Justin’s Second Apology, the Literary Courtroom, and Pleading Philosophy ». Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 28, no 1 (30 mai 2024) : 49–75. http://dx.doi.org/10.1515/zac-2024-0003.

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Abstract This paper presents a fresh reading of Justin’s Second Apology. It focuses on that text’s narrative sections—the so-called martyrdom of Ptolemaeus and Lucius, and Justin’s own rift with Crescens. It demonstrates both these stories’ intratextual links, and their intertextual ties with contemporary mid-2d century literature—Achilles Tatius’ Greek novel Leucippe and Clitophon, and Apuleius’ Latin Apology. These in turn reveal the sophisticated rhetorical devices Justin employs, his goals in so doing, and the consequences for our understanding of the supposed new genre of Christian “apology.”
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Haskins, Susan L. « Male perpetrators of violence against women in Achilles Tatius' Leucippe and Clitophon ». Acta Classica 65, no 1 (2022) : 41–64. http://dx.doi.org/10.1353/acl.2022.0003.

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Reeves, Bridget. « The Role of the Ekphrasis in Plot Development : The Painting of Europa and the Bull in Achilles Tatius' Leucippe and Clitophon ». Mnemosyne 60, no 1 (2007) : 87–101. http://dx.doi.org/10.1163/156852507x165856.

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AbstractThis article examines the effectiveness of the ekphrasis of Europa and the bull which is placed at the beginning of Achilles Tatius' Leucippe and Clitophon, in order to shed light on its role in the development and progression of the plot in the novel. Although some critics have discussed the ekphrasis' anticipatory effectiveness with regard to the main characters, Leucippe and Clitophon, nevertheless much more can be said about the function of the set-piece description as a tool for foreshadowing events which transpire for the hero and heroine. In addition, this article demonstrates that the ekphrasis depicting Europa and the bull is not limited to prefiguring the actions of the main narrative as previously believed, but seems to act as a template for the plots of all of the mini-episodes that occur in the novel. By way of a table at the end of this article I present the template and the features common to the Europa-ekphrasis and to each of the mini-episodes in order to illuminate further the set-piece description's anticipatory effectiveness.
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Dressler, Alex. « The Sophist and The Swarm : Feminism, Platonism and Ancient Philosophy in Achilles Tatius' Leucippe and Clitophon ». Ramus 40, no 1 (2011) : 33–72. http://dx.doi.org/10.1017/s0048671x00000199.

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Achilles Tatius' novelLeucippe and Clitophonis widely recognised by critics as generally ‘philosophical’, even ‘Platonic’, but critics also agree that the meaning of this philosophy and Platonism–whether it is serious or satiric, semantic or aesthetic–is unclear. As a result of this ambivalence, a perplexity confronts the reader who wants to understand the particularlypoliticalphilosophical meaning of Achilles' novel, especially through its depiction of gender norms and hierarchies. The purpose of this article is to revisit the philosophical possibilities of Achilles' novel in view of its various literary and social-historical contexts. To do this, I work through rather than against the perplexity that confronts the reader ofL&C, proposing a relational, reflexive mode of reading that attends to the interplay of Platonism, Stoicism and the social-historical associations that Achilles' mobilisation of each imparts. Such a mode of reading suggests, against numerous critical interpretations, thatL&Cmay actually relate the feminine to the world in a progressive way. In addition, the development of this mode of reading in response toL&Cpotentially undermines, not only the masculinist gender norms that the novel seems to reinforce, but also the very subject-object dualism that underpins mainstream historicist modes of relating to ancient texts as something out there in the walled-off universe of competing textualities that is ‘the past’.
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Thèses sur le sujet "Leucippe and Clitophon (Achilles Tatius)"

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Morales, Helen Louise. « A scopophiliac's paradise : vision and narrative in Achilles Tatius' Leucippe and Clitophon ». Thesis, University of Cambridge, 1997. https://www.repository.cam.ac.uk/handle/1810/283714.

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Laplace, Marcelle. « Recherches sur le roman d'Achilleus Tatios, "Leucippe et Clitophon" ». Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37614984w.

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Laplace, Marcelle. « Recherches sur le roman d'Achilleus Tatios, Leucippe et Clitophon ». Paris 10, 1988. http://www.theses.fr/1988PA100101.

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Apres l'examen de la tradition littéraire et rhétorique à laquelle se rattache la forme d'ensemble de la fiction, un récit de voyage raconte à la première personne, l'étude porte sur le récit de Clitophon, qui est "à l'image" de fables platoniciennes. La fable de l'androgyne rend compte de toute la structure du récit de Clitophon, du déroulement des aventures de Clitophon et de Leucippe, du rôle des personnages qui y concourent, mais aussi du bref résume de l'histoire amoureuse de Callisthène et Calligone. Mais Achilleus Tatios s'inspire aussi de la manière dont Diotime, dans le banquet, réinterprète la fable de l'androgyne pour définir la poésie et l'amour, et dont Socrate, dans le Phèdre, met en pratique cet enseignement digne des "parfaits sophistes", et il représente le cheminement initiatique par lequel Clitophon accède à la fois au bonheur d'aimer, à Byzance où il épouse Leucippe, et à l'art de parler grâce auquel il est, à Sidon, un narrateur inspiré par cette expérience divine. Cette éducation morale et esthétique comporte deux degrés. Obéissant à la voix de l'amour. Puis, après que la divinité de ces mystères, publiquement contestée par Thersandre, a été authentifiée par la justice des ordalies, l'histoire d'amour de Clitophon et de Leucippe se constitue en un récit caractérise comme une "psychagogie". Témoin du dessein de la seconde sophistique, le récit de Clitophon est un discours panégyrique qui annule l'opposition exprimée par Isocrate entre les discours futiles prononcés "contre le dépôt" ou sur des "contrats privés", et la noble éloquence, qui traite de l'éducation et de la politique
I have first examined the literary and rhetoric tradition of this fiction, which as a whole is a traveler’s tale, told by the traveler himself. I have then studied Clitophon's tale, the very image of platonic fictions. The androgyn's tale explains the whole structure of Clitophon's story, the way Clitophon's and Leucippus’s adventures happen, the part played by the people who are mixed in the story, and also the short summary of Callisthenes' and Calligone's love-story. But Achilles Tatius is also influenced by Diotima's way, in the banquet, of reinterpreting the androgyny’s parabola, so as to define poetry and love, and by Socrates’ manner, in Phaedrus, of practicing this teaching, worthy of "perfect sophists" and he represents the initiatic way which leads Clitophon to the happiness of love, as well as to Byzantium where he marries Leucippus, and to the art of speech, by which he becomes, in Sidon, a narrator inspired by this divine experience. This moral and esthetic education has two degrees. Obeying love's voice, Clitophon, thanks to Melite, gets to know the mysteries of love. The divine character of this mysteries, publicly questioned by Thersander, is then recognized by god's judgment, before Clitophon's tale is a panegyric speech, which annihilates Isocrates' opposition between futile speeches pronounced "against the deposit" or "on private contracts" and the noble eloquence, which occupies itself with education and politics
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Nakatani, S. « Achilles Tatius and beyond : studies in the history of reception of Leucippe and Clitophon in modern Europe ». Thesis, Swansea University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.540097.

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Repath, Ian Douglas. « Some uses of Plato in Achilles Tatius' Leucippe and Cleitophon ». Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/55550/.

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The aim of this thesis is to explore the relationship between Achilles Tatius' novel Leucippe and Cleitophon and the Platonic corpus. I have searched for Platonic allusions of various natures and purposes and grouped them into thematic chapters. I have also compared instances of similar uses of Plato in contemporary authors in order to classify both the individual cases and the place of Achilles Tatius' novel in its literary environment, including the intended readership. In my introduction I have argued that through the combination in his works of philosophy and literary excellence Plato was an extremely important figure to the Greeks of the second sophistic. However, despite the increasingly influential opinion that Greek novel readership was not dissimilar to that of other works, the possibility that the Greek novelists used Plato in a more than cosmetic fashion has been relatively neglected. The uses of Plato on which I have concentrated are the employment of Platonic names as allusions to their namesakes; Platonic narrative technique as the model for the dialogue form and open-endedness of Leucippe and Cleitophon with the integration of this technique into the broader question of the discrepancies between the beginning and the end; the allusion to a particularly famous passage of the Phaedrus in the name of the heroine; the repeated allusions to the Phaedran flow of beauty, their purposes and the light they shed on the characterisation of Cleitophon; and the Phaedran scene-setting, indulged in by many other writers, which Achilles Tatius uses in two significant passages. The conclusions I have reached are that Achilles Tatius uses Plato far more extensively and imaginatively than hitherto realised; that such an intimate engagement can shed light on other issues, such as psychological characterisation and the question of humour; that Achilles Tatius wrote something of an "anti-Platonic" novel; and that his work displays many similarities with other works whose sophistication is less in doubt.
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Vieilleville, Claire. « Aspects de la représentation de l'autre dans les romans grecs et les Métamorphoses d'Apulée ». Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1059.

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Les romans grecs et les Métamorphoses d’Apulée – même si les modalités sont différentes pour ce dernier – sont des fictions en prose qui fonctionnent autour de topoi auxquels la figure de l’Autre n’échappe pas. Bien que le monde grec soit alors radicalement différent de ce qu’il était au Ve siècle avant J.-C., période à laquelle l’identité grecque est construite par opposition à la figure du barbare, les romanciers qui prennent la plume à partir du Ier siècle avant notre ère utilisent un certain nombre de stéréotypes hérités de l’époque classique, alors mise à l’honneur par le mouvement de la Seconde Sophistique. Il s’agit d’étudier dans le détail certains éléments de la représentation de l’Autre pour déterminer qui il est, comment il se comporte, ce qui le constitue en Autre. Puis, à partir de cette esquisse, nécessairement incomplète, d’évaluer ce que cette représentation peut induire sur l’image de l’identité grecque à l’époque impériale, par le jeu de miroir que F. Hartog a décelé dans l’œuvre d’Hérodote. Une première partie est consacrée aux rapports entre l’homme et l’animal ainsi qu’à l’image de la sauvagerie, ce qui permet d’explorer les bornes romanesques de l’humanité. La seconde partie s’attache à des éléments que l’époque classique a plus particulièrement mis en avant pour distinguer les Grecs des non-Grecs : le critère de la langue, l’art de faire la guerre et le discours politique qui est tenu sur les institutions barbares. La troisième partie étudie la place des dieux et des pratiques religieuses dans la définition de l’Autre. J’espère ainsi contribuer à la compréhension du genre romanesque et des représentations culturelles de l’empire « gréco-romain »
The Greek novels and The Metamorphoses of Apuleius, even if it is in different terms for the last, are prose fictions which are based on topoi, and the figure of the Other is one of them. Although the Greek world was radically different of what it was in the fifth century BC, time during which Greek identity is contructed as opposed to the figure of the barbaros, the authors of novels, who wrote from the first century BC onward, used some stereotypes inherited from classical period, which was celebrated by the Second Sophistic movement. The aim of this thesis is to study in detail some elements of the representation of the Other to determine who it is, how he behaves, what makes him other. Then, from this sketch, necessarily incomplete, to evaluate what this representation says about the image of Greek identity in the imperial age, according to the play of the mirror detected by F. Hartog in the text of Herodotus. The first part of the thesis is dedicated to the relationship between man and animal and to the image of savagery, in order to explore the novelistic limits of humanity. The second part concentrates on elements that classical period had particularly insisted on to promote the distinction between Greeks and non-Greeks : the linguistic criterion, the way to make war, and the politic discourse on the barbaric institutions. The third part study the place of the gods and of religious practices in the definition of the Other. I hope to contribute to the understanding of novel genre and of cultural representations of the « greco-roman- empire »
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Livres sur le sujet "Leucippe and Clitophon (Achilles Tatius)"

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Tatius, Achilles. Achilles Tatius : Leucippe and Clitophon. Oxford University Press, USA, 2002.

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Whitmarsh, Tim. Achilles Tatius : Leucippe and Clitophon Books I-II. University of Cambridge ESOL Examinations, 2020.

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Vision and narrative in Achilles Tatius' Leucippe and Clitophon. New York : Cambridge University Press, 2004.

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Pierre Armand Marie Peyrot Des Gachons et Verrier Charles. Amours de Leucippe et de Clitophon : Roman d'aventures d'après Achilles Tatius. Creative Media Partners, LLC, 2018.

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Jolowicz, Daniel. Latin Poetry in the Ancient Greek Novels. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.001.0001.

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This work establishes and explores connections between Greek imperial literature and Latin poetry. As such, it challenges conventional thinking about literary and cultural interaction of the period, which assumes that imperial Greeks are not much interested in Roman cultural products (especially literature). Instead, it argues that Latin poetry is a crucially important frame of reference for Greek imperial literature. This has significant ramifications, bearing on the question of bilingual allusion and intertextuality, as well as on that of cultural interaction during the imperial period more generally. The argument mobilizes the Greek novels—a literary form that flourished under the Roman Empire, offering narratives of love, separation, and eventual reunion in and around the Mediterranean basin—as a series of case studies. Three of these novels in particular—Chariton’s Chaereas and Callirhoe, Achilles Tatius’ Clitophon and Leucippe, and Longus’ Daphnis and Chloe—are analysed for the extent to which they allude to Latin poetry, and for the effects (literary and ideological) of such allusion. After an Introduction that establishes the cultural context and parameters of the study, each chapter pursues the strategies of an individual novelist in connection with Latin poetry: Chariton and Latin love elegy (Chapter 1); Chariton and Ovidian epistles and exilic poetry (Chapter 2); Chariton and Vergil’s Aeneid (Chapter 3); Achilles Tatius and Latin love elegy (Chapter 4); Achilles Tatius and Vergil’s Aeneid (Chapter 5); Achilles Tatius and the theme of bodily destruction in Ovid’s Metamorphoses, Lucan’s Bellum Civile, and Seneca’s Phaedra (Chapter 6); Longus and Vergil’s Eclogues, Georgics, and Aeneid (Chapter 7). The work offers the first book-length study of the role of Latin literature in Greek literary culture under the empire and thus provides fresh perspectives and new approaches to the literature and culture of this period.
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Whitmarsh, Tim. How Greek Is the Greek Romance ? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199742653.003.0017.

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In the light of the findings of this book, the ‘Hellenocentric’ romances of Chariton and Xenophon look less like a point of origin for the Greek romance and more an exception against the larger backdrop of an ongoing interest in cultural blending and intermarriage. This chapter looks briefly at Achilles Tatius’s Leucippe and Clitophon (second century CE) and Heliodorus’s Charicleia and Theagenes (fourth century CE), reading them in terms of continuation of the intercultural themes found in earlier, Hellenistic ‘novels’.
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Longus, Heliodorus et Achilles Tatius. Greek Romances of Heliodorus, Longus, and Achilles Tatius : Comprising the Ethiopics, or, Adventures of Theagenes and Chariclea ; the Pastoral Amours of Daphnis and Chloe ; and the Loves of Clitopho and Leucippe. Creative Media Partners, LLC, 2018.

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Longus, Heliodorus et Achilles Tatius. Greek Romances of Heliodorus, Longus, and Achilles Tatius : Comprising the Ethiopics, or, Adventures of Theagenes and Chariclea ; the Pastoral Amours of Daphnis and Chloe ; and the Loves of Clitopho and Leucippe. Creative Media Partners, LLC, 2022.

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Zeitlin, Froma. Longus and Achilles Tatius. Sous la direction de Daniel S. Richter et William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.21.

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This chapter pairs two Greek novels: Longus’s Daphnis and Chloe and Achilles Tatius’s Leucippe and Cleitophon, both generally dated to the second century ce. At first glance, they may seem to be strange bedfellows: Longus’s work is a pastoral romance, a small-scale miniature set entirely in an idyllic landscape on the island of Lesbos, where the young lovers enjoy conditions of unimaginable innocence and what adventures they have are limited to their own surroundings, while Achilles Tatius’s is a sprawling tale of maximum complexity of twice the length, involving a wide-ranging geography, and generally encompasses a much broader range of experience. Yet a preliminary comparison of the two romances is an object lesson in the flexibility of the genre itself, that is, the creative possibilities of using novelistic tropes and thematic conventions to produce entirely different results, while reinforcing (if, at times, challenging) the ideological underpinnings of the ideal romance.
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Chapitres de livres sur le sujet "Leucippe and Clitophon (Achilles Tatius)"

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Kanavou, Nikoletta. « Chapter 13. Achilles Tatius’ Leucippe as a puella docta ». Dans The Reality of Women in the Universe of the Ancient Novel, 197–205. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.13kan.

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Unlike other heroines of the Greek romantic novels, who are consistently chaste, the heroine of Achilles Tatius’ novel Leucippe and Clitophon displays a (temporary) lack of sexual reticence; she also possesses musical talent. These features are central to her characterization in the novel’s first two books, which, incidentally, bear the distinct influence of Roman love elegy. It is argued here that Leucippe is purposedly fashioned in the early part of the novel as a puella docta, the type of idealised artistic lady with libertine traits that arouses erotic passion in the Augustan love poets. In the novel’s later books, on the other hand, her characterization conforms to a more conventional image.
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Polo Martín, Regina. « Chapter 21. Notes on women and the law in the novel Los amores de Clareo y Florisea by Alonso Núñez de Reinoso ». Dans The Reality of Women in the Universe of the Ancient Novel, 343–58. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.21pol.

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This paper analyses some of the aspects relating to women and the law in the first Byzantine novel published in Spain in 1552, Los amores de Clareo y Florisea y los trabajos de la sin ventura Isea, written by Alonso Núñez de Reinoso, the first nineteen chapters of which were inspired by the Greek novel written by Achilles Tatius, Leucippe and Clitophon. In particular, it studies the female models embodied in the novel and in addition, some of the legal realia found in the work, such as matrimony, adultery and the presumed death of an absent spouse, all of which are legal precepts that determine the destiny of the two main characters, together with an analysis of whether Reinoso’s novel contains any reference to Castilian regulatory laws of the time, regarding these legal issues.
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Hilton, John. « The revolt of the boukoloi, class and contemporary fiction in Achilles Tatius’ Leucippe and Clitophon ». Dans Piracy, Pillage and Plunder in Antiquity, 129–44. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series : Routledge monographs in classical studies : Routledge, 2019. http://dx.doi.org/10.4324/9780429440441-9.

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Calzada González, Mª Aránzazu. « Chapter 6. Consent in Greek and Roman marriage ». Dans The Reality of Women in the Universe of the Ancient Novel, 99–106. Amsterdam : John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.06cal.

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The final mention in Achilles Thacius’ story “Leucippe and Clitophon" of the paternal decision for the daughter to marry allows us to compare nuptial consent in Greek and Roman law, as well as the different legal consideration of the bride’s will in each of them.
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Jolowicz, Daniel. « Achilles Tatius and Latin Elegy ». Dans Latin Poetry in the Ancient Greek Novels, 121–87. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.003.0005.

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Chapter 4 establishes the multiple connections between Achilles and Latin love elegy (especially Ovid), which he mobilizes as a principal weapon in his redefinition of the novelistic genre. This is especially in the first two books (during which time Clitophon attempts to seduce Leucippe), but also implicates the ‘antagonists’ Melite, Thersander, and Callisthenes. Section 4.2 demonstrates the importance of the contemptor amoris theme (as represented especially in Propertius 1.7 and 1.9). Sections 4.3, 4.3.1, and 4.4 establish the erotodidactic credentials of Clinias as they relate to elegy (4.4 focusing explicitly on the theme of consent), while Sections 4.5 and 4.6 do the same for Clitophon’s slave, Satyrus (with Section 4.6 focusing on the metaphor of servitium amoris). Section 4.7 homes in on the role of vision in the novel’s symposia and those in elegy (especially Heroides 16-17). Section 4.8 draws a connection between the way Achilles and Ovid aestheticize (and even eroticize) female distress (embodied in tears and fears). Section 4.9 focuses on the idea of love as a type of ‘theft’, and kisses as alienable possessions, in Achilles and elegy (Tibullus is prominent here). Section 4.10 is an extended reading of Clitophon’s refusal to have sex with Leucippe as modelled on Ovid’s description of a bout of impotence in Amores 3.7.
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Jolowicz, Daniel. « Achilles Tatius and Vergil’s Aeneid ». Dans Latin Poetry in the Ancient Greek Novels, 188–220. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.003.0006.

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Chapter 5 attends to Achilles Tatius’ engagement with Vergil’s Aeneid. The argument focuses on three main lines of enquiry (in all of which it is clear that Achilles is capitalizing on the erotic potential on offer in Vergil’s epic). Section 5.2 argues that Achilles models Melite’s plea for sex with Clitophon (articulated in two speeches) on Dido’s plea that Aeneas stay in Carthage (also articulated in two speeches), thus reducing Dido’s tragic hope for marital-political security to a wish for a single session of sex (Melite is successful in her wish). Section 5.3 takes as its subject the flushed cheeks of Leucippe in Book 1 (to which Clitophon responds erotically) and argues that it is modelled on the famous blush of Lavinia in Aeneid 12 (which fires Turnus with love). Section 5.4 ranges over a number of phraseological overlaps between Achilles and the Aeneid suggestive of a close engagement (especially in connection with the storm in Aeneid 1 and the character of Coroebus in Aeneid 2).
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Morales, Helen. « Sense and Sententiousness 1n the Greek Novels ». Dans Intratextuality, 67–88. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780199240937.003.0003.

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Abstract Digressions are striking features of the ancient Greek novels. They occur frequently in Achilles Tatius’ Leucippe and Clitophon and Heliodorus’ An Ethiopian Story and to a lesser degree in Longus’ Daphnis and Chloe and Chariton’s Callirhoe. Far from finding the digressions ‘incontestably pleasurable’, however, many modern readers judge them ‘extremely tiresome’ (Gaselee 1984: 341), and the cause of ‘such frustration’ (McDermott 1989: 33).
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Zeitlin, Froma I. « Religion and Erotics in the Ancient Novel ». Dans The Retrospective Muse, 93–114. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501772962.003.0004.

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This chapter focuses on the genre of ancient prose fiction: its language, its practices, and its provenances, together with theoretical and historical perspectives. It takes account of the pervasive presence of religion in the extant novels and addresses the much-discussed issues of its roles and functions, however these may vary from text to text. The chapter puts an emphasis on the challenges that the topic poses to the interpretation of the genre's core erotic ideology. It first offers an inventory of common religious elements, both serious and tongue in cheek, through a summary of Achilles Tatius' romance, Leucippe and Clitophon, before turning to controversies and contested theories of reading. The chapter then looks at three distinctive themes: (1) godlike beauty and its impact on society and politics (Chariton); (2) the sophistic mysteries of Eros and Aphrodite (Achilles Tatius and Longus); and (3) sacred etiology and Hellenic standards (Heliodorus).
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Jolowicz, Daniel. « Achilles Tatius and the Destruction of Bodies ». Dans Latin Poetry in the Ancient Greek Novels, 221–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192894823.003.0007.

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Chapter 6 argues that Achilles is attracted to the gallery of bodily carnage on offer in Ovid’s Metamorphoses, Lucan’s Bellum Civile, and Seneca’s Phaedra, as part of his apparent obsession with the vulnerability of human bodies and their susceptibility to wounding. It makes four distinct arguments. Section 6.2 makes the case that the episode of Charicles’ death in Achilles manifests strong indications of interaction with the accounts of the gruesome death of Hippolytus in Ovid’s Metamorphoses and Seneca’s Phaedra. Section 6.3 demonstrates that Achilles (or rather Clitophon) exhibits a recurrent interest in bodily dismemberment and reconstitution analogous to that in Ovid and Neronian poetry (especially Lucan). Section 6.4 argues that the decapitation of ‘Leucippe’ in Book 5 not only is modelled on the similar fate of the historical Pompeius Magnus but also combines the accounts of this event found in Lucan and Plutarch. These sections suggest that Achilles is alive to developments in Neronian literature that privilege the aesthetics of gore and bodily destruction, and which reflect the Roman imperial taste for violence more generally (perhaps energized by the institution of the amphitheatre). Section 6.5 elaborates a number of ways in which Achilles is attracted to the arresting style and verbal wit of Ovid, especially in connection with his flood narrative.
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Cioffi, Robert. « The Lives of Others ». Dans Egypt, Ethiopia, and the Greek Novel, 91–124. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192870537.003.0004.

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Abstract Chapter 3 focuses on the Boukoloi (“Cowherds”) in Leucippe and Clitophon. These semi-nomadic pastoralists were imagined to be ungovernable bandits who spoke a non-Greek language, practiced human sacrifice, and fomented rebellions in Egypt against Roman imperial governance. This chapter, informed by the work of James C. Scott, seeks to read the Boukoloi against the grain, understanding the features that appear in Achilles Tatius’ description as “culturally primitive” to be adaptive responses to and a means of resisting Roman power. Furthermore, the Boukoloi help to put Achilles Tatius in dialogue with Demotic Egyptian literature. Such a comparison reveals how Greek and Egyptian traditions use their own culturally distinct literary forms to incorporate these recalcitrant rebels into their narratives. Taken together with Chapter 2, the human and animal worlds of the Nile Delta demonstrate how the representation of place in both Greco-Roman and Egyptian accounts is a potent means to express not only the reaches of imperial power but also its limits.
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