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Journal articles on the topic 'Augustan literature'

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Published: 4 June 2021
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1

GalInsky, Karl. "Augustan literature and Augustan ‘ideology’: An ongoing reassessment." Shagi / Steps 3, no. 4 (2017): 151–67. http://dx.doi.org/10.22394/2412-9410-2017-3-4-151-167.

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2

GRIFFIN, DUSTIN. "Augustan Collaboration." Essays in Criticism XXXVII, no. 1 (1987): 1–10. http://dx.doi.org/10.1093/eic/xxxvii.1.1.

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3

Jewett, William, and Ian A. Bell. "Literature and Crime in Augustan England." Eighteenth-Century Studies 25, no. 2 (1991): 231. http://dx.doi.org/10.2307/2738822.

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4

Peterson, R. G., and Howard Erskine-Hill. "The Augustan Idea in English Literature." Eighteenth-Century Studies 18, no. 4 (1985): 568. http://dx.doi.org/10.2307/2739013.

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5

Jones, Emrys, and Howard Erskine-Hill. "The Augustan Idea in English Literature." Modern Language Review 80, no. 2 (April 1985): 423. http://dx.doi.org/10.2307/3728691.

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6

Slater, W. J. "Augustan Sports." Classical Review 49, no. 1 (April 1999): 194–95. http://dx.doi.org/10.1093/cr/49.1.194.

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7

Baines, Paul, and John Richardson. "Slavery and Augustan Literature: Swift, Pope, Gay." Modern Language Review 101, no. 2 (April 1, 2006): 521. http://dx.doi.org/10.2307/20466815.

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8

Sowerby, Robin. "Augustan Dryden." Translation and Literature 10, no. 1 (March 2001): 51–66. http://dx.doi.org/10.3366/tal.2001.10.1.51.

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9

Sowerby, Robin. "Augustan Dryden." Translation and Literature 10, Part_1 (January 2001): 51–66. http://dx.doi.org/10.3366/tal.2001.10.part_1.51.

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10

Langlands, Rebecca. "Latin Literature." Greece and Rome 61, no. 1 (March 4, 2014): 118–22. http://dx.doi.org/10.1017/s0017383513000284.

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First up for review here is a timely collection of essays edited by Joseph Farrell and Damien Nelis analysing the way the Republican past is represented and remembered in poetry from the Augustan era. Joining the current swell of scholarship on cultural and literary memory in ancient Greece and Rome, and building on work that has been done in the last decade on the relationship between poetry and historiography (such as Clio and the Poets, also co-edited by Nelis), this volume takes particular inspiration from Alain Gowing's Empire and Memory. The individual chapter discussions of Virgil, Ovid, Propertius, and Horace take up Gowing's project of exploring how memories of the Republic function in later literature, but the volume is especially driven by the idea of the Augustan era as a distinct transitional period during which the Roman Republic became history (Gowing, in contrast, began his own study with the era of Tiberius). The volume's premise is that the decades after Actium and the civil wars saw a particularly intense relationship develop with what was gradually becoming established, along with the Principate, as the ‘pre-imperial’ past, discrete from the imperial present and perhaps gone forever. In addition, in a thought-provoking afterword, Gowing suggests that this period was characterized by a ‘heightened sense of the importance and power of memory’ (320). And, as Farrell puts it in his own chapter on Camillus in Ovid's Fasti: ‘it was not yet the case that merely to write on Republican themes was, in effect, a declaration of principled intellectual opposition to the entire Imperial system’ (87). So this is a unique period, where the question of how the remembering of the Republican past was set in motion warrants sustained examination; the subject is well served by the fifteen individual case studies presented here (bookended by the stimulating intellectual overviews provided by the editors’ introduction and Gowing's afterword). The chapters explore the ways in which Augustan poetry was involved in creating memories of the Republic, through selection, omission, interpretation, and allusion. A feature of this poetry that emerges over the volume is that the history does not usually take centre stage; rather, references to the past are often indirect and tangential, achieved through the generation and exploitation of echoes between history and myth, and between past and present. This overlaying crops up in many guises, from the ‘Roman imprints’ on Virgil's Trojan story in Aeneid 2 (Philip Hardie's ‘Trojan Palimpsests’, 117) to the way in which anxieties about the civil war are addressed through the figure of Camillus in Ovid's Fasti (Farrell) or Dionysiac motifs in the Aeneid (Fiachra Mac Góráin). In this poetry, history is often, as Gowing puts it, ‘viewed through the prism of myth’ (325); but so too myth is often viewed through the prism of recent history and made to resonate with Augustan concerns, especially about the later Republic. The volume raises some important questions, several of which are articulated in Gowing's afterword. One central issue, relating to memory and allusion, has also been the subject of some fascinating recent discussions focused on ancient historiography, to which these studies of Augustan poetry now contribute: How and what did ancient writers and their audiences already know about the past? What kind of historical allusions could the poets be expecting their readers to ‘get’? Answers to such questions are elusive, and yet how we answer them makes such a difference to how we interpret the poems. So Jacqueline Febre-Serris, for instance, argues that behind Ovid's spare references to the Fabii in his Fasti lay an appreciation of a complex and contested tradition, which he would have counted on his readers sharing; while Farrell wonders whether Ovid, by omitting mention of Camillus’ exile and defeat of the Gauls, is instructing ‘the reader to remember Veii and to forget about exile and the Gauls’ or whether in fact ‘he counts on having readers who do not forget such things’ (70). In short this volume is an important contribution to the study of memory, history, and treatments of the past in Roman culture, which has been gathering increasing momentum in recent years. Like the conference on which it builds, the book has a gratifyingly international feel to it, with papers from scholars working in eight different countries across Europe and North America. Although all the chapters are in English, the imprint of current trends in non-Anglophone scholarship is felt across the volume in a way that makes Latin literature feel like a genuinely and excitingly global project. Rightly, Gowing points up the need for the sustained study of memory in the Augustan period to match that of Uwe Walter's thorough treatment of memory in the Roman republic; Walter's study ends with some provocative suggestions about the imperial era that indeed merit further investigation, and this volume has now mapped out some promising points of departure for such a study.
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11

Sowerby, Robin. "The Augustan Odyssey." Translation and Literature 4, no. 2 (September 1995): 157–82. http://dx.doi.org/10.3366/tal.1995.4.2.157.

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12

Sowerby, Robin. "The Augustan Lucan." Translation and Literature 14, no. 2 (September 2005): 148–78. http://dx.doi.org/10.3366/tal.2005.14.2.148.

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13

Wiltshire, Susan Ford, and Francis Cairns. "Virgil's Augustan Epic." American Journal of Philology 112, no. 4 (1991): 565. http://dx.doi.org/10.2307/294941.

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14

Winn, James Anderson. "The Augustan Art of Poetry: Augustan Translation of the Classics (review)." Translation and Literature 16, no. 1 (2007): 98–104. http://dx.doi.org/10.1353/tal.2007.0013.

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15

Harrison, S. J. "Paradox and the Marvellous in Augustan Literature and Culture." Mnemosyne 64, no. 4 (2011): 694–97. http://dx.doi.org/10.1163/156852511x548351.

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16

Lamb, Jonathan. "Literature and Crime in Augustan England (review)." Eighteenth-Century Fiction 4, no. 2 (1992): 167–68. http://dx.doi.org/10.1353/ecf.1992.0045.

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17

Polovinkina, O. I. "William Temple’s ‘Sharawadji’ and the poetics of world literature." Voprosy literatury, no. 2 (July 29, 2020): 70–88. http://dx.doi.org/10.31425/0042-8795-2020-2-70-88.

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The article examines the ‘active presence’ (D. Damrosch) of the Chinese garden in the literary and cultural history of the English Augustan Age. Special attention is paid to W. Temple’s role as an intermediary in the comprehension of a foreign cultural phenomenon; interpretations of his description of the Chinese garden generated an entirely new tradition in the English literature of the early 18th c. J. Addison identified the Chinese garden with the idea of harmony, making it part and parcel of Neoclassical aesthetics. Pope followed the same logic. In his essay, Castell brings together the classical and the Chinese traditions, where the former does not act as an approving authority, rather it is the Chinese tradition that helps give it a more nuanced description. Quite a few English country homes display a combination of Neoclassical principles and elements of the Chinese garden, the new landscaping style summarized by Pope. Augustans’ Chinese garden draws on two national worldviews, but just like the world ‘sharawadji’ introduced byTemple, it belongs to the realm of imagination, at the crossroads of languages and cultures, none of which can fully claim it as their own.
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18

WATSON, GEORGE. "THE AUGUSTAN CIVIL WAR." Review of English Studies XXXVI, no. 143 (1985): 321–37. http://dx.doi.org/10.1093/res/xxxvi.143.321.

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19

Edgecombe, Rodney Stenning. "Keats, Hazlitt, and Augustan Poetry." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 16, no. 4 (January 2003): 41–47. http://dx.doi.org/10.1080/08957690309598479.

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20

Winn, James A. "The Augustan Art of Poetry: Augustan Translation of the Classics, by Robin Sowerby." Translation and Literature 16, no. 1 (March 2007): 98–104. http://dx.doi.org/10.3366/tal.2007.0013.

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21

Combe, K. "ROBIN SOWERBY, The Augustan Art of Poetry: Augustan Translation of the Classics." Notes and Queries 54, no. 4 (December 1, 2007): 520–21. http://dx.doi.org/10.1093/notesj/gjm229.

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22

Woods, Leigh, Constance Clark, and Harold M. Weber. "Three Augustan Women Play-Wrights." Theatre Journal 40, no. 1 (March 1988): 127. http://dx.doi.org/10.2307/3207805.

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23

Burgess, Miranda J. "Scott, History, and the Augustan Public Sphere." Studies in Romanticism 40, no. 1 (2001): 123. http://dx.doi.org/10.2307/25601491.

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24

Sowerby, Robin. "The Augustan Æneis: Virgil Enlightened?" Translation and Literature 11, no. 2 (September 2002): 237–69. http://dx.doi.org/10.3366/tal.2002.11.2.237.

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25

Lauer, Ilion. "Augustan Rhetoric: The Declining Orator." Advances in the History of Rhetoric 6, no. 1 (January 2003): 27–42. http://dx.doi.org/10.1080/15362426.2001.10500534.

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26

Horsfall, Nicholas. "The Augustan Aeneid - Francis Cairns: Virgil's Augustan Epic. Pp. xii + 280. Cambridge University Press, 1989. £27.50." Classical Review 40, no. 1 (April 1990): 28–31. http://dx.doi.org/10.1017/s0009840x00251974.

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27

Hanlon, Aaron R. "Perlocutionary Verse in Augustan England." Modern Philology 114, no. 3 (February 2017): 657–79. http://dx.doi.org/10.1086/688066.

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28

Mitchell, Keith. "ACROSTICS AND TELESTICHS IN AUGUSTAN POETRY: OVID'S EDGY AND SUBVERSIVE SIDESWIPES." Cambridge Classical Journal 66 (September 2, 2020): 165–81. http://dx.doi.org/10.1017/s1750270520000068.

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This article considers acrotelestich wordplay in the major poets of the Augustan period, with particular reference to Ovid, and analyses its main types and characteristics. The article's final section seeks to demonstrate that Ovid invented a new category, that of political acrostics and telestichs, unique to him and uniquely suited to his own experience of Augustan terror and of the need for literary subterfuge and plausible deniability.
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29

Downie, J. A. "Reconstruction, not deconstruction: Recent approaches to Augustan prose." Prose Studies 10, no. 1 (May 1987): 18–26. http://dx.doi.org/10.1080/01440358708586292.

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30

Franklin, Michael J., and Charles W. A. Prior. "Mandeville and Augustan Ideas: New Essays." Modern Language Review 98, no. 1 (January 2003): 186. http://dx.doi.org/10.2307/3738210.

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31

Booth, J. "Augustan Culture: an Interpretive Introduction. K Galinsky." Classical Review 48, no. 2 (February 1, 1998): 396–98. http://dx.doi.org/10.1093/cr/48.2.396.

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32

Seager, Robin. "The Augustan Aristocracy - R. Syme: The Augustan Aristocracy. Pp. viii + 557; 1 plate. Oxford: Clarendon Press, 1986. £40." Classical Review 38, no. 2 (October 1988): 327–29. http://dx.doi.org/10.1017/s0009840x00121742.

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33

Lamp, Kathleen S. "Building Praise: Augustan Rome and Epideictic." Advances in the History of Rhetoric 22, no. 2 (May 4, 2019): 153–66. http://dx.doi.org/10.1080/15362426.2019.1618054.

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34

Thorsen, Thea Selliaas. "Sappho, Corinna and Colleagues in Ancient Rome. Tatian’s Catalogue of Statues (Oratio ad Graecos 33-4) Reconsidered." Mnemosyne 65, no. 4-5 (2012): 695–715. http://dx.doi.org/10.1163/156852512x585124.

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Abstract In his Oratio ad Graecos Tatian 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’s Oratio ad Graecos continue 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 between Oratio ad Graecos and late Republican and Augustan literature, the article refines the image of a woman like Sappho in Ancient Rome.
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35

Weeda, Leendert. "The Augustan Poets: their Master’s Voices?" Mnemosyne 64, no. 4 (2011): 713. http://dx.doi.org/10.1163/156852511x548513.

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36

Probyn, Clive T., Joseph M. Levine, and Daniel Eilon. "The Battle of the Books: History and Literature in the Augustan Age." Modern Language Review 89, no. 2 (April 1994): 448. http://dx.doi.org/10.2307/3735260.

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37

Klein, Lawrence E., Joseph M. Levine, and Clive T. Probyn. "The Battle of the Books: History and Literature in the Augustan Age." Eighteenth-Century Studies 25, no. 3 (1992): 395. http://dx.doi.org/10.2307/2739351.

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38

Wexler, Victor G., and Joseph M. Levine. "The Battle of the Books: History and Literature in the Augustan Age." American Historical Review 98, no. 1 (February 1993): 159. http://dx.doi.org/10.2307/2166425.

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39

Mack, Robert L., and Joseph M. Levine. "The Battle of the Books: History and Literature in the Augustan Age." Comparative Literature 46, no. 4 (1994): 405. http://dx.doi.org/10.2307/1771385.

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40

Meyers, Carole. "The Battle of the books: History and literature in the Augustan age." History of European Ideas 18, no. 6 (November 1994): 953–54. http://dx.doi.org/10.1016/0191-6599(94)90355-7.

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41

Holmes, Nigel. "Gaudia nostra: a hexameter-ending in elegy." Classical Quarterly 45, no. 2 (December 1995): 500–503. http://dx.doi.org/10.1017/s000983880004355x.

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In an earlier article in Classical Quarterly, S. J. Harrison explored the varying frequency of hexameter-endings of the type discordia taetra, where a noun that ends in short a is followed by its epithet with the same termination. It appears from this that while most pre-Augustan poets allow a fairly high frequency of such verse-endings (e.g. Lucretius 1:130, Catullus 1:204), some Augustan poets and their imitators show a distinct tendency to avoid them (e.g. Vergil, Georgics 1:547), while some almost exclude them altogether (e.g. Ovid, Metamorphoses 1:4999, Statius, Thebaid 1:1948). The hexameters of elegiac poetry might be subject to the same restriction; the following are figures for elegy from Catullus to Martial.
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42

Edgecombe, R. S. "Three Augustan Allusions in Oliver Twist." Notes and Queries 60, no. 2 (April 15, 2013): 266–68. http://dx.doi.org/10.1093/notesj/gjt040.

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43

Freudenburg, Kirk. "Recusatioas Political Theatre: Horace's Letter to Augustus." Journal of Roman Studies 104 (February 19, 2014): 105–32. http://dx.doi.org/10.1017/s007543581300124x.

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AbstractAmong the most potent devices that Roman emperors had at their disposal to disavow autocratic aims and to put on display the consensus of ruler and ruled was the artful refusal of exceptional powers, orrecusatio imperii. The practice had a long history in Rome prior to the reign of Augustus, but it was Augustus especially who, over the course of several decades, perfected therecusatioas a means of performing his hesitancy towards power. The poets of the Augustan period were similarly well practised in the art of refusal, writing dozens of poeticrecusationesthat purported to refuse offers urged upon them by their patrons, or by the greater expectations of the Augustan age, to take on projects. It is the purpose of this paper to put the one type of refusal alongside the other, in order to show to what extent the refusals of the Augustan poets are informed not just by aesthetic principles that derive, most obviously, from Callimachus, but by the many, high-profile acts of denial that were performed as political art by the emperor himself.
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44

Robinson, O. "The Urban Image of Augustan Rome. D Favro." Classical Review 48, no. 1 (January 1, 1998): 115–16. http://dx.doi.org/10.1093/cr/48.1.115.

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45

Nakanishi, Wendy Jones. "Classical and ‘Augustan’ notions of the literary letter*." English Studies 71, no. 4 (August 1990): 341–52. http://dx.doi.org/10.1080/00138389008598701.

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46

Favro, Diane. "Reading Augustan Rome: Materiality as RhetoricIn Situ." Advances in the History of Rhetoric 20, no. 2 (May 4, 2017): 180–95. http://dx.doi.org/10.1080/15362426.2017.1326325.

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47

Lewis, Jayne. "A History of Augustan Fable. Mark Loveridge." Modern Philology 98, no. 4 (May 2001): 669–73. http://dx.doi.org/10.1086/493014.

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48

Boyle, A. J. "Introduction." Ramus 16, no. 1-2 (1987): 1–3. http://dx.doi.org/10.1017/s0048671x00003222.

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oratio certam regulam non habet; consuetudo illam ciuitatis, quae numquam in eodem diu stetit, uersat.Style has no fixed rules; the usage of society changes it, which never stays still for long.Seneca Epistle 114.13This is the first of two volumes of critical essays on Latin literature of the imperial period from Ovid to late antiquity. The focus is upon the main postclassical period (A.D. 1-150), especially the authors of the Neronian and Flavian principates (A.D. 54-96), several of whom, though recently the subject of substantial investigation and reassessment, remain largely unread, at best improperly understood. The change which took place in Roman literature between the late republic/early Augustan period and the post-Augustan empire, between the ‘classicism’ of Cicero, Virgil, Horace, Livy and the ‘postclassicism’ of Seneca, Lucan, Persius, Tacitus is conventionally misdescribed (albeit sometimes with qualifications) as the movement from Golden to Silver Latin. The description misleads on many counts, not least because it misconstrues a change in literary and poetic sensibility, in the mental sets of reader and audience, and in the political environment of writing itself, as a change in literary value. What in fact happened awaits adequate description, but it seems clear that the change began with Ovid (43 B.C. to A.D. 17), whose rejection of Augustan classicism (especially its concept of decorum or ‘appropriateness’), cultivation of generic disorder and experimentation (witness, e.g., Ars Amatoria and Metamorphoses), love of paradox, absurdity, incongruity, hyperbole, wit, and focus on extreme emotional states, influenced everything that followed. Ovid also witnessed and suffered from the increasing political repression of the principate; he was banished for — among other things — his words, carmen. And political repression seems to have been a signal factor, if difficult to evaluate, in the formation of the postclassical style.
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49

Thomas, Edmund. "The Cult Statues of the Pantheon." Journal of Roman Studies 107 (June 22, 2017): 146–212. http://dx.doi.org/10.1017/s0075435817000314.

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ABSTRACTThis article reconsiders the possible statuary of the Pantheon in Rome, both in its original Augustan form and in its later phases. It argues that the so-called ‘Algiers Relief’ has wrongly been connected with the Temple of Mars Ultor and is in fact evidence of the association of the Divus Julius with Mars and Venus in the Pantheon of Agrippa, a juxtaposition which reflects the direction of Augustan ideology in the 20sb.c.and the building's celestial purpose. This triple statue group became the focus of the later Pantheon, and its importance is highlighted by the hierarchized system of architectural ornament of the present building.
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50

Murgatroyd, Paul. "Johannes Secundus Elegies 1.1 and Augustan poetry." Renaissance Studies 9, no. 3 (September 1995): 259–66. http://dx.doi.org/10.1111/j.1477-4658.1995.tb00313.x.

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