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Journal articles on the topic 'Heliodorus'

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Published: 4 June 2021
Last updated: 2 February 2022

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1

Hägg, Tomas. "Heliodorus." Classical Review 49, no. 2 (October 1999): 380–81. http://dx.doi.org/10.1093/cr/49.2.380.

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2

Konstan, David, and Richard Hunter. "Studies in Heliodorus." Classical World 92, no. 4 (1999): 385. http://dx.doi.org/10.2307/4352298.

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Beetham, Frank, and Richard Hunter. "Studies in Heliodorus." Classics Ireland 8 (2001): 134. http://dx.doi.org/10.2307/25528383.

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4

Tagliabue, Aldo. "Heliodorus’ Reading of Lucian’s Toxaris." Mnemosyne 69, no. 3 (May 7, 2016): 397–419. http://dx.doi.org/10.1163/1568525x-12341608.

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This article demonstrates that Cnemon’s story in Heliodorus’ Aethiopica intertexts with the novella of Deinias in Lucian’s Toxaris. The closeness of three textual parallels, along with a subtle use of characters’ names, proves that Heliodorus is deliberately recalling Toxaris. The focus of this intertextuality is Chariclea, the courtesan of Deinias’ story. This immoral figure is a striking counterpart to the lustful Demaenete, the main character of Cnemon’s story and the first immoral lover of the Aethiopica. At the same time, the evocation by Heliodorus of a lustful woman who has the same name as the protagonist Chariclea, paradoxically enriches the characterization of the latter as chaste. Furthermore, this subtle evocation of Chariclea seems to have metaliterary implications as well. In the Aethiopica Chariclea stands for the entire novel: Heliodorus appears to define the nature of his text in opposition to Lucian’s Toxaris and to the different kind of fiction it represents. Heliodorus’ definition of his own novel by means of establishing a contrast with other texts is an important function of his intertextuality with Imperial literature and possibly sheds new light on the status of ancient fiction as a whole.
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5

Black, Scott. "Reading Mistakes in Heliodorus." Eighteenth Century 52, no. 3-4 (2011): 343–60. http://dx.doi.org/10.1353/ecy.2011.0031.

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6

Dyck, Andrew R. "The Fragments of Heliodorus Homericus." Harvard Studies in Classical Philology 95 (1993): 1. http://dx.doi.org/10.2307/311376.

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7

Sijpesteijn, P. J. "Heliodorus, Aethiopica Ix 22, 3." Mnemosyne 43, no. 1-2 (1990): 156–58. http://dx.doi.org/10.1163/156852590x00126.

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8

Lye, Suzanne. "Gender and Ethnicity in Heliodorus’ Aithiopika." Classical World 109, no. 2 (2016): 235–62. http://dx.doi.org/10.1353/clw.2016.0014.

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9

Ciocani, Vichi Eugenia. "Searching for a Foil to Charicleia." Mnemosyne 71, no. 1 (January 23, 2018): 58–74. http://dx.doi.org/10.1163/1568525x-12342235.

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AbstractSet at a narratologically crucial moment of Heliodorus’ novel, the hymn to Thetis precedes and foreshadows the appearance of the protagonists, Theagenes and Charicleia, within the religious festival at Delphi. While the parallel between Neoptolemus and Theagenes is rather clear and explicit, the hymn honours Thetis in a distinctive way which does not correspond symmetrically to the depiction of Charicleia. The paper will argue that this hymn alludes to theHomeric Hymn to Demeterand contrasts the various figures of Thetis, Demeter and Persephone to Heliodorus’ heroine. This interpretation explains the meaning of the hymn to Thetis both in its immediate context and within the larger ideology of the novel.
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10

Scolnic, Benjamin. "Heliodorus and the Assassination of Seleucus IV according to Dan 11:20 and 2 Macc 3." Journal of Ancient Judaism 7, no. 3 (May 14, 2016): 354–84. http://dx.doi.org/10.30965/21967954-00703004.

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The impetus for the assassination of Seleucus IV in 175 B. C. E. is commonly associated with his robbing the temples and oppressing the peoples of the Seleucid kingdom in order to pay tribute to Rome according to the Treaty of Apamea. Reconsideration of the relevant evidence – especially Dan 11:20 and 2 Macc 3, with attention to a passage from Appian, inscriptions from Delos, the Heliodorus stele and the Ptolemaios dossier – suggests another explanation for these events. If Seleucus robbed the temples to finance his “royal splendor,” it is possible that Heliodorus and others tasked with taxing the kingdom may have objected to his controversial policies and taken action against him because of them.
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11

Hafner, Markus. "Ἀμήχανόν τι κάλλος. Re-evaluating the Concept of Beauty in Heliodorus’ Aithiopika." Nova Tellus 39, no. 1 (January 27, 2021): 107–29. http://dx.doi.org/10.19130/iifl.nt.2021.39.1.27546.

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Of the extant ancient Greek novels, Heliodorus’ Aithiopika is by far the most ‘sophisticated’. One of its topics is the virtually irresistible, and almost ‘divine’, beauty of both protagonists, Theagenes and Charicleia. Whereas earlier scholarship brought Heliodorean beauty into line with Platonic concepts and highlighted its ethical value or even metaphysical character, this article tries to throw into relief another aspect of Heliodorean κάλλος, emphasising a link between the Aithiopika and rhetorical exercises based on beauty. Thus, κάλλος makes explicit the persuasive effect of the text itself. By means of Heliodorus’ art of description, the quality of beauty also bears meta-literary implications. The Aithiopika, consequently, advertise in a self-referential way their own rhetorical attraction and persuasiveness.
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12

Wasdin. "Sibling Romance in Heliodorus' Aithiopika." Classical Journal 114, no. 4 (2019): 385. http://dx.doi.org/10.5184/classicalj.114.4.0385.

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13

JONES, MERIEL. "HEAVENLY AND PANDEMIC NAMES IN HELIODORUS' AETHIOPICA." Classical Quarterly 56, no. 2 (December 2006): 548–62. http://dx.doi.org/10.1017/s000983880600053x.

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14

Ormand, Kirk. "Testing Virginity in Achilles Tatius and Heliodorus." Ramus 39, no. 2 (2010): 160–97. http://dx.doi.org/10.1017/s0048671x00000473.

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Towards the end of the life of Aesop, probably written in the first century CE, a surprising, bawdy tale appears. I give here the version preserved in Vita W chapter 131, also collected as fabula 386.(Vit. Aesop. 131W)
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15

Schwartz, Michael. "Raphael's Authorship in the Expulsion of Heliodorus." Art Bulletin 79, no. 3 (September 1997): 466. http://dx.doi.org/10.2307/3046262.

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16

Dickie, Matthew W. "Heliodorus and Plutarch on the Evil Eye." Classical Philology 86, no. 1 (January 1991): 17–29. http://dx.doi.org/10.1086/367227.

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17

Sanchez Hernandez, Juan Pablo. "Merchant’s Road Toward the Utopia in Heliodorus’Aethiopica." Antichthon 52 (2018): 143–60. http://dx.doi.org/10.1017/ann.2018.9.

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AbstractHeliodorus’Aethiopicanarrates the adventurous journey of a couple through Egypt to the kingdom of Meroe in Ethiopia where they get married. To increase the plausibility of this story Heliodorus uses his knowledge of Rome’s trade activities in the East and he even introduces some characters involved in trade ventures in those regions (e.g. Nausicles) at crucial moments of its development. On the other hand, Heliodorus’ references to luxurious products of Eastern and African origin, as well as to exotic animals or tribes, are recurring elements (orleitmotifs) that are consciously interspersed throughout the novel. Those references not only serve to unify a carefully planned plot and guide the reader to an intended conclusion, but also to map the idealised Ethiopia and its neighboring subjected regions (inhabited by some fantastic tribes), where the protagonists will eventually live.
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18

Harvey,, Paul B., Paul B. Harrvey, Jr., and J. H. D. Scourfield. "Consoling Heliodorus: A Commentary on Jerome Letter 60." Classical World 88, no. 1 (1994): 65. http://dx.doi.org/10.2307/4351631.

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19

Bartelink, G. J. M., and J. H. Scourfield. "Consoling Heliodorus. A Commentary on Jerome Letter 60." Vigiliae Christianae 47, no. 2 (June 1993): 194. http://dx.doi.org/10.2307/1584174.

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20

Hilton, John. "A new sixth-century reader of Heliodorus' Aethiopica?" Acta Classica 57, annual (2014): 241–45. http://dx.doi.org/10.15731/aclass.057.13.

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21

Cueva, Edmund P. "The Analogue of the Hero of Heliodorus' Aethiopica." Syllecta Classica 9, no. 1 (1998): 103–13. http://dx.doi.org/10.1353/syl.1998.0004.

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22

Perkins, Judith. "An Ancient "Passing" Novel: Heliodorus' Aithiopika." Arethusa 32, no. 2 (1999): 197–214. http://dx.doi.org/10.1353/are.1999.0010.

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23

Mayer, Eric D. "Cervantes, Heliodorus, and the Novelty of “La gitanilla”." Cervantes: Bulletin of the Cervantes Society of America 33, no. 1 (2013): 97–117. http://dx.doi.org/10.1353/cer.2013.0015.

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24

Duarte, Adriane da Silva. "Erotiká gnorísmata: o reconhecimento do amado em Heliodoro." Classica - Revista Brasileira de Estudos Clássicos 24, no. 1/2 (2009): 103–12. http://dx.doi.org/10.14195/2176-6436_24_7.

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25

Cerroni, Enrico. "I “mali futuri” e non solo: possibili riprese tucididee in Dexippo e Eliodoro." Philologus 165, no. 1 (June 1, 2021): 58–67. http://dx.doi.org/10.1515/phil-2020-0121.

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Abstract The reception of the work of Thucydides in late antique authors constitutes a huge chapter of allusions and reworkings, on methodological, structural, lexical levels and more. A fortiori, certain particularly famous passages by the historian are well suited for a study of their reception, above all where key terms or rare expressions are concentrated. The case of the adjective ἀλγεινός, a poeticism declined twice in the epitaphios of Pericles (2.39 and 2.43) offers interesting material of this kind in the work of Dexippus, the Athenian historian of the third century A.D., and in the romance author Heliodorus. Alongside a secure reference to 2.39 in Dexippus (F28 Martin = F34 Mecella), already identified by Stein, it is possible to identify a further reuse in another fragment, probably extracted from a demegoria (F26b Martin = F32b Mecella). In the light of these examples, it becomes more likely that we can see a reminiscence of Thucydides also in a passage of Heliodorus of Emesa (5.29), already proposed by van Krevelen but omitted from the repertory of citations present in the Aethiopica prepared by Feuillâtre.
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26

Sandy, Gerald N. "Jacques Amyot and the manuscript tradition of Heliodorus' Aethiopica." Revue d'histoire des textes 14, no. 1984 (1986): 1–22. http://dx.doi.org/10.3406/rht.1986.1267.

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27

Reynolds, Simon. "Cymbeline and Heliodorus' Aithiopika: The Loss and Recovery of Form." Translation and Literature 13, no. 1 (March 2004): 24–48. http://dx.doi.org/10.3366/tal.2004.13.1.24.

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28

Whitmarsh, Tim. "Written on the Body: Ekphrasis, Perception and Deception in Heliodorus' Aethiopica." Ramus 31, no. 1-2 (2002): 111–25. http://dx.doi.org/10.1017/s0048671x00001399.

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Novels have so much solid and monolithic bulk when they sit in a hand or on a shelf; inside, the pages are forests of symbols, as though even in books of such magnitude the sentences needed compression to fit on to pages. How different to poetic volumes, beguilingly slender, their pages brilliant with blank, white space, across which the spindly words stretch like gossamer. In terms of content, however, novels are rarely as monolithic as their physical form suggests. From earliest times since, the genre has dealt, centrally, with themes of metamorphosis, transubstantiation, the fundamentally permeable nature of the self. The solid material aspect of the novel often masks a central preoccupation with the fluidity of identity.In the compass of this article, I want to explore the central role accorded by Heliodorus, arguably the greatest of ancient novelists, to questions of perceptual deception, to seeing and seeming; and in particular, I want to explore the role of artworks within Heliodorus' narrative economy. The narrative turns, as is well known, on the amazing paradox of an Ethiopian girl born white. Charicleia's skin colour is a visual trap, an illusion. Given that her freakish pigmentation is the result of her mother's glancing at an art-work at the moment of conception, Charicleia can almost be said to be a walking ekphrasis, an embodiment of the illusory traps of the unreal.
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29

Reynolds, Simon. "Pregnancy and Imagination in the Winter?s Tale and Heliodorus? Aithiopika." English Studies 84, no. 5 (October 1, 2003): 433–47. http://dx.doi.org/10.1076/enst.84.5.433.28755.

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30

SHALEV, DONNA. "HELIODORUS' SPEAKERS: MULTICULTURALISM AND LITERARY INNOVATION IN CONVENTIONS FOR FRAMING SPEECH." Bulletin of the Institute of Classical Studies 49, no. 1 (December 1, 2006): 165–91. http://dx.doi.org/10.1111/j.2041-5370.2006.tb00683.x.

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31

Grethlein, Jonas. "Social Minds and Narrative Time: Collective Experience in Thucydides and Heliodorus." Narrative 23, no. 2 (2015): 123–39. http://dx.doi.org/10.1353/nar.2015.0011.

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32

Buck, P. L. "Consoling Heliodorus: A Commentary on Jerome, Letter 60 (review)." Journal of Early Christian Studies 3, no. 2 (1995): 223–24. http://dx.doi.org/10.1353/earl.0.0048.

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33

Telò, Mario. "The Eagle's Gaze in the Opening of Heliodorus' Aethiopica." American Journal of Philology 132, no. 4 (2011): 581–613. http://dx.doi.org/10.1353/ajp.2011.0035.

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34

Anderson, Michael J. "The ΣΩΦΡΟΣΥΝΗ of Persinna and the Romantic Strategy of Heliodorus' Aethiopica." Classical Philology 92, no. 4 (October 1997): 303–22. http://dx.doi.org/10.1086/449361.

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35

Green, R. P. H. "Consoling Heliodorus - J. H. D. Scourfield: Consoling Heliodorus: A Commentary on Jerome, Letter 60. (Oxford Classical Monographs.) Pp. xxi + 260. Oxford: Clarendon Press, 1992. Cased, £35." Classical Review 44, no. 1 (April 1994): 61–62. http://dx.doi.org/10.1017/s0009840x0029046x.

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36

Lefteratou. "Gemstones, Textiles and a Princess: Precious Commodities in Heliodorus' Aethiopica." Classical Journal 115, no. 1 (2019): 1. http://dx.doi.org/10.5184/classicalj.115.1.0001.

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37

Olsen, Sarah. "Maculate Conception: Sexual Ideology and Creative Authority in Heliodorus' Aethiopica." American Journal of Philology 133, no. 2 (2012): 301–22. http://dx.doi.org/10.1353/ajp.2012.0017.

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38

Урманов, Александр Васильевич, and Ин Лю. "THE FUNCTION OF LINGUISTIC ARCHAIC IN THE FEUILLETONS OF F. CHUDAKOV." Вестник Тверского государственного университета. Серия: Филология, no. 3(66) (November 6, 2020): 117–28. http://dx.doi.org/10.26456/vtfilol/2020.3.117.

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Статья обращена к сатирическому творчеству Ф. Чудакова (1888-1918) - самого яркого литератора Приамурья дореволюционного и революционного времени. В работе исследуются стихотворные фельетоны, посвящённые иеромонаху Илиодору - скандально известному религиозному и политическому деятелю начала XX в. В центре внимания - формы речевой характеристики, прежде всего языковая архаика. The article is devoted to the satirical work of F. Chudakov (1888-1918), the most brilliant writer of the Amur Region before the revolution and the revolution time. The work explores the poetic feuilleton dedicated to hieromonk Heliodorus, the notorious religious and political figure of the beginning of the XX century. The focus is on the forms of speech characteristics, primarily to linguistic archaic.
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39

Gunreben, Marie. "Verhinderte Liebende." Daphnis 49, no. 3 (July 14, 2021): 293–323. http://dx.doi.org/10.1163/18796583-12340022.

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Abstract This article examines the reception of Heliodor’s Aethiopica in German novels around 1700. The ‘Heliodor model’ proves to be remarkably persistent, as the form’s specific affordances offer an attractive variety of possible uses. At the same time, writers stick to the legitimized form of the novel for reasons of genre politics. In analyzing Eberhard W. Happel’s Afrikanischer Tarnolast (1689) and August Bohse’s Letztes Liebes- und Heldengedichte (1706), the article shows how these exemplary novels transform the ‘Heliodor model’ in idiosyncratic ways, and argues that these transformations aim at exploring and expanding the potential of literary characters.
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40

Grethlein, Jonas. "MINDING THE MIDDLE IN HELIODORUS’ AETHIOPICA: FALSE CLOSURE, TRIANGULAR FOILS AND SELF-REFLECTION." Classical Quarterly 66, no. 1 (February 29, 2016): 316–35. http://dx.doi.org/10.1017/s0009838816000045.

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A change in the form of narrative presentation divides Heliodorus’ Aethiopica in two halves, the first embracing Books 1–5, the second Books 6–10. The shift has been described in different terms: Keyes notes that, whereas the first part uses an in medias res opening, the second follows by and large chronological order. Morgan ascribes to the first half a ‘hermeneutic impulse’ that gives way to an ‘end-directed’ drive in the second half. Using Sternberg's concept of narrative time, one could say that by and large the first five books are dominated by curiosity, the second five books by suspense: after trying to fathom the prehistory, the reader then directs her attention to the further development of the plot. The shift, however, concerns not only the orchestration of time, but also the stance of the narrator: while Hefti juxtaposes the net of embedded narratives in the first five books with the predominance of the primary narrator in the last five books, Futre Pinheiro considers the shift in terms of ‘showing’ and ‘telling’. The difference between the two halves of the Aethiopica thus hinges on the central narratological categories of time and voice.
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41

Montiglio, Silvia. "The Call of Blood: Greek Origins of a Motif, from Euripides to Heliodorus." Syllecta Classica 22, no. 1 (2011): 113–29. http://dx.doi.org/10.1353/syl.2011.0010.

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42

Auffarth, Christoph. "Practitioners of the Divine: Greek Priests and Religious Officials from Homer to Heliodorus." Religion 41, no. 1 (March 2011): 103–4. http://dx.doi.org/10.1080/0048721x.2011.553084.

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43

Duluș, Mircea G. "Philip-Philagathos’ allegorical interpretation of Heliodorus’ Aithiopika: Eros, mimesis and scriptural anagogical exegesis." Byzantinische Zeitschrift 114, no. 3 (September 1, 2021): 1037–78. http://dx.doi.org/10.1515/bz-2021-0055.

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Abstract The debate over the authorship of the allegorical interpretation of Heliodorus’ novel extant in codex Marc. Gr. 410 (coll. 522) bequeathed to subsequent scholarship the assumption that the text belongs to the Neoplatonic allegorical tradition of reading Homer. This essay aims to revisit this philosophical attribution and argue that the terms and philosophical categories alluded in this allegory are characteristic of a long tradition of Patristic analysis, and more specifically of Gregory of Nyssa and Maximus Confessor’s exegesis. Setting forth new textual evidence, it argues that the exegetical practice displayed in the allegory reflects Maximus Confessor’s anagogical exegesis (i. e., the etymological and numerical speculations) and Gregory of Nyssa’s pedagogy of desire and doctrine of spiritual progress as set forth in the Homilies on the Song of Songs and The Life of Moses.
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44

Pomeroy, Ralph S. "The Ramist as Fallacy-Hunter: Abraham Fraunce and The Lawiers Logike." Renaissance Quarterly 40, no. 2 (1987): 224–46. http://dx.doi.org/10.2307/2861707.

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Abraham Fraunce holds a conspicuous though somewhat anomalous place in Renaissance literary history. He is usually regarded as a minor poet, worth studying mainly for his close association with two major ones—Edmund Spenser and Sir Philip Sidney—and for his translations of Virgil, Heliodorus, and Tasso. He is also considered an important figure in Renaissance rhetorical history (insofar as that can and should be distinguished from literary history) for The Arcadian Rhetorike (1588) and, to a lesser extent, for The Sheapheardes Logike (?I585) and The Lawiers Logike (1588). Indeed, James J. Murphy has recently identified Fraunce as one of the twenty most frequently cited Renaissance rhetoricians—“the names most often seen in footnotes or heard in learned papers at meetings.”
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45

Gunderson, Erik. "The Morosophistic Discourse of Ancient Prose Fiction." Journal of Latin Cosmopolitanism and European Literatures, no. 1 (June 12, 2019): 56–80. http://dx.doi.org/10.21825/jolcel.v0i1.8250.

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This essay explores a set of connections between philosophy and prose fiction. It combines a somewhat Foucauldian outlook on the question of genealogical filiation with a Bakhtinian interest in polyphony and heteroglossia. This is an overview of the various possibilities for the emplotment of the story of knowledge. The structural details of these plots inform the quality of the knowledge that eventuates from them. In coarse terms, I am asking what it means to insist upon the novelistic qualities of Plato while simultaneously thinking about the Platonic qualities of novels. This highly selective survey starts with classical Athens, touches upon Plutarch and Lucian, and then lingers with narrative prose fiction more specifically by examining the texts of Chariton, Achilles Tatius, Heliodorus, Apuleius, and Petronius.
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46

Egger, Brigitte, and Shadi Bartsch. "Decoding the Ancient Novel: The Reader and the Role of Description in Heliodorus and Achilles Tatius." Classical World 85, no. 6 (1992): 714. http://dx.doi.org/10.2307/4351139.

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47

Mayer, Eric D. "Homer, Heliodorus, and Cervantes: Some Observations on Anagnorisis in Los Trabajos De Persiles Y Sigismunda (1617)." Comitatus: A Journal of Medieval and Renaissance Studies 35, no. 1 (2004): 108–23. http://dx.doi.org/10.1353/cjm.2004.0018.

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48

Scolnic, Benjamin. "Heliodorus and the Assassination of Seleucus IV according to Dan 11:20 and 2 Macc 3." Journal of Ancient Judaism 7, no. 3 (December 4, 2016): 354–84. http://dx.doi.org/10.13109/jaju.2016.7.3.354.

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49

Stephens, S. A., and Shadi Bartsch. "Decoding the Ancient Novel: The Reader and the Role of Description in Heliodorus and Achilles Tatius." American Journal of Philology 112, no. 4 (1991): 567. http://dx.doi.org/10.2307/294942.

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50

Witt, Mathias. "Aus Antyllos und Heliodoros“ Zum Problem der doppelten Autorenlemma-Angaben in den medizinischen Sammelwerken des Oreibasios und Aëtios von Amida." Sudhoffs Archiv 103, no. 2 (2019): 141. http://dx.doi.org/10.25162/sar-2019-0006.

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