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Journal articles on the topic 'Juvenal'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Adomėnas, Mantas. "What’s so Funny? Democritus ridens in Juvenal 10." Literatūra 64, no. 3 (2022): 43–53. http://dx.doi.org/10.15388/litera.2022.64.3.4.

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The article analyzes Juvenal’s use of Democritean material in his tenth Satire. The famous juxtaposition of laughing Democritus and weeping Heraclitus (which popularized and perpetuated the image of contrasting philosophers) is habitually interpreted in terms of Juvenal’s poetic strategy, as indicating the shift in the tone of his satires and the change of Juvenal’s stance from the anger as the dominant emotion of his earlier satires to laughter and irony of the later ones. There is a tendency to assume that the totality of Democritean material in Juvenal 10 derives solely from Seneca. However, close reading of the concluding lines of the Satire suggests a different argumentative strategy and deeper engagement with Democritus’ thought by Juvenal. The comparison with Pseudo-Hippocratic ‘epistolary novel’ suggests Cynic diatribai as the source of the Democritean material in Juvenal 10.

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2

Ritter, Michael. "Historicizing Satire in Juvenal." Classical Antiquity 38, no. 2 (2019): 250–74. http://dx.doi.org/10.1525/ca.2019.38.2.250.

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The implications of the persona theory pose a problem for the interpretation of Juvenal's early satires, because it presents the satirist as intent on nullifying his didactic stances. This leaves us with an unsatisfactory conclusion that excises Juvenal's persistent treatment of themes consistent with contemporaneous authors who were similarly engaged in blackening the reputations of the famous dead. This article argues that a strict application of persona theory isolates Juvenal's satirist from his volatile contemporary climate by excluding him from the reality that these authors—similarly directing their works to the past—were unabashedly writing only after the tyrant was safely dead. Tacitus and Pliny had lamented the servility and silence that predominated during Domitian's reign, in which the Roman world endured fifteen years of terror without uttering a word. Into this literary milieu Juvenal announces his satirist, who begins with an echo of that silence: semper ego auditor tantum? With the death of Domitian and a new atmosphere that permitted the defamation of the deceased, Juvenal injects his venomous voice into the mix, taking advantage of contemporary literary appetites that allowed for the punishment, no matter how belated, if not of the person then of the guilty one's memory. Any evaluation of Juvenal's satiric project must be firmly rooted in this, his most immediate, context.

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3

Maley, James M., and Kevin Winker. "Use of Juvenal Plumage in Diagnosing Species Limits: An Example Using Buntings in the Genus Plectrophenax." Auk 124, no. 3 (2007): 907–15. http://dx.doi.org/10.1093/auk/124.3.907.

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Abstract Species limits in the genus Plectrophenax have been difficult to assess. McKay’s Buntings (Plectrophenax hyperboreus) are very similar both morphologically and behaviorally to Snow Buntings (P. nivalis). However, their breeding ranges are allopatric, and there is limited evidence of gene flow. The juvenal plumage of McKay’s Buntings has never been described as different from that of Snow Buntings. Comparison of a series of McKay’s Buntings in juvenal plumage with a series of Snow Buntings in juvenal plumage showed clear differences between the two forms. We used color spectrophotometry to quantify the differences between the two taxa in two areas of the body that appeared to be consistently different, the throat and back. The relative magnitude of the difference between McKay’s and Snow buntings was greater than homologous differences between two subspecies of Snow Bunting (P. n. nivalis and P. n. townsendi). Four out of six variables were significantly different between McKay’s and Snow buntings, whereas none of the variables were significantly different between the two subspecies of Snow Bunting. Bonferroni corrected t-tests of sexual dimorphism and regression of the variables against year of collection showed that these factors were not associated with these differences. Discriminant analysis accurately separated 100% of the specimens into their respective groups. These differences are notable given the evolutionarily conservative nature of juvenal plumage. Our results support continued recognition of McKay’s Bunting as a species and reconfirm the use of juvenal plumage to help determine species limits. Uso del Plumaje Juvenil para Diagnosticar los Límites entre Especies: un Ejemplo en el Género Plectrophenax

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4

Green, Peter. "Juvenal Revisited." Grand Street 9, no. 1 (1989): 175. http://dx.doi.org/10.2307/25007317.

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5

Gellar-Goad, T. H. M. "TROUBLE AT SEA IN JUVENAL 12, PERSIUS 6 AND THE PROEM TO LUCRETIUS,DE RERUM NATURA2." Cambridge Classical Journal 64 (July 17, 2018): 49–69. http://dx.doi.org/10.1017/s1750270518000039.

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This paper argues that the shipwreck scene in Juvenal 12 should be read as another exploration of the satiric ‘sketch’ offered in the proem to Lucretius,De rerum natura2: a thematic response to and exploration of the scene of troubles at sea in the Lucretian proem. The beleaguered sea-merchant Catullus should not have gone sailing at all – but he responds to trouble as an Epicurean would recommend. Juvenal 12 displays Epicurean conceptions of friendship and sacrifice, and an allusion to a storm scene in Persius 6 (itself intertextually connected to Lucretius’ proem) confirms the satiric importance of Lucretius in Juvenal's passage.

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6

Bellandi, Franco. "Christine Schmitz: Juvenal." Gnomon 93, no. 2 (2021): 27–37. http://dx.doi.org/10.17104/0017-1417-2021-2-27.

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7

Anderson, William S., and E. Courtney. "Juvenal: The Satires." Classical World 81, no. 5 (1988): 413. http://dx.doi.org/10.2307/4350247.

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8

Adkin, Neil. "Jerome, Seneca, Juvenal." Revue belge de philologie et d'histoire 78, no. 1 (2000): 119–28. http://dx.doi.org/10.3406/rbph.2000.4435.

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9

Kißel, Walter. "Juvenal (1962–2011)." Lustrum 55, no. 1 (2013): 7–417. http://dx.doi.org/10.13109/lutr.2013.55.1.7.

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10

Morgan, J. D. "Juvenal 1.142–4." Classical Quarterly 38, no. 1 (1988): 264–65. http://dx.doi.org/10.1017/s0009838800031554.

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For a defence of ‘crudum’ against Courtney's strictures, see the reviews by Goodyear and Reeve. I am presently concerned not with the unresolved crux in verse 144, but with the medical reason for the death of the glutton. Galen (xix. 692–3 K), quoted by Mayor, warned that one should not bathe after eating ἵνα μ μϕραξις κατ νεϕρὺς κα ἦπαρ γνηται. More recently, Courtney ad loc. has quoted Persius 3.98ff. and has attributed the death to ‘apoplexy’, which in more modern parlance is called a ‘stroke’ or a ‘cerebral haemorrhage’. What Persius and Juvenal are actually describing is not a stroke but what was formerly known as ‘acute indigestion’ and is now called a ‘heart attack’, as indeed ought to have been obvious from ‘nescio quid trepidat mihi pectus’ at Persius 3.88, and ‘tange, miser, uenas et pone in pectore dextram’ at 3.107. As Duff says, ‘the natural and ordinary time for bathing was just before the cena, but the gluttons of this time had discovered that digestion was temporarily promoted by the unhealthy practice of bathing in very hot water immediately after the meal’. Modern medical research has shown why this practice was very unhealthy indeed. As a meal is digested, the pulse rate is elevated, and bathing in hot water increases it even further. The consumption of alcohol, such as that described at Persius 3.92–3 and 99–100, would further accelerate the heart beat. The synergistic effect of these three circumstances, digesting a heavy meal, metabolising a large dose of alcohol, and bathing in hot water, was liable to cause a heart attack in an overweight man whose arteries were clogged with cholesterol.

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11

Pearce, T. E. V. "Juvenal 3.10-20." Mnemosyne 45, no. 3 (1992): 380–83. http://dx.doi.org/10.1163/156852592x00151.

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12

Adkin, Neil. "Juvenal and Jerome." Classical Philology 89, no. 1 (1994): 69–72. http://dx.doi.org/10.1086/367393.

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13

Hendry, Michael. "Three cruces in Juvenal." Classical Quarterly 48, no. 1 (1998): 252–61. http://dx.doi.org/10.1093/cq/48.1.252.

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A. E. Housman has written that the context of Juvenal 5.140 is ‘the most obscure in Juvenal’ (p. xxxii). I am primarily concerned with the following five lines, but the entire passage (132–145), and its position in the poem, must also be examined.

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14

Braund, Susanna H. "Juvenal—Misogynist or Misogamist?" Journal of Roman Studies 82 (November 1992): 71–86. http://dx.doi.org/10.2307/301285.

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Juvenal is charged with misogyny. The evidence brought against him isSatire6. A secondary charge is that of unstructured composition. This paper will attempt to show that the case is unfounded. My contention is that the poem is shaped by contemporary discourses about marriage, in particular the treatment of marriage in rhetoric. The understanding of the poem's ideological grounding thus gained will provide a basis for exploring the complex interrelationship of author, speaker, addressee, and audience in the poem.

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15

Kalogeris, G. "Juvenal: From Satire X." Literary Imagination 10, no. 2 (2007): 146–48. http://dx.doi.org/10.1093/litimag/imn016.

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16

Juvenal Acosta. "Juvenal Acosta (México, 1961)." Nuevo Texto Crítico 21, no. 41-42 (2008): 60–63. http://dx.doi.org/10.1353/ntc.0.0012.

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17

REEVE, MICHAEL D. "JUVENAL 2.39: PUDOR MISREAD?" Classical Quarterly 61, no. 1 (2011): 319–20. http://dx.doi.org/10.1017/s0009838810000601.

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18

JENKYNS, RICHARD. "JUVENAL ON THE POETS." Classical Quarterly 62, no. 2 (2012): 879–82. http://dx.doi.org/10.1017/s0009838812000444.

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19

Kershaw, Allan. "Juvenal 10.150 and Ennius." Mnemosyne 46, no. 4 (1993): 532–33. http://dx.doi.org/10.1163/156852593x00619.

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20

James, Willis. "Markland's Notes on Juvenal." Antichthon 30 (November 1996): 59–84. http://dx.doi.org/10.1017/s0066477400001027.

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The MS L 28 of St John's College, Cambridge, contains a number of critical annotations on Juvenal from the pen of Jeremiah Markland. The existence of these notes has been known at least since the publication of Mayor's edition, in which many of them were published, although the prolixity and disorder characteristic of that edition make it hard to find them. At one time I thought that Ruperti had seen the manuscript, because he was aware of the conjecture aliena sumere vultum a facie (3.105-6), but with the help of Dusaulx I found that it was published in Markland's notes on Lysias (p.330 Reiske). Markland is commonly reckoned the greatest critic of the eighteenth century apart from Bentley, and one would have supposed that editors of Juvenal would have thought that the very dust of his writings was gold. In fact, however, these annotations have never been published in their entirety, and it seems time that they should be. Some of the textual proposals have been made independently by other scholars; some, to the best of my knowledge, have never been made by anyone else and now see the light for the first time. Some, as one would expect, are brilliant and incisive; others are strikingly bad. One must remember that these are the thoughts which passed through his mind as he was reading Juvenal in a very second-rate edition, and no doubt he jotted them down for future consideration. No one will think the less of a critic because his marginalia and anecdota contain material which later reflection would have rejected.

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21

Anderson, William S. "Juvenal Satire 15: Cannibals and Culture." Ramus 16, no. 1-2 (1987): 203–14. http://dx.doi.org/10.1017/s0048671x00003325.

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Pliny, Tacitus, and Juvenal were all released by the death of Domitian in A.D. 96 and the succession of Nerva, then of Trajan in 98 to embark on their separate careers of public and literary life. While Pliny reflects a happy present time, Tacitus and Juvenal look back on earlier times with disgust and indignation. But that, too, could well imply that, secure with the Trajanic Era, they were seeking more dramatic material for their comfortable audiences. When Trajan died in 117, Juvenal had published two books of poems consisting of what we call Satires 1 to 6. Trajan's successor, Hadrian, was a considerably different man, not only a capable soldier and administrator but a person of culture, widely travelled, fond of architectural experimentation, with a life-style that included both a wife and a handsome Bithynian named Antinous. Life was not so predictable under Hadrian for anybody. Pliny had already died, and Tacitus may not have survived very long into the new reign, but Juvenal was still alive and writing after 127.

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22

Gold, Barbara K. "Juvenal and the Satiric Emotions." Classical Journal 113, no. 1 (2017): 118–20. http://dx.doi.org/10.1353/tcj.2017.0039.

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23

LaFleur, Richard A., Juvenal, Niall Rudd, and Edward Courtney. "Juvenal: Satires I, III, X." Classical World 82, no. 2 (1988): 122. http://dx.doi.org/10.2307/4350315.

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24

Smith, Warren S. "Juvenal and the Sophist Isaeus." Classical World 91, no. 1 (1997): 39. http://dx.doi.org/10.2307/4352034.

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25

KIRCHER-DURAND, Chantal. "La dérivation adjectivale chez Juvenal." Cahiers de l'Institut de Linguistique de Louvain 15, no. 1 (1989): 207–18. http://dx.doi.org/10.2143/cill.15.1.2016742.

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26

LINDSAY, ALEX. "JUVENAL, SPENSER, AND DRYDEN'S NOURMAHAL." Notes and Queries 32, no. 2 (1985): 184–85. http://dx.doi.org/10.1093/nq/32-2-184.

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27

Cartlidge, Ben. "JUVENAL 5.104: TEXT AND INTERTEXT." Classical Quarterly 69, no. 1 (2019): 370–77. http://dx.doi.org/10.1017/s0009838819000508.

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This paper draws on Juvenal's intertextual relationship with comedy to solve a textual crux involving fish-names. The monograph by Ferriss-Hill will no doubt warn scholarship away from the treatment of Roman satire's intertextuality with Old Comedy for a time. Yet, Greek comedy's influence on Roman satire is far from exhausted, and this paper will show that this influence goes more widely, and more deeply, than is usually seen. In time, one might hope for a renewed monographic treatment of the subject.

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28

Johnson, W. R. "Male Victimology in Juvenal 6." Ramus 25, no. 2 (1996): 170–86. http://dx.doi.org/10.1017/s0048671x00002137.

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I use the words you taught me. If they don't mean anything anymore, teach me others, or let me be silent.Beckett, Endgameterra malos homines nunc educat atque pusillos.Today the earth breeds a race of degenerate weaklings.Juvenal 15.70nee galeam quassas, nee terram cuspide pulsas.You do not shake your helmet, nor beat the ground with your spear.Juvenal 2.130My intention here is to describe what seems to me an aspect of this superb and notorious poem that has been insufficiently examined, a major disruption in the sign-systems it makes use of and is used by. In order to do that I will be, as best I can, setting aside questions about the poem as a product (its meaning, how its form and content fuse to effect that meaning) and about the intentions its producer (the poet or his persona) had when he went about producing that product; whether the meaning and the intention are recoverable or not, whether they are decidable or not, is a moot question, and to try to answer it here would obscure my project (and doubtless waste our time). ‘To interpret a text,’ says Barthes, ‘is not to give it a (more or less justified, more or less free) meaning, but on the contrary to appreciate what plural constitutes it.’ To have some access to the portion of that plural that concerns me, I have to be arbitrary (and fictive) with the question of the poet's meaning/intention and to set aside as well questions of his poem's aesthetic charms.

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29

Long, Jacqueline. "Juvenal renewed in Claudian’sIn eutropium." International Journal of the Classical Tradition 2, no. 3 (1996): 321–35. http://dx.doi.org/10.1007/bf02678061.

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30

Power, Tristan. "Juvenal, Satires 3.74 and Suetonius." Classical World 107, no. 3 (2014): 399–403. http://dx.doi.org/10.1353/clw.2014.0004.

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31

Vitorino, Mônica Costa. "Giovenale e la società del suo tempo." Classica - Revista Brasileira de Estudos Clássicos 19, no. 2 (2006): 265–72. http://dx.doi.org/10.24277/classica.v19i2.120.

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Muitos estudos sobre as sátiras de Juvenal propõem o problema do valor de testemunha do poeta em relação ao momento histórico contemporâneo. Alguns insistem em utilizar como chave de leitura elementos biográ?cos supostamente presentes na obra, outros reduzem as críticas sociais a uma espécie de virtuosismo oratório da parte de Juvenal. O artigo pretende criticar essas posições que, além de empobrecedoras, di?cultam uma interpretação pertinente da obra.

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32

Cardoso, Elizabeth. "Escurecimentos literários: autoria de ancestralidade negra na fundação da literatura infantil brasileira." ODEERE 8, no. 1 (2023): 106–18. http://dx.doi.org/10.22481/odeere.v8i1.12396.

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O artigo tem como objetivo recolocar a literatura infantil produzida por autoras e autores afro-brasileiros na história crítica da literatura infantil brasileira, com vistas a reescrever essa trajetória e colaborar com a formação de leitores de literatura com bases antirracistas e tecida na afropoética. Neste texto enfoco prioritariamente Gonçalves Crespo (1846-1883) e sua obra Contos para nossos filhos (1896), mas amplio o debate para outros autores afrodescendentes como João do Rio (1881-1921), Ildelfonso Juvenal (1894-1965) e Mestre Didi (1917-2013) e a autora Ruth Guimarães (1920-2014) como precursores e integrantes da fundação da literatura infantil e juvenil brasileira.

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33

Langlands, Rebecca. "Latin Literature." Greece and Rome 62, no. 2 (2015): 224–31. http://dx.doi.org/10.1017/s0017383515000091.

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James Uden's impressive new study of Juvenal's Satires opens up our understanding not only of the poetry itself but also of the world in which it was written, the confusing cosmopolitan world of the Roman Empire under Trajan and Hadrian, with its flourishing of Greek intellectualism, and its dissolution of old certainties about identity and values. Juvenal is revealed as very much a poet of his day, and while Uden is alert to the ‘affected timelessness’ and ‘ambiguous referentiality’ (203) of the Satires, he also shows how Juvenal's poetry resonates with the historical and cultural context of the second century ad, inhabiting different areas of contemporary anxiety at different stages of his career. The first book, for instance, engages with the issues surrounding free speech and punishment in the Trajanic period, as Rome recovers from the recent trauma of Domitian's reign and the devastation wrought by the informers, while satires written under Hadrian move beyond the urban melting pot of Rome into a decentralized empire, and respond to a world in which what it means to be Roman is less and less clear, boundaries and distinctions dissolve, and certainties about Roman superiority, virtue, hierarchies, and centrality are shaken from their anchorage. These later Satires are about the failure of boundaries (social, cultural, ethnic), as the final discussion of Satires 15 demonstrates. For Uden, Juvenal's satirical project lies not so much in asserting distinctions and critiquing those who are different, as in demonstrating over and again how impossible it is to draw such distinctions effectively in the context of second-century Rome, where ‘Romanness’ and ‘Greekness’ are revealed as rhetorical constructions, generated by performance rather than tied to origin: ‘the ties that once bound Romans and Rome have now irreparably dissolved’ (105). Looking beyond the literary space of this allegedly most Roman of genres, and alongside his acute discussions of Juvenal's own poetry, Uden reads Juvenal against his contemporaries – especially prose writers, Greek as well as Roman. Tacitus’ Dialogus is brought in to elucidate the first satire, and the complex bind in which Romans found themselves in a post-Domitianic world: yearning to denounce crime, fearing to be seen as informers, needing neither to allow wrongdoing to go unpunished nor to attract critical attention to themselves. The Letters of Pliny the Younger articulate the tensions within Roman society aroused by the competition between the new excitement of Greek sophistic performance and the waning tradition of Roman recitation. The self-fashioned ‘Greeks’ arriving in Rome from every corner of the empire are admired for their cultural prestige, but are also met by a Roman need to put them in their place, to assert political, administrative, and moral dominance. This picture help us to understand the subtleties of Juvenal's depiction of the literary scene at Rome; when the poet's satiric persona moans about the ubiquitous tedium of recitationes, this constitutes a nostalgic and defensive construction of the dying practice of recitatio as a Roman space from which to critique Greek ‘outsiders’, as much as an attack on the recitatio itself. Close analysis of Dio Chrysostom's orations helps Uden to explore themes of disguise, performance, and the construction of invisibility. Greek intellectual arguments about the universality of virtue are shown to challenge traditional Roman ideas about the moral prestige of the Roman nobility, a challenge to which Juvenal responds in Satires 8. Throughout his study, Uden's nuanced approach shows how the Satires work on several levels simultaneously. Thus Satires 8, in this compelling analysis, is not merely an attack on elite hypocrisy but itself enacts the problem facing the Roman elite: how to keep the values of the past alive without indulging in empty imitation. The Roman nobility boast about their lineage and cram their halls with ancestral busts, but this is very different from reproducing what is really valuable about their ancestors and cultivating real nobility – namely virtue. In addition, Uden shows how Juvenal teases readers with the possibility that this poem itself mirrors this elite hollowness, as it parades its own indebtedness to moralists of old such as Sallust, Cicero, and Seneca, without ever exposing its own moral centre. In this satire, Uden suggests, Juvenal explores ‘the notion that the link between a Roman present and a Roman past may be merely “irony” or “fiction”’ (120). Satires 3's xenophobic attack on Greeks can also be read as a more subtle critique of the erudite philhellenism of the Roman elite; furthermore, Umbricius’ Romanness is revealed in the poem to be as constructed and elusive as the Greekness against which he pits himself. Satires 10 is a Cynic attack upon Roman vice, but hard-line Cynicism itself is a target, as the satire reveals the harsh implications of its philosophical approach, so incompatible with Roman values and conventions, so that the poem can also be read as mocking the popularity of the softer form of Cynicism peddled in Hadrianic Rome by the likes of Epictetus and Dio Chrysostom (169). Both Juvenal's invisibility and the multiplicity of competing voices found in every poem are thematized as their own interpretative provocation that invites readers to question their own positions and self-identification. Ultimately Juvenal the satirist remains elusive, but Uden's sensitive, contextualized reading of the poems not only generates specific new insights but makes sense of Juvenal's whole satirical project, and of this very slipperiness.

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34

Jones, F. M. A. "The Persona and the Addressee in Juvenal Satire 11." Ramus 19, no. 2 (1990): 160–68. http://dx.doi.org/10.1017/s0048671x00002903.

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The approach to the Satires of Juvenal via the persona theory is well-known and has been productive. Somewhat less notice has been given to the fact that a considerable number of the satires have their persona moulded around another character, an addressee or an interlocutor, or sometimes an important narrative figure. Such characters ‘justify’ the persona, which can now be seen as a kind of ad hominem irony. This matter is intricately linked with the role of indignatio. Thus indignation, programmed in the first satire, becomes a little suspect in Laronia's mouth in the second. Laronia is a small scale character, but the techniques used in her regard appear again in the third satire, where the difference between Juvenal and Umbricius reveals the inadequacy of indignatio a little more clearly. The difference between the treatment of Crispinus and of Domitian in the fourth satire carries this process further. In the fifth, Juvenal tries to rouse the abject Trebius, but in his own apostrophe to Virro (Sat. 5.107f.) shows that indignatio is not, perhaps, appropriate at all. The role of indignatio diminishes further in the later satires, noticeably in the ninth, where Juvenal's tone is one of banter and Naevolus reveals his own unpleasantness. Much of this process has been charted by S. Braund in a book on the seventh, eighth, and ninth satires. The argument can be resumed with the eleventh satire where there is a further development. In the earlier satires which use address or dialogue there is an impressive realism in dramatic terms about the confrontation and psychology. In the eleventh (and even more, the twelfth) the development of the techniques of irony begins to intrude on the dramatic plausibility: the voice assumed in the poem becomes more aware of the audience as well as the addressee. As the beginning of a demonstration of this change I now provide an analysis of the use of Persicus in the eleventh satire.

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35

Nisbet, Robin G. M. "EPILEGOMENA ON THE TEXT OF JUVENAL." Acta Antiqua Academiae Scientiarum Hungaricae 39, no. 1-4 (1999): 225–30. http://dx.doi.org/10.1556/aant.39.1999.1-4.19.

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36

Nisbet, Robin G. M. "EPILEGOMENA ON THE TEXT OF JUVENAL." Acta Antiqua 39, no. 1-4 (1999): 225–30. http://dx.doi.org/10.1556/aant.39.1999.1-4.30.

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37

LaFleur, Richard A. "Book Review: Juvenal: Satires, Book I." American Journal of Philology 119, no. 3 (1998): 474–76. http://dx.doi.org/10.1353/ajp.1998.0032.

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38

Juvenal and William Popple. "Juvenal Book 4th: Satire 10th: Englished." Translation and Literature 15, no. 1 (2006): 82–96. http://dx.doi.org/10.1353/tal.2006.0007.

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39

Edson, Michael. "Romantic Juvenal: Translation, Annotation, and Allusion." Wordsworth Circle 39, no. 3 (2008): 85–88. http://dx.doi.org/10.1086/twc24045755.

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Hendry, Michael. "Interpolating an isthmus: Juvenal 6.294–7." Classical Quarterly 47, no. 1 (1997): 323–27. http://dx.doi.org/10.1093/cq/47.1.323.

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R. J. Tarrant has remarked that ‘Latin poets from Ovid onward...felt an almost irresistible urge to mention the Isthmus of Corinth wherever possible’,2 and A. E. Housman admitted to a similar, though less urgent, inclination to introduce the city of Corinth into the passage quoted: ‘inter 295 et 296 excidisse uidetur uersus cuius clausula fuerit Corinthus’. Corinth would, of course, be very much at home in this list of depraved and wealthy (or formerly wealthy) Greek cities, and would suitably head the list.

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Morwood, James. "A note on Juvenal, Satires 10.147." Classical Quarterly 47, no. 2 (1997): 613. http://dx.doi.org/10.1093/cq/47.2.613-a.

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These famous words are generally taken to refer to the weighing of the dead Carthaginian's ashes, and I have no quarrel with that. However, I should like to bring i into the debate the commonly used Roman steelyard balance, the statera. This J bronze balance has an eccentric fulcrum. The scale pan is suspended from the shorter arm and the counterweight hangs from a loop which is free to move along a r graduated scale on the longer arm of the fulcrum.

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Rodríguez, Estrella Pérez. "Reading Juvenal in the Twelfth Century." Journal of Medieval Latin 17 (January 2007): 238–52. http://dx.doi.org/10.1484/j.jml.2.305695.

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Coleman, K. M. "The Lucrine Lake at Juvenal 4.141." Classical Quarterly 44, no. 2 (1994): 554–57. http://dx.doi.org/10.1017/s0009838800044074.

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The solution to the problem posed by the presentation of the giant turbot to Domitian is put forward by Montanus, a gourmet well qualified to adjudicate in such matters: one bite was sufficient for him to distinguish between oysters from Circeii, the Lucrine, or Richborough (Juv. 4.140–2). The text reads

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Trappes-Lomax, John. "Two notes on Horace and Juvenal." Proceedings of the Cambridge Philological Society 47 (2001): 188–95. http://dx.doi.org/10.1017/s0068673500000766.

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Such is the reading of the MSS, but it has never given universal satisfaction. Erasmus, because praeponere with accusative and dative regularly means ‘to prefer one thing to another’, suggested undique decerptae frondi praeponere olivam, meaning to prefer the olive, as symbol of Athens, to the leaf plucked from everywhere else. However undique is still a problem, as it means ‘from everywhere’ not ‘from everywhere else’; furthermore modern editors hold that Bentley (ad loc.) justifies the use of praeponere as meaning ‘to place prominently upon’.One might suggest the following as a useful methodological principle: textual corruption should be suspected in any passage which has been explained by a sufficient number of scholars in ways which are incompatible with one another and which could never have occurred to any ordinary reader. This principle can be illustrated by the extraordinarily diverse and recondite explanations given here for undique; thus Bentley interprets it as ex eo argumento undiquaque exhausto; R. G. M. Nisbet and Margaret Hubbard report and reject such suggestions of others as ‘from every quarter of Attic soil’, ‘from every source in Attic legend’, ‘from every other poet's [brow]’ and ‘by everyone’; they themselves suggest ‘from anywhere and everywhere’, and support this with a reference to Odes 1.16.14, where in fact undique has its proper meaning of ‘from everywhere’, i.e. from each of the animals already created; Kenneth Quinn sees an ‘ironic ambiguity’ between ‘the ubiquitous olive’ and the ‘olive picked by all’; David West accepts ‘from anywhere and everywhere’, and interprets it as ‘meaning that their writings are derivative, being made up of imitations culled from the whole body of Greek poetry’ – but only a minute part of ‘the whole body of Greek poetry’ would have provided relevant material.

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Sosin, Joshua D. "Ausonius' Juvenal and the Winstedt Fragment." Classical Philology 95, no. 2 (2000): 199–206. http://dx.doi.org/10.1086/449488.

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Bivens-Tatum, Wayne. "Annoyed Librarian: The Juvenal of Librarianship." Journal of Access Services 5, no. 4 (2008): 463–77. http://dx.doi.org/10.1080/15367960802174771.

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Baines, Victoria. "Umbricius’ Bellum Ciuile: Juvenal, Satire 3." Greece and Rome 50, no. 2 (2003): 220–37. http://dx.doi.org/10.1093/gr/50.2.220.

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Power, Tristan. "Juvenal 5.104–106: Pike or Bluefish?" Philologus 166, no. 2 (2022): 301–4. http://dx.doi.org/10.1515/phil-2023-0101.

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Henderson, John. "Pump up the volume: Juvenal, Satires 1.1–21." Proceedings of the Cambridge Philological Society 41 (1996): 101–37. http://dx.doi.org/10.1017/s0068673500001954.

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At once Juvenal's reader is performing the ego of his text aloud, and the book's charge is on: semper ego auditor tantum? (1: ‘Forever just in the audience, that's me?’)In this, the founding moment of his project, Juvenal finds a way to go ‘back’ through the writing/reading process to cue an entrée he can ‘share’ with his reader; he gets in before readers can decide, as they must, what relations they mean to adopt with the utterant constructed by the text. For he sets his start ‘before his performance begins’ – when he had it in common with the audience of a literary performance that all are there to give a hearing, lend silence, play the perpetual part of addressee. He finds a ‘bubble’ to write for everyone in every audience, necessarily implied in their repression, self-control and accommodation to the performer's ego. This writer must trade on exactly the same dynamics as any other, but his act presumes to capture his audience's thoughts, to speak them, and so have the reader of his text voice the presumptions which silently structure each and every scenario of reading.

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Santos, Francielle Silva. "A literatura de autoria indígena em Juvenal Payayá." DLCV - Língua, Linguística & Literatura 14, no. 1 (2018): 151. http://dx.doi.org/10.22478/ufpb.2237-0900.2018v14n1.39563.

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Este artigo propõe uma outra leitura para os textos literários de autoria indígena publicados no Brasil, por meio das obras do cacique Juvenal Payayá. Cujas as produções tematizam sobre os processos de retomada da terra, na construção narrativa presente nos modos indígenas de escrever sobre as suas comunidades, além de problematizar o lugar destinado à literatura produzida pelos escritores dessa vertente literária. É nesse cenário que se trava uma discussão sobre a autoria literária indígena e a sua formação, ao analisar como a produção política/literária do cacique Juvenal Payayá coloca em evidência uma literatura de autorreconhecimento, ao tempo que retoma discussões teóricas que incorporam uma autonomia literária e política, problematizando o lugar do povo Payayá na historiografia dos discursos sobre os povos indígenas e na própria história da literatura no Brasil, já que, assim como inúmeros povos indígenas no Nordeste, os Payayá passaram por vários deslocamentos territoriais em busca da sua sobrevivência. Assim, buscou-se neste percurso pensar como Juvenal Payayá inova ao deslocar a representação literária da escrita indígena consolidada no imaginário nacional como mitológica, e a ampliar os espaços destinados a esta literatura ainda vista como “menor” na contemporaneidade.

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