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Journal articles on the topic 'Tacitus, Cornelius. Dialogus de oratoribus (Tacitus)'

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Published: 4 June 2021

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1

Barnes, T. D., and Roland Mayer. "Tacitus: Dialogus de oratoribus." Phoenix 57, no. 3/4 (2003): 351. http://dx.doi.org/10.2307/3648533.

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2

Barnes, T. D. "The Significance of Tacitus' Dialogus de Oratoribus." Harvard Studies in Classical Philology 90 (1986): 225. http://dx.doi.org/10.2307/311472.

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3

Beck, Jan-Wilhelm. "Tacitus, Dialogus de oratoribus. Edited by Roland Mayer." Gnomon 76, no. 3 (2004): 223–28. http://dx.doi.org/10.17104/0017-1417_2004_3_223.

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4

Brink, C. O. "Quintilian's De Causis Corruptae Eloquentiae and Tacitus' Dialogus De Oratoribus." Classical Quarterly 39, no. 2 (1989): 472–503. http://dx.doi.org/10.1017/s0009838800037526.

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Certain proximities between two distinguished but very dissimilar contemporaries, Quintilian and Tacitus, may be stated. Contemporary they were, though the former, born probably a little before A.D. 40, was older by about twenty years. Both were from outside Rome, Quintilian certainly of provincial, Spanish, origin, Tacitus very probably from one of the Galliae, yet both exemplars of Romanitas.

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5

Goldberg, Sander M. "Appreciating Aper: the defence of modernity in Tacitus’ Dialogus de oratoribus." Classical Quarterly 49, no. 1 (1999): 224–37. http://dx.doi.org/10.1093/cq/49.1.224.

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Nearly a century ago, Friedrich Leo argued with his characteristic acumen that the neo-Ciceronian style of Tacitus' Dialogus de oratoribus was as much a function of its genre as its subject. ‘The genre’, he observed, ‘demands its style. One who deals with different genres must write in different styles.’ Alfred Gudeman, the target of Leo's review, had therefore missed a key step in the argument for Tacitean authorship when he invoked ‘the influence of subject-matter’ without considering the demands of genre. In hindsight, the point seems almost obvious, and the sophistication of recent work on the date and style of the Dialogus has left Gudeman's discussion far behind. The advance in method—if not necessarily in results—has been profound. Leo's success in linking genre and style, however, has also had a second, less happy result: it has encouraged belief in a corresponding link between genre and content, as if Tacitus necessarily embraced Ciceronian values along with his Ciceronian forms. The Dialogus is often thought to accept Cicero's aesthetic agenda and to examine why the orators of succeeding generations failed to maintain its ideals and standards. Perhaps inevitably, its analysis is then read as a rather depressing tale of oratory's literary, social, and moral decline. This view demands reconsideration. To explore, as the Dialogus certainly does, the collapse of Ciceronian values is not necessarily to regret that collapse. We have, I think, too often read our own prejudices into the Dialogus by presuming a post-Augustan decline in oratorical standards and, in the process, reducing our sensitivity to important variations in and departures from the generic conventions that Tacitus so deliberately recalls. The result is a significant distortion of the Dialogus' view of oratory under the empire.

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6

Van Den Berg, Christopher S. "INTRATEXT, DECLAMATION AND DRAMATIC ARGUMENT IN TACITUS' DIALOGUS DE ORATORIBUS." Classical Quarterly 64, no. 1 (2014): 298–315. http://dx.doi.org/10.1017/s0009838813000736.

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Tacitus' Dialogus de oratoribus (c. 100 c.e.) may be the most perplexing of the extant Roman dialogues, quite possibly, of the entire Greco-Roman tradition. Despite advances in the rhetorical and literary appreciation of ancient dialogues, this text continues to elude understanding. Oddly, the difficulties stem neither from obscurities of subject matter and presentation nor from any anomalism vis-à-vis the norms of the genre. Six compelling speeches lucidly detail the value, history and development of eloquentia (‘skilled speech’) from the perspective of the late first and early second centuries c.e. They provide convincing accounts of rhetoric and its evolution: the social and political efficacy of eloquentia (Marcus Aper's and Curiatius Maternus' prescriptions on how best to assert oneself with and against the powerful, and the famous yet notoriously tumultuous oratory of the Late Republic), evaluative categories for rhetoric, including the competing discourses that prized renown and canonical status (Vipstanus Messalla's praise of the ancients), or external and absolute aesthetic criteria; and lastly, exemplary instances (e.g. past luminaries) or suitable models for imitation (ancient and modern orators and poets). The richness of these diverse emphases, along with the complex and ambiguous reworking of literary forerunners, not to mention the open-endedness at the work's conclusion, all conspire against the expectation of a uniform message.

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7

Strunk, Thomas E. "Offending the Powerful: Tacitus’ Dialogus de Oratoribus and Safe Criticism." Mnemosyne 63, no. 2 (2010): 241–67. http://dx.doi.org/10.1163/156852510x456147.

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AbstractThis paper argues that the character of Curiatius Maternus in Tacitus’ Dialogus de Oratoribus is consistent throughout the dialogue in his attitude to the imperial regime. Maternus begins the dialogue in outright dissent, while in the second half he appears to be an apologist for the regime. Accepting the ironic reading of Maternus’ concluding speech, this paper asserts that Maternus shifts to figured speech in reaction to M. Aper, who expresses solidarity with the political values and rhetorical style of the delatores, and Vipstanus Messalla, the half-brother of the delator M. Aquilius Regulus. Confronted with such individuals, Maternus recognizes he must change the tenor of his language. Thus, his concluding speech is ironic critique consistent with his earlier dissent.

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8

Dressler, Alex. "Poetics of Conspiracy and Hermeneutics of Suspicion in Tacitus's Dialogus de Oratoribus." Classical Antiquity 32, no. 1 (2013): 1–34. http://dx.doi.org/10.1525/ca.2013.32.1.1.

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This article argues that the end of Tacitus's Dialogus de Oratoribus is inconclusive in ways that draw attention to the difficulty of interpretation not only of the dialogue, as by modern scholars, but also in the dialogue, as by its leading characters. The inconclusiveness is especially marked by a commonly noted, but little discussed, feature of the end: when the rest of the characters laugh at the point of departure, Tacitus himself does not. Arguing that this difference of affective response on the part of the characters prefigures differences in interpretive response on the part of readers, the article identifies different strains in recent scholarship: pessimistic and optimistic. Both forms of response entail an attribution of a “poetics of conspiracy” (Hinds) to the ultimate speaker of the dialogue, the author Tacitus, and a “hermeneutics of suspicion” (Ricoeur) to its reader. At the same time, the author's double-position, as character and author, between narrated event and narration of the event to the reader, suggests that the other characters in the dialogue may, like the author and reader, also exercise such poetics and hermeneutics on one another and themselves. The article ends with the comparandum of the first satire of Tacitus's near contemporary, Juvenal, suggesting that, in the case of these works that can look with hindsight on the social and political past of the Early Empire, their modes of transmission and reception may be politically determined (e.g., as conspiratorial, suspicious) but may also demonstrate, within the restrictions of social and political determinations, a high degree of contingency, reflexivity, and autonomy. Such possibilities suggest that the text itself is part of a pragmatic and performative tradition of the kind enacted by its characters, in addition to a tradition of the production of (comparatively static and unfree) “literary” works.

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9

Mayer, Roland. "Christopher S. van den Berg: The World of Tacitus’ Dialogus de Oratoribus. Aestheticsand Empire in Ancient Rome." Gnomon 89, no. 3 (2017): 212–15. http://dx.doi.org/10.17104/0017-1417-2017-3-212.

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10

Breij, Bé. "The World of Tacitus’ Dialogus de Oratoribus. Aesthetics and Empire in Ancient Rome, written by Van den Berg, C.S." Mnemosyne 70, no. 3 (2017): 531–34. http://dx.doi.org/10.1163/1568525x-12342367.

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11

Rutledge, Steve H. "The World of Tacitus’ Dialogus de Oratoribus: Aesthetics and Empire in Ancient Rome by Christopher S. van den Berg." Classical World 108, no. 4 (2015): 573–74. http://dx.doi.org/10.1353/clw.2015.0053.

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12

Kapust, Daniel J. "Review: The World of Tacitus’ Dialogus de Oratoribus: Aesthetics and Empire in Ancient Rome, by Christopher S. van den Berg." Rhetorica 36, no. 3 (2018): 320–22. http://dx.doi.org/10.1525/rh.2018.36.3.320.

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13

Kyungjoo Ko. "Tacitus' Dialogus de Oratoribus : A Roman Elite's View of the Past and the Present in the Debate on the Decline of Oratory." Journal of Classical Studies ll, no. 42 (2015): 107–44. http://dx.doi.org/10.20975/jcskor.2015..42.107.

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14

Sailor, Dylan. "The World of Tacitus’ “Dialogus de Oratoribus”: Aesthetics and Empire in Ancient Rome. By Christopher S. van den Berg. Cambridge and New York: Cambridge University Press, 2014. Pp. [xiii] + 344." Classical Philology 111, no. 4 (2016): 478–82. http://dx.doi.org/10.1086/688719.

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15

Haynes, Holly. "C. S. VAN DEN BERG , THE WORLD OF TACITUS’ DIALOGUS DE ORATORIBUS: AESTHETICS AND EMPIRE IN ANCIENT ROME. Cambridge/NewYork: Cambridge University Press, 2014. Pp. xiii + 344. isbn 9781107020900. £65.00/US$110.00." Journal of Roman Studies 106 (February 11, 2016): 353–54. http://dx.doi.org/10.1017/s0075435816000083.

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16

Winterbottom, Michael. "Tacitus' Dialogus - Domenico Bo: Le principali problematiche del Dialogus de Oratoribus. (Spudasmata, 51.) Panorarnica storico-critica dal 1426 al 1990, con in appendice: restituzione critica del testo alla luce di nuova classificazione dei codici. Pp. 462. Hildesheim, Zurich and New York: Georg olms Verlag, 1993. Paper, DM 88." Classical Review 44, no. 1 (1994): 57–58. http://dx.doi.org/10.1017/s0009840x00290434.

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