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Journal articles on the topic 'Theocritus Theocritus Theocritus Theocritus'

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1

Gibson, Bruce. "Theocritus." Classical Review 51, no. 2 (October 2001): 234–36. http://dx.doi.org/10.1093/cr/51.2.234.

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2

Domány, Judit. "Theocritus’ Thalysia." Acta Antiqua Academiae Scientiarum Hungaricae 47, no. 4 (January 2007): 317–27. http://dx.doi.org/10.1556/aant.47.2007.4.1.

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3

Cairns, Francis. "Theocritus,Idyll26." Proceedings of the Cambridge Philological Society 38 (1993): 1–38. http://dx.doi.org/10.1017/s0068673500001607.

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Theocritus,Idyll26 is short, starkly dramatic, and highly puzzling. Gow (1952) and his predecessors generally regarded it as bad, or even un Theocritean; and many of its details remain obscure. Lines 27–32 in particular present acute problems; and, as Gow (1952) II.475 wrote, ‘no explanation of the poem as a whole can be satisfactory unless it accounts for these mysterious lines’. No ancient scholia survive (except for scraps inP3), andIdyll26 in isolation offers scant indications of a cultural or social context. In consequence any new attempt to increase understanding ofIdyll26 must inevitably be speculative, particularly when it moves from text-based, literary aspects to more general questions about the idyll. Such an effort may, however, seem more worthwhile nowadays, when the characteristics of professional hellenistic poetry can more easily be recognised inIdyll26.
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4

Krevans, N. "Digging Theocritus." Classical Review 49, no. 2 (October 1999): 358–60. http://dx.doi.org/10.1093/cr/49.2.358.

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5

Jackson, Steven. "Theocritus 22." Classical Review 49, no. 2 (October 1999): 360–61. http://dx.doi.org/10.1093/cr/49.2.360.

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6

Debrohun, Jeri Blair. "THEOCRITUS CONTEXTUALIZED." Classical Review 53, no. 1 (April 2003): 29–30. http://dx.doi.org/10.1093/cr/53.1.29.

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7

Debrohun, Jeri Blair. "THEOCRITUS’ EPIGRAMS." Classical Review 53, no. 1 (April 2003): 30–32. http://dx.doi.org/10.1093/cr/53.1.30.

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8

Davies, Malcolm. "Theocritus' Adoniazusae." Greece and Rome 42, no. 2 (October 1995): 152–58. http://dx.doi.org/10.1017/s0017383500025596.

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Theocritus' poem on the women celebrating the festival of Adonis (Idyll 15) has received surprisingly little attention over the years, especially when compared with other Theocritean Idylls of like length. Matthew Arnold's notorious rhapsody (‘a page torn fresh out of the book of human life. What freedom! What animation! What gaiety! What naturalness! … When such is Greek poetry of the decadence, what must be Greek poetry of the prime?’) has perhaps done more harm than good, by focusing attention too exclusively on the first hundred lines or so of the poem (and indeed Arnold himself was of the opinion that the hymn to Adonis at vv. 100ff. contains ‘of religious emotion, in our acceptation of the words, and of the comfort springing from religious emotion, not a particle’). And yet the poem is second only to Euripides' Bacchae as a document revealing the ways in which religion in the ancient Greek world could offer women an escape (however temporary) from the drab banalities of their everyday existence. And the central contrast between the eternal and idealized glamour of the world of myth and the time-bound existence of Praxinoa and Gorgo (a contrast which is crucial for the above-mentioned role of religion) is absolutely characteristic of one essential aspect of Hellenistic poetry, an aspect that looks back to the world of Euripides and forward to that of Roman poets like Catullus or Propertius. In this paper I shall examine both these features of the Idyll. Also, inspired by those scholars who have illuminated facets of the Dionysiac religion by adducing comparable (if secular) twentieth-century material, I shall try to achieve something similar for Theocritus' poem by drawing on comparative material from late twentieth-century Japan relating to a phenomenon that allows Japanese housewives temporary escape from a tedious and restricted way of life.
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9

Bulloch, A. W. "An Early Theocritus Book (P. Oxy. 2064 + 3548): Placing Fragments." Classical Quarterly 37, no. 2 (December 1987): 505–12. http://dx.doi.org/10.1017/s000983880003072x.

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In 1930 Hunt and Johnson published the remains of P. Oxy. 2064, a roll containing at least some of the poems attributed to Theocritus and dating from the late second century A.d. (A. S. Hunt and J. Johnson, Two Theocritus Papyri [London: Egypt Exploration Society, 1930], 3–19). The papyrus was important, even though very fragmentary (no column is preserved complete, and very few lines are wholly intact), since at its time of publication it was one of the three earliest witnesses to the text of Theocritus. Fragments of other early papyri of Theocritus have been published since then, but P. Oxy. 2064 has remained the most important known witness prior to the fifth century because of the spread of poems which the extant fragments show it to have contained. No other papyrus allows us to reconstruct the contents of an early Theocritus book to such an extent. In 1983 the editors of Oxyrhynchus Papyri published a further collection of Theocritus fragments from various papyri (P. Oxy. 3545–3552), among which were more remains from P. Oxy. 2064 edited by P. J. Parsons under the number P. Oxy. 3548 (Oxyrhynchus Papyri L [Graeco-Roman Memoirs, 70: London, 1983], 105–22).
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10

Dosuna, Julián Méndez. "The Literary Progeny of Sappho's Fawns: Simias' Egg (AP 15.27.13-20) and Theocritus 30.18." Mnemosyne 61, no. 2 (2008): 192–206. http://dx.doi.org/10.1163/156852508x252830.

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AbstractThis paper analyses two deer similes by Simias and Theocritus that depend directly on a simile found in the New Sappho. Both passages confirm the interpretation of Sappho's simile as a case of so-called 'compendious comparison'. In turn, the New Sappho sheds new light on the texts of Simias and Theocritus. Simias' simile finds also resonances in two short similes in Id. 13.62-3 and Id. 18.41-2. This is possibly a literary tribute of Theocritus to Simias as his 'bucolic' predecessor.
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11

Hopkinson, N. "Review. Theocritus. Theocritus's urban mimes. Mobility, gender and patronage. J B Burton." Classical Review 46, no. 2 (February 1, 1996): 223–24. http://dx.doi.org/10.1093/cr/46.2.223.

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12

Rossi, Mary Ann. "Theocritus : a Select Bibliography." L'antiquité classique 56, no. 1 (1987): 290–95. http://dx.doi.org/10.3406/antiq.1987.2221.

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13

Pendergraft, Mary. "Aratean Echoes in Theocritus." Quaderni Urbinati di Cultura Classica 24, no. 3 (1986): 47. http://dx.doi.org/10.2307/20538946.

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14

Courtney, E. "Theocritus, Vergil, and Petronius." American Journal of Philology 109, no. 3 (1988): 349. http://dx.doi.org/10.2307/294889.

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15

Fantuzzi, Marco. "Mythological paradigms in the bucolic poetry of Theocritus." Proceedings of the Cambridge Philological Society 41 (1996): 16–35. http://dx.doi.org/10.1017/s0068673500001917.

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Theocritus' treatment of myth has been discussed many times in the last few decades, particularly in connection with the non-bucolic ‘epyllia’. In this paper I will consider whether anything like what has been called the ‘Destruktion der Tradition’ applies to the bucolic idylls as well; my litmus test will be above all Theocritus' exploitation of mythological paradigms, because almost all the mythological stories which enter the shepherds' world areexempla. All theseexemplawill turn out to display either a certain or a possible ‘collapse of exemplarity’, because Theocritus more or less expressly focuses both on their exemplary and their opposite, non-exemplary aspects, which complicate and destroy the univocality usually typical of paradigms.
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16

Kowerski, Lawrence. "A Competition in Praise: An Allusion to Simon. fr. 11 W2 in Theoc. Id. 22.214-23." Mnemosyne 61, no. 4 (2008): 568–85. http://dx.doi.org/10.1163/156852508x252858.

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AbstractIn the epilogue to Idyll 22, the hymn to the Dioscuri, Theocritus makes poetic claims concerning the reciprocity between poets and their laudandi. In making these claims, he compares himself with Homer, a comparison which has puzzled readers. This paper suggests that we can understand this comparison by recognizing how this epilogue engages with the elegiac poem by Simonides represented by fr. 11 W2, which belongs to the so-called new Simonides. Alexander Sens (1997) has observed that both passages contain a programmatic comparison with Homer. Pushing this observation, I argue that these parallels constitute an allusion to Simonides' composition which serves two purposes. First, it provides a parallel for Theocritus' comparison with Homer. Second, it introduces the anecdotal tradition concerning Simonides and the Dioscuri at a disastrous banquet in Thessaly, known most fully from Cicero and Quintilian, but also found in the Hellenistic era. By introducing this anecdote, Theocritus shows that his comparison with Homer is part of a literary game concerned with praising the Dioscuri. Through the allusion to Simonides, Theocritus positions himself as the winner in this game by reminding his laudandi that he has praised them better than either Homer or Simonides.
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17

Gómez Segura, Eugenio. "Reflejos culturales en la percepción: vocabulario del tacto en Teócrito." Minerva. Revista de Filología Clásica, no. 8 (February 18, 2019): 135–58. http://dx.doi.org/10.24197/mrfc.8.1994.135-158.

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This study about the adjectives of wetness-dryness in Theocritus tries to show how a late author like Theocritus gathers literary and scientific traditions before him as a doctus poet. The study reveals in which way sensitive processes have great importance in order to contrast perceptive schemes in any culture. Moreover, the paper tries to apply to the semantic studies on ancient Greek language the knowledge from Psychology and Knowledge Philosophy.
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18

Hordern, J. H. "Cyclopea: Philoxenus, Theocritus, Callimachus, Bion." Classical Quarterly 54, no. 1 (May 2004): 285–92. http://dx.doi.org/10.1093/cq/54.1.285.

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19

Childers, Christopher. "From the Idylls of Theocritus." Hopkins Review 9, no. 4 (2016): 562–73. http://dx.doi.org/10.1353/thr.2016.0110.

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20

Prauscello, Lucia. "Colluthus' Pastoral Traditions: Narrative Strategies and Bucolic Criticism in the Abduction of Helen." Ramus 37, no. 1-2 (2008): 173–90. http://dx.doi.org/10.1017/s0048671x00004963.

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It is nowadays a commonplace to state that every literary genre is a highly selective segment of a broader world of potential representations, and presents itself to the reader as a complete, self-contained model of interpretable mimesis of that particular aspect of reality. Yet this is especially true of bucolic poetry, whose very act of foundation rests on a joint effort, on the part both of the poets and their readers, to ‘conjure up a pre-existing “bucolic” tradition’ in the very same act of ‘founding such a tradition’. Theocritus' pastoral universe has its own bucolic hallmarks: landscape, gods and ‘professional’ accessories such as those required of a rustic life (milk-pails, shepherd's staffs, goatskin-coats and the like) are appropriately paraded and customised, and these hyper-‘realist’ markers are casually made to exist on the same level as the most unrealistic aspects of bucolic life (Theocritus' shepherds sing their time away while occasionally looking after their flocks). But it is especially in later imitators and interpreters that the possibilities of Theocritus' pastoral microcosm become necessities: generic consistency and recognisability are constantly pointed out and alluded to by obsessive repetition and normalisation of Theocritus ‘open’ pastoral world. The aim of the present paper is to read Colluthus' exploitation and, I would say, mobilisation of such a crystallised pastoral world against the background of ancient exegesis on the ‘bucolic problem’. In particular, it will be shown how bucolic criticism and Homererklärung (together with some important Hesiodic elements) are indissolubly intertwined in Colluthus' interpretation and reception of Theocritus' pastoral world. Comprehensiveness in charting Colluthus' critical response to such reading practices will not be attempted here: instead attention will be focused on those passages where Colluthus' scholarly engagement with bucolic generic conventions and their later accretions has a more direct impact on his narrative strategy.
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21

Sens, Alexander. "Hellenistic reference in the proem of Theocritus, Idyll 22." Classical Quarterly 44, no. 1 (May 1994): 66–74. http://dx.doi.org/10.1017/s0009838800017225.

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Theocritus' twenty-second idyll is cast in the form of a hymn to the Dioscuri, who are addressed in the proem as saviours of men, horses, and ships. This opening section of the idyll is modelled loosely on the short thirty-third Homeric hymn, and like that hymn contains an expanded account of the twins' rescue of ships about to be lost in a storm. As is hardly surprising, Theocritus in reworking the Homeric hymn draws on other literary antecedents as well, and like other Alexandrian poets makes prominent use of diction borrowed and adapted from the Homeric epics. At the same time, the proem also shares several points of contact, largely overlooked or disputed by previous scholarship, with the poetry of Theocritus' own contemporaries. In the present paper, I shall suggest that in the storm scene of the proem references to Aratus' Phaenomena and Apollonius Rhodius' Argonautica occur in a carefully arranged pattern with potentially significant implications for our understanding of the proem and the idyll as a whole.
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22

Griffin, Jasper. "Theocritus, the Iliad, and the East." American Journal of Philology 113, no. 2 (1992): 189. http://dx.doi.org/10.2307/295557.

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23

Bustos, María Natalia. "Theocritus’ Idyll 15: A Metapoetic Manifesto." Akropolis: Journal of Hellenic Studies 3 (December 8, 2019): 150–66. http://dx.doi.org/10.35296/jhs.v3i0.42.

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The article discusses the metapoetic import of Idyll 15. The tapestries and the Adonis song evidence a metapoetic significance, as well as the votive offerings described in this song. In addition, throughout the poem, the association of cloths and poetry is encouraged. The poem functions as a “metapoetic manifesto” designed to indicate the poetic qualities defended by Theocritus. At the same time, it promotes itself as an example of the refined literature and art promoted by the Ptolemaic court and by Arsinoe, and introduces a recognition and appraisal of Arsinoe as responsible for the patronage and promotion of these forms of art.
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24

Sens, Alexander. "A Beggarly Boxer: Theocritus Idyll 22.134." Harvard Studies in Classical Philology 96 (1994): 123. http://dx.doi.org/10.2307/311318.

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25

Runia, David T. "Theocritus of Chios' Epigram against Aristotle." Classical Quarterly 36, no. 2 (December 1986): 531–34. http://dx.doi.org/10.1017/s0009838800012283.

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In the Vita Aristotelis of Diogenes Laertius and elsewhere we come across an epigram of Theocritus of Chios directed against Aristotle. I cite the poem in the form in which it has most recently been published by D. L. Page:
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26

Bowie, E. L. "Theocritus' seventh Idyll, Philetas and Longus." Classical Quarterly 35, no. 1 (May 1985): 67–91. http://dx.doi.org/10.1017/s0009838800014580.

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Few years pass without an attempt to interpret Theocritus, Idyll 7. The poem's narrative and descriptive skill, dramatic subtlety and felicity of language are mercifully more than adequate to survive these scholarly onslaughts, so I have less hesitation in offering my own interpretation.The poem's chief problems seem to me to arise from uncertainty as to:(a) Who is the narrator, and why are we kept waiting until line 21 before we are told that he is called Simichidas?(b) Who, or what sort of man, is the goatherd Lycidas, whom he encounters on his way from town to the harvest festival?Answers to these questions fundamentally affect our interpretation of their exchange of songs, which occupies almost half the idyll, and of Lycidas' gift of his stick to Simichidas; and these interpretations will go far towards interpreting the poem as a whole.
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27

Kalogeris, G. "Theocritus: The Cup: From Idyll I." Literary Imagination 14, no. 2 (July 1, 2012): 146–47. http://dx.doi.org/10.1093/litimag/ims055.

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28

Schmiel, Robert. "Structure and Meaning in Theocritus 11." Mnemosyne 46, no. 2 (1993): 229–34. http://dx.doi.org/10.1163/156852593x00529.

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29

Bustos, María Natalia. "Reimagining Comedy in Theocritus' Idyll 14." Acta Classica 62, no. 1 (2019): 21–39. http://dx.doi.org/10.1353/acl.2019.0001.

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30

Rodrigues Júnior, Fernando. "Epopeia e poesia bucólica no Idílio XI de Teócrito." Nuntius Antiquus 8, no. 1 (June 30, 2012): 77–90. http://dx.doi.org/10.17851/1983-3636.8.1.77-90.

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Abstract: This paper discusses the relation between bucolic and epic poetry. Both genres shared the same meter – hexameter – and Theocritus was considered a poet influenced by Homer and belonging to epic tradition. In some sense it is possible to find bucolic elements in epic poetry, not only in similes in which there are shepherds in a variety of situations, but also in characters such as Polyphemus. Through the analysis of Polyphemus’ pastoral way of life in Odyssey a link is created between Theocritus’ idylls and Homeric narrative in order to distinguish bucolic poetry as a kind of epic poetry.
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31

Rudoni, Elia R. "IDYLL 7AND THEHYMN TO HERMES." Cambridge Classical Journal 61 (June 29, 2015): 99–110. http://dx.doi.org/10.1017/s1750270515000032.

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Simichidas' self-presentation as a poet at Theocritus 7.37 is modelled on Apollo's self-presentation as a musician atHomeric Hymn to Hermes450. Through this allusion, in his own Dichterweihe as a bucolic poet Simichidas hints at the invention of the bucolic genre by Hermes. The reference is crafted so as to point self-reflexively to its status as reference; in particular, the expression καὶ γὰρ ἐγώ (‘I too’) of line 37 functions as an intertextual signpost. If Simichidas is a literary projection of Theocritus, the allusion has important implications for our understanding of his self-positioning within the poetical tradition.
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32

Kossaifi, Christine. "Et in Theocrito ego . . ." Mnemosyne 70, no. 1 (January 20, 2017): 40–57. http://dx.doi.org/10.1163/1568525x-12341987.

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In the bucolic world, as conceived by Theocritus in some of hisIdylls, death is rarely present; thus it is all the more important when it is. In this paper I argue that death has an existential and a generic meaning. The disappearance of all people, from a beloved one to the learned poet, cannot be avoided but is paradoxically a means of ἁσυχία, an ideal way of life fundamental to Theocritus’ bucolic world. In its conflict with Mnemosyne, death gives birth to a metapoetic reflexion on the bucolic genre, on the poetic creation and the poetic reception and is thus an essential link for continuing and renewing bucolic tradition.
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33

Crane, Gregory. "Realism in the Fifth Idyll of Theocritus." Transactions of the American Philological Association (1974-) 118 (1988): 107. http://dx.doi.org/10.2307/284164.

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34

White, Heather. "Textual and Interpretative Problems in Theocritus' Syrinx." L'antiquité classique 67, no. 1 (1998): 213–15. http://dx.doi.org/10.3406/antiq.1998.1310.

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35

Thomas, Richard F. "Two Problems in Theocritus (Id. 5.49, 22.66)." Harvard Studies in Classical Philology 95 (1993): 251. http://dx.doi.org/10.2307/311384.

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36

McCail, R. C. "Tayta Indignantis: Theocritus 15.8 and Other Passages." Mnemosyne 39, no. 3-4 (1986): 395–99. http://dx.doi.org/10.1163/156852586x00554.

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37

Tovar, Sofía Torallas, and Klaas Worp. "Commentary to Theocritus Idylls 1.45-152, 7.5." Mnemosyne 62, no. 2 (2009): 283–94. http://dx.doi.org/10.1163/156852509x384563.

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38

Zimmerman, Clayton. "An Iliadic Model for Theocritus 1.95-113." American Journal of Philology 115, no. 3 (1994): 375. http://dx.doi.org/10.2307/295365.

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39

Gutzwiller, Kathryn J. "The Plant Decoration on Theocritus' Ivy-Cup." American Journal of Philology 107, no. 2 (1986): 253. http://dx.doi.org/10.2307/294609.

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40

Rawles, Richard. "Lysimeleia (Thucydides 7.53, Theocritus 16.84): What Thucydides does not tell us about the Sicilian Expedition." Journal of Hellenic Studies 135 (2015): 132–46. http://dx.doi.org/10.1017/s0075426915000105.

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Abstract:In this paper, it is proposed that the lake Lysimeleia, mentioned by Thucydides in his account of the latter part of the Sicilian Expedition and by Theocritus in his encomium of Hieron II of Sicily, is likely to have been a sacred lake to the two goddesses Demeter and Kore. This suggestion is integrated into a way of reading the relevant passages in Thucydides and Theocritus, and its possible implications in the context of early discourses concerning the Athenian campaign at Syracuse are explored. In particular, this episode is read as one which can help us to consider the significance of Thucydides’ tendency to downplay religious aspects of the events he describes and to speculate about what sorts of discourses about the Sicilian Expedition might have circulated among others, who would have been likely to consider such questions very differently.
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41

Segal, Charles. "Space, Time, and Imagination in Theocritus' Second "Idyll"." Classical Antiquity 4, no. 1 (April 1, 1985): 103–19. http://dx.doi.org/10.2307/25010826.

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42

Sens, Alexander. "Theocritus, Homer, and the Dioscuri: Idyll 22.137-223." Transactions of the American Philological Association (1974-) 122 (1992): 335. http://dx.doi.org/10.2307/284378.

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43

Schmiel, Robert C., and Kathryn J. Gutzwiller. "Theocritus' Pastoral Analogies: The Formation of a Genre." Phoenix 48, no. 2 (1994): 170. http://dx.doi.org/10.2307/1088316.

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44

Crane, Gregory. "The Laughter of Aphrodite in Theocritus, Idyll 1." Harvard Studies in Classical Philology 91 (1987): 161. http://dx.doi.org/10.2307/311403.

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45

Polleichtner, Wolfgang. "Mark Payne: Theocritus and the Invention of Fiction." Gnomon 81, no. 5 (2009): 391–95. http://dx.doi.org/10.17104/0017-1417_2009_5_391.

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46

Li, Yukai. "The Distraction of Pastoral and Theocritus’ Painted World." Classical Philology 114, no. 3 (July 2019): 383–405. http://dx.doi.org/10.1086/703831.

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47

Bing, Peter. "Theocritus' Epigrams on the Statues of Ancient Poets." Antike und Abendland 34, no. 1 (January 1, 1988): 117–23. http://dx.doi.org/10.1515/anab-1988-0110.

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48

Chesi, Giulia Maria. "Intertextuality and Poetic Voice in Theocritus’ Idyll 3." Mnemosyne 71, no. 3 (April 24, 2018): 489–96. http://dx.doi.org/10.1163/1568525x-12342227.

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49

Faber, Riemer. "Vergil Eclogue 3.37, Theocritus 1 and Hellenistic Ekphrasis." American Journal of Philology 116, no. 3 (1995): 411. http://dx.doi.org/10.2307/295329.

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50

Damon, Cynthia. "Narrative and Mimesis in the "Idylls" of Theocritus." Quaderni Urbinati di Cultura Classica 51, no. 3 (1995): 101. http://dx.doi.org/10.2307/20547312.

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