Tim Whitmarsh

The Cambridge companion to the Greek and Roman novel

1. Introduction Tim Whitmarsh Part I. Contexts: 2. Literary milieux Ewen Bowie 3. The history of sexuality Helen Morales 4. Cultural identity Susan Stephens 5. Class Tim Whitmarsh Part II. The World of the Novel: 6. Religion Froma Zeitlin 7. Travel James Romm 8. Body and text Jason Konig 9. Time Lawrence Kim 10. Politics and spectacles Catherine Connors Part III. Form: 11. Genre Simon Goldhill 12. Approaching style and rhetoric Andrew Laird 13. Intertextuality John Morgan and Stephen Harrison 14. Narrative Tim Whitmarsh and Shadi Bartsch Part IV. Reception: 15. Ancient readers Richard Hunter 16. Byzantine readers Joan Burton 17. The re-emergence of the novel in Western Europe, 1300-1810 Michael Reeve 18. Novels ancient and modern Gerald Sandy and Stephen Harrison 19. Modernity and post-modernity Massimo Fusillo.

Domestic Poetics: Hippias' House in Achilles Tatius

Other Greek novels open in poleis , before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius9 Leucippe and Clitophon open in a house (with no sign of any political apparatus), and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house principally embodies the authoritarian will of the father to order and control, it nevertheless provides the lovers with opportunities to re-encode space opportunistically as erotic. The house cannot be reconstructed archaeologically (Clitophon is too flittish a narrator for that), but it is nevertheless clearly divided into different qualitative zones—diningroom, bedrooms, garden—each of which has its own psychosocial and emotional texture, its own challenges, and its own resources. Achilles9 modelling of the house may reflect Roman ideas of domestic aristocratic display, and perhaps even the influence of Roman literature (particularly love elegy).

Demiurge and Emperor in Galen's world of knowledge

The presence of a wise, powerful, skilful and provident creator figure – alternately labelled ‘nature’ (phusis) and ‘demiurge’ (dēmiourgos) – is absolutely key to Galen’s thinking, to the medical and philosophical system he constructs and articulates. This figure has, however, not yet been subject to the intensity of scholarly scrutiny that its structural significance demands. This chapter is an attempt to fill in some of these gaps by investigating, in a more focused manner than hitherto, questions about where Galen’s notion of nature and the demiurge comes from and about the work it does in his world of knowledge. I examine the intellectual resources that Galen drew on in fashioning his creator, what is traditional and what original in his formulation, and the identity of both its past precedents and the contemporary features it shares, as well as the motivations that he may have had in producing the particular package that he did. Two specific, and connected, arguments will be put forward, following on from some more general points about Galen’s demiurge, his notion of nature, as it appears and functions within his medical system and fits into his wider cultural context. First, that the Roman Emperor, in both an abstract and more concrete sense, should be placed alongside the usual suspects when considering the conceptual treasury Galen drew on in formulating his creator. So, as well as the Platonic and Aristotelian traditions which Galen explicitly acknowledges as influential, and his more hidden (but just as wellknown) debts to Stoicism, the configuration of power in the Roman Empire