Mimetic Contagion Art and Artifice in Terence's Eunuch PDF
Preview Mimetic Contagion Art and Artifice in Terence's Eunuch
OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi OXFORD STUDIES IN ANCIENT CULTURE AND REPRESENTATION GeneralEditors ThelateSimonPrice R.R.R.Smith OliverTaplin PeterThonemann TimWhitmarsh OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi OXFORD STUDIES IN ANCIENT CULTURE AND REPRESENTATION OxfordStudiesinAncientCultureandRepresentationpublishessignificantinter- disciplinary research into the visual, social, political, and religious cultures of the ancientMediterraneanworld.Theseriesincludesworkthatcombinesdifferentkinds of representations that are usually treated separately. The overarching programme istointegrateimages,monuments,texts,performances,andritualswiththeplaces, participants,andbroaderhistoricalenvironmentthatgavethemmeaning. OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi Mimetic Contagion fi ’ Art and Arti ce in Terence s Eunuch ROBERT GERMANY 1 OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries ©RobertGermany2016 Themoralrightsoftheauthorhavebeenasserted FirstEditionpublishedin2016 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer PublishedintheUnitedStatesofAmericabyOxfordUniversityPress 198MadisonAvenue,NewYork,NY10016,UnitedStatesofAmerica BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressControlNumber:2016935701 ISBN 978–0–19–873873–2 PrintedinGreatBritainby ClaysLtd,StIvesplc OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi ACKNOWLEDGEMENTS Taïdeè,laputtanacherispuose aldrudosuoquandodisse“Hoiograzie grandiapote?”:“Anzimaravigliose!” Inferno18.133–5 Gratitude is often easy to express for things of short genesis, but this book has been very long in coming to fruition. Its first glimmer of life was in September 2000, my second week of graduate school, as a delirious hallway conversation between Shadi Bartsch, Phil Horky, and myself. It fashioned itself almost imme- diately into a dissertation project, but was slower in arrival than its first flash presaged, due to my own lumbering pace in connecting the grad school dots. Ioweafine,highdebtofthankstothefacultyoftheDepartmentofClassicsatthe UniversityofChicagoforthetrainingandencouragementtheygavemeandthe patience they showed me throughout. But while gratitude is due to all, special thanksmustgotomythesisadvisors,ShadiBartsch,DavidWray,andJa(cid:1)sElsner, whowereunstintingintheirsupportandtheirguidancewiththisproject. The last couple years of my tenure as a grad student were spent teaching at TrinityUniversity,whereonceagainIfoundmyselftherecipientofmaterialand moralsupportwellbeyondmydesert.ThefacultyandthestudentsatTrinitywere trulyremarkableintheirwillingnesstothinkaboutmimesisandcomedywithme asIwrotethebetterpartofthisbook,andthefactthatmanyofthemarestilldear friends at some years’ remove is hard to extricate from their love and intelligent conversationasIworkedthroughthismaterial.Amongmanynamesthatoughtto bementioned,IcanhardlyfailtosingleoutErwinCook,whofirsttaughtmeto read Homer when I was an undergraduate at the University of Texas and once again at Trinitywas an irreplaceable interlocutorand a model of what a classicist mightbe. An animal is born once, a man perhaps twice, and such creatures are thus limited in their reasonable claim of terroir, but a plant successfully moved from one pot or earth to another gains a new native soil. This book has survived and thrived in transplantation to Haverford College, and the thanks I owe to this academic environment are immense. My colleagues at Bryn Mawr College and otherclassiciststhroughoutthegreaterPhiladelphiaareahavebeeninterestedand supportiveandhavetaughtmemorethantheyknoworthanIcanreadilycompass here in words. But I must make special mention of my colleagues at Haverford, Deborah Roberts and Bret Mulligan, whose friendship, feedback, and unfailing encouragementhavemademylifethesepastsevenyearstheenvyofallwhoknowme. OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi vi ACKNOWLEDGEMENTS Icouldnothaveaskedforamoreconduciveenvironmentforintellectualgrowth, productivework,orhappiness. Without the generosity of Haverford College in funding my junior leave (2011–12) and intermittent course releases throughout, I could never have com- pleted this book, nor would it have the shape it has without the criticism and encouragement I received when presenting pieces of it as papers, twice at Chicago under the auspices of the Rhetoric and Poetics Workshop, in 2005 at CACW/CAPN, in 2011 at the University of Pennsylvania, and in 2013 at the University of Manchester. Terry Snyder and Margaret Schaus and Haverford Librarieshavebeenagreathelpwithlocatingandpurchasingimagepermissions. AtOUPHilaryO’SheaandAnnieRosehavebeenadelighttoworkwith,andthe anonymous readers have astounded me with the care they have taken and the intelligence and sympathy of their response. I wish I knew their identities so I could thank them by name for some of the most thoughtful criticism I have everreceived.Icanonlyhopethattheywillreadthisandknowthattheyhavethis stranger’s gratitude and admiration. In case such a wide dispersion of thanks be felt to mitigate my own responsibility for the mistakes and lapses in judgment in thisbook,IshouldbeclearthatIclaimthoseformyown,attributabletomyown oversight or obstinance and not to the hermeneutic and editorial help I have received along the way.I sightothink thatafter so manyyears in gestationsuch errors must persist, but as Robert Burton said of his own slim tome, “I do easily grant,ifarigidcensurershouldcriticizeonthiswhichIhavewrit,heshouldnot findthreesolefaults,asScaligerinTerence,butthreehundred.” ItisadebtofadifferentkindthatIowetomymother,whoseformativelove, thirst for life, and boundless inquisitiveness were always the beginning of every- thing.Withoutthesupportofmyclosestfriendsandconfidantsthesefifteenyears would have been too arid for this book’s growth, but they have also taught me things that show up throughout the book and suffuse its perspective. I name, in orderofthedateofourfirstlove,PhilHorky,DawnLaValle,Fr.PatReardon,and Alex Petkas. In this same category, though no doubt with an intensity not to be matched, aremyfourchildren:Grace, Ada,Elias,andJack.Fromthemmuch of thisbookhasbeenborrowedintheformoftimeandattention,buttheyhavealso fedmeallalongtheway.Aboveallelsemywife,Dianna,withoutwhomnothing. ItistoherIdedicatethisbookinaffection,admiration,andthanks. OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi FRONTISPIECE. Rembrandt’s Danaë (1636) PhotocourtesyoftheStateHermitageMuseum,St.Petersburg OUPCORRECTEDPROOF–FINAL,12/9/2016,SPi CONTENTS ListofIllustrations xi Introduction 1 1. JudgingChaerea:TheRoleofthePainting 28 2. QuickeningImages:MimeticContagioninCulticandEroticArt 49 3. LifelikeLikeness:MimeticContagioninthePhilosophicalTradition 72 4. MimeticContagioninTerence’sRome 95 5. MimicRape:GenreSwitchingandRoleConfusion 120 6. ThePoeticsofContamination 157 Epilogue 178 183 Bibliography 197 Index
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