The End of Carnivalism, or The Making of the "Corpus Lucianeum"

  1. Markus Hafner 1
  1. 1 University of North Carolina at Chapel Hill
    info
    University of North Carolina at Chapel Hill

    Chapel Hill, Estados Unidos

    ROR https://ror.org/0130frc33

    Geographic location of the organization University of North Carolina at Chapel Hill
Journal:
Araucaria: Revista Iberoamericana de Filosofía, Política, Humanidades y Relaciones Internacionales

ISSN: 2340-2199,  1575-6823

Year of publication: 2019

Volume: 21

Issue: 41

Pages: 211-231

Type: Article

DOI: 10.12795/ARAUCARIA.2019.I41.10 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Araucaria: Revista Iberoamericana de Filosofía, Política, Humanidades y Relaciones Internacionales

Abstract

In a key passage for the understanding of Lucian’s work, the Fisherman 25– 27, the philosopher Diogenes of Sinope complains that Parrhesiades, a Lucianlike authorial figure, mocks philosophers not within the fixed boundaries of a carnivalesque festival, as Old Comedy used to do, and to which Lucian’s work is otherwise highly indebted, but by means of his constantly published writings. This statement is even more relevant, since the Fisherman belongs to a group of texts which show clear cross-references to other writings within the corpus (such as Essays in Portraiture Defended, Apology, and The Runaways). By creating indirect authorial commentaries and intratextual references throughout his oeuvre—a hidden (auto)biobibliography, as it were—, Lucian thus reinforces the idea of an organic literary work and the coherency of his corpus which is—notwithstanding its thematic variatio—well-publicized and far away from carnivalesque exceptionality. In this way, the aesthetics of perpetual transgression is in a unique way related to the construction of authorial self-referentiality in Lucian’s satires.

Bibliographic References

  • Anderson 1976: G. Anderson, Lucian: Theme and Variation in the Second Sophistic (Leiden, 1976).
  • Bakhtin 1984: M. Bakhtin, Problems of Dostoevsky’s Poetics (Minneapolis, 1984).
  • Baldwin 1975: B. Baldwin, “The epigrams of Lucian” [in Phoenix 29/4, 1975], pp. 311–335.
  • Baumbach, von Möllendorff 2017: M. Baumbach, P. von Möllendorff, Ein literarischer Prometheus. Lukian aus Samosata und die Zweite Sophistik (Heidelberg, 2017).
  • Bompaire 1993: J. Bompaire, Lucien. Euvres I. Opuscules 1–10 (Paris, 1993).
  • Bracht Branham 1989: R. Bracht Branham, Unruly Eloquence. Lucian and the Comedy of Traditions (Cambridge, MA, London, 1989).
  • Bretzigheimer 1992: G. Bretzigheimer, “Lukians Dialoge Eikones – Hyper ton eikonon. Ein Beitrag zur Literaturtheorie und Homerkritik”, RhM 135/2, 1992, pp. 161–187.
  • Bruns 1888: I. Bruns, “Lucian’s philosophische Satiren”, RhM 43, 1888, pp. 86–103, 161–196.
  • Dubel 1994: S. Dubel, “Dialogue et autoportrait: les masques de Lucien” [in: Billault, A., coord.: Lucien de Samosate. Actes du colloque international de Lyon organisé au CENTRE D’ÉTUDES ROMAINES ET GALLOROMAINES les 30 septembre – 1er octobre 1993, Lyon, 1994], pp. 19–26.
  • Goldhill 2002: S. Goldhill, Who needs Greek? Conflicts in the cultural history of Hellenism (Cambridge, 2002).
  • Hafner 2015: M. Hafner, “Lukians Skythendialoge: Fremde Kulturen – fremde Ansichten?” [in Brückmann, G. C. et al., coord.: Cultural Contacts and Cultural Identity, Munich, 2015], pp. 35–44.
  • Hafner 2017: M. Hafner, Lukians “Apologie”. Eingeleitet, übersetzt und erläutert von Markus Hafner (Tübingen, 2017).
  • Hafner 2017a: M. Hafner, Lukians Schrift “Das traurige Los der Gelehrten”. Einleitung und Kommentar zu De Mercede Conductis Potentium Familiaribus, lib. 36 (Stuttgart, 2017).
  • Hafner 2017b: M. Hafner, “Πτεροῖς ἀλλοτρίοις ἀγάλλεσθαι – Das Schmücken mit fremden Federn als antike Chiffre für literarisches Plagiat” [in A. Guzmán, I. Velázquez, coord.: De vera et falsa historia I, Estudios sobre falsificación documental y literaria antigua. Studies on pseudepigrapha and ancient text forgeries, Madrid, 2017], pp. 283–292.
  • Hanson 1998: A. E. Hanson, Galen: “Author and Critic” [in G. Most, coord.: Editing Texts, Texte Edieren, Göttingen, 1998], pp. 22–53.
  • Harmon, Kilburn, Macleod 1913–1967: A. M. Harmon, K. Kilburn, M. D. Macleod, transl.: Lucian. Works. 8 vols. (Cambridge, MA, London, 1913– 1967).
  • Hunger 1978: H. Hunger, Die hochsprachliche profane Literatur der Byzantiner (Munich,1978).
  • Johnson 2010: W. A. Johnson, Readers and Reading Culture in the High Roman Empire: a Study of Elite Communities (Oxford, 2010).
  • Love 2002: H. Love, Attributing Authorship. An Introduction (Cambridge, 2002).
  • Macleod 1972–1987: M. D. Macleod, Luciani opera omnia, 4 vols. (Oxford, 1972–1987).
  • Martelli 2013: F. K. A. Martelli, Ovid’s Revisions: The Editor as Author (Cambridge, 2013).
  • Martínez 2011: J. Martínez, coord.: Fakes and Forgers of Classical Literature – Falsificaciones y falsarios de la Literature Clásica (Madrid, 2011).
  • McGill 2012: S. McGill, Plagiarism in Latin Literature (Cambridge, 2012). Mras 1911: K. Mras, Die Überlieferung Lucians (Vienna, 1911). Mülke 2008: M. Mülke, Der Autor und sein Text. Die Verfälschung des
  • Originals im Urteil antiker Autoren (Berlin, New York, 2008). Ní Mheallaig 2010: K. Ní Mheallaig, “The game of the name: onymity and the contract of reading in Lucian” [in F. Mestre, P. Gómez Cardó, coord.: Lucian of Samosata: Greek writer and Roman citizen, Barcelona, 2010], pp. 121–132.
  • Ní Mheallaig 2014: Ní Mheallaig, K., Reading Fiction with Lucian. Fakes, Freakes and Hyperreality (Cambridge, 2014).
  • Obermeier 1999: A. Obermeier, The History and Anatomy of Auctorial SelfCriticism in the European Middle Ages (Amsterdam et al., 1999).
  • Peirano 2012: I. Peirano, The Rhetoric of the Roman Fake: Latin Pseudepigrapha in Context (Cambridge, New York, 2012).
  • Peirano 2012a: I. Peirano, "Authenticity as an Aesthetic Concept: Ancient and Modern Reflections” [in R. Rosen, I. Sluiter, coord.: Aesthetic Value in Classical Antiquity, Leiden, Boston, 2012], pp. 215–242.
  • Saïd 1993: S. Saïd, “Le «je» de Lucien” [in M.-F. Baslez, P. Hoffman, L. Pernot, coord.: L’invention de l’autobiographie d’Hésiode à Saint Augustin. Actes du deuxième colloque de l‘équipe de recherche sur l‘hellénisme postclassique. École normale supérieure, 14-16 juin 1990, Paris, 1993], pp. 253–270.
  • Scheidegger Lämmle 2016: C. Scheidegger Lämmle, Werkpolitik in der Antike. Studien zu Cicero, Vergil, Horaz und Ovid (Munich, 2016).
  • Sidwell 2002: K. Sidwell, “Damning with great praise: paradox in Lucian’s Imagines and Pro Imaginibus” [in K. Sidwell, coord.: Pleiades Setting. Essays for Pat Groning on his 65th Birthday, Cork, 2002], pp. 107–126.
  • Sidwell 2009: K. Sidwell, “The Dead Philosopher’s Society: New Thoughts on Lucian’s Piscator and Eupolisʼ Demes” [in A. N. Bartley, coord.: A Lucian for our Times, Newcastle, 2009], pp. 109–118.
  • Speyer 1971: W. Speyer, Die literarische Fälschung im heidnischen und christlichen Altertum: ein Versuch ihrer Deutung (Munich, 1971).
  • Stemplinger 1912: E. Stemplinger, Das Plagiat in der griechischen Literatur (Leipzig, Berlin, 1912).
  • Syme 1972: R. Syme, “Fraud and Imposture” [in K. von Fritz, coord.: Pseudepigrapha I. Entretiens sur l’Antiquité Classique 18, VandœuvresGeneva, 1972], pp. 2–21.
  • Von Möllendorff 1995: P. von Möllendorff, Grundlagen einer Ästhetik der alten Komödie. Untersuchungen zu Aristophanes und Michail Bachtin (Tübingen, 1995).
  • Von Möllendorff 2004: P. von Möllendorff, “Puzzling Beauty. Zur ästhetischen Konstruktion von Paideia in Lukians ‘Bilderʼ-Dialogen” [in W. Brandes, H. Leppin, H. Krasser, P. von Möllendorff, coord.: Millenium: Jahrbuch zu Kultur und Geschichte des ersten Jahrtausends n. Chr., vol. 1, Berlin, New York, 2004], pp. 1–24.
  • Whitmarsh 2001: T. Whitmarsh, Greek Literature and the Roman Empire: the Politics of Imitation (Oxford, 2001).
  • Whitmarsh 2009: T. Whitmarsh, “Reframing satire: Lucianic metalepsis” [in: M. Cevik, coord.: Uluslararası Samsatlı Lucianus Sempozyumu, Adıyaman, 2009], pp. 69–75.
  • Whitmarsh 2011: T. Whitmarsh, Narrative and Identity in the Ancient Greek Novel: Returning Romance (Cambridge, 2011).
  • Whitmarsh 2013: T. Whitmarsh, An I for an I: reading fictional autobiography [in A. Marmodoro, J. Hill, coord.: The Author’s Voice in Classical and Late Antiquity, Oxford, 2013], pp. 233–247.
  • Whitmarsh 2013a: T. Whitmarsh, Beyond the Second Sophistic: Adventures in Greek Postclassicism (Berkeley, Los Angeles, London 2013).
  • Ziegler 1950: K. Ziegler, “Plagiat” [in G. Wissowa et al., coord.: Paulys Realenzyklopädie der classischen Antike, 20/2, Stuttgart, 1950], coll. 1956–1979.
Data source: Dialnet