#Simon Goldhill

[eloreenmoon]

'Home Grown Talent (Creative Types Book 2)' by Joanna Chambers and Sally Malcom #Audiobook #LGBT #Review #MM

Erryn reviews Home Grown Talent (Creative Types Book 2) by Joanna Chambers and Sally Malcolm. Published August 25, 2022, 396 pages.  The audiobook was released March 20, 2024, is 10 hrs and 23 mins and is narrated by Simon Goldhill. A copy was provided in exchange for an honest review. Why I read it: I loved Total Creative Control! Are you for real? From the outside, it looks like model and…

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#Audiobook #Contemporary #Creative Types Series #gay romance #Joanna Chambers #LGBTQ #M/M Romace #opposites attract #Review #Sally Malcolm #Simon Goldhill

[bookstattoosandtea]

Audio Tour, Exclusive Excerpt & Giveaway: Total Creative Control by Joanna Chambers & Sally Malcolm

Audio Tour & Giveaway: Total Creative ControlBy Joanna Chambers & Sally Malcolm Narrated by Simon Goldhill Creative Types, Book 1 Sunshine PA, meet Grumpy Boss… When fanfic writer Aaron Page landed a temp job with the creator of hit TV show, Leeches, it was only meant to last a week. Three years later, Aaron’s still there… It could be because he loves the creative challenge. It could be because…

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#Audio Out Now #Audio Release #Audiobook #Bisexual #Cinnamon Roll #Contemporary MM Romance #Creative Types Series #Gay Book Review #Gay Romance Authors #Home Grown Talent #humor #Joanna Chambers #LGBTQ #LGBTQ Books #MM Romance #Romance #Sally Malcolm #Simon Goldhill #Spoilt #Total Creative Control

[finelythreadedsky]

rediscover the true meaning of hanukkah (telling the imperial powers of the ancient world to fuck off) with this season's classic(al) holiday sweater, finally available now that i've been released from redbubble jail

#recently a professor recommended me simon goldhills book about being a jewish classicist #but does he do this??? #its important to have a little hostility and resentment toward the ancient greeks and romans i think #mine

[alovelywaytospendanevening]

Oh hello! I thought I would just ask you what you thought about Brian Masters' biography of EF Benson? I'm about a third of the way through and my mind is buzzing with it!

Hey! I think it captured his life rather well, and the writing style is pleasant and accessible. It's a good introductory reading not only for those who want to know about Fred, but also about the Benson family, considering his parents and siblings are figures with constant presence, and they were quite an interesting lot. His relationship with Arthur is wonderful, since they were very different men, but clearly fond of each other.

I do wonder about some Masters' takes, though. It's worth mentioning this book was published in 1991, and the world has changed a lot since then. For instance, Masters wrote that "Inevitably, a few of the fans claimed David Blaize as their own for reasons Fred would genuinely abhor, and he would not have been pleased to learn that the novel is still on the list of homosexual book clubs. Clearly, it does not belong there, for it contains nothing overtly erotic and, indeed, bases its theme upon the purifying power of goodness."

Well, we know Fred was a reserved guy. He also wasn't very lefty, certainly not some social activist who's trying to change the rules of society. But I don't think he would’ve rejected his "gay writer" contemporary status, nor the more accepting situation of homosexuality in the current Western world.

He wasn't nearly as much repressed as Arthur and Hugh. He was well-connected in homosexual circles too, and not really religious. I think there's a strong possibility his "sphinx mode" was just a way he found to live his life more freely, without having to bother about the repercussions (including among his family) of his “sneaky” actions. His Capri vacations seem to indicate this, and to me it's clear he had sex with men (Eustace Miles and Francis Yeats Brown are obvious suspects). He wasn't a prude, like Masters stated, but he did live in a prude world. He probably would’ve enjoyed to live in a more relaxed reality like ours, which explains why he seemed so fixated on his childhood experiences.

Sometimes I wish he had the guts to push boundaries, particularly at the end of his life. I feel Ravens' Brood could've been a truly groundbreaking work if only he had allowed himself to be more frank and honest about the subject he wanted to talk about. But then again, Fred wasn't a revolutionary type, he was a man who enjoyed his conventional status in society. The likes of David Blaize and The Inheritor were already risqué enough for him.

By the way, there’s another E. F. Benson biography called As He Was, by Geoffrey Palmer and Noel Lloyd. I only read a few parts of it, but their take on David Blaize seems spot on:

Never had a character taken him over so completely, never had he written with such lack of inhibition about himself. True, it was himself as a boy, but it was a true, clear picture of adolescent passions. He thought he could do it by depicting himself under the name of David Blaize as he really had been, or had wanted to be, all those years ago: yellow-haired, sunny-natured and of an unbelievable goodness.

A Very Queer Family Indeed by Simon Goldhill is another interesting book about the Benson family. I find it much less accessible and more academic-y than Masters’ book, though.

#ask #e. f. benson #benson family

[deathlessathanasia]

„Classical Greek is rich in words signifying love or affection. Passionate sexual attraction is denoted by the term eros (verb eran, whence 'erotic'), the love of parents for children by storge (verb stergein). Agapan means 'to like or be fond of,' although the noun agape, sometimes rendered 'brotherly love,' first occurs in the New Testament. But the most general and widely used term for 'love' is philia, with the associated verb philein (d. 'philhellene,' 'anglophile'). This idea, together with its opposite, hatred or enmity (which we shall treat in the following chapter), is the subject of section 4 of book 2 of Aristotle's Rhetoric.

One might have imagined that love would pose relatively fewer problems of interpretation than other emotional concepts, and yet here too there are difficulties and disagreements, including over matters of terminology. Philia, for example, is not simply 'love,' but is often better translated as 'friendship,' and the cognate term philos, which as an adjective means 'dear' or (less often) 'loving,' commonly signifies 'friend.' Many scholars believe, however, that ancient friendship, both Greek and Roman, had little or no affective character, but was wholly a matter of duty. Thus, Malcolm Heath (1987: 73-4) writes that philia in classical Greece 'is not, at root, a subjective bond of affection and emotional warmth, but the entirely objective bond of reciprocal obligation; one's philos is the man one is obliged to help, and on whom one can (or ought to be able to) rely for help when oneself is in need.' Simon Goldhill (1986: 82) agrees: 'The appellation or categorization philos is used to mark not just affection but overridingly a series of complex obligations, duties and claims.'

Philia, then, would seem a poor candidate for a basic emotion, and hardly to correspond to the modern conception of love. But that is not all. Some scholars hold that the words philia and philos do not in fact refer to friendship as we understand the term but rather to family ties. Thus, Elizabeth Belfiore (2000: 20) writes that 'the noun philos surely has the same range as philia, and both refer primarily, if not exclusively, to relationships among close blood kin.' Worst of all, Aristotle himself seems to have doubts about how to classify philia. At the beginning of his extended analysis of philia in books 8 and 9 of the Nicomachean Ethics (8.1, 1155a3-4), he affirms that philia 'either is a virtue or is accompanied by virtue and earlier, in his discussion of virtues as a mean, Aristotle treats philia as a disposition (hexis or diathesis] rather than a pathos, and locates it between the extremes of ingratiation or flattery, on the high end, and generalized grumpiness, on the low (110826-30; but note 1226b22-3, where Aristotle says that this mean is 'most like philia .,., but differs from philia in that it is without pathos.

In my book Friendship in the Classical World (1997a), I argued at length that friendship was fundamentally an affective bond in ancient Greece and Rome, just as it is today, and that philos as a noun means precisely 'friend.' Scholarly opinion, nevertheless, remains sharply divided. Thus, Michael Peachin, the editor of a recent collection of essays entitled Aspects of Friendship in the Graeco-Roman World (2001: 135 n. 2), describes 'the standard modern view of Roman friendship' as one 'that tends to reduce significantly the emotional aspect of the relationship among the Romans, and to make of it a rather pragmatic business' (and the same for Greek philia). Peachin notes that 'D. Konstan has recently argued against the majority opinion and has tried to inject more (modern-style?) emotion into ancient amicitia but the majority of the articles that follow, as Peachin says, 'point us back to a heavily formalized, even legalized, bond between friends. These controversies show no sign of diminishing.”

- The Emotions of the Ancient Greeks: Studies in Aristotle and Classical Literature by DAVID KONSTAN

#emotions #ancient greece #philia #love #friendship #quotes #excerpts

[aboutanancientenquiry]

Herodotus, the Iliad, and the Greek Enlightenment

"Herodotus’ engagement with the poetic tradition begins in his opening sentence:

Ἡροδότου Ἁλικαρνησσέος ἱστορίης ἀπόδεξις ἥδε, ὡς µήτε τὰ γενόµενα ἐξ ἀνθρώπων τῷ χρόνῳ ἐξίτηλα γένηται, µήτε ἔργα µεγάλα τε καὶ θωµαστά, τὰ µὲν Ἕλλησι, τὰ δὲ βαρβάροισι ἀποδεχθέντα, ἀκλεᾶ γένηται, τά τε ἄλλα καὶ δι’ ἣν αἰτίην ἐπολέµησαν ἀλλήλοισι.18

Here are produced the results of the research carried out by Herodotus of Halicarnassus, intended to prevent deeds of human origin from fading away with the passage of time, and to preserve the fame of the important and remarkable achievements produced by both Greeks and non-Greeks, with a special focus on the reason why they went to war against one another.

Tilman Krischer has argued that in this sentence Herodotus both closely imitates and pointedly remodels the Homeric (especially the Iliadic) prooimion.19 Syntactic details aside, the most obvious reference to Homer and the subsequent poetic tradition is found in the second half of the purpose clause, where Herodotus announces his intention to prevent the great and marvelous achievements of Greeks and non-Greeks alike from becoming ἀκλεᾶ, from losing their fame or κλέος. Simon Goldhill has noted that ‘[i]n ancient Greek culture of all periods, the notion of kleos is linked in a fundamental way to the poet’s voice’,20 beginning with Homeric epic. Thus in claiming to preserve the kleos of remarkable deeds Herodotus audaciously appropriates for his ambitious prose work what had long been recognised as an essential function of poetic song.21 The military context of warfare between Greeks and a formidable Eastern foe underscores the special relevance of Homer’s Iliad as a model, which will be confirmed by numerous features in the narrative to follow. The appearance of the adjective ἀκλεής in prominent passages of the Iliad may also be relevant in this regard.22

At the same time, from the first word of his text Herodotus also underscores crucial differences that set his account apart from Homeric epic and establish its affinities with the intellectual milieu of the fifth century BC. With that first word Herodotus identifies himself by name as the origin and guarantor of his inquiry (historiê)—an authority fully human and independent of the Muses, the divine source and guarantors of the poet’s tale, who are conspicuously absent from an introduction that otherwise evokes the epic prooimion.23 A similar emphasis characterises Herodotus’ broad description of his subject matter as human deeds, τὰ γενόµενα ἐξ ἀνθρώπων, rather than the primeval deeds of gods and their heroic offspring (though both gods and heroes will have important roles to play in the Histories). So too at the end of the prologue Herodotus promises to traverse small and great cities of men (ἄστεα ἀνθρώπων, 1.5.3), and professes a knowledge of human prosperity (ἀνθρωπηίην… εὐδαιµονίην, 1.5.4) that informs his narrative as a whole.24

Beyond this emphatic anthropocentrism, certain key words in Herodotus’ opening sentence with contemporary connotations make the Histories not merely a product but indeed a fundamental document of what Goldhill calls the ‘Greek Enlightenment’—an intellectual revolution embracing a variety of fields (history, philosophy, natural and political science, rhetoric, and medicine), conducted in prose, and engaged in a ‘contest of authority’ with divinely inspired poetry, the traditionally privileged medium of expression in archaic Greece.25 As Thomas has demonstrated, in describing his own work as ἱστορίη, Herodotus associates it with other works of contemporary Ionian science understood in a broad sense to include the work of natural philosophers, sophists, and medical writers.26 More controversially, Thomas also discerns in the term ἀπόδεξις distinct overtones of rhetorical persuasion— implications of demonstration, display, and proof that encourage her to assimilate ἀπόδεξις with ἐπίδειξις, the term for the Sophistic display speech.27 Finally, at the end of the opening sentence, with the word αἰτίη, causality emerges as a focal point of Herodotus’ treatment of the Greco-Persian wars. Now there can be no denying that Homeric, and specifically Iliadic, precedent is relevant here, with regard to subject matter as well as syntax:28 Iliad I.8 poses the question, ‘Which of the gods, then, brought the two of them [sc. Agamemnon and Achilles] together to fight in strife?’ The Homeric question addresses the divine level of causation only, and has a straightforward answer in Apollo (although the human dimension of the quarrel will be explored in depth in the remainder of Iliad I). While Goldhill overstates the simplicity of the Homeric treatment of causation, I share his view that the search for aitiê,, the cause of things, assumes a new significance in the fifth century as ‘a foundational gesture of the new self-reflexive scientific thinking’.29 Herodotus’ use of the term to mark the climax of his opening sentence and the special focus of his narrative needs to be seen in this context."

From the article of Charles C. Chiasson "Herodotus' Prologue and the Greek Poetic Tradition", Histos 6 (2012), 114-143

#herodotus #the histories #homer #the iliad #charles c chiasson

[mariacallous]

How did the Victorians engage with the ancient world? Victorian Culture and Classical Antiquity is a brilliant exploration of how the ancient worlds of Greece and Rome influenced Victorian culture. Through Victorian art, opera, and novels, Simon Goldhill examines how sexuality and desire, the politics of culture, and the role of religion in society were considered and debated through the Victorian obsession with antiquity.

Looking at Victorian art, Goldhill demonstrates how desire and sexuality, particularly anxieties about male desire, were represented and communicated through classical imagery. Probing into operas of the period, Goldhill addresses ideas of citizenship, nationalism, and cultural politics. And through fiction — specifically nineteenth-century novels about the Roman Empire — he discusses religion and the fierce battles over the church as Christianity began to lose dominance over the progressive stance of Victorian science and investigation. Rediscovering some great forgotten works and reframing some more familiar ones, the book offers extraordinary insights into how the Victorian sense of antiquity and our sense of the Victorians came into being.

With a wide range of examples and stories, Victorian Culture and Classical Antiquity demonstrates how interest in the classical past shaped nineteenth-century self-expression, giving antiquity a unique place in Victorian culture.

[stuartelden]

Late Foucault & Classical Antiquity - special issue of Arethusa 2023

Late Foucault & Classical Antiquity – special issue of Arethusa 2023 (requires subscription) From the Editor: Foucault and Arethusa Roger D. Woodard Introduction Simon Goldhill A Self-Interested Reader? Foucault and Imperial Greek Technical Texts Claire Hall Elephants, Christians, and Pagans in the History of Sexuality Niki Kasumi Clements Foucault’s Epicureanism: Parrhēsia, Confession,…

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[footprint-in-the-snow]

nine people you’d like to get to know better

tagged by: @cryley

last song: werewolf by lil uzi vert and bmth

currently watching: technically i am in the middle of punisher season two and technically restarted season one with friends but uhh yeah

current obsession: ive been getting into older 1975 interviews, I'm like on the brink of fully getting into arctic monkeys

currently reading: letters to a young poet (with the book club wooo), love sex and tragedy by simon goldhill (if you are a tiny bit into classics read it its so so so good)

tagging: @fightclubonvhs @goodsriddance @ohcaroline @cows-wearing-my-sweater

(sorry if you have already been tagged)

#tagged <3

[wornoutspines]

Total Creative Control (Creative Types #1) by Joanna Chambers, Sally Malcolm | Book Review

Total Creative Control by @chambersjoanna & @sally_malcolm is nicely grounded, well-written, and beautifully narrated by Simon Goldhill. #mmaudiobooks #loveislove #rainbowread #mmromance #newinromance #Bookreview

Sunshine PA, meet Grumpy Boss … When fanfic writer Aaron Page landed a temp job with the creator of hit TV show, Leeches, it was only meant to last a week. Three years later, Aaron’s still there … It could be because he loves the creative challenge. It could be because he’s a huge Leeches fanboy. It’s definitely not because of Lewis Hunter, his extremely demanding, staggeringly rude … and…

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#Book #Book blog #Book Blogger #Book lovers #Book review #Book reviewer #Book reviews #Book series #Bookish #Books #Books addict #Books to read #Booksgram #Bookstagram #Bookworm #Contemporary #Creative Types series #Fiction #Garcwrites #Gay #Joanna Chambers #just read #LGBT Books #MM Romance #Sally Malcolm #Simon Goldhill #Total Creative Control

[valerieullmerromanceauthor]

Audiobook Tour - Total Creative Control by Joanna Chambers & Sally Malcolm

Audio Tour & Giveaway: Total Creative Control by Joanna Chambers & Sally Malcolm Narrated by Simon Goldhill Creative Types, Book 1 Sunshine PA, meet Grumpy Boss… When fanfic writer Aaron Page landed a temp job with the creator of hit TV show, Leeches, it was only meant to last a week. Three years later, Aaron’s still there… It could be because he loves the creative challenge. It could be because…

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#GayRomanceReviews GRR mmromance mmaudiobooks contemporary @joannachambers_auth @sally.malcolm @chambersjoanna @sally_malcolm

[eloreenmoon]

'Total Creative Control (Creative Types Book 1)' by Joanna Chambers and Sally Malcom #Audiobook #LGBT #Review #MM

Erryn reviews Total Creative Control (Creative Types Book 1) by Joanna Chambers and Sally Malcolm. Published October 28, 2021, 358 pages.  The audiobook was released February 27, 2023, is 9 hrs and 26 mins and is narrated by Simon Goldhill. A copy was provided in exchange for an honest review. Why I read it: I was happy to snap this one up and I didn’t regret it! When fanfic writer Aaron Page…

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#Audiobook #Contemporary #Creative Types Series #gay romance #Joanna Chambers #LGBTQ #M/M Romace #Review #Sally Malcolm #Simon Goldhill

[qotiraposuko]

Mihm vogt m3 bedienungsanleitung brother

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https://totumonas.tumblr.com/post/691794938860634112/dosimat-665-bedienungsanleitung-hp, https://totumonas.tumblr.com/post/691795062825320448/kramer-kls-140-handbuch-zur, https://qotiraposuko.tumblr.com/post/691794901649833984/keeway-f-act-50-bedienungsanleitung, https://totumonas.tumblr.com/post/691794938860634112/dosimat-665-bedienungsanleitung-hp, https://qotiraposuko.tumblr.com/post/691795087605301248/ziegler-z-control-bedienungsanleitung-medion.

[finelythreadedsky]

when simon goldhill called the death of iphigenia an act of foundational violence instrumental in the founding of the oresteia and the societal framework of law and democracy??? groundbreaking

#mine #it begins and ends with a girl #i read 3/4 of robert ickes oresteia today and DAMN

[aboutanancientenquiry]

This volume in The Edinburgh Leventis Studies series collects the papers presented at the sixth A. G. Leventis conference organised under the auspices of the Department of Classics at the University of Edinburgh. As with earlier volumes, it engages with new research and new approaches to the Greek past, and brings the fruits of that research to a wider audience.

Although Greek historians were fundamental in the enterprise of preserving the memory of great deeds in antiquity, they were not alone in their interest in the past. The Greeks themselves, quite apart from their historians and in a variety of non-historiographical media, were constantly creating pasts for themselves that answered to the needs - political, social, moral and even religious - of their society.

In this volume eighteen scholars discuss the variety of ways in which the Greeks constructed, de-constructed, engaged with, alluded to, and relied on their pasts whether it was in the poetry of Homer, in the victory odes of Pindar, in tragedy and comedy on the Athenian stage, in their pictorial art, in their political assemblies, or in their religious practices. What emerges is a comprehensive overview of the importance of and presence of the past at every level of Greek society.

In the final chapter the three discussants present at the conference (Simon Goldhill, Christopher Pelling and Suzanne Saïd) survey the contributions to the volume, summarise its overall contributions as well as indicate new directions that further scholarship might follow.

Source: https://edinburghuniversitypress.com/book-greek-notions-of-the-past-in-the-archaic-and-classical-eras.html

#ancient greeks #archaic and classical greece #history

[antiquery]

OHHH MY GOD AND LIKE. thinking about tapestries/nets/weaving/textiles in ancient lit— xerxes yoking the hellespont in aes. persians, the carpet scene in the agamemnon, penelope’s weaving in the odyssey— it’s language! it’s all about language! simon goldhill was RIGHT

#AGAMEMNON’S BLOODSTAINED ROBE IN THE CHOEPHOROI OH MAN #A POEM DRIPPING WITH BLOOD! #MAJOR LUCAN HOURS #notebook