With this volume, Akroterion celebrates 60 years of classical scholarship and service to the academic community. From a humble Newsletter published in support of Latin school teachers Akroterion has developed into a widely recognized scholarly journal accredited by the South African Department of Higher Education and Training and indexed in international databases like L'Année philologique. Instead of publishing articles predominantly by staff members of the University of Stellenbosch, Akroterion now receives submissions from a wide spectrum of scholars both nationally and internationally.
The interpretation of Pindar's poem in the Gorgias has greatly concerned scholars. Methodologically, the most appropriate approach to interpretation of the poem is to try and answer the four fundamental questions that arise: a) what is the central idea that governs Pindar's poem in its extra-Platonic presence, as an autonomous poetic composition? b) which dramatic character refers to Pindar's authority? c) what basic ideological direction does he follow and d) what is Plato's literary goal? This paper will illuminate the aspects of the above questions, proceeding to a new interpretative approach of the Platonic use of the poem.
Freud's rejection of nineteenth century psychiatry and neurology encouraged him to look for new models of diagnosis and healing. While Western medical discourse is based upon a rational approach founded upon the Hippocratic corpus, this paper argues that psychoanalysis contains many elements that can be traced to the healing cult of Asclepius. A close reading of Freud's texts reveals that he was aware of the practice of incubation at sites of healing such as Epidaurus and Pergamum and that this knowledge was incorporated into his theory and practice of dream interpretation.
This article provides the first philological analysis and interpretation of the ode to Plato written by Marcus Musurus in 1513 in Venice and published as a dedicatory poem in the editio princeps of the works of Plato. Musurus asks pope Leo X to found a Greek academy in Rome and start a crusade against the Ottoman empire to liberate Greece. The article includes the first English translation of the entire poem since Roscoe (1805).
My onderwerp is deel van wat dikwels beskou word as die jongste vertakking van die studie van die antieke wêreld - die studie van die resepsie van die antieke. Hierdie studie ondersoek hoe later omgegaan is met tekste of voorwerpe uit die Klassieke oudheid. Soos my titel, 'Griekse drama in die moderne wêreld', aandui, fokus ek op 'n spesifieke deel van die letterkunde van die antieke Grieke, naamlik drama.
This paper suggests that lessons can be learned from both the failed Red Location Museum, in Port Elizabeth, South Africa and the Rijks museum, in Amsterdam, Netherlands, with regard to the curation of collections of classical artefacts in South African museums. Once considered more important, these artefacts have now fallen out of synch with the current museological trends to exhibit local and neglected histories. The antiquities are now cultural 'orphans', mostly boxed up and in storage, a sign of their lack of 'relevance' to the immediate South African context. Digitising the collection and creating a virtual museum of classical antiquities with open access will allow the pieces to be viewed without being offensive to their immediate context which currently views them as less relevant than before. In doing so it is possible to create new contexts for the reception, appreciation and ultimately, preservation of such orphan collections.
Horace is often placed at the opposite end of the spectrum to Catullus in discussions on Latin lyric love poetry. In this oversimplified view, the poets represent vastly different interpretations of love and the poetic process, Catullus being the prototype Sturm und Drang poet while Horace embodies calm and self-detachment.This essay explores contemporary views on Horace's approach to writing about love, and proposes that an over-emphasis on Horace's political views and interest in public matters has led to a disregard for his views on love. It is further argued that a comparison between Horace's love poetry and that of Catullus is an unjust categorisation which does little to acknowledge Horace's versatile and developmental approach to lyric poetry. Finally, Horace's self-detachment is seen to be the most effective means through which he succeeds in connecting with the experiences of his reader.