Barbara Weiden Boyd - Academia.edu (original) (raw)
Uploads
Papers by Barbara Weiden Boyd
The Classical Review, 2016
Renaissance, and includes a useful chronology of the relevant events and milestones. A second sec... more Renaissance, and includes a useful chronology of the relevant events and milestones. A second section focuses upon the theatre’s architectural antecedents, with particular attention directed at previous cognate ‘Italianate’ complexes comprised of juxtaposed temples, colonnades and theatrical structures – including those at Tibur, Gabii and Praeneste, which may be seen as precursors and influences. In turn, she considers the posterity and extensive influence of the Pompey site as an ‘iconic’ model for the theatres so widely constructed throughout the Roman world in ensuing centuries. The third section, the largest and most innovative core of the book, details all the complex’s architectural elements (including the cavea, stage, religious structures, scene building, porticus and curia), and charts – somewhat hypothetically – the various changes and evolution these underwent in antiquity. Here M. provides a great deal of data, its incorporation into a series of plans, elevations and beautifully fashioned VR ‘reconstructions’, and detailed commentary. Her careful and extensively documented designs draw upon a rich mixture of surviving evidence, reasoned hypothesis, comparanda from other sites and a close reading of Vitruvius. Occasionally there is a mismatch between structural details in the figures showing plans, sections and elevations and the provocative threedimensional depictions of the same structures from her VR model. The fourth and final section, devoted to reconstructing the mechanical systems, is the first detailed attempt to address challenging questions about how scenic devices, the stage curtains, the vela which shaded the audience, and the sparsio which cooled it with a perfumed spray, may have functioned in the theatre of Pompey. M.’s extensive, innovative and, for the most part, persuasive analysis and interpretation of the evidence is extremely welcome. She presents carefully formulated calculations to describe, hypothetically but plausibly, how these elements might have been constructed and operated. Her discussion of the vela is particularly cogent, as she considers the evidence for two quite different systems. The first of these is a mechanism formed with wooden beams to create an extensive configuration of sail-like awnings, that could be raised and lowered depending upon the angle of the sunlight, and the second is a system comprised purely of rings of ropes and sliding awnings that could be drawn out, rather like an enormous spider’s web, above the auditorium. She gives the ‘case’ for each (including the sparse ancient references to the vela in the theatre of Pompey), and concludes by favouring the latter. This is a very welcome addition to the growing body of scholarship devoted to one of the most important – and most neglected – monuments of ancient Rome.
The American Journal of Philology, 1992
The American Journal of Philology, 1984
The American Journal of Philology, 1990
At Metamorphoses 1.199-205, Ovid compares the gods' reaction to Lycaon's treach... more At Metamorphoses 1.199-205, Ovid compares the gods' reaction to Lycaon's treachery to that of the Roman people upon learning of an attempt on their ruler's life. Several readers have recently commented upon Ovid's use of Virgil in composing this simile: most ...
Brill's Companion to Ovid, 2002
Transactions of the American Philological Association, 2006
Transactions of the American Philological Association (1974-), 1984
... 10 Lee (above, note 1) 103-6. See also Lyne (above, note 6) 158-63, and Leach (above, note 1)... more ... 10 Lee (above, note 1) 103-6. See also Lyne (above, note 6) 158-63, and Leach (above, note 1) 87: "Delia herself is the practical flaw in the program." Cf. ... 277 Page 6. Barbara Weiden Boyd A resolution for this paradox is to be found in the book's closing elegy, 1.10. ...
The Classical World, 2006
The Classical Quarterly, 1987
Further proof of Professor Kenney's assertion that in the case of prodelided est the syncopat... more Further proof of Professor Kenney's assertion that in the case of prodelided est the syncopated form was written by Ovid as well as spoken (CQ 36 [1986], 524) is provided by Metamorphoses 15.426ff.
Classical Philology, 2000
... Mastronarde, "Actors," p. 257 and n. 28, p. 282, because of the nee... more ... Mastronarde, "Actors," p. 257 and n. 28, p. 282, because of the need to give the effect of height, believes that the girl may well have ... phonological pattern on a number of other occasions in the Fasti.10 At 2.599-616, Ovid tells the story of the chatty nymph Lala, whose eponymous ...
American Journal of Philology, 2001
Classical Philology, 2015
The Classical Review, 2016
Renaissance, and includes a useful chronology of the relevant events and milestones. A second sec... more Renaissance, and includes a useful chronology of the relevant events and milestones. A second section focuses upon the theatre’s architectural antecedents, with particular attention directed at previous cognate ‘Italianate’ complexes comprised of juxtaposed temples, colonnades and theatrical structures – including those at Tibur, Gabii and Praeneste, which may be seen as precursors and influences. In turn, she considers the posterity and extensive influence of the Pompey site as an ‘iconic’ model for the theatres so widely constructed throughout the Roman world in ensuing centuries. The third section, the largest and most innovative core of the book, details all the complex’s architectural elements (including the cavea, stage, religious structures, scene building, porticus and curia), and charts – somewhat hypothetically – the various changes and evolution these underwent in antiquity. Here M. provides a great deal of data, its incorporation into a series of plans, elevations and beautifully fashioned VR ‘reconstructions’, and detailed commentary. Her careful and extensively documented designs draw upon a rich mixture of surviving evidence, reasoned hypothesis, comparanda from other sites and a close reading of Vitruvius. Occasionally there is a mismatch between structural details in the figures showing plans, sections and elevations and the provocative threedimensional depictions of the same structures from her VR model. The fourth and final section, devoted to reconstructing the mechanical systems, is the first detailed attempt to address challenging questions about how scenic devices, the stage curtains, the vela which shaded the audience, and the sparsio which cooled it with a perfumed spray, may have functioned in the theatre of Pompey. M.’s extensive, innovative and, for the most part, persuasive analysis and interpretation of the evidence is extremely welcome. She presents carefully formulated calculations to describe, hypothetically but plausibly, how these elements might have been constructed and operated. Her discussion of the vela is particularly cogent, as she considers the evidence for two quite different systems. The first of these is a mechanism formed with wooden beams to create an extensive configuration of sail-like awnings, that could be raised and lowered depending upon the angle of the sunlight, and the second is a system comprised purely of rings of ropes and sliding awnings that could be drawn out, rather like an enormous spider’s web, above the auditorium. She gives the ‘case’ for each (including the sparse ancient references to the vela in the theatre of Pompey), and concludes by favouring the latter. This is a very welcome addition to the growing body of scholarship devoted to one of the most important – and most neglected – monuments of ancient Rome.
The American Journal of Philology, 1992
The American Journal of Philology, 1984
The American Journal of Philology, 1990
At Metamorphoses 1.199-205, Ovid compares the gods' reaction to Lycaon's treach... more At Metamorphoses 1.199-205, Ovid compares the gods' reaction to Lycaon's treachery to that of the Roman people upon learning of an attempt on their ruler's life. Several readers have recently commented upon Ovid's use of Virgil in composing this simile: most ...
Brill's Companion to Ovid, 2002
Transactions of the American Philological Association, 2006
Transactions of the American Philological Association (1974-), 1984
... 10 Lee (above, note 1) 103-6. See also Lyne (above, note 6) 158-63, and Leach (above, note 1)... more ... 10 Lee (above, note 1) 103-6. See also Lyne (above, note 6) 158-63, and Leach (above, note 1) 87: "Delia herself is the practical flaw in the program." Cf. ... 277 Page 6. Barbara Weiden Boyd A resolution for this paradox is to be found in the book's closing elegy, 1.10. ...
The Classical World, 2006
The Classical Quarterly, 1987
Further proof of Professor Kenney's assertion that in the case of prodelided est the syncopat... more Further proof of Professor Kenney's assertion that in the case of prodelided est the syncopated form was written by Ovid as well as spoken (CQ 36 [1986], 524) is provided by Metamorphoses 15.426ff.
Classical Philology, 2000
... Mastronarde, "Actors," p. 257 and n. 28, p. 282, because of the nee... more ... Mastronarde, "Actors," p. 257 and n. 28, p. 282, because of the need to give the effect of height, believes that the girl may well have ... phonological pattern on a number of other occasions in the Fasti.10 At 2.599-616, Ovid tells the story of the chatty nymph Lala, whose eponymous ...
American Journal of Philology, 2001
Classical Philology, 2015