Modes of Viewing in Hellenistic Poetry and Art: And Art

Acknowledgments

Acknowledgments In this book I explore the ways in which the visual arts and the poetry of the Hellenistic age direct the viewer and the reader to look at the subjects that they portray in their respective media. I therefore hope that what I have to say will be of interest to two audiences: on the one hand, students of Hellenistic art and archaeology , and, on the other, students of Hellenistic poetry. The mindsets , presuppositions, and approaches of these two groups are often very different, and if I have made my arguments and findings clear to both, I will be very happy. It seems to me that students in the two fields have a lot to learn from pooling their resources . Many institutions and friends helped me in the course of research and writing. The German Academic Exchange Service, with its characteristic generosity, supported two study-visits to Tübingen’s unstintingly hospitable Philologisches Seminar at the beginning and the end of the project (1998 and 2002). This support also led to two stays at the German Archaeological Institute in Rome, where the directors, Paul Zanker and Dieter Mertens, made me welcome and put the Institute’s uniquely comprehensive photograph collection at my disposal. I am especially indebted to Giorgia Migatta, who gave much kind and practical help in securing the photographs. A Summer Fellowship at the Harvard Center for Hellenic Studies in Washington, D.C., in 2002 allowed me to prepare the final manuscript for the press in the most congenial and helpful circumstances. Two eight-month periods of study-leave granted by the University of Canterbury gave me vital time for uninterrupted research and writing. The Department xi of Classics at Canterbury gave a generous contribution toward the costs I incurred in purchasing the illustrations and permissions . Paul Zanker helped shape my thinking at its initial stages. Richard Kannicht was a critical and constructive listener on many occasions and supported the whole undertaking from beginning to end. Peter Parsons always gave encouragement and support when it counted. Alan Shapiro, Bettina Bergmann, and Andrew Stewart read the whole manuscript; their generosity and collegiality were phenomenal, and their contribution was fundamental to the presentation of the archaeological side of my argument. Marco Fantuzzi kindly directed me to crucial discussions of Hellenistic epigram that appeared just after I submitted the final manuscript. The readers for the University of Wisconsin Press gave extensive and welcome advice, all of which I have gratefully adopted. Patrick O’Sullivan provided a judicious second opinion on specific points. My students at the University of Canterbury patiently listened as I picked at my doubts. They also commented helpfully and put a human face on my readers. My final debt is to my family: to my wife, Ruth, whose enthusiasm for things visual and written enlivened proceedings enormously , and to my sons, Tom and Hugo, whose intelligent curiosity about my work added agreeably to my sense that I was on to something interesting. I affectionately dedicate this book to these fine young men. All translations are my own. xii Acknowledgments ...