This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies (...) of Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons. (shrink)

This article focuses on Homers idea of reflexive rhetoric. The majority of Homeric deliberation scenes contain no deliberative calculi. One approach to this problem would be to generalize from the scenes where Odysseus uses deliberative calculi to those where he does not. One might argue, though, that data have to be transmitted to and outputted from a computer via interfaces, one where data are transformed into electrical impulses, and one where the output is printed as information. The deliberative calculus (...) cannot be the essential link between deliberation and persuasion, though it undoubtedly figures into the process of self-persuasion to the extent that it either explicitly or implicitly brings about a particular decision. In this perspective, the fact that Homer is frequently silent about deliberative calculi is irrelevant to the question of whether Odysseus persuades himself. The idea of Homeric rhetoric is alleged to pose the problem of anachronism. Moving toward an account of reflexive rhetoric allows to see in even greater detail the centrality of rhetoric to human condition. Accession Number: 18705553; Mifsud, Mari Lee 1; Affiliations: 1: Department of Rhetoric and Public Address, Whitman College.; Issue Info: 1998, Vol. 31 Issue 1, p41; Thesaurus Term: RHETORIC; Thesaurus Term: AUTHORSHIP; Thesaurus Term: LITERATURE; Subject Term: HOMER; Subject Term: ODYSSEUS (Greek mythology); Subject Term: ERRORS & blunders, Literary; Subject Term: PHILOSOPHY; Number of Pages: 14p; Document Type: Article. (shrink)