Professor Gregory Hutchinson: List of publications

Plutarch’s Rhythmic Prose (Oxford, 2018; pp. 339); see https://global.oup.com/academic/product/plutarchs-rhythmic-prose- 9780198821717?prevSortField=9&start=20&q=Hutchinson&prevNumResPerPage=20&lang =en&cc=gb see also the free companion website http://www.oup.com/hutchinson for readings of the passages analysed, and for corrigenda.

This volume is the first book-length study of Grattius in English or any other language and sets out to rehabilitate the neglected poet by making him and his work accessible to a wide audience.

© 2015 The Classical Association. If we had no idea which parts of Greek literature in a certain period were poetry or prose, we would regard it as our first job to find out. How much of the Greek prose of the Imperial period is rhythmic has excited less attention; and yet the question should greatly affect both our reading of specific texts and our understanding of the whole literary scene. By 'rhythmic' prose, this article means only prose that follows the Hellenistic system of rhythm started, it is said, by Hegesias, and adopted by Cicero and by many Latin writers of the Imperial period. Estimates of how much Greek Imperial prose is rhythmic have long varied drastically. Some experts suggest that all or much artistic Greek prose in the period is rhythmic, others that what little there is fades out after the first century a.d., as part of the victory of Atticism. There has been fairly little substantial work on rhythmic prose in the first three centuries a.d. for over fifty years (more on accentual prose from the fourth). The object of this article is to investigate a large part of one author's work thoroughly, and to establish that that part is rhythmic. It will also aim to show how that conclusion should greatly affect our whole conception of the author as a writer, and our reading of his every sentence.

© Cambridge University Press 2012. The existence and arrangement of Catullus’ books have been much discussed; but little has been done to set out systematically the differences and likenesses between them. Only in style and metre has this been attempted. The present piece takes the area of sexual desire, felt as emotion and realized in action. It seeks to show how that area is treated in the various parts of the corpus. We must now divide up both the corpus and desire. It will prove useful to consider desire in the various combinations of subject and object; ‘subject’ here denotes the person who desires (‘subject’ as in the subject of a verb), ‘object’ the person who is desired. Four categories come into question for both subject and object: male; not the narrator male; the narrator female; not Lesbia female; Lesbia These divisions will lead us to some important differences both within and between the different parts of Catullus’ corpus. A sub-division of the first category into boys and men would be possible, but would make the exposition less clear. From time to time parenthetical abbreviations will be used to add information on the category of a given poem or passage: thus (S: M; not-N) = subject male; not the narrator (O: F; L) = object female; Lesbia On the divisions of Catullus’ corpus, I adopt a view for which I have argued elsewhere. The corpus falls into three parts, 1–60, 61–4, 65–116. These are referred to as a, b, and c. ‘b’ does not, on the view adopted here, denote a book circulated by the author, but merely a series of poems put together in the manuscripts; ‘a’ and ‘c’, on the other hand, essentially denote books which the author circulated, although in its present form a in particular has suffered from some accretions (notably 52, 59 and 60). c is marked as an entity by the connection of 65 and 116 and the name of Callimachus (Battiades); it falls into two contrasted parts, c1 (65–68B) and c2 (69–116). The two parts together display the Callimachean range of the poet's skills in elegiacs. a and c in turn offer themselves for the reader to compare; they display themselves as contemporary. If the notion of such authorial books is rejected (despite substantial evidence), much of the material offered here remains significant; but it relates purely to the types of poem Catullus wrote, and becomes a matter solely of genre, not of artistic entities.

© Oxford University Press 2007. All rights reserved. The colourful career of the Cyclops in literary history strikingly exemplifies the complexities of Homeric reception. This chapter illustrates the value of narratological strategies, which have made such a vast contribution to the understanding of classical literature. It also suggests the value of extending narratology and integrating it further with other types of criticism.

© G.O. Hutchinson 2008. All rights reserved. The study of Latin poetry-books, though seen as important, has suffered from limited engagement with Greek literature and papyri. This book, which combines unpublished and recently published pieces, shows the importance of considering Greek and Latin works together, and of using Greek and Latin papyri in the study of poetic books. Important here are both new texts and evidence on the making and reading of books. The study of book-structure should embrace books which consist of short poems and books which make up part of long poems. The combination of poems within books, of books within a group or series, and of works within an œuvre, are all related. Book-structure should be seen as an aspect of sequential reading; changes and meanings, it emerges, are more significant than abstract symmetries. The book frames a series of discussions of major poems and collections from the 3rd and 1st centuries BC with an illustrated survey of poetry-books and reading and a more general discussion of structures involving books. The main poets discussed are Callimachus, Apollonius, Posidippus, Catullus, Horace, Ovid; there is a chapter on Latin didactic (Lucretius, Virgil, Ovid, Manilius). The discussions deal with fundamental issues in the works, and, in accordance with the approach advocated, bring in many critical and scholarly questions beside book-structure.

© Oxford University Press 2007. All rights reserved. This chapter examines papyrus letters, with emphasis on private letters and their relationship with literature. The role of critical analysis in understanding the link between papyrus private letters and literature are discussed by citing the Greek document The Oxyrhynchus Papyri 2190, a letter from a student to his father dating from around AD 100. The document clearly has a pragmatic function, which must be related to its form; and, as with oratory, any persuasive shaping of the text would scarcely be separable from the text itself. Two approaches can be envisaged from the letter with respect to critical analysis. First, then, the category of literature could be conceived in institutional terms: one might try distinguishing, say, between writing essentially for one reader and writing for readers or listeners beyond one's immediate circle. The second approach, which should be added, would look beyond an institutional division.