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This is a study of ekphrasis, the art of making listeners and
readers 'see' in their imagination through words alone, as taught
in ancient rhetorical schools and as used by Greek writers of the
Imperial period (2nd-6th centuries CE). The author places the
practice of ekphrasis within its cultural context, emphasizing the
importance of the visual imagination in ancient responses to
rhetoric, poetry and historiography. By linking the theoretical
writings on ekphrasis with ancient theories of imagination, emotion
and language, she brings out the persuasive and emotive function of
vivid language in the literature of the period. This study also
addresses the contrast between the ancient and the modern
definitions of the term ekphrasis, underlining the different
concepts of language, literature and reader response that
distinguish the ancient from the modern approach. In order to
explain the ancient understanding of ekphrasis and its place within
the larger system of rhetorical training, the study includes a full
analysis of the ancient technical sources (rhetorical handbooks,
commentaries) which aims to make these accessible to
non-specialists. The concluding chapter moves away from rhetorical
theory to consider the problems and challenges involved in 'turning
listeners into spectators' with a particular focus on the role of
ekphrasis within ancient fiction. Attention is also paid to texts
that lie at the intersection of the modern and ancient definitions
of ekphrasis, such as Philostratos' Imagines and the many
ekphraseis of buildings and monuments to be found in Late Antique
literature.
This is a study of ekphrasis, the art of making listeners and
readers 'see' in their imagination through words alone, as taught
in ancient rhetorical schools and as used by Greek writers of the
Imperial period (2nd-6th centuries CE). The author places the
practice of ekphrasis within its cultural context, emphasizing the
importance of the visual imagination in ancient responses to
rhetoric, poetry and historiography. By linking the theoretical
writings on ekphrasis with ancient theories of imagination, emotion
and language, she brings out the persuasive and emotive function of
vivid language in the literature of the period. This study also
addresses the contrast between the ancient and the modern
definitions of the term ekphrasis, underlining the different
concepts of language, literature and reader response that
distinguish the ancient from the modern approach. In order to
explain the ancient understanding of ekphrasis and its place within
the larger system of rhetorical training, the study includes a full
analysis of the ancient technical sources (rhetorical handbooks,
commentaries) which aims to make these accessible to
non-specialists. The concluding chapter moves away from rhetorical
theory to consider the problems and challenges involved in 'turning
listeners into spectators' with a particular focus on the role of
ekphrasis within ancient fiction. Attention is also paid to texts
that lie at the intersection of the modern and ancient definitions
of ekphrasis, such as Philostratos' Imagines and the many
ekphraseis of buildings and monuments to be found in Late Antique
literature.
Contents Include St. Valentine; American Handmade Valentines,
1740-1840; American Lithographed Valentines, 1840-1860; Esther
Howland's Valentines; George C. Whitney And Company; Comic
Valentines; Late Victorian Valentines; English Valentine History;
Joseph Mansell; English Valentine Publishers; English Valentines
Unmarked; Kate Greenaway And Walter Crane.
Contents Include St. Valentine; American Handmade Valentines,
1740-1840; American Lithographed Valentines, 1840-1860; Esther
Howland's Valentines; George C. Whitney And Company; Comic
Valentines; Late Victorian Valentines; English Valentine History;
Joseph Mansell; English Valentine Publishers; English Valentines
Unmarked; Kate Greenaway And Walter Crane.
Compared to the wealth of information available to us about
classical tragedy and comedy, not much is known about the culture
of pantomime, mime, and dance in late antiquity. Charges of
obscenity and polemical anti-theater discourse have, at times,
erased these popular performance traditions from the modern
imagination. "Demons and Dancers" returns us to the times and
places where those great ancient theaters were more than
picturesque ruins dotting the Mediterranean landscape.
Ruth Webb fills this gap in our knowledge of the ancient world
and provides us with a richly detailed look at social life in the
late antique period through an investigation of its performance
culture. The book focuses on the eastern empire, from Greece proper
to modern-day Turkey and Egypt, between the second and sixth
centuries CE. Using some of the tools provided by modern
performance theory, this book explains how audiences interpreted
the actions on stage, how the status of male and female performers
shifted across time and place, how skilled the actors actually were
(it was commonplace to dismiss these performers for their lack of
skill), and what role spectacles involving spoken and sung words,
as well as stylized gestures, had in Greco-Roman civic life.
Who was Homer? This book takes us beyond the legends of the blind
bard or the wandering poet to explore an author about whom nothing
is known, except for his works. It offers a reading of the ancient
biographies as clues to the reception of the Homeric poems in
Antiquity and provides an introduction to the oral tradition which
lay at the source of the Homeric epics. Above all, it takes us into
the world of the Odyssey, a world that lies between history and
fiction. It guides the reader through a poem which rivals the
modern novel in its complexity, demonstrating the unity of the poem
as a whole. It defines the many and varied figures of otherness by
which the Greeks of the archaic period defined themselves and
underlines the values promoted by the poem's depictions of men,
women, and gods. Finally, it asks why, throughout the centuries
from Homer to Kazantzakis and Joyce, the hero who never forgets his
homeland and dreams constantly of return has never ceased to be the
incarnation of what it is to be human.
This translation is a revised and much expanded version of the
original French text, and includes a new chapter on the
representation of women in the Odyssey and an updated bibliography.
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