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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.
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