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Inspired by Theodore Papanghelis' Propertius: A Hellenistic Poet on
Love and Death (1987), this collective volume brings together
seventeen contributions, written by an international team of
experts, exploring the different ways in which Latin authors and
some of their modern readers created narratives of life, love and
death. Taken together the papers offer stimulating readings of
Latin texts over many centuries, examined in a variety of genres
and from various perspectives: poetics and authorial
self-fashioning; intertextuality; fiction and 'reality'; gender and
queer studies; narratological readings; temporality and aesthetics;
genre and meta-genre; structures of the narrative and transgression
of boundaries on the ideological and the formalistic level;
reception; meta-dramatic and feminist accounts-the female voice.
Overall, the articles offer rich insights into the handling and
development of these narratives from Classical Greece through Rome
up to modern English poetry.
Ambiguity in the sense of two or more possible meanings is
considered to be a distinctive feature of modern art and
literature. It characterizes the "open artwork" (Eco) and is
generated by "disruptive tactics" (Wellershoff) and strategies to
engender uncertainty. While ambiguity is seen as a "paradigm of
modernity" (Bode), there is skepticism regarding its use in the
pre-modern era. Older studies were dominated by the conviction that
there was a lack of ambiguity in pre-modernity because, according
to the rules of the "old rhetoric", ambiguity was seen as an
avoidable error (vitium) and a violation of the dictate of clarity
(perspicuitas). The aim of the volume is to re-examine the putative
"absence of ambiguity" in the pre-modern era. Is it not possible to
find clear examples of deliberately employed (intended) ambiguity
in antiquity? Are the oracles and riddles, the Palinode of
Stesichoros and Socrates (Phaedrus), the dissoi logoi of rhetoric,
the ambiguities of the tragedies all exceptions or do they not
indicate a distinct interest in the artistic use of ambiguity? The
presentations of the conference, which will include scholars from
various philologies, will combine a recourse to theoretical
concepts of intended ambiguity with exemplary analyses from the
field of pre-modern art and literature.
Roman plays have been well studied individually (even including
fragmentary or spurious ones more recently). However, they have not
always been placed into their 'context', though plays (just like
items in other literary genres) benefit from being seen in context.
This edited collection aims to address this issue: it includes 33
contributions by an international team of scholars, discussing
single plays or Roman dramatic genres (including comedy, tragedy
and praetexta, from both the Republican and imperial periods) in
contexts such as the literary tradition, the relationship to works
in other literary genres, the historical and social situation, the
intellectual background or the later reception. Overall, they offer
a rich panorama of the role of Roman drama or individual plays in
Roman society and literary history. The insights gained thereby
will be of relevance to everyone interested in Roman drama or
literature more generally, comparative literature or drama and
theatre studies. This contextual approach has the potential of
changing the way in which Roman drama is viewed.
This is the first in-depth study of Apuleius' Metamorphoses to look
at the different attitudes characters adopt towards magic as a key
to deciphering the complex dynamics of the entire work. The variety
of responses to magic is unveiled in the narrative as the
protagonist Lucius encounters an assortment of characters, either
in embedded tales or in the main plot. A contextualized approach
illuminates Lucius' relatively good fortune when compared to other
characters in the novel - this results from his involvement with
the magic of a sorcerer's apprentice, rather than that of a real
witch, and signals the possibility of eventual salvation. A careful
investigation of Lucius' attitude towards Isis in book 11 and his
relationship with the witch-slave girl Photis earlier on suggests
that the novel's final book may be read as a second
"Metamorphoses", consciously rewritten from a positive perspective.
Last but not least, the book also breaks new ground by examining
the narrative structure of the Metamorphoses against the background
of the typical plotline found in the ideal romance. The comparison
shows how Apuleius both follows and alters this plot, exploiting
the genre to his own specific ends, in keeping with his central
theme of metamorphosis.
Neither older empiricist positions that genre is an abstract
concept, useless for the study of individual works of literature,
nor the recent (post) modern reluctance to subject literary
production to any kind of classification seem to have stilled the
discussion on the various aspects of genre in classical literature.
Having moved from more or less essentialist and/or prescriptive
positions towards a more dynamic conception of the generic model,
research on genre is currently considering "pushing beyond the
boundaries", "impurity", "instability", "enrichment" and
"genre-bending". The aim of this volume is to raise questions of
such generic mobility in Latin literature. The papers explore ways
in which works assigned to a particular generic area play host to
formal and substantive elements associated with different or even
opposing genres; assess literary works which seem to challenge
perceived generic norms; highlight, along the literary-historical,
the ideological and political backgrounds to "dislocations" of the
generic map.
Recent years have witnessed an increased interest in classical
studies in the ways meaning is generated through the medium of
intertextuality, namely how different texts of the same or
different authors communicate and interact with each other.
Attention (although on a lesser scale) has also been paid to the
manner in which meaning is produced through interaction between
various parts of the same text or body of texts within the overall
production of a single author, namely intratextuality. Taking off
from the seminal volume on Intratextuality: Greek and Roman Textual
Relations, edited by A. Sharrock / H. Morales (Oxford 2000), which
largely sets the theoretical framework for such internal
associations within classical texts, this collective volume brings
together twenty-seven contributions, written by an international
team of experts, exploring the evolution of intratextuality from
Late Republic to Late Antiquity across a wide range of authors,
genres and historical periods. Of particular interest are also the
combined instances of intra- and intertextual poetics as well as
the way in which intratextuality in Latin literature draws on
reading practices and critical methods already theorized and
operative in Greek antiquity.
Recent years have witnessed an increased interest in classical
studies in the ways meaning is generated through the medium of
intertextuality, namely how different texts of the same or
different authors communicate and interact with each other.
Attention (although on a lesser scale) has also been paid to the
manner in which meaning is produced through interaction between
various parts of the same text or body of texts within the overall
production of a single author, namely intratextuality. Taking off
from the seminal volume on Intratextuality: Greek and Roman Textual
Relations, edited by A. Sharrock / H. Morales (Oxford 2000), which
largely sets the theoretical framework for such internal
associations within classical texts, this collective volume brings
together twenty-seven contributions, written by an international
team of experts, exploring the evolution of intratextuality from
Late Republic to Late Antiquity across a wide range of authors,
genres and historical periods. Of particular interest are also the
combined instances of intra- and intertextual poetics as well as
the way in which intratextuality in Latin literature draws on
reading practices and critical methods already theorized and
operative in Greek antiquity.
Roman plays have been well studied individually (even including
fragmentary or spurious ones more recently). However, they have not
always been placed into their 'context', though plays (just like
items in other literary genres) benefit from being seen in context.
This edited collection aims to address this issue: it includes 33
contributions by an international team of scholars, discussing
single plays or Roman dramatic genres (including comedy, tragedy
and praetexta, from both the Republican and imperial periods) in
contexts such as the literary tradition, the relationship to works
in other literary genres, the historical and social situation, the
intellectual background or the later reception. Overall, they offer
a rich panorama of the role of Roman drama or individual plays in
Roman society and literary history. The insights gained thereby
will be of relevance to everyone interested in Roman drama or
literature more generally, comparative literature or drama and
theatre studies. This contextual approach has the potential of
changing the way in which Roman drama is viewed.
This special issue of Ancient Narrative Supplementum 1, entitled
'Space in the Ancient Novel', brings together a collection of
revised papers, originally presented at the International
conference under the same title organized by the Department of
Philology (Division of Classics) of the University of Crete and
held in Rethymnon, on May 14-15, 2001. This conference inaugurated
what is hoped to become a new series of biennial International
meetings on the Ancient Novel (RICAN, Rethymnon International
Conferences on the Ancient Novel) which aspires to continue the
reputable tradition of the Groningen Colloquia on the Novel,
established by Heinz Hofmann and Maaike Zimmerman. Ancient
Narrative Supplementum 1 includes two additional contributions by
Catherine Connors and Judith Perkins, both originally presented in
ICAN 2000 at Groningen in July 25-30, 2000 and included here in
revised form, and an article by Stelios Panayotakis, which closely
relates to the theme of the Rethymnon conference.
This thematic fourth Supplementum to Ancient Narrative, entitled
Metaphor and the Ancient Novel, is a collection of revised versions
of papers originally read at the Second Rethymnon International
Conference on the Ancient Novel (RICAN 2) under the same title,
held at the University of Crete, Rethymnon, on May 19-20,
2003.Though research into metaphor has reached staggering
proportions over the past twenty-five years, this is the first
volume dedicated entirely to the subject of metaphor in relation to
the ancient novel. Not every contributor takes into account
theoretical discussions of metaphor, but the usefulness of every
single paper lies in the fact that they explore actual texts while
sometimes theorists tend to work out of context.
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