|
Showing 1 - 12 of
12 matches in All Departments
The reception of ancient Cyprus in the Western world has not
received much attention in scholarship, despite the fact that
significant literary and extra-literary evidence presented by
European intellectuals and artists explicitly or implicitly refers
to the history of Cyprus, as well as to the myths and art produced
on it or inspired by its landscape. This is a neglect that this
volume wishes to address, by re-establishing the literary thread of
the representation of ancient Cyprus beyond generic, spatial and
temporal limits, and by thus shedding light on its depiction
throughout the centuries, from the ancient Roman to the Western
world up until modern times. The volume's central thesis is that a
number of Cypriot traditions constitute a unique example of
intercultural and multi-level fusions of diverse European
civilizations. By investigating the various and often contradictory
ways in which Cyprus was represented in Latin literature and
beyond, the volume treats its multifaceted reception as a vastly
complex matter, and suggests that even though the island has always
been an outlier, it has often been explored in literature as an
intellectual landscape and a precious pathway between at times
conflictual yet compatible worlds.
This volume shows the pervasiveness over a millennium and a half of
the little-studied phenomenon of multi-tier intertextuality,
whether as 'linear' window reference - where author C
simultaneously imitates or alludes to a text by author A and its
imitation by author B - or as multi-directional imitative clusters.
It begins with essays on classical literature from Homer to the
high Roman empire, where the feature first becomes prominent; then
comes late antiquity, a lively area of research at present; and,
after a series of essays on European neo-Latin literature from
Petrarch to 1600, another area where developments are moving
rapidly, the volume concludes with early modern vernacular
literatures (Italian, French, Portuguese and English). Most papers
concern verse, but prose is not ignored. The introduction to the
volume discusses the relevant methodological issues. An Afterword
outlines the critical history of 'window reference' and includes a
short essay by Professor Richard Thomas, of Harvard University, who
coined the term in the 1980s.
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.
Apuleius' tale of Cupid and Psyche has been popular since it was
first written in the second century CE as part of his Latin novel
Metamorphoses. Often treated as a standalone text, Cupid and Psyche
has given rise to treatments in the last 400 years as diverse as
plays, masques, operas, poems, paintings and novels, with a range
of diverse approaches to the text. Apuleius' story of the love
between the mortal princess Psyche (or "Soul") and the god of Love
has fascinated recipients as varied as Romantic poets,
psychoanalysts, children's books authors, neo-Platonist
philosophers and Disney film producers. These readers themselves
produced their own responses to and versions of the story. This
volume is the first broad consideration of the reception of C&P
in Europe since 1600 and an adventurous interdisciplinary
undertaking. It is the first study to focus primarily on material
in English, though it also ranges widely across literary genres in
Italian, French and German, encompassing poetry, drama and opera as
well as prose fiction and art history, studied by an international
team of established and young scholars. Detailed studies of single
works and of whole genres make this book relevant for students of
Classics, English, Art History, opera and modern film.
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.
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.
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.
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.
Apuleius' tale of Cupid and Psyche has been popular since it was
first written in the second century CE as part of his Latin novel
Metamorphoses. Often treated as a standalone text, Cupid and Psyche
has given rise to treatments in the last 400 years as diverse as
plays, masques, operas, poems, paintings and novels, with a range
of diverse approaches to the text. Apuleius' story of the love
between the mortal princess Psyche (or "Soul") and the god of Love
has fascinated recipients as varied as Romantic poets,
psychoanalysts, children's books authors, neo-Platonist
philosophers and Disney film producers. These readers themselves
produced their own responses to and versions of the story. This
volume is the first broad consideration of the reception of C&P
in Europe since 1600 and an adventurous interdisciplinary
undertaking. It is the first study to focus primarily on material
in English, though it also ranges widely across literary genres in
Italian, French and German, encompassing poetry, drama and opera as
well as prose fiction and art history, studied by an international
team of established and young scholars. Detailed studies of single
works and of whole genres make this book relevant for students of
Classics, English, Art History, opera and modern film.
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.
Iambic Ideas, explores the concept of the 'iambic' as a genre. In a
set of detailed studies, the contributors examine, across time, the
idea of iambic through a wide variety of cultural settings Greek,
Hellenistic, Roman, and late antiquity. What emerges most clearly
is that the 'iambic idea' is impossible to define in absolute
terms: rather, the form of iambic keeps varying in response to a
vast variety of historical contingencies. The variation is evident
in such critical terms as the 'iambic tendency' in Sappho, the
'reusing of iambi' for Roman epodes, and even the instances of
'iambic absence' in comedy and other such related forms. In the
end, what is most characteristic about the 'iambic' is its own
inherent variability.
The study of the reception of the ancient novel and of its literary
and cultural heritage is one of the most appealing issues in the
story of this literary genre. In no other genre has the vitality of
classical tradition manifested itself in such a lasting and
versatile manner as in the novel. However, this unifying,
centripetal quality also worked in an opposite direction, spreading
to and contaminating future literatures. Over the centuries, from
Antiquity to the present time there have been many authors who drew
inspiration from the Greek and Roman novels or used them as models,
from Cervantes to Shakespeare, Sydney or Racine, not to mention the
profound influence these texts exercised on, for instance,
sixteenth-to eighteenth-century Italian, Portuguese and Spanish
literature. Volume I is divided into sections that follow a
chronological order, while Volume II deals with the reception of
the ancient novel in literature and art. The first volume brings
together an international group of scholars whose main aim is to
analyse the survival of the ancient novel in the ancient world and
in the Middle Ages, in the Renaissance, in the 17th and 18th
centuries, and in the modern era. The contributors to the second
volume have undertaken the task of discussing the survival of the
ancient novel in the visual arts, in literature and in the
performative arts. The papers assembled in these two volumes on
reception are at the forefront of scholarship in the field and will
stimulate scholarly research on the ancient novel and its influence
over the centuries up to modern times, thus enriching not only
Classics but also modern languages and literatures, cultural
history, literary theory and comparative literature.
|
You may like...
Loot
Nadine Gordimer
Paperback
(2)
R398
R330
Discovery Miles 3 300
|