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Intercepted Letters examines the phenomenon of epistolarity within a range of classical Greek and Roman texts, with a focus on letters as symbols for larger, culturally constructed processes of reading, writing, and interpretation. In addition, it analyzes how the epistolary form occasionally problematizes-for lack of a better word-the introduction of the technology of writing into cultures already heavily implicated in the authority of the spoken, or sung, word. The methods of intertextuality and reader-response theory that have so revolutionized other aspects of classical scholarship have not, in the main, been applied to epistolarity studies; studies of epistolarity have instead tended to focus on individual collections: Cicero's letters, Pliny's letters, Plato's letters. Epistolarity that occurs in larger narrative contexts (such as tragedy, oratory, and historiography) remains woefully under-theorized; moreover, a consistent thread in the introduction of epistolarity into non-epistolary contexts is that of a destabilizing or dislocating narrative device. Intercepted Letters argues that epistolarity has certain formal features that can be found evenoutside of epistolary collections, including the problematics of communication, an emphasis on authorial absence, a hypersensitivity to interpretation, and an implicit focus on power (who controls the voice?). These aspects are as integral to studies of epistolary episodes as sheep, flutes, shepherds, and amoebic poetry are to pastoral ones, and yet seem to be comparatively neglected, or else formulated as individual observances rather than a pattern. Intercepted Letters thus examines a number of epistolary tropes-in authors as wide-ranging as Euripides, Ovid, and the authors of the Historia Augusta-as it argues for the importance of epistolarity in analyzing the poetics of reading in the ancient world.
The essays in this collection addresses questions of intense interest in Homeric studies today: the questions of performance and poet-audience interaction, especially as depicted in idealized performances within the Iliad and the Odyssey; the ways in which epic incorporates material of diverse genres, such as women's laments, blame poetry, or folk tales; how the ideological balance of epic can change and be influenced by 'alternative ideologies' introduced through the incorporation of new material; the implications of the continuity of tradition for etymological studies; and how the traditional nature of epic affects textual criticism. The essays differ in focus and method, but all share one fundamental approach to Homer: an understanding of the Homeric tradition as a poetic system that expresses and preserves what is culturally important and a view of the Homeric epics as instances of a cultural tradition which they attempt to explore through the epics themselves and through the comparative, anthropological, and linguistic evidence they bring to bear on these texts. A unique collection that explores Homeric poetry through a variety of tools and approaches linguistics, philology, cultural anthropology, sociology, textual criticism, and archeology this volume will be of interest to all scholars and students of oral poetry and Classical literature.
Written in a lively and accessible style, Antiquity Now opens our gaze to the myriad uses and abuses of classical antiquity in contemporary fiction, film, comics, drama, television - and even internet forums. With every chapter focusing on a different aspect of classical reception - including sexuality, politics, gender and ethnicity - this book explores the ideological motivations behind contemporary American allusions to the classical world. Ultimately, this kaleidoscope of receptions - from calls for marriage equality to examinations of gang violence to passionate pleas for peace (or war) - reveals a 'classical antiquity' that reconfigures itself daily, as modernity explains itself to itself through ever-expanding technologies and media. Antiquity Now thus examines the often-surprising redeployment of the art and literature of the ancient world, a geography charged with especial value in the contemporary imagination.
Written in a lively and accessible style, Antiquity Now opens our gaze to the myriad uses and abuses of classical antiquity in contemporary fiction, film, comics, drama, television - and even internet forums. With every chapter focusing on a different aspect of classical reception - including sexuality, politics, gender and ethnicity - this book explores the ideological motivations behind contemporary American allusions to the classical world. Ultimately, this kaleidoscope of receptions - from calls for marriage equality to examinations of gang violence to passionate pleas for peace (or war) - reveals a 'classical antiquity' that reconfigures itself daily, as modernity explains itself to itself through ever-expanding technologies and media. Antiquity Now thus examines the often-surprising redeployment of the art and literature of the ancient world, a geography charged with especial value in the contemporary imagination.
Educated people have become bereft of sophisticated ways to develop
their religious inclinations. A major reason for this is that
theology has become vague and dull. In The Character of God, author
Thomas E. Jenkins maintains that Protestant theology became boring
by the late nineteenth century because the depictions of God as a
character in theology became boring. He shows how in the early
nineteenth century, American Protestant theologians downplayed
biblical depictions of God's emotional complexity and refashioned
his character according to their own notions, stressing emotional
singularity. These notions came from many sources, but the major
influences were the neoclassical and sentimental literary styles of
characterization dominant at the time. The serene benevolence of
neoclassicism and the tender sympathy of sentimentalism may have
made God appealing in the mid-1800s, but by the end of the century,
these styles had lost much of their cultural power and increasingly
came to seem flat and vague. Despite this, both liberal and
conservative theologians clung to these characterizations of God
throughout the twentieth century.
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