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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.
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Nine Essays on Homer (Paperback)
Miriam Carlisle, Olga Levaniouk; Foreword by Gregory Nagy; Contributions by Brian W Breed, Mary Ebbott, …
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R1,378
Discovery Miles 13 780
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Ships in 12 - 17 working days
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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.
Jenkins argues that a way out of this impasse can be found in
romanticism, the literary style of characterization that supplanted
neoclassicism and sentimentalism and dominated American literary
culture throughout the twentieth century. Romanticism emphasized
emotional complexity and resonated with biblical depictions of God.
A few maverick religious writers-- such as Harriet Beecher Stowe,
W. G. T. Shedd, and Horace Bushnell--did devise emotionally complex
characterizations of God and in some cases drew directly from
romanticism. But their strange andsometimes shocking depictions of
God were largely forgotten in the twentieth century. s use
"theological" as a pejorative term, implying that an argument is
needlessly Jenkins urges a reassessment of their work and a
greaterin understanding of the relationship between theology and
literature. Recovering the lost literary power of American
Protestantism, he claims, will make the character of God more
compelling and help modern readers appreciate the peculiar power of
the biblical characterization of God.
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