This monograph offers a commentary on the 'catalog' of constellations at vv. 255-455 of the first book of Manilius' Astronomica. The commentary, embracing three levels (philological, literary, and ...scientific-philosophical), aims to analyze the presence in Manilius of Aratus' Phenomena, a poem widely read and translated in Rome. The discussion of the passage's many philological, exegetical and scientific questions, contained in the notes to single verses, is accompanied by an introductory essay, a critically revised text and a new Italian translation. The work aims to offer an up-to-date tool for examining a complex text that still raises questions.
Экфрасис как словесное описание произведений визуальных искусств в последнее время стал предметом оживленных дискуссий. Цель данной статьи — рассмотреть функционирование этого приема в готической ...новеллистике. Экфрасис в готике распространен весьма широко и связан с архаичным представлением о тождественности изображения и изображенного, откуда всевозможные «оживающие портреты» и т.д. В статье показано, как мастера жанра ghost story (готическая новелла) используют экфрасис, устанавливая с помощью текстуальных соответствий отношения эквивалентности между умершим и его живописным или скульптурным портретом и даже иной раз превращая повествование в разворачивание воображаемой картины во времени. Подобные ходы обладают сильным воздействием на читателя, позволяя ему не только зримо представить происходящее в новелле, но и порой догадаться о зловещей сути происходящего раньше персонажей.
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 study investigates the role of embedded narratives in Silius Italicus’ Punica, an epic from the late first century AD on the Second Punic War (218–202 BC). At first sight, these narratives seem ...to be loosely ‘embedded’ in the epic, having their own plot and being situated in a different time or place than the main narrative. A closer look reveals, however, that they foreshadow or recall elements that are found elsewhere in the epic. In this way, they serve as ‘mirrors’ of the main narrative. The larger part of this book consists of four detailed case studies.
This article considers the tensions between private dwelling and public city space in architecture and rhetoric in imperial Rome, particularly as they appear in Statius' Silvae 2.2, an ecphrastic ...poem on a seaside villa. When Statius describes his patron's porticus as "the size of a city" (urbis opus, 2.2.31), he is alluding to an Augustan monument, the Porticus Liviae described in Ovid's Fasti (6.637-648). By so doing, Statius deconstructs the traditional urbs/domus familiar from Roman moralizing discourse, a binary that had been further complicated by Nero's Domus Aurea, a recent travesty in Flavian cultural memory. We are prompted to question Statius' representation of Pollius, as ktistic city-founder, indulgent tyrant - and as potential foil for the emperor Domitian.
Il s’agira d’étudier le genre et le sens de la première œuvre en prose d’Antonio López de Vega. Par le prisme du songe littéraire et de ses marqueurs, elle nous conte le voyage du narrateur en un ...lieu où le temple de la vertu est l’antichambre de celui de l’honneur. Contrepoint des songes satiriques en vogue dans les premières décennies du XVIIe siècle, le songe sérieux de ce Portugais de naissance utilise l’ecphrasis pour soutenir avec subtilité les projets politiques des premières années du ministériat d’Olivarès.
En este artículo se analizan dos cuentos del libro El esquinista (2014) de la autora mexicana Laia Jufresa, a partir de sus marcos textuales ecfrásticos: “Cristina” y “La noche que desapareció ...Holanda”. El primer cuento se centra en El mundo de Cristina del pintor norteamericano Andrew Wyeth. El segundo contiene varias referencias a dos obras de Johannes Vermeer: Mujer con balanza y Mujer con laúd. En ambos textos Jufresa crea un espacio interartístico donde la literatura y la pintura se encuentran y se cuestionan mutuamente. Son cuentos experimentales en los que la narradora subvierte la mirada, tanto la mirada con la que observa una pintura, como la mirada interior, que observa las reflexiones más íntimas de los personajes. La manera como Jufresa aborda los temas universales pone al lector en un espacio incómodo, pero al mismo tiempo la autora lo incita a participar en el juego de lo visible y lo invisible.
This article analyses two stories from the book El esquinista (2014) by Mexican author Laia Jufresa, based on their ecphrastic textual frameworks: “Cristina” and “La noche que desapareció Holanda”. The first story focuses on the work Christina’s World by the American painter Andrew Wyeth. The second contains several references to the works by Johannes Vermeer: Woman Holding a Balance and Young Woman with a Lute. In both texts Jufresa creates an inter-artistic space where literature and painting meet and interfere. In these experimental stories the narrator changes the perspective, both the perspective with which she observes a painting and the inner perspective, which observes the most intimate reflections of the characters. Jufresa’s approach to universal themes puts the reader in an uncomfortable space, but at the same time she encourages him or her to participate in the game of the visible and the invisible.
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