USD $191.00
Search Results
Author:
This book examines the use that Livy made of religious topics, and shows how this fits in with other aspects of his narrative.
The author shows how 'Livy's views of religion' depend less on personal belief than on the refinement of his narrative technique. He looks at the history decade by decade, and demonstrates that there are radical differences between different sections: in some Livy uses large-scale religious themes, but in others he deliberately avoids them. By a systematic analysis of Livy's narrative patterns and comparison with other ancient versions, it is proved that this is not simply due to subject-matter, but reflects a development in Livy's handling of his material. This profound difference between decades throws doubt on much of the standard picture of Livy: it also points to a need to revise notions of 'Augustan religious ideology'.
The author shows how 'Livy's views of religion' depend less on personal belief than on the refinement of his narrative technique. He looks at the history decade by decade, and demonstrates that there are radical differences between different sections: in some Livy uses large-scale religious themes, but in others he deliberately avoids them. By a systematic analysis of Livy's narrative patterns and comparison with other ancient versions, it is proved that this is not simply due to subject-matter, but reflects a development in Livy's handling of his material. This profound difference between decades throws doubt on much of the standard picture of Livy: it also points to a need to revise notions of 'Augustan religious ideology'.
Author:
This book examines the use that Livy made of religious topics, and shows how this fits in with other aspects of his narrative.
The author shows how 'Livy's views of religion' depend less on personal belief than on the refinement of his narrative technique. He looks at the history decade by decade, and demonstrates that there are radical differences between different sections: in some Livy uses large-scale religious themes, but in others he deliberately avoids them. By a systematic analysis of Livy's narrative patterns and comparison with other ancient versions, it is proved that this is not simply due to subject-matter, but reflects a development in Livy's handling of his material. This profound difference between decades throws doubt on much of the standard picture of Livy: it also points to a need to revise notions of 'Augustan religious ideology'.
The author shows how 'Livy's views of religion' depend less on personal belief than on the refinement of his narrative technique. He looks at the history decade by decade, and demonstrates that there are radical differences between different sections: in some Livy uses large-scale religious themes, but in others he deliberately avoids them. By a systematic analysis of Livy's narrative patterns and comparison with other ancient versions, it is proved that this is not simply due to subject-matter, but reflects a development in Livy's handling of his material. This profound difference between decades throws doubt on much of the standard picture of Livy: it also points to a need to revise notions of 'Augustan religious ideology'.
Augustan Poetry and the Traditions of Ancient Historiography
The Augustan age was one in which writers were constantly reworking the Roman past, and which was marked by a profound engagement of poets with the historians and historical techniques which were the main vehicle for the transmission of the image of the past to their day.
In this book seventeen leading scholars from Europe and America examine the fascinating interaction between such apparently diverse genres: how the Augustan poets drew on — or reacted against — the historians’ presentation of the world, and how, conversely, historians picked up and transformed poetic themes for their own ends. With essays on poems
from Horace’s Odes to Ovid’s Metamorphoses, on authors from Virgil to Valerius Maximus, it forms the most important topic so central to such a particulary relevant period of literary history.
In this book seventeen leading scholars from Europe and America examine the fascinating interaction between such apparently diverse genres: how the Augustan poets drew on — or reacted against — the historians’ presentation of the world, and how, conversely, historians picked up and transformed poetic themes for their own ends. With essays on poems
from Horace’s Odes to Ovid’s Metamorphoses, on authors from Virgil to Valerius Maximus, it forms the most important topic so central to such a particulary relevant period of literary history.
Augustan Poetry and the Traditions of Ancient Historiography
The Augustan age was one in which writers were constantly reworking the Roman past, and which was marked by a profound engagement of poets with the historians and historical techniques which were the main vehicle for the transmission of the image of the past to their day.
In this book seventeen leading scholars from Europe and America examine the fascinating interaction between such apparently diverse genres: how the Augustan poets drew on — or reacted against — the historians’ presentation of the world, and how, conversely, historians picked up and transformed poetic themes for their own ends. With essays on poems
from Horace’s Odes to Ovid’s Metamorphoses, on authors from Virgil to Valerius Maximus, it forms the most important topic so central to such a particulary relevant period of literary history.
In this book seventeen leading scholars from Europe and America examine the fascinating interaction between such apparently diverse genres: how the Augustan poets drew on — or reacted against — the historians’ presentation of the world, and how, conversely, historians picked up and transformed poetic themes for their own ends. With essays on poems
from Horace’s Odes to Ovid’s Metamorphoses, on authors from Virgil to Valerius Maximus, it forms the most important topic so central to such a particulary relevant period of literary history.
Author:
Abstract
Historians writing in Latin show only intermittent interest in mystery cults; but when they do, their approach falls broadly into three different patterns. At times the cults are described in their local context, and treated as alien to a greater or lesser degree, though recognizable and sometimes acceptable to Roman participants. Secondly, they are sometimes treated as more or less indistinguishable from the rest of the religious landscape at Rome—but in those cases all sense of foreignness disappears, and there is no mention of initiation or anything distinctive about the experience of those cults. Thirdly, those more distinctive aspects may be emphasized, but only when the cults are treated as something dangerous and hostile to Rome, and are assimilated to ideas of secrecy and conspiracy.
In:
Mnemosyne
Genre and Narrative in Ancient Historical Texts
Author:
Editor:
Contributors:
, , , , , , , , , , and
Technical Editor:
This volume explores the intersection between historiography and related genres in antiquity. Papers cover the geographical range from China through the near east to the classical period in the Mediterranean. Topics addressed include the place in ancient Chinese historiography of philosophical argument; the nature and kind of historical text in the Hittite, Babylonian, Persian and biblical periods, including (for the first time) a full transliteration and translation of the Old Hittite story of Anum-hirbi and Zalpa, and a new interpretation of the Darius inscription at Behistun; and the relation of rhetorical stratagems and theory to Sallust, Livy, and Tacitus. Contributors also consider the relationship between texts, including the war narratives of Herodotus and Thucydides, and the propriety of different schemes of generic classification.
Genre and Narrative in Ancient Historical Texts
Editor:
Author:
This volume explores the intersection between historiography and related genres in antiquity. Papers cover the geographical range from China through the near east to the classical period in the Mediterranean. Topics addressed include the place in ancient Chinese historiography of philosophical argument; the nature and kind of historical text in the Hittite, Babylonian, Persian and biblical periods, including (for the first time) a full transliteration and translation of the Old Hittite story of Anum-hirbi and Zalpa, and a new interpretation of the Darius inscription at Behistun; and the relation of rhetorical stratagems and theory to Sallust, Livy, and Tacitus. Contributors also consider the relationship between texts, including the war narratives of Herodotus and Thucydides, and the propriety of different schemes of generic classification.
Der Tod der schönen Antike
Contributors:
, , , , , , , and
1862 erscheint Gustave Flauberts Roman Salammbô. Ort und Handlung sind in ferner Vergangenheit angesiedelt. Karthago ist ein blinder Fleck auf der Landkarte der historischen Überlieferung. Gerade deswegen wählt Flaubert diese Stadt.
Nordafrikanische Landschaften, Stadtansichten der Seerepublik Karthago, pompöser Reichtum und kulturelle Artifizialität in Speisen, Sitten und Kleidung, monumentale Schlachten, grausame Bilder des Krieges und der ausschweifenden Gewalt an Mensch und Tier bilden die Szenen des neuen Romans. »Leute von schlechtem Geschmack« sind nach Flaubert solche, die »verschönern, reinigen und sich illusionieren, die verändern, kratzen und wegnehmen« und gleichwohl meinen, sie seien Klassiker. Die Aufsprengung der normativen Antike-Ansicht bedeutet für Flaubert, Klischees und abgenutzte Phrasen aufzubrechen sowie neue Sprachformen zu erfinden. Er eröffnet damit den Blick auf eine archaische Antike und auf das Phänomen der Gewalt in der Moderne.
Nordafrikanische Landschaften, Stadtansichten der Seerepublik Karthago, pompöser Reichtum und kulturelle Artifizialität in Speisen, Sitten und Kleidung, monumentale Schlachten, grausame Bilder des Krieges und der ausschweifenden Gewalt an Mensch und Tier bilden die Szenen des neuen Romans. »Leute von schlechtem Geschmack« sind nach Flaubert solche, die »verschönern, reinigen und sich illusionieren, die verändern, kratzen und wegnehmen« und gleichwohl meinen, sie seien Klassiker. Die Aufsprengung der normativen Antike-Ansicht bedeutet für Flaubert, Klischees und abgenutzte Phrasen aufzubrechen sowie neue Sprachformen zu erfinden. Er eröffnet damit den Blick auf eine archaische Antike und auf das Phänomen der Gewalt in der Moderne.
Der Tod der schönen Antike
1862 erscheint Gustave Flauberts Roman Salammbô. Ort und Handlung sind in ferner Vergangenheit angesiedelt. Karthago ist ein blinder Fleck auf der Landkarte der historischen Überlieferung. Gerade deswegen wählt Flaubert diese Stadt.
Nordafrikanische Landschaften, Stadtansichten der Seerepublik Karthago, pompöser Reichtum und kulturelle Artifizialität in Speisen, Sitten und Kleidung, monumentale Schlachten, grausame Bilder des Krieges und der ausschweifenden Gewalt an Mensch und Tier bilden die Szenen des neuen Romans. »Leute von schlechtem Geschmack« sind nach Flaubert solche, die »verschönern, reinigen und sich illusionieren, die verändern, kratzen und wegnehmen« und gleichwohl meinen, sie seien Klassiker. Die Aufsprengung der normativen Antike-Ansicht bedeutet für Flaubert, Klischees und abgenutzte Phrasen aufzubrechen sowie neue Sprachformen zu erfinden. Er eröffnet damit den Blick auf eine archaische Antike und auf das Phänomen der Gewalt in der Moderne.
Nordafrikanische Landschaften, Stadtansichten der Seerepublik Karthago, pompöser Reichtum und kulturelle Artifizialität in Speisen, Sitten und Kleidung, monumentale Schlachten, grausame Bilder des Krieges und der ausschweifenden Gewalt an Mensch und Tier bilden die Szenen des neuen Romans. »Leute von schlechtem Geschmack« sind nach Flaubert solche, die »verschönern, reinigen und sich illusionieren, die verändern, kratzen und wegnehmen« und gleichwohl meinen, sie seien Klassiker. Die Aufsprengung der normativen Antike-Ansicht bedeutet für Flaubert, Klischees und abgenutzte Phrasen aufzubrechen sowie neue Sprachformen zu erfinden. Er eröffnet damit den Blick auf eine archaische Antike und auf das Phänomen der Gewalt in der Moderne.