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  • Greek & Latin Literature x

Peter Kelly

discourse concerning the boundaries of the human and textual corpus. It is this discourse that will be the focus of this paper, which will show that by dislocating the voices within the House from the invisible personification of Fama , Ovid comments on the instability of the authorial voice as it enters

Aorist voice patterns in the diachrony of Greek

The New Testament as a sample of Koine

Liana Tronci

1 Introduction This paper deals with the verbal category of voice in Koine Greek and focuses on the aorist. As Browning (1983) and Horrocks (2010) pointed out, the aorist underwent major changes in voice from Ancient to Modern Greek: “the endings of the aorist middle (-(σ

Voice and Voices in Antiquity

Orality and Literacy in the Ancient World, Vol. 11


Edited by Niall Slater

Voice and Voices in Antiquity draws together 18 studies of the changing concept of voice and voices in the oral traditions and subsequent literate genres of the ancient world. Ranging from the poet's voice to those of characters as well as historically embodied communities, and from the interface between the Greek and Near Eastern worlds to the western reaches of the Roman Empire, the scholars assembled here offer a methodologically rich and diverse series of approaches to locating the power of voice as both poetic construct and communal memory. The results not only enrich our understanding of the strategies of epic, lyric, and dramatic voices but also illuminate the rhetorical claims given voice by historians, orators, philosophers, and novelists in the ancient world.

The Middle Voice in Ancient Greek

A Study of Polysemy


Rutger Allan

Allan, Rutger The Middle Voice in Ancient Greek. A Study of Polysemy. 2003
The great variety of usage types of the middle voice in Ancient Greek has excited the interest of generations of classical scholars. A number of intriguing questions, however, still have been left unanswered. What is the exact relation between the various middle usage types? How can the semantic element common to all usage types be defined? What is the relation between the middle voice and the passive voice in the aorist and future stems? To provide an answer to these questions, this study takes a novel approach. Following recent developments in Cognitive Linguistics, the middle voice in Ancient Greek is analysed as a polysemous network category. This approach results in a unified description of the semantics of the middle voice which also accounts for diachronical developments.
ASCP 11 (2003), 286 p. Cloth - 79.00 EURO, ISBN: 9050633684

Erica Bexley

revivals of older plays. 14 Further, the very practice of reviving and re-performing earlier drama indicates that Romans of the first century c.e. were willing, perhaps even eager, to see plays staged in actual theatres. When Quintilian criticizes actors for making their voices quaver, he names as

Voice into Text

Orality and Literacy in Ancient Greece


Edited by Ian Worthington

This volume deals with orality and literacy in ancient Greece and what consideration of these areas yields for that society, its literature, traditions and practices. Individual chapters focus on art, comedy, historiography, oratory, religion, rhetoric, philosophy, poetry, tragedy, and on orality in contemporary cultures (Greek and South African), which have a bearing on the ancient world.
By considering such factors as oral elements in various genres and practices and how these have shaped the texts we have today, as well as the extent of literacy and the impact of literacy on oral traditions and on singers/writers, the book presents another insight into ancient Greek society and its people.

The Mythic Voice of Statius

Power and Politics in the Thebaid


William J. Dominik

This is the first thematic study of Statius' Thebaid to be published in monograph form in English in the past twenty years. It examines in detail the thematic design and intent of the Thebaid and considers the question of its contemporary relevance.
The book focuses on the central theme of power — how it is exercised on the supernatural and human levels and the consequences of its pursuit and abuse in terms of the human condition. An ensuing discussion explores the political undercurrents of the epic.
This discussion is in four main parts: (1) 'Use and Abuse of Supernatural Power'; (2) 'Pursuit and Abuse of Monarchal Power'; (3) 'Consequences of the Abuse of Power'; and (4) 'Political Relevance to Contemporary Rome'.
The views expressed represent a fundamental departure from previous studies and constitute a critical reassessment of the Thebaid. The provision of translations makes the book accessible to the Latinless reader.


Kathryn B. Stoddard

This volume offers analysis of the narratological structure of the Theogony with the purpose of elucidating a major, unifying theme in this poem: the relationship between the divine and mortal realms. The techniques of narratology are herein employed to support the argument that Hesiod portrays the cosmos as sharply divided between gods and men. The Theogony should therefore be read as a didactic poem explaining primarily the position of man vis-à-vis the gods. The first half of this book discusses relevant scholarship and introduces the theme of relationship of gods to men in the Theogony. The second half of the book discusses how Hesiod employs Character-Text, Attributive Discourse, Embedded Focalization, Anachrony, and Commentary to achieve his didactic purposes.


Margalit Finkelberg

In The Gatekeeper: Narrative Voice in Plato’s Dialogues Margalit Finkelberg offers the first narratological analysis of all of Plato’s transmitted dialogues. The book explores the dialogues as works of literary fiction, giving special emphasis to such topics as narrative levels, focalization, narrative frame, and metalepsis.

The main conclusion of the book is that in Plato the plurality of the speakers’ opinions is not accompanied by a plurality of points of view. Only one perspective is available, that of the narrator. Contrary to the widespread view, Plato’s dialogues cannot be considered multivocal, or “dialogic” in Bakhtin’s sense. By skillful use of narrative voice, Plato unobtrusively regulates the readers’ reception and response. The narrator is the dialogue’s gatekeeper, a filter whose main function is to control how the dialogue is received by the reader by sustaining a certain perspective of it.

Vergil's Aeneid

A Poem of Grief and Love


S. Farron

For more than a century, critics of the Aeneid have assumed that all or most of its episodes must propound something about Aeneas and his mission to found the Roman people, and through them about Rome and Augustus; whether that is their positive aspects, or their brutality and destructiveness, or the contrast between the public "voice" of their achievements and the private "voice" of the suffering they cause. This book argues that this assumption is wrong; the Aeneid's main purpose was to present a series of emotionally moving episodes, especially pathetic ones.
This book shows that the Aeneid makes more sense when regarded primarily as a series of emotion-arousing episodes than as expressing a pro-Aeneas, anti-Aeneas or two voices message. That is how it was regarded into the nineteenth century and that is what the ancient Greeks and Romans assumed was the main purpose of literature.