scholarly journals “Storm Landscape”: from the reality effect to the moralized mimesis. The examples of Apollonius Rhodius and Quintus of Smyrna.

2013 ◽  
Author(s):  
Laury-Nuria André
Keyword(s):  
Apollonius Rhodius ◽  
Reality Effect

Apollonius Rhodius and Cyzicus

1912 ◽  
Vol 33 (1) ◽  
pp. 43
Author(s):  
Edward Fitch
Keyword(s):  
Apollonius Rhodius

Catullus 64 and theArgonauticaof Apollonius Rhodius: allusion and exemplarity

1997 ◽  
Vol 42 ◽  
pp. 60-88 ◽  
Author(s):  
R. J. Clare
Keyword(s):  
Large Degree ◽  
Central Importance ◽  
Apollonius Rhodius ◽  
Intertextual Connections

The sixty-fourth poem of Catullus, a work which has in times past been dismissed as contrived, is now appreciated precisely because it iscarefullycontrived. The majority of modern scholarship seems willing, implicitly or explicitly, to look upon the poem's intricacies and apparent contradictions as constituting part of its attraction, acknowledging that artifice does not necessarily preclude art.The complexities of poem 64 are contingent to a large degree upon its interaction with earlier poetic models. Structural devices of narrative are borrowed from a variety of sources; themes and scenes are delineated so as to reveal their full meaning through reader awareness of other works; literary allusions pervade the text. Perhaps the most salient intertextual feature of Catullus' epyllion is its interaction with previous literary treatments of the myth of Jason and Medea. In this regard, it has long been recognised that a poem of central importance for the reading of Catullus 64 is theArgonauticaof Apollonius Rhodius, and this present exploration of allusion in poem 64 will concentrate on the intertextual connections between 64 and its Hellenistic epic predecessor.

Critical Notes On Apollonius Rhodius

1969 ◽  
Vol 19 (2) ◽  
pp. 269-284
Author(s):  
M. Campell
Keyword(s):  
Apollonius Rhodius ◽  
Critical Notes

Ardizzoni retains , but gives no reasons for doing so. Platt's correctionis technically easy, but the difficulty is, I feel, imaginary. I take . as asabsolute, = ‘joined the expedition’: so at 1. 90, 139—not, as LSJgive, ‘come next‘—and is dative of interest or advantage, as, for example, Od. 24. 400 , 21 209, 12.438, A.R. 2. 1092, Q,.S. 6. 119, 10. 24. here does not ‘govern‘ a dative any more than does, for examplel, at Od. 24. 400.And seems to me to be rather oddly placed.

scholarly journals Inventing the Past, Re-Writing the Present

2020 ◽  
Vol 31 (2) ◽  
pp. 61-72
Author(s):  
Jurgita Staniškytė
Keyword(s):  
Current Understanding ◽  
Historical Events ◽  
The Past ◽  
Hybrid Approaches ◽  
Reality Effect ◽  
The Subject ◽  
The Baltic ◽  
Historical Past

In recent years an increasing number of performances on the Baltic theatre stage attempt to escape the dominant understanding of “performing history” as a repetition or reinforcement of the monumental representations of the historical past or as a (re)production of “mythistory” (Joseph Mali). Lithuanian creators of performances about history increasingly choose hybrid approaches of representation, merging memorialization and critique, imagination and fact, documents and speculative inventions as forms of engagement with the past. This playful re-imagination of the historical past serves as a creative laboratory, where audience ability to recognize and/or resist historical manipulations as well as to embrace plural and polyphonic nature of memory are tested. In some cases, however, Lithuanian theatre creators are interested in “truthful” or “authentic” representations of personal memories, rather than a performative investigation ofmechanisms of production of the “reality effect” in historiography and their impact on audience perception. This article examines the ways in which historical events are represented on the contemporary Lithuanian theatre stage and, at the same time, addresses the larger issues around the implications of particular theatricalstagings of the past on the current understanding of the subject of history.

scholarly journals L’effet de réel revisited: Barthes and the affective image

2008 ◽  
Vol 36 (1) ◽  
pp. 113-136
Author(s):  
Sirkka Knuuttila
Keyword(s):  
Social Neuroscience ◽  
Reading Practice ◽  
Collège De France ◽  
Wu Wei ◽  
Bodily Feelings ◽  
Reality Effect ◽  
Embodied Self ◽  
Zen Buddhist

This article addresses Barthes’s development from a structuralist semiotician towards an affectively responding reader in terms of ‘postrational’ subjectivity. In light of his whole oeuvre, Barthes anticipates the understanding of emotion as an integral part of cognition presented in contemporary social neuroscience. To illustrate Barthes’s growing awareness of the importance of this epistemological move, the article starts from his textual ‘reality effect’ as a critical vehicle of realist representation. It then shifts to his attempt at conceptualising an affective reading which resists the universalising idea of one ideologically determined signified. Barthes’s progress towards embracing the actual reader’s embodied self-feeling is prompted by two conceptual milestones: the obtuse meaning found in cinematic stills, and the experience of punctum felt in photos. In light of his lectures in the Collège de France, Barthes substitutes the Husserlian disembodied method of introspection with the Chinese wu-wei as a reading practice. As a result, his Zen-Buddhist concentration on bodily feelings elicited by visual/verbal images becomes a method capable of creating a fruitful link between language and wordless cognition. Finally, the article proposes an idea of the ‘embodied reality effect’ by reading affectively two similar scenes interpreted by the early and late Barthes himself.

scholarly journals ÉPICA, LÍRICA E TRAGÉDIA NAS ARGONÁUTICAS DE APOLÔNIO DE RODES

Organon ◽  
2010 ◽  
Vol 24 (49) ◽  
Author(s):  
Guilherme Gontijo Flores
Keyword(s):  
Literary Genres ◽  
Apollonius Rhodius

This article intends to present a brief analysis of Apollonius Rhodius’ Argonautica 3.956-1007 – the meeting of Jason and Medea as well as Jason’s first speech – and to determinehow the crossing of literary genres (Kreuzung der Gattungen) can be traced in a allusivetexture that demands from its reader the knowledge of other works written in different genres(such as the Pindar’s coral and Sappho’s monadic lyric, and Euripides’ Medea) besides themany Homeric formulas. In such a generic clash, a refined building of ironical misreadingsslowly unveils itself with much more than a mere empty literary technique of Hellenistic taste.

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