Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old ...
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No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old problem. It argues that the genre had a personal inventor, Chariton of Aphrodisias, and that he wrote the first love novel, Narratives about Callirhoe, in the mid‐first century AD. This conclusion is drawn on the basis of two converging lines of argument, one from literary history, another from Chariton's poetics. A revisitation of the literary‐historical background provides the basis for further analysis: among other things, it considers Chariton's milieu at Aphrodisias (especially the local cult of Aphrodite), the dating of other early novels, and Chariton's potential authorship of the fragmentarily preserved novels Metiochus and Parthenope and Chione. Chariton's status as the inventor of the Greek love novel, suggested by the literary‐historical evidence, finds further support in his poetics. I argue that Narratives about Callirhoe is characterized by an unusual effort of self‐definition, which can be best explained as a consequence of coming to terms with a new form of writing. The book is rounded off by a study of the motif of Rumour in Chariton and its derivation from a surprising model, Virgil's Aeneid. This part also makes a significant contribution to the reception of Latin literature in the Greek world.Less
No issue in scholarship on the ancient novel has been discussed as hotly as the origin of the Greek love novel, also known as the ‘ideal’ novel. The present book proposes a new solution to this old problem. It argues that the genre had a personal inventor, Chariton of Aphrodisias, and that he wrote the first love novel, Narratives about Callirhoe, in the mid‐first century AD. This conclusion is drawn on the basis of two converging lines of argument, one from literary history, another from Chariton's poetics. A revisitation of the literary‐historical background provides the basis for further analysis: among other things, it considers Chariton's milieu at Aphrodisias (especially the local cult of Aphrodite), the dating of other early novels, and Chariton's potential authorship of the fragmentarily preserved novels Metiochus and Parthenope and Chione. Chariton's status as the inventor of the Greek love novel, suggested by the literary‐historical evidence, finds further support in his poetics. I argue that Narratives about Callirhoe is characterized by an unusual effort of self‐definition, which can be best explained as a consequence of coming to terms with a new form of writing. The book is rounded off by a study of the motif of Rumour in Chariton and its derivation from a surprising model, Virgil's Aeneid. This part also makes a significant contribution to the reception of Latin literature in the Greek world.
Ad Putter
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198182535
- eISBN:
- 9780191673825
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198182535.001.0001
- Subject:
- Literature, Early and Medieval Literature
This is an innovative and original exploration of the connections between Sir Gawain and the Green Knight, one of the most well-known works of medieval English literature, and the tradition of French ...
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This is an innovative and original exploration of the connections between Sir Gawain and the Green Knight, one of the most well-known works of medieval English literature, and the tradition of French Arthurian romance, best-known through the works of Chretien de Troyes two centuries earlier. The book compares Gawain with a wide range of French Arthurian romances, exploring their recurrent structural patterns and motifs, their ethical orientation and the social context in which they were produced. It presents a wealth of new sources and analogues, which provide illuminating points of comparison for analysis of the self-consciousness with which the Gawain-poet handled the staple ingredients of Arthurian romance. Throughout, the author pays close attention to the ways in which the modes of representation of Arthurian romance are related to social and historical context. By revealing in the course of their romances the importance of conscience, courtliness, and self-restraint, literati such as the Gawain-poet and Chretien de Troyes helped a feudal society with an obsolete chivalric ideology adapt to the changing times.Less
This is an innovative and original exploration of the connections between Sir Gawain and the Green Knight, one of the most well-known works of medieval English literature, and the tradition of French Arthurian romance, best-known through the works of Chretien de Troyes two centuries earlier. The book compares Gawain with a wide range of French Arthurian romances, exploring their recurrent structural patterns and motifs, their ethical orientation and the social context in which they were produced. It presents a wealth of new sources and analogues, which provide illuminating points of comparison for analysis of the self-consciousness with which the Gawain-poet handled the staple ingredients of Arthurian romance. Throughout, the author pays close attention to the ways in which the modes of representation of Arthurian romance are related to social and historical context. By revealing in the course of their romances the importance of conscience, courtliness, and self-restraint, literati such as the Gawain-poet and Chretien de Troyes helped a feudal society with an obsolete chivalric ideology adapt to the changing times.
Elliott Antokoletz
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195365825
- eISBN:
- 9780199868865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365825.003.0007
- Subject:
- Music, Opera
This chapter first looks at Act IV, Scene 1, a room in the castle. This scene anticipates Pelléas's fate as foreseen by his father. It then next looks at Act IV, Scene 2, which presents Mélisande as ...
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This chapter first looks at Act IV, Scene 1, a room in the castle. This scene anticipates Pelléas's fate as foreseen by his father. It then next looks at Act IV, Scene 2, which presents Mélisande as symbol of resurrection as foreseen by Arkel, while Golaud's vengeance and Mélisande's hair are presented as a symbol of the Crucifixion. Next the chapter turns to Act IV, Scene 3 — a well in the park — which provides a symbol of the sacrificial lamb. Scene 4 is based on the love duet and the death of Pelléas. Finally, the chapter looks at Act IV, Scene 4, which addresses structure and proportion in the service of musico-dramatic development and emotional climax. This scene presents the “Shadows” motif and “Ecstasy” motif. The fusion of light and dark is represented by octatonic fusion of pentatonic and whole-tone sets. The scene culminates with Golaud's vengeance and the fulfillment of fate.Less
This chapter first looks at Act IV, Scene 1, a room in the castle. This scene anticipates Pelléas's fate as foreseen by his father. It then next looks at Act IV, Scene 2, which presents Mélisande as symbol of resurrection as foreseen by Arkel, while Golaud's vengeance and Mélisande's hair are presented as a symbol of the Crucifixion. Next the chapter turns to Act IV, Scene 3 — a well in the park — which provides a symbol of the sacrificial lamb. Scene 4 is based on the love duet and the death of Pelléas. Finally, the chapter looks at Act IV, Scene 4, which addresses structure and proportion in the service of musico-dramatic development and emotional climax. This scene presents the “Shadows” motif and “Ecstasy” motif. The fusion of light and dark is represented by octatonic fusion of pentatonic and whole-tone sets. The scene culminates with Golaud's vengeance and the fulfillment of fate.
ROGER BECK
- Published in print:
- 2007
- Published Online:
- January 2010
- ISBN:
- 9780199216130
- eISBN:
- 9780191712128
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199216130.003.0012
- Subject:
- Classical Studies, Ancient Religions
This concluding chapter revisits the summary description of the religion of the Mithras cult proposed in Chapter 1.
This concluding chapter revisits the summary description of the religion of the Mithras cult proposed in Chapter 1.
Paul Borgman
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195331608
- eISBN:
- 9780199868001
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195331608.003.0004
- Subject:
- Religion, Biblical Studies
Immediately following the slaying of Goliath and Saul's mystifying query about who that young slayer was, David becomes the object of Saul's fear and murderous jealousy, a mini‐drama of cat‐and‐mouse ...
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Immediately following the slaying of Goliath and Saul's mystifying query about who that young slayer was, David becomes the object of Saul's fear and murderous jealousy, a mini‐drama of cat‐and‐mouse that takes up the last half of I Samuel and Saul's suicide. The contrast between David and Saul continues to be spelled out, implicitly but surely, through various repetitions of narrative detail, most conspicuously the motifs of fear and of sword‐and‐spear use. Still another and striking pattern, to be taken up in the following chapter, occurs in the middle of David's fleeing from Saul, when twice David spares the king's life—and spares, as well, the life of a common fool. The two motifs of this chapter plus the triadic pattern of the next serve to further illustrate just what distinguishes David from Saul. Such advancing clarity, of course, functions also to explain better the mind of God in fastening on David rather than Saul.Less
Immediately following the slaying of Goliath and Saul's mystifying query about who that young slayer was, David becomes the object of Saul's fear and murderous jealousy, a mini‐drama of cat‐and‐mouse that takes up the last half of I Samuel and Saul's suicide. The contrast between David and Saul continues to be spelled out, implicitly but surely, through various repetitions of narrative detail, most conspicuously the motifs of fear and of sword‐and‐spear use. Still another and striking pattern, to be taken up in the following chapter, occurs in the middle of David's fleeing from Saul, when twice David spares the king's life—and spares, as well, the life of a common fool. The two motifs of this chapter plus the triadic pattern of the next serve to further illustrate just what distinguishes David from Saul. Such advancing clarity, of course, functions also to explain better the mind of God in fastening on David rather than Saul.
Lowell Edmunds
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691165127
- eISBN:
- 9781400874224
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691165127.003.0002
- Subject:
- Literature, Folk Literature
This chapter discusses the folktales that attest the recurring story-pattern contained in the Helen myth. The comparison between the texts under discussion and the ancient Greek myth of Helen ...
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This chapter discusses the folktales that attest the recurring story-pattern contained in the Helen myth. The comparison between the texts under discussion and the ancient Greek myth of Helen requires that they be described typologically. Hence the chapter first provides an overview of typology in folklore studies and the various concepts and approaches to be taken with the Abduction story. It then embarks on a more detailed analysis of “The Abduction of the Beautiful Wife,” breaking it down piece by piece and discussing recurring motifs, typologies, characters, variations across similar stories or stories which fall under the same type as the Abduction, and other such elements that repeat or break from the pattern.Less
This chapter discusses the folktales that attest the recurring story-pattern contained in the Helen myth. The comparison between the texts under discussion and the ancient Greek myth of Helen requires that they be described typologically. Hence the chapter first provides an overview of typology in folklore studies and the various concepts and approaches to be taken with the Abduction story. It then embarks on a more detailed analysis of “The Abduction of the Beautiful Wife,” breaking it down piece by piece and discussing recurring motifs, typologies, characters, variations across similar stories or stories which fall under the same type as the Abduction, and other such elements that repeat or break from the pattern.
Ahmed Abdel-Gawad
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9789774164873
- eISBN:
- 9781617971099
- Item type:
- book
- Publisher:
- American University in Cairo Press
- DOI:
- 10.5743/cairo/9789774164873.001.0001
- Subject:
- Society and Culture, Middle Eastern Studies
In the Nile Valley and desert oases south of Cairo—Upper Egypt—surviving domestic buildings from the eighteenth, nineteenth, and early twentieth centuries demonstrate a unique and varied strand of ...
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In the Nile Valley and desert oases south of Cairo—Upper Egypt—surviving domestic buildings from the eighteenth, nineteenth, and early twentieth centuries demonstrate a unique and varied strand of traditional decoration. Intricate patterns in wood, iron, or plaster adorn doorways, balconies, windows, and rooflines in towns and villages throughout the region. One of the most distinctive cultural features of these traditional homes is the decorated wooden balcony-screen—with jigsaw-cut patterns often based on creative repetitions, inversions, and mirrorings of the Arabic letter waw—which was designed to veil the residents from public view while allowing them to take the air and watch the outside world go by. Here, Ahmed Abdel-Gawad presents a wide range of these exuberant and largely unknown designs, in both photographs and detailed architectural drawings, for the use and appreciation of designers, decorators, artists, and lovers of vernacular architecture.Less
In the Nile Valley and desert oases south of Cairo—Upper Egypt—surviving domestic buildings from the eighteenth, nineteenth, and early twentieth centuries demonstrate a unique and varied strand of traditional decoration. Intricate patterns in wood, iron, or plaster adorn doorways, balconies, windows, and rooflines in towns and villages throughout the region. One of the most distinctive cultural features of these traditional homes is the decorated wooden balcony-screen—with jigsaw-cut patterns often based on creative repetitions, inversions, and mirrorings of the Arabic letter waw—which was designed to veil the residents from public view while allowing them to take the air and watch the outside world go by. Here, Ahmed Abdel-Gawad presents a wide range of these exuberant and largely unknown designs, in both photographs and detailed architectural drawings, for the use and appreciation of designers, decorators, artists, and lovers of vernacular architecture.
Elliott Antokoletz
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195365825
- eISBN:
- 9780199868865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365825.003.0004
- Subject:
- Music, Opera
This chapter looks at Act I, Prelude, according to its structure and leitmotifs associated with the “Forest”, “Fate”, “Mélisande”, and “Mélisande's Naïveté”. It discusses Golaud as political symbol, ...
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This chapter looks at Act I, Prelude, according to its structure and leitmotifs associated with the “Forest”, “Fate”, “Mélisande”, and “Mélisande's Naïveté”. It discusses Golaud as political symbol, points to polarity as an internal principle of musico-dramatic structure, and uncovers the symbolic link between Mélisande and fate. The chapter then describes Act I, Scene 1 — the first meeting of Golaud and Mélisande — and points to the hybrid diatonic/whole-tone form of “Fate” and Golaud's “Love” motif. Then, it addresses the influences on the musical language and aesthetics of the Debussy opera, and the interaction of “Golaud”, “Mélisande”, and “Fate” motifs. The test of the will and the dual role of Mélisande as real-life being and instrument of fate are discussed. Next the chapter considers Act 1, Scene 2, here a room in the castle, and presents the first explicit text reference to “Fate” and the “Pelleas” motif. Finally, the chapter considers Act I, Scene 3 — before the castle — and further develops the “Mélisande” and “Fate” motifs.Less
This chapter looks at Act I, Prelude, according to its structure and leitmotifs associated with the “Forest”, “Fate”, “Mélisande”, and “Mélisande's Naïveté”. It discusses Golaud as political symbol, points to polarity as an internal principle of musico-dramatic structure, and uncovers the symbolic link between Mélisande and fate. The chapter then describes Act I, Scene 1 — the first meeting of Golaud and Mélisande — and points to the hybrid diatonic/whole-tone form of “Fate” and Golaud's “Love” motif. Then, it addresses the influences on the musical language and aesthetics of the Debussy opera, and the interaction of “Golaud”, “Mélisande”, and “Fate” motifs. The test of the will and the dual role of Mélisande as real-life being and instrument of fate are discussed. Next the chapter considers Act 1, Scene 2, here a room in the castle, and presents the first explicit text reference to “Fate” and the “Pelleas” motif. Finally, the chapter considers Act I, Scene 3 — before the castle — and further develops the “Mélisande” and “Fate” motifs.
Elliott Antokoletz
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195365825
- eISBN:
- 9780199868865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195365825.003.0010
- Subject:
- Music, Opera
This chapter looks at Doors II (Armoury), III (Treasure Chamber), and IV (Garden) and develops Judith's “Fate” motif and the leitmotif of Stefi Geyer, including the transformation between Judith's ...
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This chapter looks at Doors II (Armoury), III (Treasure Chamber), and IV (Garden) and develops Judith's “Fate” motif and the leitmotif of Stefi Geyer, including the transformation between Judith's (Stefi's) motif of the seventh-chord and the chromatic motif of “Blood”. Descending third transpositions of variant seventh chords produce chromatic collisions as an implication of the “Blood” motif. Interaction of diatonic and whole-tone spheres produce dissonance and the move toward ultimate fate.Less
This chapter looks at Doors II (Armoury), III (Treasure Chamber), and IV (Garden) and develops Judith's “Fate” motif and the leitmotif of Stefi Geyer, including the transformation between Judith's (Stefi's) motif of the seventh-chord and the chromatic motif of “Blood”. Descending third transpositions of variant seventh chords produce chromatic collisions as an implication of the “Blood” motif. Interaction of diatonic and whole-tone spheres produce dissonance and the move toward ultimate fate.
Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Chapter five tracks Chariton's awareness of literary novelty. First, it presents and interprets all passages in which Chariton explicitly claims to do something original. Then, it analyses all ...
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Chapter five tracks Chariton's awareness of literary novelty. First, it presents and interprets all passages in which Chariton explicitly claims to do something original. Then, it analyses all occurrences of the adjective καινόσ – which means ‘new’, but also ‘original’, ‘novel’ – and related terms in Chariton and other novelists. My result is that Chariton invokes the idea of ‘novelty’ (καινότησ) particularly when he refers to something related to his inventing Narratives about Callirhoe: new motifs, new twists in the plot, new narratives. A comparison with the other authors of ideal novels demonstrates that they neither explicitly claim originality for their writing nor use the adjective καινόσ or similar terms of novelty as a fundamental and wide‐ranging category of invention.Less
Chapter five tracks Chariton's awareness of literary novelty. First, it presents and interprets all passages in which Chariton explicitly claims to do something original. Then, it analyses all occurrences of the adjective καινόσ – which means ‘new’, but also ‘original’, ‘novel’ – and related terms in Chariton and other novelists. My result is that Chariton invokes the idea of ‘novelty’ (καινότησ) particularly when he refers to something related to his inventing Narratives about Callirhoe: new motifs, new twists in the plot, new narratives. A comparison with the other authors of ideal novels demonstrates that they neither explicitly claim originality for their writing nor use the adjective καινόσ or similar terms of novelty as a fundamental and wide‐ranging category of invention.
Stefan Tilg
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780199576944
- eISBN:
- 9780191722486
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199576944.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
In Chariton's poetics the motif of Rumour is closely linked with the categories of novelty and narrative. This exploration of Rumour (Φήμη) in her own right completes the investigation of Chariton's ...
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In Chariton's poetics the motif of Rumour is closely linked with the categories of novelty and narrative. This exploration of Rumour (Φήμη) in her own right completes the investigation of Chariton's poetics and leads on to a recent and unexpected model author: although there are some Homeric reminiscences in Chariton's Rumour, fuller functional and textual parallels in Virgil's Aeneid lead to believe that Chariton derived his motif from the Roman epic poet.Less
In Chariton's poetics the motif of Rumour is closely linked with the categories of novelty and narrative. This exploration of Rumour (Φήμη) in her own right completes the investigation of Chariton's poetics and leads on to a recent and unexpected model author: although there are some Homeric reminiscences in Chariton's Rumour, fuller functional and textual parallels in Virgil's Aeneid lead to believe that Chariton derived his motif from the Roman epic poet.
Kevin S. McCann
- Published in print:
- 2011
- Published Online:
- October 2017
- ISBN:
- 9780691134178
- eISBN:
- 9781400840687
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691134178.003.0003
- Subject:
- Biology, Ecology
This chapter explains the use of modular or motif-based theory to interpret the dynamics of whole food webs. According to Robert Holt, modules are “as motifs with muscles.” Holt's modular theory ...
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This chapter explains the use of modular or motif-based theory to interpret the dynamics of whole food webs. According to Robert Holt, modules are “as motifs with muscles.” Holt's modular theory focuses on the implications of the strength of the interactions on the dynamics and persistence of these units. In this book, the term “module” means all motifs that include interaction strength, whereas the term “motif” represents all possible subsystem connections, including the trivial one-node/species case to the n-node/species cases. Part 2 considers the dynamics of important ecological modules or motifs such as populations, consumer–resource interactions, food chains, and omnivory, while Part 3 uses the logic attained from this modular or motif-based theory in order to elucidate the dynamics of whole food webs. The book argues that ecologists must make a concerted effort to understand how coupling different modules ultimately modifies flux within each individual module.Less
This chapter explains the use of modular or motif-based theory to interpret the dynamics of whole food webs. According to Robert Holt, modules are “as motifs with muscles.” Holt's modular theory focuses on the implications of the strength of the interactions on the dynamics and persistence of these units. In this book, the term “module” means all motifs that include interaction strength, whereas the term “motif” represents all possible subsystem connections, including the trivial one-node/species case to the n-node/species cases. Part 2 considers the dynamics of important ecological modules or motifs such as populations, consumer–resource interactions, food chains, and omnivory, while Part 3 uses the logic attained from this modular or motif-based theory in order to elucidate the dynamics of whole food webs. The book argues that ecologists must make a concerted effort to understand how coupling different modules ultimately modifies flux within each individual module.
Lowell Edmunds
- Published in print:
- 2015
- Published Online:
- October 2017
- ISBN:
- 9780691165127
- eISBN:
- 9781400874224
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691165127.003.0001
- Subject:
- Literature, Folk Literature
This introductory chapter undertakes a comparison between a folktale and a Greek myth. It attempts to define the folktale through two avenues concerning genre and terminology as well as mode of ...
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This introductory chapter undertakes a comparison between a folktale and a Greek myth. It attempts to define the folktale through two avenues concerning genre and terminology as well as mode of communication. Here, the chapter relates the folktale of “The Abduction of the Beautiful Wife” to the Greek epics such as the Iliad, eventually focusing the discussion on the story of Helen of Troy. To aid in the discussion, the chapter introduces the comparative circle, which begins from the perception of a similarity between the target text and some other text, and proceeds from this second text to a third and so forth, until the scholar constructing the circle decides to return to the explicandum.Less
This introductory chapter undertakes a comparison between a folktale and a Greek myth. It attempts to define the folktale through two avenues concerning genre and terminology as well as mode of communication. Here, the chapter relates the folktale of “The Abduction of the Beautiful Wife” to the Greek epics such as the Iliad, eventually focusing the discussion on the story of Helen of Troy. To aid in the discussion, the chapter introduces the comparative circle, which begins from the perception of a similarity between the target text and some other text, and proceeds from this second text to a third and so forth, until the scholar constructing the circle decides to return to the explicandum.
Alessandro Vettori
- Published in print:
- 2004
- Published Online:
- September 2011
- ISBN:
- 9780823223251
- eISBN:
- 9780823240913
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823223251.001.0001
- Subject:
- Literature, Poetry
St. Francis of Assisi (c.1181–1226) and Jacopone da Todi (c.1236–1306) were but two exemplars of a rich school of mystical poets writing in Umbria in the Franciscan religious tradition. Their ...
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St. Francis of Assisi (c.1181–1226) and Jacopone da Todi (c.1236–1306) were but two exemplars of a rich school of mystical poets writing in Umbria in the Franciscan religious tradition. Their powerful creations form a significant corpus of medieval Italian vernacular poetry only now being fully explored. Drawing on a wide range of literary, historical, linguistic, and anthropological approaches, the author crafts an innovative portrait of the artists as legends and as poets. He investigates the essential features of emerging Franciscan tradition, in motifs of the body, metaphors of matrimony, and musical harmony. He also explores the relationship of Francis's poetic mission to Genesis, the relationship between erotic love and ecstatic union in both poets' work, and the poetics of the sermon.Less
St. Francis of Assisi (c.1181–1226) and Jacopone da Todi (c.1236–1306) were but two exemplars of a rich school of mystical poets writing in Umbria in the Franciscan religious tradition. Their powerful creations form a significant corpus of medieval Italian vernacular poetry only now being fully explored. Drawing on a wide range of literary, historical, linguistic, and anthropological approaches, the author crafts an innovative portrait of the artists as legends and as poets. He investigates the essential features of emerging Franciscan tradition, in motifs of the body, metaphors of matrimony, and musical harmony. He also explores the relationship of Francis's poetic mission to Genesis, the relationship between erotic love and ecstatic union in both poets' work, and the poetics of the sermon.
Steven Huebner
- Published in print:
- 2005
- Published Online:
- May 2008
- ISBN:
- 9780195189544
- eISBN:
- 9780199868476
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195189544.003.0014
- Subject:
- Music, History, Western
This chapter focuses on Saint-SaËns's opera, Henry VIII. It is argued that Henry VIII became the composer's second most popular operatic work but its appearances at the Opéra were sporadic until ...
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This chapter focuses on Saint-SaËns's opera, Henry VIII. It is argued that Henry VIII became the composer's second most popular operatic work but its appearances at the Opéra were sporadic until 1917, when it fell from the repertory. Rejuvenation of grand opera through a synthesis of leitmotif and a melodic style indebted to Gounod became understood in many quarters as merely another manifestation of eclecticism.Less
This chapter focuses on Saint-SaËns's opera, Henry VIII. It is argued that Henry VIII became the composer's second most popular operatic work but its appearances at the Opéra were sporadic until 1917, when it fell from the repertory. Rejuvenation of grand opera through a synthesis of leitmotif and a melodic style indebted to Gounod became understood in many quarters as merely another manifestation of eclecticism.
Benjamin Harshav
- Published in print:
- 1993
- Published Online:
- May 2012
- ISBN:
- 9780520079588
- eISBN:
- 9780520912960
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520079588.003.0003
- Subject:
- Anthropology, Social and Cultural Anthropology
There are no neat boundaries in history. If one looks at broad movements such as “Zionism,” “Romanticism,” “Futurism,” or “Hasidism,” one sees that they are characterized by a heterogeneous but ...
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There are no neat boundaries in history. If one looks at broad movements such as “Zionism,” “Romanticism,” “Futurism,” or “Hasidism,” one sees that they are characterized by a heterogeneous but intertwined cluster of institutions, ideas, and features, expressed in specific persons, actions, and texts, and located in a given time and place. If one analyzes such a complex, one sees that for almost every individual phenomenon, motif, or idea, one can find both roots and antecedents in preceding periods. A new trend in history is marked not by the novelty of each detail; instead, one has a new framework that reorganizes various elements in a new way, selects and highlights previously neglected features, adds conspicuous new ones, changes their hierarchies, and thus makes the complex a totally new global entity. When such a framework is perceived as a new trend, it can win a broad following and become a dominant force in society.Less
There are no neat boundaries in history. If one looks at broad movements such as “Zionism,” “Romanticism,” “Futurism,” or “Hasidism,” one sees that they are characterized by a heterogeneous but intertwined cluster of institutions, ideas, and features, expressed in specific persons, actions, and texts, and located in a given time and place. If one analyzes such a complex, one sees that for almost every individual phenomenon, motif, or idea, one can find both roots and antecedents in preceding periods. A new trend in history is marked not by the novelty of each detail; instead, one has a new framework that reorganizes various elements in a new way, selects and highlights previously neglected features, adds conspicuous new ones, changes their hierarchies, and thus makes the complex a totally new global entity. When such a framework is perceived as a new trend, it can win a broad following and become a dominant force in society.
Jonathan S. Friedlaender, Françoise R. Friedlaender, Jason A. Hodgson, Stacy McGrath, Matthew Stoltz, George Koki, Theodore G. Schurr, and D. Andrew Merriwether
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780195300307
- eISBN:
- 9780199790142
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195300307.003.0004
- Subject:
- Biology, Evolutionary Biology / Genetics
This chapter reports the mitochondrial DNA diversity in the Southwest Pacific, focusing on the extensive structure of this variation in Northern Island Melanesia. It shows that a constellation of ...
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This chapter reports the mitochondrial DNA diversity in the Southwest Pacific, focusing on the extensive structure of this variation in Northern Island Melanesia. It shows that a constellation of mitochondrial variants in Northern Island Melanesia is particularly old and not found beyond the Wallace Line to the west. These variants must have developed subsequent to initial settlement some 40,000-50,000 years ago. The evidence also suggests a subsequent series of expansions into the region from the west, through the Upper Pleistocene and into the Holocene. The most recent involve haplogroup E and the so-called “Polynesian Motif” (haplogroup B4a1a1). This “Motif” clearly in Near Oceania forms a haplogroup that was introduced from Island Southeast Asia, and is closely associated with the Lapita phenomenon. There are some problems with the distribution of the “Motif” in Island Melanesia that require explanation. Overall, the mitochondrial DNA diversity is organized on a clear island-by-island basis, with the Papuan-speaking groups of the island interiors showing the greatest diversity, and the Oceanic-speaking groups on the coastlines the least.Less
This chapter reports the mitochondrial DNA diversity in the Southwest Pacific, focusing on the extensive structure of this variation in Northern Island Melanesia. It shows that a constellation of mitochondrial variants in Northern Island Melanesia is particularly old and not found beyond the Wallace Line to the west. These variants must have developed subsequent to initial settlement some 40,000-50,000 years ago. The evidence also suggests a subsequent series of expansions into the region from the west, through the Upper Pleistocene and into the Holocene. The most recent involve haplogroup E and the so-called “Polynesian Motif” (haplogroup B4a1a1). This “Motif” clearly in Near Oceania forms a haplogroup that was introduced from Island Southeast Asia, and is closely associated with the Lapita phenomenon. There are some problems with the distribution of the “Motif” in Island Melanesia that require explanation. Overall, the mitochondrial DNA diversity is organized on a clear island-by-island basis, with the Papuan-speaking groups of the island interiors showing the greatest diversity, and the Oceanic-speaking groups on the coastlines the least.
Michael Sudduth
- Published in print:
- 2009
- Published Online:
- May 2009
- ISBN:
- 9780199203567
- eISBN:
- 9780191708190
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199203567.003.0011
- Subject:
- Religion, Theology, Philosophy of Religion
This chapter explores the interrelated contributions of natural theology and religious experience to dogmatic theology. It examines the functional diversity of natural theology, which gives us good ...
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This chapter explores the interrelated contributions of natural theology and religious experience to dogmatic theology. It examines the functional diversity of natural theology, which gives us good reason to view natural theology as an essential part of the discourse of dogmatic theology itself as the latter reaches toward the desiderata of systematicity, explication of biblical motifs concerning general revelation, and Church-world dialogue. It argues that natural theology and religious experience are conceptually and epistemically intertwined to such a degree that any attempt to integrate natural and dogmatic theology forces the dogmatician to consider the nature and deliverances of religious experience.Less
This chapter explores the interrelated contributions of natural theology and religious experience to dogmatic theology. It examines the functional diversity of natural theology, which gives us good reason to view natural theology as an essential part of the discourse of dogmatic theology itself as the latter reaches toward the desiderata of systematicity, explication of biblical motifs concerning general revelation, and Church-world dialogue. It argues that natural theology and religious experience are conceptually and epistemically intertwined to such a degree that any attempt to integrate natural and dogmatic theology forces the dogmatician to consider the nature and deliverances of religious experience.
Wytse Keulen
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199264827
- eISBN:
- 9780191718403
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199264827.003.0009
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter compares Gellius' and Apuleius' techniques of characterizing and satirizing certain types of intellectuals. These techniques are shown to be often common to both authors and to rely on a ...
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This chapter compares Gellius' and Apuleius' techniques of characterizing and satirizing certain types of intellectuals. These techniques are shown to be often common to both authors and to rely on a wide and long tradition of satirical portrayal of intellectual that goes back to Aristophanes, the Platonic dialogue and the role assigned to the figure of Socrates therein, and up to Plutarch's Table Talks. Both authors are also shown to direct their censure at shared targets, especially pseudo-intellectuals, pedantry, polymathy, incredible stories, and the resort to alleged autopsy to establish credibility. Finally, the chapter examines to what extent Gellius and Apuleius satirize themselves through their ‘autobiographical’ portrayals, Apuleius mainly through the portrayal of Lucius, his satirical alter ego in the Metamorphoses, and Gellius in a series of anecdotes in which the author's ‘I’ or one of his admired teachers are made to face justifiable criticism.Less
This chapter compares Gellius' and Apuleius' techniques of characterizing and satirizing certain types of intellectuals. These techniques are shown to be often common to both authors and to rely on a wide and long tradition of satirical portrayal of intellectual that goes back to Aristophanes, the Platonic dialogue and the role assigned to the figure of Socrates therein, and up to Plutarch's Table Talks. Both authors are also shown to direct their censure at shared targets, especially pseudo-intellectuals, pedantry, polymathy, incredible stories, and the resort to alleged autopsy to establish credibility. Finally, the chapter examines to what extent Gellius and Apuleius satirize themselves through their ‘autobiographical’ portrayals, Apuleius mainly through the portrayal of Lucius, his satirical alter ego in the Metamorphoses, and Gellius in a series of anecdotes in which the author's ‘I’ or one of his admired teachers are made to face justifiable criticism.
Alena Alexandrova
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9780823274475
- eISBN:
- 9780823274529
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823274475.001.0001
- Subject:
- Art, Art Theory and Criticism
During the past two decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Since the early 1990s in ...
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During the past two decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Since the early 1990s in Europe and the United States many artists critically re-appropriated religious, motifs, themes and images to produce works that cannot qualify as ‘religious,’ but remains in a dialogue with the visual legacy of mostly the Western, and more specifically the Catholic, version of Christianity. The book explores the complex relationship between contemporary art and religion. It focuses on the ways artists re-appropriate religious motifs as a means to reflect critically on our desire to believe in images, on the history of seeing them, and on their double power – iconic and political. When embedded in contemporary artworks, religious motifs become tools to address issues that are central to the infrastructure of, and the distinction between, different eras or regimes of the image: the rules that regulate the status of images and their public significance, their modes of production, circulation and display. The book examines the important motif of the acheiropoietic image (not made by human hands). Its survival and transformation in contemporary image-making practices provides a conceptual matrix for understanding of the reconfiguring relationships between art and religion.
The book discusses a number of exhibitions that take religion as their central theme, and a selection works by Bill Viola, Lawrence Malstaf, Victoria Reynolds and Berlinde de Bruyckere who, in their respective ways and media, recycle religious motifs and iconography, and whose works resonate with, or problematise the motif of the true image.Less
During the past two decades curators and artists have shown a distinct interest in religion, its different traditions, manifestations in public life, gestures and images. Since the early 1990s in Europe and the United States many artists critically re-appropriated religious, motifs, themes and images to produce works that cannot qualify as ‘religious,’ but remains in a dialogue with the visual legacy of mostly the Western, and more specifically the Catholic, version of Christianity. The book explores the complex relationship between contemporary art and religion. It focuses on the ways artists re-appropriate religious motifs as a means to reflect critically on our desire to believe in images, on the history of seeing them, and on their double power – iconic and political. When embedded in contemporary artworks, religious motifs become tools to address issues that are central to the infrastructure of, and the distinction between, different eras or regimes of the image: the rules that regulate the status of images and their public significance, their modes of production, circulation and display. The book examines the important motif of the acheiropoietic image (not made by human hands). Its survival and transformation in contemporary image-making practices provides a conceptual matrix for understanding of the reconfiguring relationships between art and religion.
The book discusses a number of exhibitions that take religion as their central theme, and a selection works by Bill Viola, Lawrence Malstaf, Victoria Reynolds and Berlinde de Bruyckere who, in their respective ways and media, recycle religious motifs and iconography, and whose works resonate with, or problematise the motif of the true image.
