By David Wray
This literary examine of the first-century BCE Roman poet, Catullus makes use of units of comparative versions to provide a brand new knowing of his poems. the 1st involves cultural anthropological money owed of male social interplay within the premodern Mediterranean, and the second one, the postmodern poetics of such twentieth-century poets as Louis Zukofsky, that are characterised through simultaneous juxtaposition, a "collage" aesthetic, and self-allusive play. The e-book might be of curiosity to scholars of comparative literature and gender reviews in addition to to classicists.
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Extra resources for Catullus and the Poetics of Roman Manhood
In the Odyssey this circumstance is uttered as a threat against low-status types (Od. 362–63 [Eumaeus]). 29 But unlike Briseis or Andromache, they add to these pitiful images a harsh desire for revenge. 30 An example may bring this contrast into clearer focus. 476). The verb identifies her words as a mourning speech (cf. 723, 747, 760), and what she says follows along traditional lines. 496). She thus mourns the loss of social rituals accorded the aristocratic young man, similar to the kind of commensality that Odysseus advocated in book 19.
In Frogs, for example, the sophistic Euripides promotes a style too glib and finely wrought, while Knights contrasts this polished style with that of the shouting, gobbling, agora-swaggering Paphlagon – a stage name for Cleon, the demagogue whom Aristophanes repeatedly depicts as a threat to Athens. His opponent the Sausage Seller is an equally reprehensible denizen of the marketplace, although he shows signs of more effeminate, lubricious behaviors that indicate his self-prostituting type. Like tragedy, comedy often employs the imagery of sacrifice, but Knights in particular formulates this as an analogy between politicians’ slavish pandering and the manipulations of mercenary chefs.
In 67 See Dover 1978: 75; for a contrasting view, see Yunis 2001. 6) he aligns types of intemperance (akolasia) with faults of excess or weakness. Both Aristotle’s treatments of character (especially those in the Rhetoric) and Theophrastus’ portraits in Characters indicate the importance of such distinctions to rhetorical technique, as well as their centrality to the public performance of the orator more generally. Chapter 6 examines the realm of rhetorical theory, assessing how Aristotle and especially Theophrastus characterize the relationship between oral activities and oratorical styles.