Ambiguity in Greek Literature
Author | : William Bedell Stanford |
Publisher | : |
Total Pages | : 185 |
Release | : 1939 |
Genre | : |
ISBN | : |
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Author | : William Bedell Stanford |
Publisher | : |
Total Pages | : 185 |
Release | : 1939 |
Genre | : |
ISBN | : |
Author | : William B. Stanford |
Publisher | : |
Total Pages | : 185 |
Release | : 1987-06-01 |
Genre | : |
ISBN | : 9780384574724 |
Author | : Martin Vöhler |
Publisher | : Walter de Gruyter GmbH & Co KG |
Total Pages | : 431 |
Release | : 2021-02-22 |
Genre | : Literary Criticism |
ISBN | : 3110715813 |
Ambiguity in the sense of two or more possible meanings is considered to be a distinctive feature of modern art and literature. It characterizes the "open artwork" (Eco) and is generated by "disruptive tactics" (Wellershoff) and strategies to engender uncertainty. While ambiguity is seen as a "paradigm of modernity" (Bode), there is skepticism regarding its use in the pre-modern era. Older studies were dominated by the conviction that there was a lack of ambiguity in pre-modernity because, according to the rules of the "old rhetoric", ambiguity was seen as an avoidable error (vitium) and a violation of the dictate of clarity (perspicuitas). The aim of the volume is to re-examine the putative "absence of ambiguity" in the pre-modern era. Is it not possible to find clear examples of deliberately employed (intended) ambiguity in antiquity? Are the oracles and riddles, the Palinode of Stesichoros and Socrates (Phaedrus), the dissoi logoi of rhetoric, the ambiguities of the tragedies all exceptions or do they not indicate a distinct interest in the artistic use of ambiguity? The presentations of the conference, which will include scholars from various philologies, will combine a recourse to theoretical concepts of intended ambiguity with exemplary analyses from the field of pre-modern art and literature.
Author | : Anthony Ossa-Richardson |
Publisher | : Princeton University Press |
Total Pages | : 488 |
Release | : 2021-12-14 |
Genre | : Literary Criticism |
ISBN | : 0691228442 |
Ever since it was first published in 1930, William Empson’s Seven Types of Ambiguity has been perceived as a milestone in literary criticism—far from being an impediment to communication, ambiguity now seemed an index of poetic richness and expressive power. Little, however, has been written on the broader trajectory of Western thought about ambiguity before Empson; as a result, the nature of his innovation has been poorly understood. A History of Ambiguity remedies this omission. Starting with classical grammar and rhetoric, and moving on to moral theology, law, biblical exegesis, German philosophy, and literary criticism, Anthony Ossa-Richardson explores the many ways in which readers and theorists posited, denied, conceptualised, and argued over the existence of multiple meanings in texts between antiquity and the twentieth century. This process took on a variety of interconnected forms, from the Renaissance delight in the ‘elegance’ of ambiguities in Horace, through the extraordinary Catholic claim that Scripture could contain multiple literal—and not just allegorical—senses, to the theory of dramatic irony developed in the nineteenth century, a theory intertwined with discoveries of the double meanings in Greek tragedy. Such narratives are not merely of antiquarian interest: rather, they provide an insight into the foundations of modern criticism, revealing deep resonances between acts of interpretation in disparate eras and contexts. A History of Ambiguity lays bare the long tradition of efforts to liberate language, and even a poet’s intention, from the strictures of a single meaning.
Author | : Martin Vöhler |
Publisher | : Walter de Gruyter GmbH & Co KG |
Total Pages | : 464 |
Release | : 2021-02-22 |
Genre | : Literary Criticism |
ISBN | : 3110715848 |
Ambiguity in the sense of two or more possible meanings is considered to be a distinctive feature of modern art and literature. It characterizes the "open artwork" (Eco) and is generated by "disruptive tactics" (Wellershoff) and strategies to engender uncertainty. While ambiguity is seen as a "paradigm of modernity" (Bode), there is skepticism regarding its use in the pre-modern era. Older studies were dominated by the conviction that there was a lack of ambiguity in pre-modernity because, according to the rules of the "old rhetoric", ambiguity was seen as an avoidable error (vitium) and a violation of the dictate of clarity (perspicuitas). The aim of the volume is to re-examine the putative "absence of ambiguity" in the pre-modern era. Is it not possible to find clear examples of deliberately employed (intended) ambiguity in antiquity? Are the oracles and riddles, the Palinode of Stesichoros and Socrates (Phaedrus), the dissoi logoi of rhetoric, the ambiguities of the tragedies all exceptions or do they not indicate a distinct interest in the artistic use of ambiguity? The presentations of the conference, which will include scholars from various philologies, will combine a recourse to theoretical concepts of intended ambiguity with exemplary analyses from the field of pre-modern art and literature.
Author | : Stelios Ramphos |
Publisher | : |
Total Pages | : 214 |
Release | : 2005 |
Genre | : Drama |
ISBN | : |
From the Foreword by Olympia Dukakis: Fate and Ambiguity in Oedipus the King takes the reader on a journey through the play, concentrating on the force of the dramatic action and the poetic means by which Sophocles achieves his effects. In analyzing this quest, the book offers us fascinating insights into the nature of poetry, the function of translation, and the value of redemptive suffering.
Author | : André Lardinois |
Publisher | : Princeton University Press |
Total Pages | : 320 |
Release | : 2001-03-25 |
Genre | : History |
ISBN | : 9780691004662 |
This collection attempts to recover the voices of women in antiquity from a variety of perspectives: how they spoke, where they could be heard, and how their speech was adopted in literature and public discourse. Rather than confirming the old model of binary oppositions in which women's speech was viewed as insignificant and subordinate to male discourse, these essays reveal a dynamic and potentially explosive interrelation between women's speech and the realm of literary production, religion, and oratory. The contributors use a variety of methodologies to mine a diverse array of sources, from Homeric epic to fictional letters of the second sophistic period and from actual letters written by women in Hellenistic Egypt to the poetry of Sappho. Throughout, the term "voice" is used in its broadest definition. It includes not only the few remaining genuine women's voices but also the ways in which male authors render women's speech and the social assumptions such representations reflect and reinforce. These essays therefore explore how fictional female voices can serve to negotiate complex social, epistemological, and aesthetic issues. The contributors include Josine Blok, Raffaella Cribiore, Michael Gagarin, Mark Griffith, André Lardinois, Richard Martin, Lisa Maurizio, Laura McClure, D. M. O'Higgins, Patricia Rosenmeyer, Marilyn Skinner, Eva Stehle, and Nancy Worman.
Author | : Jean-Pierre Vernant |
Publisher | : |
Total Pages | : 17 |
Release | : 1969 |
Genre | : |
ISBN | : |
Author | : Th. C. W. Oudemans |
Publisher | : BRILL |
Total Pages | : 300 |
Release | : 1987 |
Genre | : History |
ISBN | : 9789004084179 |
Author | : Zenon Culverhouse |
Publisher | : Rowman & Littlefield |
Total Pages | : 143 |
Release | : 2021-07-29 |
Genre | : Philosophy |
ISBN | : 179361122X |
Philosophers accuse Socrates of advancing unfair, if not fallacious, arguments in Plato’s Hippias Minor more than in most other dialogues. In Hippias Minor, Socrates appears to defend the trickster Odysseus, and in the course of doing so he argues for outrageous claims: the honest person and the liar are no different, and the good person is one who does wrong voluntarily. In Plato’s Hippias Minor: The Play of Ambiguity, Zenon Culverhouse argues that Socrates’ questionable behavior is no coincidence in a dialogue about deception and that Socrates is examining what counts as deception and how it reflects one’s excellence. More broadly, the dialogue is about the relationship between the speaker and what is said, between agent and action. Thus, the dialogue marks an important contribution not only to Socrates’ thinking about virtue and voluntary action but also to Plato’s portrait of Socrates. For the latter, Culverhouse argues that the dialogue further defines the sometimes thin line between Socrates and his contemporaries, the sophists. Rather than exploiting ambiguity in key terms of the argument to trip up his opponent, Socrates playfully explores these ambiguities to illuminate Hippias’—and perhaps our own—serious commitments about human excellence.