By et al Jo-Ann A. Brant (Editor)
The essays during this quantity research the connection among historical fiction within the Greco-Roman global and early Jewish and Christian narratives. they think about how these narratives imitated or exploited conventions of fiction to supply different types of literature that expressed new rules or formed group identification in the moving social and political climates in their personal societies. significant authors and texts surveyed comprise Chariton, Shakespeare, Homer, Vergil, Plato, Matthew, Mark, Luke, Daniel, three Maccabees, the testomony of Abraham, rabbinic midrash, the Apocryphal Acts, Ezekiel the Tragedian, and the Sophist Aelian. This various assortment finds and examines primary matters and syntheses within the making: the pervasive use and subversive strength of imitation, the excellence among fiction and heritage, and using historical past within the expression of identification.
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Additional info for Ancient Fiction: The Matrix of Early Christian And Jewish Narrative (Symposium Series)
3) and later though more loosely still quite clearly (cf. 1). 71 Composition, however, was the principal activity at the tertiary stage, and, as already noted, it did not begin with full-length speeches but with a series of shorter but ever longer and more complex compositions called progymnasmata, fourteen in all: mu~qoi (fables), dihgh/mata (narratives), xrei=ai ([elaborations of] chreiai), gnw~mai ([elaborations of] maxims), a)naskeuai/ (refutations), kataskeuai/ (confirmations), koinoi\ to/poi (general topics), e)gkw/mia (encomia), yo/goi (condemnations), sugkri/seij (comparisons), h)qopoii/ai (short speeches consistent with a particular character), e)kfra/seij (descriptions), qe/seij (theses), and no/mou 67.
400 (ed. Stanley E. Porter, Leiden: Brill, 1997), 445–65, esp. 453–61. 75. See Ruiz-Montero, “Chariton von Aphrodisias,” 1042. 76. See Ruiz-Montero, “Chariton von Aphrodisias,” 1043–44. ”79 To be sure, this definition is so brief as to be obscure, but its meaning emerges from the topics that were suggested for student exercises. 80 In other words, an h)qopoii/a requires the student to reveal through speech a person’s character as that person confronts a specific circumstance. 83 Thus students were to have the person respond to features of the present 77.
I will be taken from your tomb, Chaereas. Who will pour out libations for you, dearly beloved? Henceforth, Bactra and Susa will be my home and my tomb. I will cross over you, Euphrates, just once. ” What makes this last h)qopoii/a especially interesting is not that it conforms to the conventions of the form, though it does so conform. 99 Readers would, no doubt, realize that Chariton’s mi/mhsij is an inversion of this school h)qopoii/a, though cast now as follows: What words a person from the seaside might say on first seeing the interior.
Ancient Fiction: The Matrix of Early Christian And Jewish Narrative (Symposium Series) by et al Jo-Ann A. Brant (Editor)