scholarly journals Epic meals: Who should read epic poetry in Rome?

2020 ◽  
Vol 55 ◽  
Author(s):  
Gergő Gellérfi
Keyword(s):  
Epic Poetry ◽  
The Other ◽  
Dance Performance ◽  
Mock Epic

In this paper, the presence of food and dinners in connection with epic poetry in three different Juvenalian poems is discussed. The first is Satire 4 containing a mock-epic, the plot of which revolves around a giant turbot that is described with epic-style elements, and that is given to the emperor Domitian characterized by uncontrolled gluttony. The other two poems, Satires 5 and 11, both focusing on dinner parties, are in connection with the epic genre as well: while in the closing poem of Book 1, several epic connotations appear in the description of the gluttonous Virro’s extravagant dinner, in Satire 11, the enjoyment of epic poetry is praised and compared to an almost pornographic dance performance in a luxurious feast. Reading the three poems together, it might be proved from another aspect that we have to make a distinction between the Juvenalian evaluation of topics described using epic-style elements and the epic poetry itself.

scholarly journals Silent and a audible stereotypes: The constitution of "ethnic character" in Serbian epic poetry

2005 ◽  
pp. 105-120 ◽  
Author(s):  
Gordana Djeric
Keyword(s):  
Explanatory Power ◽  
Mental Image ◽  
Epic Poetry ◽  
National Character ◽  
The Other ◽  
Relevant Feature ◽  
Explanatory Relevance ◽  
Starting Point ◽  
The Difference ◽  
Epic Poems

The article deals with the explanatory relevance of the concept of stereotype in one of its original meanings - as a "mental image". This meaning of the term is the starting point for further differentiations, such as: between linguistic and behavioral stereotypes (in the sense of nonverbal, expected responses); universal and particular stereotypes; self representative and introspective stereotypes; permanent and contemporary stereotypes; and finally, what is most important for our purposes, the difference between silent and audible stereotypes. These distinctions, along with the functions of stereotype, are discussed in the first part of the paper. In the second part, the relations of silent and audible stereotypes are tested against the introduction of "innovative vocabularies" in popular lore. In other words, the explanatory power of this differentiation is checked through an analysis of unconventional motives in Serbian epic poems. The goal of the argument is to clarify the procedure of self creation of masculinity as a relevant feature of the "national character" through "tactic games" of silent and audible stereotypes. The examination of these "poetic strategies" serves a twofold purpose: to illustrate the process of constructing particular features of the "ethno type", on one hand, and to check hypotheses and models which are taken as frameworks in analyzing stereotypes, on the other.

Mock-Epic Poetry from Pope to Heine by Ritchie Robertson (review)

MLN ◽  
2012 ◽  
Vol 127 (5) ◽  
pp. 1274-1278
Author(s):  
Theodore Ziolkowski
Keyword(s):  
Epic Poetry ◽  
Mock Epic

Embodied Reconciliation

2019 ◽  
pp. 272-301
Author(s):  
Lydia L. Moland
Keyword(s):  
Lyric Poetry ◽  
Epic Poetry ◽  
The Other ◽  
Special Consideration ◽  
Modern World ◽  
Self Awareness ◽  
Music Drama ◽  
The World ◽  
The Individual

Hegel’s analysis of poetry’s genres begins with epic poetry, which is the action-based articulation of a nation’s dawning self-awareness. Lyric poetry, by contrast, allows poets to express their deepest subjectivity and interpret the world through their own experience. Drama brings action back into art, allowing actors themselves to emerge as artists and correcting for the vanishing subjectivity in painting and music. Drama also incorporates the two other poetic genres, as well as the other arts. Because it achieves these syntheses, it is, according to Hegel, the highest art. Hegel gives special consideration to tragedy and comedy, assessing both in their ancient and modern forms. His conclusion is that although both subgenres are more difficult to achieve in the modern world, successful examples are possible, ensuring that poetry will continue. With these poetic subgenres, the individual arts reach their conceptual end.

Neulateinische Epik zum Dreißigjährigen Krieg, oder: Wer ist der Feind?

2018 ◽  
Vol 22 (1) ◽  
pp. 245-256
Author(s):  
Florian Schaffenrath
Keyword(s):  
Epic Poetry ◽  
The Other ◽  
Literary Production ◽  
Other Hand ◽  
Epic Poem ◽  
Latin Epic

Abstract In contrast to the literary production in certain vernacular languages like French or German, the period of the Thirty Years’ War was a very productive period for Neo-Latin epic poetry. Two examples discussed in this article elucidate the different purposes of these poems: With his Turcias (Paris 1625) Francois Le Clerc Du Tremblay tried to unite the European Christian rulers and to convince them of a common and united war against the Turks. On the other hand, the Jesuit Jacques d’Amiens published in Douai in 1648 his Bellum Germanicum, the first (and only) part of an epic poem that supports the Catholic part in the Thirty Years’ War. A comparison of the depiction of the enemies in particular in these two poems makes the differences visible.

Mock-epic poetry from Pope to Heine

2010 ◽  
Vol 47 (09) ◽  
pp. 47-4857-47-4857
Keyword(s):  
Epic Poetry ◽  
Mock Epic

scholarly journals The Neuroscience of Dance: A Systematic Review of the Present State of Research and Suggestions for Future Work

2021 ◽  
Author(s):  
Olivia Foster Vander Elst ◽  
Peter Vuust ◽  
Morten L. Kringelbach ◽  
Nicholas HD Foster
Keyword(s):  
Systematic Review ◽  
Present State ◽  
Dance Therapy ◽  
The Other ◽  
Future Research ◽  
Dance Performance ◽  
Comprehensive Review ◽  
Vital Part ◽  
State Of Research ◽  
Future Work

Ancient and culturally universal, dance is important in many areas of life and brings pleasure, motivational, and health benefits. This is the first comprehensive review of research into its neuroscientific aspects. To produce it, we devised a map of the field, identified relevant papers using the PRISMA guidelines, then summarised and evaluated the results of those papers. We also suggest avenues for future research in: the interactive and collective aspects of dance; groove; dance performance; dance observation; and dance therapy. The interactive and collective aspects of dance constitute a vital part of the field, but have received almost no attention to date. More research has been conducted in the other areas, but they would benefit from additional attention.

A Time with No Outside (Valéry and Jouissance)

2017 ◽  
Author(s):  
Frédéric Pouillaude
Keyword(s):  
The Other ◽  
Socratic Dialogue ◽  
Dance Performance ◽  
Paul Valery ◽  
Paul Valéry

This chapter discusses the writings of Paul Valéry on dance. It focuses on three of his texts in particular: a poetic-Socratic dialogue entitled “Dance and the Soul” (1957 [1921]); a paper entitled “Philosophy of the Dance” originally presented at a dance performance (1964 [1936]); and a short chapter called “The Dance” in Degas, Dance, Drawing (1960a [1936]). The poetic and dialogic form of “Dance and the Soul” allows multiple theses to be advanced simultaneously and intuitions to be articulated, without offering robust arguments in support. The other two texts, meanwhile, are more discursive and demonstrative. This chapter mainly discusses “Philosophy of the Dance” and “The Dance,” because of the nature of the texts themselves as much as the particular claims they advance. It refers to “Dance and the Soul”; essentially to confirm or complement insights drawn from the other writings.

scholarly journals THE LOSER LEAVES (ROME'S LOSS): UMBRICIUS' WISHFUL EXILE IN JUVENAL, SATIRE 3

2015 ◽  
Vol 65 (2) ◽  
pp. 773-787 ◽  
Author(s):  
Tom Geue
Keyword(s):  
Golden Age ◽  
The Other ◽  
Other Hand ◽  
Mock Epic ◽  
Set Up ◽  
The One

Juvenal's third satire is a privileged piece of verbal diarrhoea. As the longest satire in Juvenal's well-attended Book 1, as the centre of this book, and as the one Juvenalian jewel that sparkles ‘non-rhetorically’, it has always been the critics’ darling. Its protagonist, on the other hand, has not always been so popular. Recently, reader sympathy for old Umbricius (the poem's main speaker) has shifted to laughter in his face; the old sense of ‘pathetic’ has ceded to the new. One of the central strategies of the ‘Umbricius-as-caricature’ camp has been to point to the overtime worked by ‘mock-epic’ in this poem: Umbricius self-inflates to become another Aeneas, fleeing a crumbling Troy (Rome). But an oppositio is wedged in imitando. Umbricius makes his lengthy verbal preparations to depart from Rome for Cumae; Aeneas had come to Rome through Cumae. Umbricius withdraws to set up shop in the meagre countryside; Aeneas had escaped to cap his exile teleologically with the (pre-foundation of the) Greatest City That Will Ever Be. Still, Virgil's paradigm tale of displacement, drift and re-establishment underlies Umbricius' self-definition as an exile. Indeed exile, with a large and ever-increasing stock of mythical and historical examples, was a situation ripe for self-mythologizing. Umbricius stands in Aeneas' shadow then, standing it on its head. His recession also makes him into a Iustitia/Dikē figure, the final trace of the golden age, off to alloy himself elsewhere. In his mind, exile is rationalized by distinguished past examples; in ours, we laugh at how disparate example and man really are. That side of Umbricius has been done to death; or at least, for present purposes, to exile.

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