Myrto Theocharous, Lexical Dependence And Intertextual Allusion In The Septuagint Of The Twelve Prophets: Studies In Hosea, Amos And Micah

2014 ◽  
pp. 758-761
Author(s):  
W. Edward Glenny
Keyword(s):  
Intertextual Allusion

Where did the Mirror Go? The Text of Plato [?] Alcibiades I 133c1-6

Elenchos ◽  
2015 ◽  
Vol 36 (2) ◽  
pp. 361-372 ◽  
Author(s):  
Harold Tarrant
Keyword(s):  
Late Antiquity ◽  
Single Letter ◽  
Reflective Surface ◽  
True Meaning ◽  
Intertextual Allusion

AbstractAt Alcibiades I, 133b-c, the reader expects, but does not according to the MSS find, the return of the mirror-motif that had supposedly explained the true meaning of the Delphic injunction. Hence it remains unclear why anything viewed within the soul should act in any way that resembles a mirror. I argue that the substitution of a single letter in one word, about which the manuscripts and modern scholars in any case disagree, can restore the necessary reference to a reflective surface, though not specifically to a mirror, since the term for a mirror could only be applied to sight. A failure to understand the underlying intertextual allusion to Cratylus 408c had resulted in a safe but unsatisfactory substitution by Late Antiquity, and other modifications followed thereafter in an effort to give meaning to the text.

Hollywood Animation, Late Modernity and Contemporary America

2021 ◽  
pp. 78-108
Author(s):  
Noel Brown
Keyword(s):  
Popular Culture ◽  
Everyday Life ◽  
Fairy Tale ◽  
Similar Function ◽  
Contemporary Culture ◽  
Modern Life ◽  
Social Commentary ◽  
Late Modernity ◽  
Intertextual Allusion ◽  
Distinguishing Features

One of the primary distinguishing features of post-1990s Hollywood animation is its foregrounding of contemporary culture and society. While many of the ‘classic’ Disney films are set in fantastical or fairy tale landscapes geographically and temporally removed from everyday life (‘once upon a time…’), most animated features from the early 1990s onwards are self-conscious artefacts of late modernity. There are two primary manifestations of the foregrounding of contemporary culture in post-1990s Hollywood animation. The first, and most immediately visible, is (a usually comic) intertextuality that takes the form of an intensified referentiality to other works of popular culture and modern life more broadly. The second form is that of social commentary, which is often satirical in nature and tends to be a more abiding thematic focus than the intertextual allusion. This chapter argues that both forms serve a similar function: they are strategies of proximation that anchor films to recognisable and identifiable situations and events.

Quam Romanus honos et Graia licentia miscent

2018 ◽  
pp. 131-148
Author(s):  
Federica Bessone
Keyword(s):  
Intertextual Allusion ◽  
Circus Maximus ◽  
Ars Amatoria ◽  
Cultural Fusion

This chapter discusses Statius’ celebration of the beauty and serenity of Campania felix in contrast with Rome in Silv. 3.5. It demonstrates how the poet slyly enhances his assurances to his wife that their cultivated but modest daughter will find a more suitable husband in Naples by a series of witty intertextual allusions to Ovid’s Ars Amatoria to contrast Neapolitan refinement with the lascivious pleasures of the Roman theatre and Circus Maximus. The cultural fusion of Naples merges harmoniously with the refined complexity of Flavian poetry. A network of ingenious intertextual allusion draws together Virgil’s narrative of Hercules entering Evander’s humble cottage and Statius’ Hercules who accepts modest hospitality, but appreciates the opulent temple built by Pollius (Silv. 3.1).

Opening the Folds: A Pastoral Vanguard

2017 ◽  
Author(s):  
Ross Hair
Keyword(s):  
Social Dynamics ◽  
Small Press ◽  
The Social ◽  
The Common ◽  
Intertextual Allusion ◽  
Pastoral Literature ◽  
And Function ◽  
Role And Function ◽  
Ubiquitous Presence ◽  
Common Perception

Chapter 5 considers the ubiquitous presence of pastoral literature and art in the late modernist milieu of The Jargon Society by examining its role and function in the work of Ian Hamilton Finlay, Thomas A. Clark, and Simon Cutts. Far from perpetuating the common perception of pastoral as an idealistic, nostalgic, or escapist aesthetic mode, Finlay, Clark, and Cutts’s use of pastoral, it is argued, demonstrate a more knowing understanding, and innovative appropriation, of its complex tradition. In particular, it is suggested that pastoral provides these poets the means for reflecting on the materiality of the poem and for articulating the poetics of the printed format that it takes. Furthermore, due to its close links with Epicureanism and its dense weave of intertextual allusion, chapter 5 shows how pastoral presents an insightful analogy for the social dynamics and collaborative vanguard spirit of the remote small press networks that Finlay, Clark, and Cutts have participated in.

scholarly journals LESS CARE, MORE STRESS: A RHYTHMIC POEM FROM THE ROMAN EMPIRE

2021 ◽  
pp. 1-29 ◽  
Author(s):  
Tim Whitmarsh
Keyword(s):  
Roman Empire ◽  
Popular Culture ◽  
Consumer Culture ◽  
Late Antiquity ◽  
Short Text ◽  
Sexually Aggressive ◽  
Distinctive Type ◽  
Intertextual Allusion ◽  
The Masses ◽  
Embodied Selfhood

This article considers a short text that was widely circulated in the mid- Roman Empire, in both a four-line and a six-line version, usually on gemstones. The text is a poem of sorts, but of a quite distinctive type. Part of it can be scanned according to the rules of classical (quantitative) metre, but more striking is the consistent rhythmic (stressed) pattern. Stressed poetry is not otherwise attested so early; this text may point to a substrate, now largely hidden from view, of popular verse that preceded the metrical revolutions of late antiquity and the Byzantine world. The poem is also a piece of visual artistry, designed to be looked at (particularly in its gemstone format). This hybrid status, between high art and popular culture, can also be detected in the content of the poem, which gestures towards both the poetics of intellectual elitism (using intertextual allusion, and dismissing the views of the masses) and a level of sexually aggressive assertion of embodied selfhood. It is a valuable witness to a form of middling literature (and a middling demographic), caught between aspirations to elite-style individuality and the mimetic imperative of an empire-wide consumer culture.

Hans Werner Henze as Post-Mahlerian: Anachronism, Freedom, and the Erotics of Intertextuality

2004 ◽  
Vol 1 (2) ◽  
pp. 179-207
Author(s):  
STEPHEN DOWNES
Keyword(s):  
Twentieth Century ◽  
Compositional Technique ◽  
Twentieth Century Music ◽  
Poetic Expression ◽  
Intertextual Allusion

In the early 1960s Mahler’s music became a vital stimulus for Henze’s compositional technique and aesthetics. Particularly important were its exploration of formal crises, the incorporation of ‘old’ musical materials, and its apparently direct expression of love and beauty. These aspects confirmed Henze’s desire to break out of the restrictions of Darmstadt dogma, into an apparently anachronistic expressive and technical freedom. This article explores structural and hermeneutic relationships between two of Henze’s works of the period – Being Beauteous and The Bassarids– and Mahler’s Fifth Symphony. In Being Beateous the expressive aspects of cadences in the Adagietto of Mahler’s Fifth Symphony are shown to be crucial models for Henze’s exploration of Rimbaud’s poetic expression of the destruction and revitalization of beautiful form. In The Bassarids an intertextual allusion to the second movement of Mahler’s Fifth Symphony is taken as a signal of Mahlerian ‘breakthrough’ as Pentheus has a vision of Dionysian revelries. Henze’s fragmented, broken, allusive, and eclectic musical textures are interpreted as characteristic expressions of eroticism, as well as being more generally symptomatic of his understanding of Mahler’s importance for twentieth-century music.

“A Vision for the End of Days”: Deferral of Revelation in Daniel and at the End of Mark

2018 ◽  
Vol 109 (2) ◽  
pp. 153-184
Author(s):  
Stephen Hultgren
Keyword(s):  
Similar Pattern ◽  
Son Of Man ◽  
Important Clue ◽  
Story Time ◽  
Resurrection Of The Dead ◽  
The Dead ◽  
Intertextual Allusion

Abstract An important clue to the meaning of Mark 16,8 has not received adequate attention. The verse is an intertextual allusion to Dan 10,7. Daniel 10–12 establishes a pattern of revelation, concealment, and future revelation, in which the resurrection of the dead is apocalyptically deferred – its truth not confirmable until it happens at the end of days. A similar pattern of concealment and revelation characterizes Mark’s gospel. At the end of the gospel, the resurrection of Jesus is announced (and so revealed) in story time, but further concealed in discourse time. In the act of narrating, the message is once again revealed. With the omission of a resurrection appearance, however, the vision of the risen Lord remains concealed until the revelation of the Son of Man at the parousia.

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