In Lady Audley's ShadowMary Elizabeth Braddon and Victorian Literary Genres

Author(s):  
Saverio Tomaiuolo
Keyword(s):  

This volume provides the first comprehensive overview of the extant Greek and Latin letter collections of late antiquity (ca. 300-600 C.E.). Bringing together an international team of historians, classicists, and scholars of religion, it illustrates how letter collections advertised an image of the letter writer and introduces the social and textual histories of each collection. Nearly every chapter focuses on the letter collection of a different late ancient author—from the famous (or even infamous) to the obscure—and investigates its particular issues of content, arrangement, and publication context. On the whole, the volume reveals how late antique letter collections operated as a discrete literary genre with its own conventions, transmission processes, and self-presentational agendas while offering new approaches to interpret both larger letter collections and the individual letters contained within them. Each chapter contributes to a broad argument that scholars should read letter collections as they do representatives of other late antique literary genres, as single texts made up of individual components, with larger thematic and literary characteristics that are as important as those of their component parts.


Author(s):  
Carolina López-Ruiz

There was, without a doubt, a Phoenician and Punic literature. Very little of it is extant, but we have enough of it to gauge the great loss. Lacking the advantage of its own manuscript tradition and later cultures devoted to it, Phoenician literature was not systematically preserved, unlike that of the Greeks, Romans, and Israelites. What we have are small pieces that surface among the Classical literary corpus. Despite these unfavorable conditions, an impressive range of literary genres is attested, concentrated in particular genres. Some of this literature aligned with broader ancient Near Eastern tradition: cosmogony, foundation stories, historical records, and other areas that correspond with Phoenician expertise (travel accounts or itineraries, agricultural treatises). Other genres were likely adopted through Greek influence (narrative histories, philosophy). Moreover, from Hellenistic times onward, works by Phoenician authors had to be written and transmitted in Greek in order to survive. Nonetheless, the chapter cautions that we should not lightly categorize them as merely “Greek” literature, at least in the cases in which we know the authors are Phoenicians (including Carthaginians) writing about Phoenician matters.


Author(s):  
Robert Spoo

This chapter offers an overview of a genre that has attracted little attention qua genre: the legal paratext. Gérard Genette likened the paratext to a vestibule that operates as a zone of transition and transaction, a liminal space that prepares the reader’s experience of the text. Yet there are other, more cautionary paratexts that crowd, often invisibly, the vestibules of books and other cultural forms. This chapter surveys the transatlantic (American and British) repertoire of legal paratexts appearing in books, including copyright notices, once mandatory in the United States but now permissive there and in many countries; statements of US manufacture, deriving from a period in American publishing when copyright protection turned on strict compliance with the statutory requirement that books be physically manufactured on US soil; “all characters are fictitious” disclaimers, which urge readers to put aside their instinct to sue for libel or for privacy invasion and to engage with the text as a fictive and aesthetic creation; “no-obscenity” statements—a feature of many controversial modernist works—which seek to discourage official attempts at censorship and assure readers that books have been or are likely to be deemed by a court to be safe for consumption. Legal paratexts continue to crowd the vestibules of books, movies, musical recordings, and other works, warning readers, scolding them, and attempting to regulate their behavior in accordance with legal and corporate norms. They are linked to other literary genres, such as parody, satire, the apologia, and the palinode.


1987 ◽  
Vol 107 ◽  
pp. 188-188 ◽  
Author(s):  
D. M. Lewis
Keyword(s):  

It may be desirable to draw attention to an item of some interest for the history of literary genres which has just appeared in a Greek periodical which is not, as yet, widely accessible.Angelos Matthaiou (ΗΟΡΟΣ iv [1986] 31–4) publishes two grave stelai from Nikaia, between Athens and Piraeus. The script is unusual, in that the texts are written retrograde and from the bottom to the top of the stele. The obvious parallel for this is a funerary text discussed by Missjeffery in BSA lvii (1962) 136 no. 42 and dated by her around 540; one of her last scholarly observations was to confirm that the new texts appeared to be in the same hand.


Religions ◽  
2021 ◽  
Vol 12 (8) ◽  
pp. 562
Author(s):  
Todd Lawson

The purpose of this essay is to demonstrate how two distinct but deeply related literary genres, which had become especially prominent in the 7th century Nile-to-Oxus region, have left an enduring impression on the form and contents of the Quran. By saying this, it is not intended to suggest that the Quran was “influenced” by this or that extraneous or extra-textual phenomenon. Rather, it is suggested that, along the lines of the Quran’s own theory of revelation, it speaks through Muḥammad, “the language of his people” (Q14:4). Stated another away, the Quran employs themes and structures from both epic and apocalypse that would have been familiar to its audience in order to reveal and make clear its most cherished sacred truths, among which are: the Oneness of God, the Oneness of Religion and the Oneness of Humanity. Epic and apocalypse, then, emerge as features of the cultural and imaginative language of the intended audience of the Quran, just as Arabic is its “linguistic” language.


2015 ◽  
Vol 61 (2) ◽  
pp. 113-143 ◽  
Author(s):  
Udo Schnelle

Early Christianity is often regarded as an entirely lower-class phenomenon, and thus characterised by a low educational and cultural level. This view is false for several reasons. (1) When dealing with the ancient world, inferences cannot be made from the social class to which one belongs to one's educational and cultural level. (2) We may confidently state that in the early Christian urban congregations more than 50 per cent of the members could read and write at an acceptable level. (3) Socialisation within the early congregations occurred mainly through education and literature. No religious figure before (or after) Jesus Christ became so quickly and comprehensively the subject of written texts! (4) The early Christians emerged as a creative and thoughtful literary movement. They read the Old Testament in a new context, they created new literary genres (gospels) and reformed existing genres (the Pauline letters, miracle stories, parables). (5) From the very beginning, the amazing literary production of early Christianity was based on a historic strategy that both made history and wrote history. (6) Moreover, early Christians were largely bilingual, and able to accept sophisticated texts, read them with understanding, and pass them along to others. (7) Even in its early stages, those who joined the new Christian movement entered an educated world of language and thought. (8) We should thus presuppose a relatively high intellectual level in the early Christian congregations, for a comparison with Greco-Roman religion, local cults, the mystery religions, and the Caesar cult indicates that early Christianity was a religion with a very high literary production that included critical reflection and refraction.


2021 ◽  
pp. 528
Author(s):  
صافي محمود محفوظ ◽  
وائل سلام

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