Starting from two texts In a brief but influential essay, entitled "Manger aux pays du s... more Starting from two texts In a brief but influential essay, entitled "Manger aux pays du soleil," Jean-Pierre Vernant examined two stories connected with Helios (the Sun god). The first takes place on the mythical Island of the Sun in book 12 of the Odyssey (260-402) and the second in the land of Ethiopia, as recounted by Herodotus in his Histories (3.17-26). The link between these two sites, as Vernant sees it, is justified, not only because the locale in each case is a "land of the Sun," but because they are concerned with modes of nourishment and their proper protocols. In this, my own contribution to Vernant's memory and legacy, I would like to pay another visit, once again to the Ethiopians, who inhabit the ends of the earth, but now as they are represented in a late work of ancient prose fiction, The Ethiopian Tale , whose author identifies himself only in the last lines of the work as Heliodorus of Emesa (in Syria). There is more than one reason why I think this new journey to distant Ethiopia accords well with Vernant's broader interests and areas of concern, starting from his insistence on the specific contours of Greek culture as distinct from our own forms of thought and sensibility, and focusing in particular on issues of religion, myth and ritual. A second point of relevance pertains to his study of the visual arts, especially regarding the status of the image and its relation to reality - an issue that will, in fact, turn out to be the central feature of Heliodorus' plot. A third point considers the categories of self and other, this time as an interrogation of Hellenism itself in a polyglot world, in which Hellas itself is no longer the center nor is Greek the only language spoken, leading finally to contested evaluations of color, race, and ancestry.
This essay looks at the rhetorical trope of ekphrasis, first in a general overview of the topic a... more This essay looks at the rhetorical trope of ekphrasis, first in a general overview of the topic and then in a brief discussion of the question of likeness with regard to portraiture, taking as my three examples, the description of Callirhoe in Chariton, the portrait of Panthea in Lucian’s twinned dialogues, Eikones and Huper tôn eikonôn, and the image of Andromeda in Heliodorus as the model itself for the girl, Charicleia. This is a paradoxical (even perverse) move, perhaps, because in a sense, these are not strictly ekphrases at all, but rather are dependent on audience recognition of an inherited storehouse of images and texts.
Ekphrasis is a slippery topic. Although included in this volume as a rhetorical figure (or figure... more Ekphrasis is a slippery topic. Although included in this volume as a rhetorical figure (or figure of speech), its uses and functions far exceed this single classification. Whether defined as a rhetorical exercise, a literary genre (or mode), a narrative digression, a species of description, or a poetic (even metapoetic or meta-representational) technique, the properties associated with ancient ekphrasis are not in doubt. First and foremost are the qualities of enargeia (vividness), sapheneia (clarity), and phantasia (mental image), which, taken together, aim to turn listeners (or readers) into viewers and to evoke an emotional response through an appeal to the immediacy of an imagined presence. Yet, beyond this brief definition, the word 'ekphrasis' immediately ushers us into a whole set of questions regarding its intermedial status in a potential contest between verbal and visual representations, the uses of mimesis with regard to verisimilitude (reality-illusion; truth-fiction), and its cognitive, psychological, and mnemonic values in the cultural expectations of its era. It would not be hyperbole to suggest that no other rhetorical term has aroused such interest in recent years among classicists and non-classicists alike, involving aesthetic considerations, theories of vision, modes of viewing, mental impressions, and the complex relationships between word and image. 1 But to begin at the beginning: formally, ekphrasis begins life as a technical term found in Greek rhetorical handbooks (of the second to fourth centuries CE), mainly for the training of orators and epideictic speech, under the label progymnasmata or preliminary exercises for students in the competitive culture of declamation: 2 'Ekphrasis is a descriptive speech that brings the thing shown vividly before the * Many thanks to Michael Squire for astute commentary and invaluable discussion. Translations from Heliodorus are my own; other translations are indicated in the notes. 1 Standard modern references are M. Krieger, Ekphrasis. The
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
Page 1. BEFORE SEXUALITY THE CONSTRUCTION OF EROTIC EXPERIENCE IN THE ANCIENT GREEK WORLD DAVID M... more Page 1. BEFORE SEXUALITY THE CONSTRUCTION OF EROTIC EXPERIENCE IN THE ANCIENT GREEK WORLD DAVID M. HALPERIN JOHN]. WINKLER FROMA I. ZEITLIN EDITORS Page 2. Page 3. BEFORE SEXUALITY This One 8L9C-NQU-ZGGR Page 4. Page 5. ...
Page 1. The Vicarious Witness Belated Memory and Authorial Presence in Recent Holocaust Literatur... more Page 1. The Vicarious Witness Belated Memory and Authorial Presence in Recent Holocaust Literature* FROMA I. ZEITLIN 1. TWO MODELS Whatever form Holocaust testimonies may assume?diaries, memoirs, oral reports ...
Page 1. UNDERtheSIGN of the SHIELD SECOND EDITION SEMIOTICS AND AESCHYLUS' SEVEN AGAINST... more Page 1. UNDERtheSIGN of the SHIELD SECOND EDITION SEMIOTICS AND AESCHYLUS' SEVEN AGAINST THEBES * Froma I. Zeitlin Page 2. ... 2. Seven against Thebes (Greek mythology) in literature. 3. Semiotics and literatureGreece. 4. Thebes (Greece)In literature. ...
Page 1. Travesties of Gender and Genre in Aristophanes' Thesmophoriazousae Froma... more Page 1. Travesties of Gender and Genre in Aristophanes' Thesmophoriazousae Froma I. Zeitlin Three of Aristophanes' eleven extant comedies use the typical comic device of role reversal to imagine worlds in which women ...
Starting from two texts In a brief but influential essay, entitled "Manger aux pays du s... more Starting from two texts In a brief but influential essay, entitled "Manger aux pays du soleil," Jean-Pierre Vernant examined two stories connected with Helios (the Sun god). The first takes place on the mythical Island of the Sun in book 12 of the Odyssey (260-402) and the second in the land of Ethiopia, as recounted by Herodotus in his Histories (3.17-26). The link between these two sites, as Vernant sees it, is justified, not only because the locale in each case is a "land of the Sun," but because they are concerned with modes of nourishment and their proper protocols. In this, my own contribution to Vernant's memory and legacy, I would like to pay another visit, once again to the Ethiopians, who inhabit the ends of the earth, but now as they are represented in a late work of ancient prose fiction, The Ethiopian Tale , whose author identifies himself only in the last lines of the work as Heliodorus of Emesa (in Syria). There is more than one reason why I think this new journey to distant Ethiopia accords well with Vernant's broader interests and areas of concern, starting from his insistence on the specific contours of Greek culture as distinct from our own forms of thought and sensibility, and focusing in particular on issues of religion, myth and ritual. A second point of relevance pertains to his study of the visual arts, especially regarding the status of the image and its relation to reality - an issue that will, in fact, turn out to be the central feature of Heliodorus' plot. A third point considers the categories of self and other, this time as an interrogation of Hellenism itself in a polyglot world, in which Hellas itself is no longer the center nor is Greek the only language spoken, leading finally to contested evaluations of color, race, and ancestry.
This essay looks at the rhetorical trope of ekphrasis, first in a general overview of the topic a... more This essay looks at the rhetorical trope of ekphrasis, first in a general overview of the topic and then in a brief discussion of the question of likeness with regard to portraiture, taking as my three examples, the description of Callirhoe in Chariton, the portrait of Panthea in Lucian’s twinned dialogues, Eikones and Huper tôn eikonôn, and the image of Andromeda in Heliodorus as the model itself for the girl, Charicleia. This is a paradoxical (even perverse) move, perhaps, because in a sense, these are not strictly ekphrases at all, but rather are dependent on audience recognition of an inherited storehouse of images and texts.
Ekphrasis is a slippery topic. Although included in this volume as a rhetorical figure (or figure... more Ekphrasis is a slippery topic. Although included in this volume as a rhetorical figure (or figure of speech), its uses and functions far exceed this single classification. Whether defined as a rhetorical exercise, a literary genre (or mode), a narrative digression, a species of description, or a poetic (even metapoetic or meta-representational) technique, the properties associated with ancient ekphrasis are not in doubt. First and foremost are the qualities of enargeia (vividness), sapheneia (clarity), and phantasia (mental image), which, taken together, aim to turn listeners (or readers) into viewers and to evoke an emotional response through an appeal to the immediacy of an imagined presence. Yet, beyond this brief definition, the word 'ekphrasis' immediately ushers us into a whole set of questions regarding its intermedial status in a potential contest between verbal and visual representations, the uses of mimesis with regard to verisimilitude (reality-illusion; truth-fiction), and its cognitive, psychological, and mnemonic values in the cultural expectations of its era. It would not be hyperbole to suggest that no other rhetorical term has aroused such interest in recent years among classicists and non-classicists alike, involving aesthetic considerations, theories of vision, modes of viewing, mental impressions, and the complex relationships between word and image. 1 But to begin at the beginning: formally, ekphrasis begins life as a technical term found in Greek rhetorical handbooks (of the second to fourth centuries CE), mainly for the training of orators and epideictic speech, under the label progymnasmata or preliminary exercises for students in the competitive culture of declamation: 2 'Ekphrasis is a descriptive speech that brings the thing shown vividly before the * Many thanks to Michael Squire for astute commentary and invaluable discussion. Translations from Heliodorus are my own; other translations are indicated in the notes. 1 Standard modern references are M. Krieger, Ekphrasis. The
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].
JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, a... more JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
Page 1. BEFORE SEXUALITY THE CONSTRUCTION OF EROTIC EXPERIENCE IN THE ANCIENT GREEK WORLD DAVID M... more Page 1. BEFORE SEXUALITY THE CONSTRUCTION OF EROTIC EXPERIENCE IN THE ANCIENT GREEK WORLD DAVID M. HALPERIN JOHN]. WINKLER FROMA I. ZEITLIN EDITORS Page 2. Page 3. BEFORE SEXUALITY This One 8L9C-NQU-ZGGR Page 4. Page 5. ...
Page 1. The Vicarious Witness Belated Memory and Authorial Presence in Recent Holocaust Literatur... more Page 1. The Vicarious Witness Belated Memory and Authorial Presence in Recent Holocaust Literature* FROMA I. ZEITLIN 1. TWO MODELS Whatever form Holocaust testimonies may assume?diaries, memoirs, oral reports ...
Page 1. UNDERtheSIGN of the SHIELD SECOND EDITION SEMIOTICS AND AESCHYLUS' SEVEN AGAINST... more Page 1. UNDERtheSIGN of the SHIELD SECOND EDITION SEMIOTICS AND AESCHYLUS' SEVEN AGAINST THEBES * Froma I. Zeitlin Page 2. ... 2. Seven against Thebes (Greek mythology) in literature. 3. Semiotics and literatureGreece. 4. Thebes (Greece)In literature. ...
Page 1. Travesties of Gender and Genre in Aristophanes' Thesmophoriazousae Froma... more Page 1. Travesties of Gender and Genre in Aristophanes' Thesmophoriazousae Froma I. Zeitlin Three of Aristophanes' eleven extant comedies use the typical comic device of role reversal to imagine worlds in which women ...
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