Allusion and Intertext: Dynamics of Appropriation in Roman Poetry

Lowrie, Michèle; Hinds, Stephen

doi:10.2307/4352297

Cited by 6 publications

(5 citation statements)

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“…53 For the idea of "immanent literary history", see Schmidt et al 2001. For allusion as a way of shaping literary history, see Hinds 1998 andDeremetz 2001: 147: "la tradition n'existe que mobilisée par des textes; chaque texte, en choisissant ses modèles, en respectant certaines règles de production, institue et désigne lui-même la tradition vive à laquelle il prétend se rattacher." 54 I borrow this phrase from Hinds 1998: 123.…”

Section: Intertextualityunclassified

Embedded Narratives in Silius Italicus’ <i>Punica</i>

Broek¹

2024

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Section: Intertextualityunclassified

Embedded Narratives in Silius Italicus’ <i>Punica</i>

Broek¹

2024

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“…Certain allusions are so constructed as to carry a kind of built-in commentary, a kind of reflexive annotation, which underlines or intensifies their demand to be interpreted as allusions. 84 That is, the imitation or repetition of key words or phrases call attention to themselves as citations or imitations, and for the reader who recognizes this textual move, brings with it all of the cultural freight and weight of the original text, while also demonstrating how clever the new poet is for making that kind of connection. In nineteenth-century sculpture, the imitative, allusive practice can vary from being explicit to a single central prototype, or to the object class.…”

Section: [Place Fig 12]mentioning

confidence: 99%

‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater

Gustin¹

2022

Word & Image

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Emma Stebbins' untraced statue, The Lotus-Eater (ca. 1857-60) purports to illustrate Alfred Tennyson's poem of the same title, in turn derived from an episode in the Odyssey of Homer. This essay addresses the tension between Stebbins' sculpture and its busts and Tennyson's text. It brings into the discussion a body of antique visual and literary material to which Stebbins had access, images of and references to Antinous, the youthful and tragic lover of the emperor Hadrian. Although the great flowering of Antinous scholarship and critique for queer men developed later in the nineteenth century, this argues that the material was readily available for Stebbins, particularly through the writings of Johan Joachim Winckelmann and the objects in Rome, where she worked; later authors like John Addington Symonds developed their commentary and fiction on Antinous from the same sources. The paper brings together the thematic and visual resonances, references, and overlaps between the texts and images. It uses close attention to the formal qualities of the sculpture and the content of Tennyson's poem to consider roads not taken, and how those options demonstrate the ambiguity in Stebbins' finished sculpture: that is, its lack of clear moral or didactic content through its selection of the lotus-eater and Antinoan imagery, rather than a martial or moralizing figure from the poem. It demonstrates the complexity and subtly of Stebbins' selection of sources for her sculpture, and her rich, multivalent play between texts and images.

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“…Cf. Hinds 1998: 1-5 on the "Alexandrian footnote", a term borrowed from Ross (1975: 78), and referring to "the signaling of specific allusion by a poet through seemingly general appeals to tradition and report" (Hinds 1998: 1-2), e.g. fama est, ferunt, dicitur, ut perhibent, etc.…”

Section: The Aeneid: Deiphobus and Helenmentioning

confidence: 99%

Blaming Helen: Vergil’s Deiphobus and the Tradition of Dead Men Talking

De Boer

2019

Eugesta

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This paper reconsiders the narrative of his own death delivered by the shade of Deiphobus in Aeneid 6 (509-530). This episode is usually compared to Agamemnon’s encounter with Odysseus in the first nekuia of the Odyssey, but I argue that the underworld meeting of Agamemnon and Amphimedon in the second nekuia (Odyssey 24.121-190) is also an important intertextual model. Deiphobus and Amphimedon both accuse a woman – Helen, Penelope – of conspiring with their sexual rivals – Menelaus, Odysseus – to bring about their deaths. Yet comparison of Amphimedon’s and Deiphobus’ narratives highlights the misleading and self-aggrandizing character of their rhetoric and raises questions about how women are represented by male narrators and by the epic tradition more broadly. This paper suggests that Deiphobus’ narrative works together with other competing and contradictory views of Helen within the Aeneid in order to fracture the epic tradition’s univocal representation of her – and women more generally – as casus belli.

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Allusion and Intertext: Dynamics of Appropriation in Roman Poetry

Cited by 6 publications

References 0 publications

Embedded Narratives in Silius Italicus’ <i>Punica</i>

Embedded Narratives in Silius Italicus’ <i>Punica</i>

‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater

Blaming Helen: Vergil’s Deiphobus and the Tradition of Dead Men Talking

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