Dido's Murals and Virgilian Ekphrasis

Putnam, Michael C. J.

doi:10.2307/311344

Cited by 49 publications

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“…7. See Putnam (1998) 23-54. Williams (1960 145-48 notes the emphasis on Troilus' unarmed state that is underscored by this detail.…”

Section: Poetics Of Elision In the Siluae Dustin Heinenmentioning

confidence: 99%

“…15 Lysippus, Aristotle, favoring the Aristotelian view of mimesis not as an imitation of natural objects, but as an artistic work that speaks to the "shared conventions, traditions, and possibilities of a culture" (153). Concerning epic, Putnam (1998) considers the many overlapping ways that ekphrastic digressions serve as metaphors for the narrative in which they appear. Smith (2005) makes a similar contribution but focuses on the precedence of visual information on interpretation for the characters of the Aeneid.…”

Section: Poetics Of Elision In the Siluae Dustin Heinenmentioning

confidence: 99%

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Poetics of Elision in theSiluae

Heinen¹

2013

Illinois Classical Studies

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The lengthy descriptions in the Siluae of Statius evolved from, but stand in, unique contrast with earlier examples found in epic and epigrammatic poems. Statius’ poetics of elision, the practice of gapping or suppressing visual information in favor of verbal description or emotional response, is a means through which Statius propagates Flavian cultural and political ideology. The author uses but limits detailed visual information in his descriptions and favors instead stock descriptions that relate the drastic level of metamorphosis. This narrative type of description in the Siluae is typically overlooked or stated only as a concession when details are lacking or inaccurate, but Statius’ focus on vivid descriptions and artistic representation in his ekphrastic works is crucial to the success of these poems.

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“…7. See Putnam (1998) 23-54. Williams (1960 145-48 notes the emphasis on Troilus' unarmed state that is underscored by this detail.…”

Section: Poetics Of Elision In the Siluae Dustin Heinenmentioning

confidence: 99%

Section: Poetics Of Elision In the Siluae Dustin Heinenmentioning

confidence: 99%

Poetics of Elision in theSiluae

Heinen¹

2013

Illinois Classical Studies

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“…11 In the words of M. C. J. Putnam (1998a), 244, "with Daedalus' artisanship Aeneas shares the element of autobiography watching himself within an episode he views". See also M. C. J. , 173-174.…”

Section: The Spectaculamentioning

confidence: 99%

Pasiphae and Daedalus and the Four Panels of the Door of Apollo’s Temple (Vergil, Aeneid 6.20–30)

Vella¹

2010

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Vergilijaus Eneidos struktūra yra griežta ir simetriška, kartais net matematiškai tiksli. Būtent griežta simetrinė kompozicija leidžia įžvelgti simbolinį aprašomų dalykų turinį. Pasakojimo struktūros ir simbolių lygmens sąsajos ypač akivaizdžios giesmių pradžioje esančiose ekfrazėse. Jos dažniausiai yra tarsi įvadas į giesmės turinį. Vienu metu apibendrindamos tai, kas yra įvykę, ir tai, kas turi įvykti, tokios ekfrazės įgauna simbolinę prasmę ir yra vienas iš poemos idėjinių akcentų. Griežta simetrija sudėliotos eilutės parodo, kad Eneidos šeštosios giesmės pradžioje esanti ekfrazė (6. 20–30), viena vertus, yra tarsi įvadas į būsimas Enėjo klajones po mirusiųjų pasaulio labirintus. Kita vertus, joje aprašyti keturi Apolono šventyklos durų reljefai įprasmina ir Enėjo praeitį ir jo laukiančią ateitį. Juose atsispindi mirtis ir kančia, auka ir meilė; taigi tuo pat metu reljefai apibendrina bendrą žmogiškąją patirtį.

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Coda. Toward a Narratology of Ekphrasis

Cometa

2024

The Literary Life of Pictures

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Dido's Murals and Virgilian Ekphrasis

Cited by 49 publications

References 0 publications

Poetics of Elision in theSiluae

Poetics of Elision in theSiluae

Pasiphae and Daedalus and the Four Panels of the Door of Apollo’s Temple (Vergil, Aeneid 6.20–30)

Coda. Toward a Narratology of Ekphrasis

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