Paulinus Noster

Conybeare, Catherine

doi:10.1093/0199240728.001.0001

Cited by 198 publications

(4 citation statements)

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“…41.1); but highly varied arrangements of the letters within the manuscript tradition suggest that neither Paulinus nor a later editor produced a denitive edition. 22 Essentially the same situationalbeit on a considerably larger scaleobtains for the rather more voluminous correspondence of Augustine.…”

Section: Eleven Latin Letter Collectionsmentioning

confidence: 86%

On the Nature of Ancient Letter Collections

Gibson

2012

J. Rom. Stud.

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There exists a strong link in modern thinking between letter collections and biographical or historical narration. Many ancient letter collections have been rearranged by modern editors along chronological lines, apparently with the aim of realizing the biographical and historiographical potential of these ancient collections. In their original format, however, non-fictional Greco-Roman letter collections were arranged predominantly by addressee or by theme (often without the preservation of chronology within addressee or thematic groupings), or they might be arranged on the principle of artful variety and significant juxtaposition. Consequently, some purpose or purposes other than biographical or historical narration must be attributed to ancient letter collections. This paper asks what those purposes might be.

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Section: Eleven Latin Letter Collectionsmentioning

confidence: 86%

On the Nature of Ancient Letter Collections

Gibson

2012

J. Rom. Stud.

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“…With this verse, writes Evenepoel 1995, 514, "Paulinus crosses a line"; cf. Conybeare 2002, 197f., Harvey 2006, 204, 213-21, Brown 2012, 220f. 104 -Lucr.…”

Section: Paulinus and Horace Odes 113: Comedy And Class-consciousnessmentioning

confidence: 99%

Seeing (not) seeing: the phenomenology of deviant standpoint as a function of gender and class in Paulinus of Nola, Poems 18

Dressler

2018

Eugesta

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Identifying an allusion to classical Greco-Roman poetry in a monologue (or prosopopoeia) of a cowherd by the fourth century Latin poet, Paulinus of Nola (c. 18.276-80), this article explains the emergence of the category of labor as a response to a process of Christian radicalization from the representation of erotic paroxysm in Sappho (fr. 31: “I see nothing in my eyes”), through the classical Latin poets Catullus (c. 51) and Horace (c. 1.13, 22). In view of Paulinus’ renunciation of wealth and repurposing of elite culture for the poor, his reception of Sappho suggests that ancient men of property could recognize the perspectives of their subordinates and resist their own political interests through poetic production, and specifically metapoetics, as a result of the ambiguity of embodiment and sensation posited in the modern philosophy of phenomenology and commonalities of gender and class explicated in post/modern social theory. Attributing the combination of these factors to a “deviation” in “focalization” (D. Fowler) and a “doubling” of “consciousness” (J. Winkler) in the producer of the poem (Paulinus), the article uses the Marxist-feminist concept of standpoint to develop a phenomenological approach to literary history, which promises to recover, not the experience of the poor and marginal (or “subaltern”) in ancient literature, but the form of their experience, as an “imputation of consciousness” (G. Lukács), which may well be a distinctive mark of literature.

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“…Goldschmidt translates as 'people...not able to read', 31 Conybeare as 'peasants...not trained to read.' 32 However, what would be the point of putting up tituli if nobody is able to read them anyway? Literacy, of course, in rural areas cannot be considered to have been very high; 33 yet Paulinus must have been able to assume that at least some of the visitors to his church were able to read the tituli themselves and to read them out to others.…”

Section: Inmentioning

confidence: 99%

“…Roberts has pointed out the difference: 43 The actual account of the martyrdom [as given by the verger] depends for the most part on factual information that can either be inferred from the picture or is standard in martyr narratives. To the latter category belong the generalised descriptions of persecution (29-30), the refusal to sacrifice (31)(32), the immobilising of the saint for poena (43), and the liberation at death (85-92), the last amplified to meet the special circumstances of Cassian's passion. Closest to the content of the picture is the description of the pupils' assault on their teacher in verses 45-S6.…”

Section: Rvmentioning

confidence: 99%

The Body is Not Painted On: Ekphrasis and Exegesis in Prudentius Peristephanon 9

Kässer¹

2002

Ramus

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Simonides once called painting silent poetry and poetry articulate painting. Comparing the two ‘sister arts’ in the sixth or fifth century BCE, he wrote the first chapter of a story which, even if one thinks only of antiquity, is a rather long one, and in which many of the issues raised seem tremendously complex. In addition, many ancient authors wanted to add their own passages to this story, and quite naturally different writers arrived at very different conclusions about the two arts' respective relationships. Yet however different these conclusions were, no writer, as a writer, could avoid agreeing with Simonides on a basic thing: any statement about the visual arts is inevitably a hermeneutical effort to make the visual speak, and in doing so it equally inevitably implies a deficit of the visual arts: namely, that art cannot speak and needs some form of ‘translation’ to be communicated. Discussing art in written texts, then, cannot but entail implicitly a statement about writing's hermeneutical superiority; this is the case even if the statement may explicitly deny any such superiority. It has been argued that this deficit in art is real and that there does exist a ‘Hermeneutic Gap’ in painting; whereas verbal discourse, so the argument goes, operates with a ‘hermeneutic of understanding’, painting, by contrast, is bound to a ‘hermeneutic of calculated misunderstanding’. Certainly there are paintings for which such a statement is correct—but there may be as many cases in which a text only construes such a gap and uses it as a good opportunity to establish its own hermeneutic superiority by contrasting itself with an image which is supposedly less precise in communicating meaning.

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Paulinus Noster

Cited by 198 publications

References 0 publications

On the Nature of Ancient Letter Collections

On the Nature of Ancient Letter Collections

Seeing (not) seeing: the phenomenology of deviant standpoint as a function of gender and class in Paulinus of Nola, Poems 18

The Body is Not Painted On: Ekphrasis and Exegesis in Prudentius Peristephanon 9

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