Warfare and the Structure of Thought in Virgil's Aeneid

Vance, Eugène

doi:10.2307/20537683

Cited by 4 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…35 Finally and more importantly, however, the legend of Troy offered to poets an occasion to explore their consciousness of language, of language as the living expression of the social order-and even of language as the medium of poetic art. "34 However, to a good poet, the archetype of Troy's fall exemplified much more than a drama of political revenge, for only at its most superficial level does the historia of Troy deal with the sacking of the city at the hands of the Greeks.…”

Section: Language and Troymentioning

confidence: 99%

Mervelous Signals: Poetics, Sign Theory, and Politics in Chaucer's Troilus

Vance¹

1979

New Literary History

Self Cite

View full text Add to dashboard Cite

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 support@jstor.org.. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History. in forme of speche is chaunge ... Troilus and CriseydeURING THE LAST TWO DECADES, there has been an astonishing increase of speculation within the humanities and social sciences about the nature and function of language as a system of signs, a system perhaps primal to all others constituting human culture. The study of literature has become especially receptive to the post-Saussurean debate on the nature of verbal signs, and for good reason: if literature can be said to exist at all, it exists only as signs-or rather, in the written letters signifying those signs.Paradoxically, as modern semiology and its cousin disciplines reveal, with time, their aporias, hence, the limits of their utility, we are simultaneously discovering to what extent a radical anxiety about the sign and its functions has always marked the consciousness of the West. More and more we are discovering that if there is any future for semiology, it lies to a large extent in a reflection upon its own rich past.l One consequence of this new archaeological interest in the notion of sign is the growing awareness that during more than a thousand years, the most resourceful minds of what we call the Middle Ages speculated unceasingly, often passionately, about the nature and function of language as a privileged system of signs. Indeed, one could perhaps claim without exaggeration that sign theory, as it developed within and across the three branches of the trivium, or the three "arts of language" (artes sermocinales), is the most singular feature of the intellectual coherence of the Middle Ages, seen as a phase of Western culture. In any case, between the fourth and fourteenth centuries, the debate about signs repeated and renewed itself many times over, until the humanists, who invented the concept of the Middle Ages in the first place, altered the nature and purpose of that debate in a profound way, as Cesare Vasali, Nancy S. Struever, and others have shown.2 My purpose in this article is, first, to set forth a few commonplace medieval notions about the relationship between the order of verbal PM All use subject to JSTOR Terms and Conditions NEW LITERARY HISTORY signs and social order; and second, to show how a poet-in this case, Chaucer-could incorporate this metalinguistic consciousness into his strategies of composition. I shall refer principally to the Troilus andCriseyde, though one could examine with much profit other works of Chaucer (the Book of the Duchess, the House of Fame, and the Canterbury Tales, for instance) and also many of the sources of Chaucer's poetry, and find there a ...

show abstract

Section: Language and Troymentioning

confidence: 99%

Mervelous Signals: Poetics, Sign Theory, and Politics in Chaucer's Troilus

Vance¹

1979

New Literary History

Self Cite

View full text Add to dashboard Cite

show abstract

Ars and the Man: The Politics of Art in Virgil's Aeneid

Bartsch¹

1998

Classical Philology

View full text Add to dashboard Cite

Le cheval de Troie et le motif indo-européen de la triple mort au livre II de l’ Énéide de Virgile (v. 35-38)

Meulder¹

2021

Dialogues d'Histoire Ancienne

View full text Add to dashboard Cite

Au livre II de l’ Énéide (v. 35-38), dans l’ordre donné à leurs compatriotes par certains Troyens dont Capys, de détruire le Cheval de Troie, Virgile semble faire référence au motif indo-européen de la triple mort, par crémation, par une arme, par noyade, motif qui n’est attesté ni par l’ Odyssée , ni par certains écrivains grecs qui reprennent l’épisode du célèbre Cheval. Malgré l’intervention du prêtre Laocoon et trompés par la fausse prophétie de Sinon, les Troyens n’exécuteront les guerriers grecs cachés dans le Cheval par aucune des trois morts.

show abstract

Warfare and the Structure of Thought in Virgil's Aeneid

Cited by 4 publications

References 0 publications

Mervelous Signals: Poetics, Sign Theory, and Politics in Chaucer's Troilus

Mervelous Signals: Poetics, Sign Theory, and Politics in Chaucer's Troilus

Ars and the Man: The Politics of Art in Virgil's Aeneid

Le cheval de Troie et le motif indo-européen de la triple mort au livre II de l’ Énéide de Virgile (v. 35-38)

Contact Info

Product

Resources

About