Horace's Well-trained Reader: Toward a Methodology of Audience Participation in the OdesLang, 2002 - 260 sider Horace's Well-Trained Reader explores the dynamic between Horace's poetic personae in the first three books of the Odes and the various audiences of those poems. Each chapter studies a selection of poems that are especially dense in programmatic content: the opening series and the closing pair of each book. The personae of these texts show an awareness of both internal and external audiences (for example, addressee and reader respectively). These lyric speakers and their expectations of us develop in a linear fashion over the three books. We are gradually trained to be fully involved audiences and to acknowledge that Horace's ego is an ethical leader at Rome by virtue of being a lyric poet who looks to both archaic and Hellenistic Greek models. Contents: The dynamic between Horace's poetic personae in selected Odes and the various audiences of those poems - Horace's lyricist as an ethical leader at Rome. |
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Side 48
... erotic content and its programmatic goals . Matthew Santirocco argues that the ode's erotic elements make a generic statement . C. 1.5 has implications , however , not just for the love poems but for Horatian lyric in general ...
... erotic content and its programmatic goals . Matthew Santirocco argues that the ode's erotic elements make a generic statement . C. 1.5 has implications , however , not just for the love poems but for Horatian lyric in general ...
Side 67
... erotic poetry in which failure to capture the object of one's desire makes this object all the more desirable . On a gross level , Horace's use of this rich system of allusions reminds us that , in Classical poetry , such a pursuit must ...
... erotic poetry in which failure to capture the object of one's desire makes this object all the more desirable . On a gross level , Horace's use of this rich system of allusions reminds us that , in Classical poetry , such a pursuit must ...
Side 91
... erotic , as well as his ability to manipulate his addressee and external audience . As does C. 1.5 , the two poems present controlling speakers , who are programmatic for later occurrences in this series of the erotic lyricist . C. 2.4 ...
... erotic , as well as his ability to manipulate his addressee and external audience . As does C. 1.5 , the two poems present controlling speakers , who are programmatic for later occurrences in this series of the erotic lyricist . C. 2.4 ...
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Horace's Well-trained Reader: Toward a Methodology of Audience Participation ... Elizabeth H. Sutherland Ingen forhåndsvisning - 2002 |
Almindelige termer og sætninger
addressee Alcaeus Alcaic allows Ancona Apollo argues audience's Augustan Augustus Augustus's Bacchus Band Band Band Barine Barine's become beginning behavior Callimachean carpe diem claim Cleopatra close closure Commager concerned context critical Davis divine dynamic elements emotional encounter entirely erotic ethical external audience final stanza foil fourth stanza Fraenkel Geloni genre Gigantomachy gives Horace Horace's ego Horatian identify imagery internal involvement Licymnia lines literary Lowrie lyric lyricist Maecenas Maecenas's military mise en abyme Monaeses monumentum Muses neque Nisbet-Hubbard 1978 nunc ode's Oliensis opening stanza Ovids pair philyra Pindaric poem poet poet's poetic poetry political Pollio Pöschl position potens present priamel puer Pyrrha reading Regulus Regulus's relationship represents response rhetorical Roman Odes Rome Rome's Santirocco 1986 scene scholars second stanza semper setting shift Soracte speaker suggests symposium sympotic Syndikus temporal thematic themes tone transition University Press Valgius virtus visual voice Xanthias