Apuleius, Phaedrus, Martial and the intersection of genres, in M.P. Futre Pinheiro, J.R. Morgan (eds.), Literary memory and new voices in the ancient novel (ANS 29), Barkhuis & Groningen University Library, Groningen 2022, pp. 67-82. (original) (raw)
Related papers
Transforming the Genre: Apuleius’ Metamorphoses
Ancient narrative, 2007
This paper compares the plot-line of Apuleius' Metamorphoses to that of the ideal novels. Comparison shows that Apuleius alters the dynamics of the typical romance plot by emphasizing Lucius' pursuit of slavish pleasures, and by introducing a model of marriage between a mortal and the divine. This change to the ‘ideal' structure is due to the religious end to the work. The validity of this reading is best confirmed by the mirror text of Cupid and Psyche , which is embedded in the center of the novel and more closely follows the model structure of the ideal novels, as if the author wished to offer a key to interpreting the surrounding narrative. Stavros Frangoulidis is Associate Professor at the Department of Classics, University of Crete. He is the author of Roles and Performances in Apuleius' Metamorphoses and of Handlung und Nebenhandlung: Theater, Metatheater und Gattungsbewusstein in der romischen Komodie , both published by Metzler. He has also published extens...
Transforming the Genre, Apuleius' Metamorphoses, Ancient Narrative Suppl. 8
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Modern Literary Theory and the Ancient Novel: Poetics and Rhetoric, edited by Marília P. Futre Pinheiro, Stephen A. Nimis, and Massimo Fusillo, 2022
Modern critical terminology is full of references to ancient literary theory, whose precepts are often used as a starting point for new theories. Unfortunately, the opposite situation does not occur often. While there has been some progress in recent years in applying the methods of modern critical theory and the insights of related disciplines such as narratology, reader-response theory and modern and post-modern criticism to classical literature and specifically to the area of the ancient novel, only sporadically has classical literature been studied and analyzed according to these exegetical trends. The course taken by research in literary studies has also demonstrated that rhetoric is a fundamental discipline forTheory of Literature and for literary praxis. It is not only a science for the future but also a science à la mode, which finds its own place on the edge of structuralism, “New Criticism”, and semiology. In the Greek world under the Roman Empire, the tradition of rhetorical learning reached its heyday in the second century A.D., with the cultural movement named as “Second Sophistic”. Despite the emphasis on rhetoric, literary culture lato senso was was also part of it, granting a special place to poetics and literary criticism. In the wake of this hermeneutical and interdisciplinary approach, the papers assembled in this volume explore significant issues, which are linked to the narrative structure of the ancient novel and to the tradition of rhetorical learning, both envisaged as a web of well-constructed narrative devices.
ECHOES OF ROMAN SATIRE IN APULEIUS' METAMORPHOSES
Desultoria Scientia. genre in Apuleius' Metamorphoses and Related Textssts, 2006
The focus of this article is the relation of Apuleius' Metamorphoses with a group of texts, the genre of Roman Satire, rather than with particular passages or authors. Zimmerman concentrates on both the shared topics of Satire and the Metamorphoses and on the similarities in narrative voice. It is pointed out that satire and Apuleius' novel similarly treat a mixture of high and low genres, incorporating the low ones and often debunking the high. Both are hybrid, parasitic genres, exploiting and reforming other texts. Attention is drawn on both Satire and The Metamorphoses as "unauthorized texts" , with ambivalences in authorial voice, as well as the self-satire or self-ironizing persona of the narraor, which is a feature of many satires of Horace and Juvenal, but also of for instance Menippean satire, and becomes rather prominent in the metamorphoses of Apuleius. :
1994
In 1986, the work of Gian Biagio Conte was little known in this country. Indeed, the avowed purpose of The Rhetoric of Imitation, published in that year, was, as Charles Segal stated in his foreword to the volume, to "bring [. .. ] before an English-speaking public a book that consolidates new approaches to literary study with erudition, originality, and penetrating insight. " 1 In some ways, the volume succeeded brilliantly, introducing Conte to a wide American readership and making him an active force in Latin studies on these shores. But whether by accident or design, one result of the book has been to feed the ongoing debate among American Latinists about whether attention to literary theory is a way to rejuvenate the profession or a distraction from its basic mission. A tendency on the part of readers largely unfamiliar with his work to regard Conte as an apostle of continen tal theory, combined with the fact that RI is by no means a theoretical primer for classicists but a collection of work that relates a certain kind of practical criticism to selected theoretical issues, may have meant that the publication of the book created expectations that could not be satisfied. The primary theme of RI is the nature of the relationship between distinct texts that exhibit a particular type of similarity, a phenomenon that is variously called imitation, emulation, allusion, reference, or intertextuality-a branch of literary study in which classicists have always been active. It is a small but significant irony that American students of Greco-Latin intertextuality share with Conte an indebtedness to the great Italian classicist Giorgio Pasquali, whose paper on arte allusiva articulates clearly the importance of such research to all students of classical literature. 2 But where American scholars have tended to emphasize those aspects of the art of allusion that appear to remain firmly under the control of the masterful hand of the poet, Conte instead has preferred to explain the phenomenon as a property of texts that must be noted and interpreted by readers as if it were any other rhetorical figure as a textual rather than a psychological effect. From a certain perspective, these two approaches to intertextuality appear highly complementary and compatible. Unfortunately, some members of the 1 Gian Biagio Conte, The Rhetoric of Imitation: Genre and Poetic Memory in Virgil and Other Latin Poets, edited and with a foreword by Charles Segal, (Ithaca, 1986), 17; hereafter cited as RI.