By Helen Lovatt, Caroline Vout
This wide-ranging, interdisciplinary assortment explores other ways of visualising Greek and Roman epic from Homer to Statius, in either historic and smooth tradition. The ebook offers new views on Homer, Virgil, Ovid, Lucan, Valerius Flaccus and Statius, and covers the re-working of epic topic in tragedy, opera, movie, overdue vintage speeches of compliment, story-boarding, sculpture and wall-painting. The chapters use a number of how to tackle the connection among narrative and visuality, exploring how and why epic has encouraged artists, authors and administrators and delivering clean visible interpretations of epic texts. subject matters and matters mentioned comprise: intermediality, ekphrasis and panegyric, phantasm and deception, imagery and deferral, alienation and involvement, the multiplicity of attainable visible responses to texts, three-dimensionality, miniaturisation, epic as cultural capital, and the specificity of genres, either literary and visible.
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Extra resources for Epic Visions: Visuality in Greek and Latin Epic and its Reception
It is perhaps also why ekphrasis, once dismissed as irrelevant, is, like simile and other visual tropes and visions, a key site for getting to grips with the essence of epic. Dinter’s reflection on the relationship between different media continues in two chapters that treat text and film. These provocative essays compare the workings of epic spectatorship and narrative respectively to the real films of Quentin Tarantino (Gervais, Chapter 6) and hypothetical film imagined through storyboards (Fotheringham and Brooker, Chapter 7).
29 Fig. 5 Odyssey landscapes, c. 40 BCE, panels 2 and 3. Introduction their way, they are not stalled so much as encouraged to continue, with the same protagonists appearing from scene to scene, and the division of scenes falling within a panel rather than behind a column. As they progress from one pilaster to the next, it is as though the frieze is moving. 91 According to literary theorist Gérard Genette, although the Odyssey is ‘neither a continuation nor a sequel’ of the Iliad, ‘its secondary character is inscribed in its very subject, which is a sort of partial epilogue of the Iliad’.
The sense of continuity and contamination between the two genres becomes clearer, if we take a diachronic perspective. Tragedy has already had a profound effect on epic by the time of Apollonius. 35 When we move through Ovid to the Neronian period, the relationship between the two genres becomes even more complex. 37 Schiesaro goes on to explore Senecan tragedy in terms of Brechtian ‘epic theatre’: the theory that dramatic performance needs to engender critical distance by producing alienation rather than identification.