DOCSLIB.ORG

The Elegiac Grotesque

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Elegiac Grotesque The Elegiac Grotesque by Mariapia Pietropaolo A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Classics University of Toronto © Copyright by Mariapia Pietropaolo 2013 The Elegiac Grotesque Mariapia Pietropaolo Doctor of Philosophy Graduate Department of Classics University of Toronto 2013 Abstract In Roman elegy the poet-lover has recourse to images of ugliness and disfigurement when he discovers that he is unable to retain the favour of his beloved with his love and verses. He degrades his opponents and suggests that his beloved herself succumbs to the fascination of horrid lovers. In this thesis I explore the theme of elegiac degradation from the perspective of grotesque hermeneutics, with the aim of showing that the grotesque plays a significant role in the development and self-understanding of elegy, the genre in which it is least expected. After discussing relevant aspects of grotesque theory, I show that the historical premises for a grotesque reading of Roman love poetry are found in Lucretius’ diatribe against love, a powerful philosophical gesture against the sentimentalizations of love and a strong argument for a poetics of love grounded in grotesque materialism. I then turn to Catullus, focusing on his bold use of grotesque imagery. Catullus admits the grotesque ii into the domain of love poetry and shows that, beneath the surface of elegance and urbanity that typifies romantic love, there lurks a reality that is both defiled and defiling. Turning to elegy proper, I analyze Propertius’ use of the grotesque focusing on his creation of a grotesque ethos within the aesthetic space of elegy. In that ethos signifiers of beauty and romance reveal an underside that both degrades the ideals they represent and disturbs the interpretive focus of the reader conditioned by conventions. I then examine Tibullus’ approach to elegiac grotesque aesthetics, finding that he engages the reader in a self-allusive exercise that leads to the discovery of grotesque signs both concealed and illuminated by the poetic conventions of elegy. By means of this technique, Tibullus accomplishes his elegiacization of the grotesque. Finally, Ovid reveals that the presence of the grotesque in elegy, the sense of foreignness that accompanies it, and the impression that the logic of the genre is destabilized by it are all already inherent in the very premises of elegy and are generated by its very logic. iii Acknowledgements In writing this thesis I have received support and encouragement from several people, whom I am delighted to thank here. First and foremost I would like to express my deepest gratitude to my supervisor, Professor Alison Keith, without whose unfailing guidance and generous support throughout my entire career as a student at the University of Toronto I would not have been in this field and come this far. She has always been there for me with clear and focused advice and kind words of encouragement. I am grateful to her for her mentorship and inspiration. My other committee members, Professors Erik Gunderson and Jill Ross, were both supportive and exceedingly helpful throughout the process. They continuously challenged me to do more than I thought I could do. I thank them for urging me to think boldly about my subject at every step of the way. I am also grateful to Professor Victoria Wohl for her insightful reading of my thesis, and to Professor Barbara Gold for serving as the external examiner and for all her generous advice. I must also thank my fellow members of the Lehrstuhl for their inspiring papers and insightful feedback on mine. And I express my gratitude to the many friends with whom I have shared life as a graduate student, commiserating and rejoicing with them on many an occasion. It is impossible to express all that I owe to my parents for their support, love and understanding throughout my thesis and throughout my life. Finally I thank Tim Perry, who truly understood what I was going through at every stage. His patience, love, and support, unwavering and profound, have been and continue to be a great source of strength for me. iv Table of Contents Introduction ..................................................................................................................... 1 Chapter 1 Aspects of the Grotesque in Lucretius’ Diatribe Against Love…................................. 20 Chapter 2 The Catullan Grotesque ................................................................................................. 60 Chapter 3 The Grotesque Rival, Lena and Puella in Propertian Elegy........................................... 95 Chapter 4 Tibullus’ Elegiac Grotesque.......................................................................................... 153 Chapter 5 The Ovidian Elegiac Grotesque..................................................................................... 192 Conclusion .................................................................................................................... 247 Abbreviations................................................................................................................. 261 Bibliography ................................................................................................................. 262 v Introduction Roman elegy makes frequent use of themes of ugliness and disfigurement, and it juxtaposes these with images of ideal beauty and sentiment. In order to overcome the obstacles to his erotic relationship, the poet-lover repeatedly represents his rivals and opponents in such a way as to ridicule their appearance and to degrade their social standing. My purpose in this thesis is to explore the theme of corporeal, intellectual, and social degradation from the perspective of the aesthetics of the grotesque. I undertake to show that the grotesque plays a significant role in the self-definition of the genre in which it is least expected.1 Grotesque and idealizing imagery constitute the polarities of a dialectic that lies at the core of elegy. Classical scholars have long been interested in the use of grotesque imagery in such genres as comedy, invective, and satire.2 There is a sophisticated discussion of the grotesque in these areas of classical literature, which are concerned in part with themes of transgression and excess. Grotesque imagery occurs frequently also in genres, such as elegy, that foreground love and beauty, but no systematic treatment of the phenomenon in this genre has yet been attempted. With this thesis I hope to make a contribution to our understanding of elegy from the perspective of grotesque aesthetics, building on such works as the two special issues of Arethusa devoted respectively to the relevance of Bakhtin to classical studies (volume 26) and to the analysis of the theme of vile bodies in satire (volume 31), as well as on the scholarship of Braund, Gold, and Miller, among others. The corporeal discourse of elegy 1 See Richlin (1992, chapters 2 and 3), who suggests that, in opposition to satire, elegy maintains an idealizing attitude towards women and boys. 2 Cf. e.g. Braund and Gold (1998); Christenson (2001); Gunderson (2005). 1 2 has yet to be read from a grotesque perspective.3 Such a reading, however, is necessary because, as we shall see, it is not otherwise possible to understand fully the essence of elegy. For the grotesque is inherent in the very concept of elegiac love. In their introduction to the special issue of Arethusa on the corporeal discourse in Roman satire, Susanna Morton Braund and Barbara K. Gold express the hope that their collection of articles might offer “a provocation and inspiration for further work on this field.”4 This thesis is a response to their invitation from within the domain of elegiac scholarship. The field that the Arethusa special editors have in mind is perhaps satire, and their intent may be to provoke its further exploration in light of modern theories of vile literary bodies, especially the theory of the grotesque in conjunction with other theoretical methodologies relevant to particular themes and images. Satire is a genre in intimate terms with the grotesque, which provides it with an aesthetic instrument of denigration. Other genres, however, may be fruitfully brought into the horizon of grotesque studies. In this thesis, I will attempt to build on the foundation of the Arethusa scholars by applying a grotesque hermeneutic to amatory elegy and to the love poetry that immediately preceded it. Though elegy is a genre that, at first appearances, resists dialogue with the grotesque, appearances are deceiving: I will show that throughout the elegiac tradition, the grotesque emerges frequently from within the poetic substance of elegy, sometimes coming only partly into view but at other times claiming a central position on its stage. The Roman elegists have systematic recourse to the grotesque in the depiction of the poet-lover’s rival, of the lena, of the puella and of love itself. Their use of the concepts of degradation, bestial behaviour, and physical ugliness are all aspects of the 3 In contrast, much has been written on the puella’s and on the lover-poet’s body. Cf. e.g. Wyke (2002). See also Keith (1994) and (1999), Sharrock (1991). 4 Braund and Gold (1998). 3 aesthetic principles of the grotesque, though each author assumes a different stance and emphasizes different aspects of the grotesque. Common to all is a concept of the elegiac genre as incorporating grotesque elements in its aesthetic form and
Load more

Recommended publications
  • Renaissance Receptions of Ovid's Tristia Dissertation
    RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological.
    [Show full text]
  • MIAMI UNIVERSITY the Graduate School
    MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Gretchen Linnea Dietz Candidate for the Degree Doctor of Philosophy ______________________________________ Jason Palmeri, Director ______________________________________ Kate Ronald, Reader ______________________________________ John Tassoni, Reader ______________________________________ Elaine Miller, Graduate School Representative ABSTRACT RECONNECTING RHETORIC AND POETICS: STYLE AND THE TEACHING OF WRITING by Gretchen L. Dietz This dissertation examines the disconnect between rhetoric and poetics in the field of composition studies and argues that style can mend this frayed relationship. Chapter one asserts that rhetoric and poetics were separated by historical accident; however, the poetic tradition is central to rhetorical study and must be reclaimed, and style serves as a key concept. Chapter two analyzes the figures in rhetorical manuals and recovers these tools for style pedagogy. Chapter three reclaims visual theories from classical rhetoric and shows how these theories reinvigorate pedagogy and allow us to think about style beyond alphabetic text. Chapter four asserts that style can be practiced within a larger aesthetic approach to the teaching of writing that invites creative experimentation and risk. The study includes student writing and student interviews; it also makes the case for alternative assessment practices. Finally, chapter five argues that the field can and should take style seriously, from the first-year writing course to graduate training to overall programmatic goals. This requires imagination and consciously looking beyond our disciplinary limits. RECONNECTING RHETORIC AND POETICS: STYLE AND THE TEACHING OF WRITING A DISSERTATION Presented to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English by Gretchen L.
    [Show full text]
  • Cicero's Style
    MNS-245-albrecht.qxd 03/04/2003 12:13 Page i CICERO’S STYLE MNS-245-albrecht.qxd 03/04/2003 12:13 Page ii MNEMOSYNE BIBLIOTHECA CLASSICA BATAVA COLLEGERUNT H. PINKSTER • H. S. VERSNEL D.M. SCHENKEVELD • P. H. SCHRIJVERS S.R. SLINGS BIBLIOTHECAE FASCICULOS EDENDOS CURAVIT H. PINKSTER, KLASSIEK SEMINARIUM, OUDE TURFMARKT 129, AMSTERDAM SUPPLEMENTUM DUCENTESIMUM QUADRAGESIMUM QUINTUM MICHAEL VON ALBRECHT CICERO’S STYLE MNS-245-albrecht.qxd 03/04/2003 12:13 Page iii CICERO’S STYLE A SYNOPSIS FOLLOWED BY SELECTED ANALYTIC STUDIES BY MICHAEL VON ALBRECHT BRILL LEIDEN • BOSTON 2003 MNS-245-albrecht.qxd 03/04/2003 12:13 Page iv This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Albrecht, Michael von. Cicero’s Style: a synopsis / by Michael von Albrecht. p. cm. – (Mnemosyne, bibliotheca classica Batava. Supplementum ; 245) Includes bibliographical references (p. ) and index. ISBN 90-04-12961-8 1. Cicero, Marcus Tullius–Literary style. 2. Speeches, addresses, etc., Latin–History and criticism. 3. Latin language–Style. 4. Rhetoric, Ancient. 5. Oratory, Ancient. I. Title. II. Series. PA6357.A54 2003 875’.01–dc21 2003045375 ISSN 0169-8958 ISBN 90 04 12961 8 © Copyright 2003 by Koninklijke Brill NV, Leiden, The Netherlands All rights reserved. No part of this publication may be reproduced, translated, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior written permission from the publisher. Authorization to photocopy items for internal or personal use is granted by Brill provided that the appropriate fees are paid directly to The Copyright Clearance Center, 222 Rosewood Drive, Suite 910 Danvers, MA 01923, USA.
    [Show full text]
  • The Elegiac Grotesque
    The Elegiac Grotesque by Mariapia Pietropaolo A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Classics University of Toronto © Copyright by Mariapia Pietropaolo 2013 The Elegiac Grotesque Mariapia Pietropaolo Doctor of Philosophy Graduate Department of Classics University of Toronto 2013 Abstract In Roman elegy the poet-lover has recourse to images of ugliness and disfigurement when he discovers that he is unable to retain the favour of his beloved with his love and verses. He degrades his opponents and suggests that his beloved herself succumbs to the fascination of horrid lovers. In this thesis I explore the theme of elegiac degradation from the perspective of grotesque hermeneutics, with the aim of showing that the grotesque plays a significant role in the development and self-understanding of elegy, the genre in which it is least expected. After discussing relevant aspects of grotesque theory, I show that the historical premises for a grotesque reading of Roman love poetry are found in Lucretius’ diatribe against love, a powerful philosophical gesture against the sentimentalizations of love and a strong argument for a poetics of love grounded in grotesque materialism. I then turn to Catullus, focusing on his bold use of grotesque imagery. Catullus admits the grotesque ii into the domain of love poetry and shows that, beneath the surface of elegance and urbanity that typifies romantic love, there lurks a reality that is both defiled and defiling. Turning to elegy proper, I analyze Propertius’ use of the grotesque focusing on his creation of a grotesque ethos within the aesthetic space of elegy.
    [Show full text]
  • ANNE CARSON's ERROR POETICS a Thesis Submitted to the Faculty of the Graduate
    “AN INTERESTING AND VALUABLE MENTAL EVENT”: ANNE CARSON’S ERROR POETICS A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English By Kate Middleton Washington, DC 1 May, 2009 The research and writing of this thesis was completed with generous support from many people. First and foremost has been the assistance and support of Professor Carolyn Forché, who has guided me through this process. I would like to thank Ass. Professor David Gewanter, whose questions never fail to yield interesting avenues of discovery as I search for their answers. Thanks are also due to my graduate school colleagues Rachel Dunleavy, Rebecca Viser, Sharon Chua and Matthew Rehbein, and friends Brandon Lussier, Chris Eichler and Thom White, all of whom have read parts of my work, listened to me frame my ideas and helped me think through the implications of my arguments. I would also like to offer my gratitude to Melissa Ashley, who first introduced me to the work of Anne Carson. Finally, the greatest thanks are due to my family, without whom I would not have been able to undertake this thesis. With most sincere appreciation, Kate Middleton ii TABLE OF CONTENTS Introduction …………………………………………………………………….. 1 Chapter 1: “Essay on What I Think About Most: An Ars Poetica ………… 16 Chapter 2: Watching and Waiting: Error and Emotional Space in “The Glass Essay” ………………………………………………………………………………….. 39 Chapter 3: “The Archaeology of Troy is an Archaeology of Guns”: Error in the Lyric Voice …………………………..……………………………………………….
    [Show full text]
  • Personification: an Introduction
    Personification: An Introduction Walter S. Melion and Bart Ramakers Personification, or prosopopoeia, the rhetorical figure by which something not human is given a human identity or ‘face’, is readily spotted, but the figure’s cognitive form and function, its rhetorical and pictorial effects, rarely elicit scholarly attention. As a communicative device it is either taken for granted or dismissed as mere convention. The aim of this volume is to formulate an alternative account of personification, to demonstrate the ingenuity with which this multifaceted device was utilized by late medieval and early mod- ern authors and artists. The fact that literary and pictorial genres designed to appeal to large audiences, such as festival plays and royal entries, often uti- lize allegorical personification, indicates that the figure was seen to accom- modate a wide spectrum of tastes and expectations. Personification operates in multiple registers—sensory and spiritual, visible and invisible, concrete and abstract—and it deals in facts, opinions, and beliefs. With reference to the visible, current events and situations were represented by means of per- sonifications that objectified various social groups and institutions, as well as their defining ambitions and the forces that motivated them. As regards the invisible, processes of thinking, feeling, and experiencing were bodied forth by means of personifications that revealed how these modi operandi were constituted. Our interest in personification is motivated by several trends that have emerged over the last decade in cultural (historical) studies, whereby artistic expression is approached from the point of view of the body, performance, and cognition. Seen in light of these trends, personification (along with the texts and artifacts that employ the figure) offers many research opportuni- ties.
    [Show full text]
  • Concepts of Amplification in Rhetorical Theory. Verne R
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1968 Concepts of Amplification in Rhetorical Theory. Verne R. Kennedy Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Kennedy, Verne R., "Concepts of Amplification in Rhetorical Theory." (1968). LSU Historical Dissertations and Theses. 1404. https://digitalcommons.lsu.edu/gradschool_disstheses/1404 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfihned exactly as received 68—10,746 KENNEDY, Veme R., 1941- CONCEPTS OF AMPLIFICATION IN BHETOKICAL THEORY. Louisiana State University and Agricultural and Mechanical CoH^e, Ph.D,, 1968 %)eech University Microfilms, Inc., Ann Arbor, Michigan Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. CONCEPTS OF AMPLIFICATION IN RHETORICAL THEORY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by Verne R. Kennedy B.A., Belhaven College, 1963 M.A., Louisiana State University, 1965 January, 1968 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGEMENTS The writer wishes to express his gratitude to Professor Waldo W. Braden, director of the study, and to Professor Owen M. Peterson for their guidance and assistance.
    [Show full text]
  • Tropic Architecture John S
    Roger Williams University DOCS@RWU School of Architecture, Art, and Historic School of Architecture, Art, and Historic Preservation Faculty Publications Preservation 2015 Tropic Architecture John S. Hendrix Roger Williams University, [email protected] Follow this and additional works at: http://docs.rwu.edu/saahp_fp Part of the Architecture Commons Recommended Citation Hendrix, John S., "Tropic Architecture" (2015). School of Architecture, Art, and Historic Preservation Faculty Publications. Paper 32. http://docs.rwu.edu/saahp_fp/32 This Conference Proceeding is brought to you for free and open access by the School of Architecture, Art, and Historic Preservation at DOCS@RWU. It has been accepted for inclusion in School of Architecture, Art, and Historic Preservation Faculty Publications by an authorized administrator of DOCS@RWU. For more information, please contact [email protected]. Tropic Architecture John Hendrix Mannerist architects in the Cinquecento created what can be called “tropic architecture.” They set out to break the rules of classical architecture, but the rule-breaking was done systematically, by applying rhetorical tropes, or fig- ures of speech, to architectural composition, the four most common being metaphor, metonymy, synecdoche, and irony. According to Kristeller, rheto- ric was an important basis of Renaissance humanism. Students learned tropes and other figures of speech from well-circulated classical texts such as the Rhetorica ad Herennium and Quintilian’s Institutio oratorio . Examples of tropic devices can be found in works such as Giulio Romano’s Palazzo del Te and Michelangelo’s Porta Pia. There are many examples of mannerist works of architecture in the twentieth century that used the same tropic de- vices.
    [Show full text]
  • ABSTRACT Figuring Jesus: the Power of Rhetorical Figures Of
    ABSTRACT Figuring Jesus: The Power of Rhetorical Figures of Speech in the Gospel of Luke Keith A. Reich, Ph.D. Mentor: Mikeal C. Parsons, Ph.D. This dissertation examines Luke’s use of rhetorical figures of speech on the lips of Jesus as a means of persuading his audience to accept a role-reversing message that challenged the social, religious, economic and political systems in the Roman Empire. A figure of speech is the use of either words or thoughts in a way that is uncommon or out of the ordinary. Because figures of speech are the “uncommon” use of language, they stand out to an audience and grab their attention. They are an artful ordering of words designed to be powerful, memorable, and to seize attention. This dissertation takes seriously the adage that says, “It’s not what you say, it’s how you say it.” The form of the Lukan Jesus’ speech is just as important as the content of that speech. To ignore the form of Jesus’ speech is to ignore the power and persuasiveness of his message. Luke uses figures of speech in various ways to persuade his audience of the gospel message. He uses figures of speech to fulfill the stylistic virtues of clarity and ornamentation. Fulfilling these stylistic virtues makes the Lukan Jesus’ argument easy to follow and impressive, serving as an ethos argument to portray Jesus as one who speaks like the social elites. Further, Luke uses figures as a means of argument and persuasion to draw the audience to side with Jesus and to participate in his message.
    [Show full text]
  • The Phenomenology of Deviant Standpoint As a Function of Gender and Class in Paulinus of Nola, Poems 18
    Seeing (not) seeing: the phenomenology of deviant standpoint as a function of gender and class in Paulinus of Nola, Poems 18 ALEX DRESSLER University of Wisconsin – Madison [email protected] In all revolutions there are some members of the privileged class who join the revolutionary class, and some oppressed individuals who remain loyal to the privileged class... This is because nation or class are neither fatalities that subjugate the individual from the outside, nor for that matter values that he posits from within. They are, rather, modes of coexistence that solicit him – Merleau-Ponty 1945 (2012), 380. 1. Introduction: phenomenology, deviant standpoint, metapoetics This paper examines a cluster of intertexts that coalesce in the late fourth century CE Christian poet Paulinus of Nola but range backwards through the classical Roman poets, Horace and Catullus, and the archaic Greek lyric poet, Sappho. Through this range of authors, I develop a phenomenological approach to literary history, using a passage from EuGeStA - n°8 - 2018 204 ALEX DRESSLER Paulinus (c. 18.276-80) to wrest some Marxist and feminist possibilities from the earlier, largely patriarchal and always aristocratic tradition. I base my analysis on two well-established, literary and sociological concepts. The first is the Latinist Don Fowler’s description of “deviant focalization” in Roman poetry: this describes the incursion of perspectives ostensibly opposed to that of the narrator or author – that is, moments in which the questions “Who speaks?” or “Who sees?” become complex or irresolvable1. The second is the concept of “double-consciousness” used by the Hellenist John Winkler to describe the complex experience of society expressed in Sappho’s lyrics: “Because men define and exhibit their language and manners as the culture and segregate women’s language and manners as subculture..
    [Show full text]
  • The Figures in Renaissance Theory and Practice
    Cambridge University Press 978-0-521-86640-8 - Renaissance Figures of Speech Edited by Sylvia Adamson, Gavin Alexander and Katrin Ettenhuber Excerpt More information Introduction: the figures in Renaissance theory and practice The common scholemasters be wont in readynge, to saye unto their scholers: Hic est figura: and sometimes to ask them, Per quam figuram? But what profit is herein if theygo no further? Richard Sherry( 1550) A figure is ever used to a purpose, either of beautie or of efficacie... George Puttenham (1589) Critical sophistication in this period comes in the form of rhetorical analysis,but while we maybe impressed bythe technical acumen which can applaud a ‘prettyepanorthosis’, it is more difficult for us to feel the same kind of enthusiasm for such verbal effects. Neil Rhodes (1992) The central concern of this volume is to provide a more complete account of the value and appeal of the figures of rhetoric to literarystudies than has previouslybeen available. Our method of enquirytakes the form of a set of case studies of specific figures, which, taken together, aim to elucidate the opinion of Puttenham and answer the scepticism represented byRhodes. 1 The role of this introduction is to provide a context for the case studies by setting the figures in their place in the larger rhetorical system and setting rhetoric in its place in Renaissance literate culture. Toask questions about the role of the rhetorical figures in English Renais- sance literature is to engage with a theoretical system that at first glance might not seem to fit at all. The system of classical rhetoric inherited by the Renaissance had theorised public speaking, rather than private writing, and was an expression of the political and legal cultures of ancient Greece and Rome, a world awayfrom those of early-modernEurope.
    [Show full text]
  • Xerox University Microfilms 300 North Zoeb Road Ann Arbor, Michigan 4S106 I R I R 74-3344
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that die photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]