The concept of mimesis has dominated reflection on the nature and role, in Greek literature, of representation. Jonas Grethlein, in his ambitious new book, takes this reflection a step further. He argues that, beyond mimesis, there was an important but unacknowledged strand of reflection focused instead on the nuanced idea of apatē (often translated into English as 'deceit'), oscillating between notions of 'deception' and 'aesthetic illusion'. Many authors from Gorgias and Plato to Philo, Plutarch and Clement of Alexandria used this key concept to entwine aesthetics with ethics. In creatively exploring the various reconfigurations of apatē, and placing these in their socio-historical contexts, the book offers a bold new history of ancient aesthetics. It also explores the present significance of the aesthetics of deception, unlocking the potential of ancient reflection for current debates on the ethical dimension of representation. It will appeal to scholars in classics and literary theory alike.
A fresh and original introduction to the Odyssey—and how it continues to shape literature, film, art and even the ways we make sense of our lives Reading the Odyssey is an introduction to Homer’s masterpiece like no other. It combines a cultural and intellectual history of the epic with an in-depth exploration of its unique and influential narrative structure and the ways it continues to inform issues of identity, meaning and experience. Reading the Odyssey begins with a broad history of the epic’s reception and interpretation, its place in cultural and intellectual history and its influence today on literature, film and art. After introducing the literary form of the Odyssey, the book turns to its main focus: the layered narrative that lies at the heart of the poem. Taking readers on a tour of the epic, Jonas Grethlein shows the nuanced ways the Odyssey uses a wide variety of narrative forms and functions. At the same time, he highlights how we all rely on narratives, first used by Homer, to form identities, forge communities and make sense of our lives. The result is a compelling guide to the Odyssey that demonstrates why it continues to speak so powerfully to so many readers today.
The taxonomies of narratology have proven valuable tools for the analysis of ancient literature, but, since they were mostly forged in the analysis of modern novels, they have also occluded the distinct quality of ancient narrative and its understanding in antiquity. Ancient Greek Texts and Modern Narrative Theory paves the way for a new approach to ancient narrative that investigates its specific logic. Jonas Grethlein's sophisticated discussion of a wide range of literary texts in conjunction with works of criticism sheds new light on such central issues as fictionality, voice, Theory of Mind and narrative motivation. The book provides classicists with an introduction to ancient views of narrative but is also a major contribution to a historically sensitive theory of narrative.
The past is narrated in retrospect. Historians can either capitalize on the benefit of hindsight and give their narratives a strongly teleological design or they may try to render the past as it was experienced by historical agents and contemporaries. This book explores the fundamental tension between experience and teleology in major works of Greek and Roman historiography, biography and autobiography. The combination of theoretical reflections with close readings yields a new, often surprising assessment of the history of ancient historiography as well as a deeper understanding of such authors as Thucydides, Tacitus and Augustine. While much recent work has focused on how ancient historians use emplotment to generate historical meaning, Experience and Teleology in Ancient Historiography offers a new approach to narrative form as a mode of coming to grips with time.
This book serves as both a cultural and reception history of Homer's great epic, the Odyssey, and as an in-depth exploration of the literary styles that mark the narrative out as so unique and influential. It begins with a broad survey of the Odyssey's presence in intellectual history as well as in the arts today, in literature, art, and film, and goes on to familiarise the reader with the literary form of Homeric epic and all of its peculiarities, before focusing in on the book's central thread: the narrative. The Odyssey is not only a gripping story in its own right, it also features several stories within it: the recitals of the bards; the homecoming stories of the Greek heroes after the fall of Troy; Odysseus' own report of his adventures, and the falsified stories through which he conceals his identity. Narrative presents itself as a principal theme for a comprehensive reading of the poem, and at the same time speaks powerfully to issues of identity, meaning, and experience in today's society. We all use narratives to make sense of our lives, to form identities, and to forge communities, and Grethlein shows us how Homer mastered the true art of storytelling. Across eight chapters, he takes the reader on a tour of the poem exemplifying the ways in which it reflects, with great nuance, on the various forms and functions of narrative. He highlights, in particular, its capacity to help individuals understand their experiences and themselves; to overcome contingency; and to bestow meaning on events in retrospect. Grethlein demonstrates, artfully, the ways in which the Odyssey has provided us with one of the most influential narrative schemas on which we rely, and emphasises the continuing relevance of the poem to modern readers and the modern world"--
In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars.
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