Books: 'EPEC. eng' – Grafiati (2024)

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Abstract:

Medieval literature abounds in stories about animals, of which there are two main, easily distinguished, varieties: animal fables and beast epic.1 Animal fables claim Aesop as their source. They are small narratives in which animals act and speak, with even smaller morals tacked on at the end of the little stories. They involve many animals (e.g., mice, lambs, co*cks, foxes, birds, wolves, lions, and frogs). Such stories were used to teach schoolboys both Latin and some commonsense morality into the bargain (e.g., do not overeat; do not overreach; save up for the hard times; justice can be rough and ready, so keep clear of the predators). Beast epic, by contrast, is a group of interconnected narratives, set in the court of the lion; its single (anti-)hero is Reynard the Fox. Beast epic presents narratives of dark but vital humor that repeat the same narrative with many variations: its rhetorically brilliant fox, Reynard, outwits all comers by manipulating their bottomless greed. No matter how tight the corner into which Reynard has been backed, we know he will escape. He escapes through brilliant narrative control and intimate, intuitive knowledge of his enemies’ weaknesses. He exposes the arrogance of the greedy but even more damagingly the hypocrisy of the “civilized” order. We learn a fundamental truth from these stories: both animals and humans are predatory and self-interested ...

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Abstract:

This chapter’s discussion of Hernández de Velasco’s Eneyda de Virgilio traducida en verso castellano provides an understanding of the role translations of ancient epics played in the Renaissance. Writing poetry about war raised ethical questions about the justification of wars of conquest and expansion, as weighed against individual emotions. In that context the translation of Virgil acquires a subtext that moves beyond literary relevance and into the realm of philosophical inquiry. Rupp argues that, for Velasco, the translation of the Aeneid serves as a means of moral instruction because he casts Aeneas as an exemplar of Stoic virtue and examines the importance of control over intense emotional states.

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Abstract:

This book develops a new interpretation of Propertius’ use of Greek myth and of his relationship to Virgil, working out the implications of a revised relative dating of the two poets’ early works. It begins by examining from an intertextual perspective all of the mythological references in the first book of Propertius. Mythological allegory emerges as the vehicle for a polemic against Virgil over the question of which of them would be the standard-bearer for Alexandrian poetry at Rome. Virgil began the debate with elegy by creating a quasi-mythological figure out of Cornelius Gallus, and Propertius responded in kind: his Milanion, Hylas and several of his own Galluses respond primarily to Virgil’s Gallus. In the Georgics, Virgil’s Aristaeus and Orpheus are, in part, a response to Propertius; Propertius then responds in his second book via his own conception of Orpheus and Adonis. The polemic then took a different direction, in the light of Virgil’s announcement of his intention to write an epic for Octavian. Virgilian pastoral was no longer the antithesis of elegy, but its near neighbour. Propertius critiqued Virgil’s turn to epic in mythological terms throughout his second book, while also developing a new line of attack. Beginning in his second book and intensifying in his third, Propertius insinuated that Virgil’s epic in progress would turn out to be a tedious neo-Ennian annalistic epic on the military exploits of Augustus. In his fourth book, Propertius finally acknowledged the published Aeneid as a masterpiece; but by then Virgil’s death had brought an end to the fierce rivalry that had shaped Propertius’ career as a poet.

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Abstract:

This chapter argues for the prevalence and importance of catalogues in the poems of the Cycle, discussed in light of several new studies of the epic catalogue. Some inset narratives discussed in chapter 1 are revisited relative to their likely catalogic format (Cypria, Nostoi). The chapter includes discussion of the Catalogue of Trojan allies mentioned by Proclus as furnishing the end of the Cypria as well as a hypothetical catalogue of the heroes in the wooden horse (Little Iliad) and catalogues recounting distribution of spoils after the sack of Troy (Little Iliad, Ilioupersis), to which several fragments may be assigned. “Catalogic” narrative passages include the recruitment of Achaean heroes in the Cypria and description of the final battle for Troy in the Little Iliad and Ilioupersis.

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Abstract:

This chapter expounds the course of Gandhi’s evolving strategy against the caste system within its historical context. It presents a chronological account of Gandhi’s writings and life starting from 1932 (his epic fast unto death) to 1948 (his death). It analyses Gandhi’s writings during two periods, viz., 1932 to 1945, and 1945 to 1948, on the themes that emerge during those years on issues of untouchability, caste, varna, sanatani Hindu, inter-dining, and inter-caste marriage. Each section that studies the above-mentioned time periods is further divided into two sub-sections, the first on the historical background of the changing political context of each period, which in turn served to advance his movement against the caste system gradually, and second on how these themes themselves appear to shift in Gandhi’s writings. At the end the chapter also presents an overview of Gandhi’s strategy.

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This chapter presents an overview of early modern literary texts that address sin, when sin is understood as contempt levelled against the established order of the Church and public life. That salvation from sin might be achieved through individual effort, not exclusively through Divine grace, was a belief promoted by many sectarians but condemned by ecclesiastical and political authority, which saw only heresy and disorder in such belief. Judgement is seen in terms of penitence and confession, and of last things and end times. Scriptural warnings of the last days urge all people to be ready for imminent judgement; for the time is near when the unfaithful and wicked fall calamitously, but the faithful and obedient celebrate joyously in the Divine redemption. Eternity is described through epic, lyric, and prose texts that connect this earthly life to heavenly immortality, or light informing darkness, or the image of an unbroken circle.

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Of Mahler’s Des Knaben Wunderhorn songs, eighteen possess the characteristics traditionally associated with the ballad as defined by Goethe: telling a story that passes through time with a discrete beginning, middle, and end that uses any combination of epic, dramatic, and lyrical narrative voices, excepting the purely lyrical. Mahler utilised numerous poetic and musical methods to bring these stories to life in his ballads, one of the most unique being the use of traditional song forms as a device to convey the overarching narrative. At his most complex, Mahler was forced to abandon the traditional formal models, creating ballads that unfold like miniature scenas to best convey the narrative material at hand. With his ballads from Des Knaben Wunderhorn, Mahler refashioned tools that song composers had used for over a century, as a further layer of narrative reinforcement, tangling the old with the new, and modernising by way of nostalgia.

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This chapter demonstrates how—through a complicated chain of intermediary texts—the depiction of Satan's fall through Chaos in book 2, which invokes the myth of Icarus, and the Son's successful ride in the paternal chariot of God at the end of the War in Heaven in book 6, which rewrites the story of Phaethon, both trace back to the De rerum natura of Lucretius. They counter the Roman poet's depiction of an Epicurean cosmos ordered by chance and in a constant state of falling through an infinite void—the “vast vacuity” of Chaos. The myths of these highfliers who fall are further countered in Paradise Lost by the motif of poetic flight. The shaping power of poetry itself and the epic high style counteract the specter of a universe without bound and dimension, or of the shapelessness of Death; poetry raises the poet over his fallen condition.

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‘My title speaks not merely of war, but also of the crumbling of a regime and the end of a world.’ The penultimate novel of the Rougon-Macquart cycle, La Débâcle (1892) takes as its subject the dramatic events of the Franco-Prussian War and the Commune of 1870-1. During Zola's lifetime it was the bestselling of all his novels, praised by contemporaries for its epic sweep as well as for its attention to historical detail. La Débâcle seeks to explain why the Second Empire ended in a crushing military defeat and revolutionary violence. It focuses on ordinary soldiers, showing their bravery and suffering in the midst of circ*mstances they cannot control, and includes some of the most powerful descriptions Zola ever wrote. Zola skilfully integrates his narrative of events and the fictional lives of his characters to provide the finest account of this tragic chapter in the history of France. Often compared to War and Peace, La Débâcle has been described as a ‘seminal’ work for all modern depictions of war.

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History is the title of the latest novel by Elsa Morante.1 However, don’t expect to find in these pages epic or tragic tales of the dramas that have shaken the world from antiquity to modern times. In Elsa Morante’s eyes, History is not the great collective events told in newspapers, recorded in books, and scrupulously summarized by her at the beginning of each chapter. Rather, it is the obscure repercussion of these events in the hearts and bodies of the individuals who experience them, usually without even understanding them. There are a small number of specialists, such as intellectuals and politicians, who comprehend the unfolding of events and attempt to participate in them lucidly. Some Italian critics have reproached Elsa Morante for not having chosen them for her heroes. For her, every life, even the most humble, is a human adventure that is unique and complete. “All lives, really,” she writes, “have the same end: and two days, in the brief passion of a kid like Useppe, are not worth less than years.”...

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This chapter examines Nigel Walmsley's space odyssey in In the Ocean of Night and Across the Sea of Suns, which span the dates from 1999 to 2061. By the end of the first novel, Nigel has discovered a cosmic struggle between machine intelligence and organic life that will soon engulf Earth. Through several contacts with alien artifacts and entities that had come to Earth in both prehistoric and recent times, he predicts the coming of the machines. In Across the Sea of Suns, Nigel does battle with the machines with the help of organic life forms he finds on the moon of a planet in distant Epsilon Eridani. In the process, he reaffirms what he had earlier discovered on Earth: that, in the evolutionary sense, the boundary between machine and organism is not clear cut. The stamp of Arthur C. Clarke's Space Odyssey is clearly on both In the Ocean of Night and Across the Sea of Suns. The chapter analyzes the two novels in order to understand how Gregory Benford launched his space epic.