![]() ![]() Le premier approche aux textes a été une lecture des fragments lisible du papyrus, dont on avait des photographie, mais la thèse présente au meme temp une rétrospective sur le contexte festif, la daphnéphorie thébaine, et sur le genre parthéneé et daphnéphorique. Il s’agit très probablement de deux parthénées, écris pour des commanditaires thébaines, la famille d’Aeolada, vers 440 a. IV 659 et attribués à l’unanimité à Pindare. La thèse est structurée comme une édition critique des fragments 94 a et 94 b M., transmis par P. In an epilogue I attempt to bring the symbolic role of space in connection with the performance context of the symposium, in which these poems were performed: city metaphors are connected with sympotic plays of 'guessing', the erotic symbolism of the countryside reveals a projection of the erotic fantasies of the sympotic group, and the symbolism of danger of the sea serves to reinforce the cohesion of the sympotic group. I argue that space predominantly has a symbolic role: the city is a political and an erotic metaphor, the countryside has erotic associations, and the sea has associations with danger. This theoretical framework is applied in three subsequent chapters on the city (chapter two), the countryside (chapter three) and the sea (chapter four), in which I offer detailed readings of 32 lyric poems. ![]() ![]() Generally speaking, I distinguish between a role as setting or frame and a symbolic role (symbolic associations and metaphor, including personification). Therefore, a theoretical framework inspired by narratology, phenomenology and metaphor theory is developed in the first chapter. My central research question concerns the role space has in archaic Greek lyric poetry (7th-5th C.B.C.). ![]()
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