By Jo-Ann A. Brant
The essays during this quantity learn the connection among historical fiction within the Greco-Roman global and early Jewish and Christian narratives. they think about how these narratives imitated or exploited conventions of fiction to provide kinds of literature that expressed new rules or formed neighborhood identification in the transferring social and political climates in their personal societies. significant authors and texts surveyed comprise Chariton, Shakespeare, Homer, Vergil, Plato, Matthew, Mark, Luke, Daniel, three Maccabees, the testomony of Abraham, rabbinic midrash, the Apocryphal Acts, Ezekiel the Tragedian, and the Sophist Aelian. This assorted assortment finds and examines usual matters and syntheses within the making: the pervasive use and subversive strength of imitation, the excellence among fiction and background, and using historical past within the expression of id.
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Additional info for Ancient Fiction: The Matrix of Early Christian And Jewish Narrative
At that time you paraded my slander all the way to burial, now to a trial before the King. I have become a scandalous story in both Europe and Asia. (Future) “How will I look at the judge? What words must I listen to? Treacherous beauty, was this beauty given to me for this purpose alone—to fill the earth with slanders about me? The daughter of Hermocrates is being put on trial, and she doesn’t have her father as her advocate. ” The third example of an h)qopoii/a occurs earlier in the narrative than the previous one, specifically at the point where Callirhoe, having been kidnapped from Syracuse and taken to Miletus, is about to cross the Euphrates River into the interior of Asia.
On the role of these names in inculcating cultural knowledge, see Janine Debut, “De l’usage des listes de mots comme fondement de la pédagogie dans l’antiquité,” REA 85 (1983): 261–74, esp. 263–69. 33. Bour. 1, contains twenty-four maxims, one maxim for each letter of the alphabet (lines 169–239) (see Paul Collart, Les Papyrus Bouriant [Paris: Champion, 1926], 17–27). 34. For school texts containing Menandrian maxims, see Cribiore, Writing, 211, 226, 235–36, 239, 277–78. hock: the educational curriculum 21 play than any other, and one of these papyri comes from a student who had copied the first sixteen lines of the play, including this line.
4, where he takes up the verb e)gceirei=n, or “to undertake,” as well as the phrase proballome/nouj a)ei\ th\n a)gaqh\n e)lpi/da, or “always protecting themselves by good hope” (cf. 3) and later though more loosely still quite clearly (cf. 1). 71 Composition, however, was the principal activity at the tertiary stage, and, as already noted, it did not begin with full-length speeches but with a series of shorter but ever longer and more complex compositions called progymnasmata, fourteen in all: mu~qoi (fables), dihgh/mata (narratives), xrei=ai ([elaborations of] chreiai), gnw~mai ([elaborations of] maxims), a)naskeuai/ (refutations), kataskeuai/ (confirmations), koinoi\ to/poi (general topics), e)gkw/mia (encomia), yo/goi (condemnations), sugkri/seij (comparisons), h)qopoii/ai (short speeches consistent with a particular character), e)kfra/seij (descriptions), qe/seij (theses), and no/mou 67.
Ancient Fiction: The Matrix of Early Christian And Jewish Narrative by Jo-Ann A. Brant