By Grammatiki A. Karla, Grammatki A. Karla
This number of essays bargains a complete exam of texts that ordinarily were excluded from the most corpus of the traditional Greek novel and constrained to the margins of the style, comparable to the "Life of Aesop", the "Life of Alexander the Great", and the "Acts of the Christian Martyrs". via comparability and distinction, intertextual research and shut exam, the bounds of the dichotomy among the 'fringe' vs. the 'canonical' or 'erotic' novel are explored, and so the usual identification of the texts in each one team is extra sincerely defined. The collective end result brings the 'fringe' from the outer edge of scholarly learn to the centre of serious realization, and gives methodological instruments for the exploration of alternative 'fringe' texts.
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Fiction on the Fringe: Novelistic Writing in the Post-Classical Age
This selection of essays deals a finished exam of texts that typically were excluded from the most corpus of the traditional Greek novel and restricted to the margins of the style, akin to the "Life of Aesop", the "Life of Alexander the Great", and the "Acts of the Christian Martyrs".
Additional resources for Fiction on the Fringe: Novelistic Writing in the Post-Classical Age
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Mnemosyne Supplementum, 159. Leiden/New York/Cologne: 11–28 [rev. ed. 2003]. Hunter, R. ) (1998) Studies in Heliodorus. Proceedings of the Cambridge Philological Society, Supplementary Volume 21. Cambridge. Konstan, D. (1994) Sexual Symmetry: Love in the Greek Novel and Related Genres. Princeton. M. (1987) The Canon of the New Testament: Its Origin, Development, and Significance. Oxford. Morales, H. (2006) “Marrying Mesopotamia: Cultural Resistance and Female Sexuality in Iamblichus’ Babylonian Tales”, Ramus 35: 78–101.
Nevertheless, the transmission of the Story of Aesop shows that the various versions or translations which did not possess or respect a prescribed and strictly regulated narrative structure were far more widely disseminated than the G version. If this is something that we can safely agree upon, then we may argue that these texts carry from their origins (written all over their very genetic make-up, so to speak) those characteristics that make them apt to continual alteration in the process of 59 60 61 62 Thomas (1998) 289.
7–8. This text, written towards the end of the 4th century ce, distinguishes between different types of narrative and refers to the works of Petronius and Apuleius as “narratives full of the fictional adventures of lovers” (argumenta fictis casibus amatorum referta). 22 Brooks (1976 / 1995) viii. This is in some respects akin to Bourdieu’s formulation of an “aesthetic”: see Bourdieu (1984). On Bourdieu and ancient fiction see the introduction to Hansen (1988), but Hansen has not thought through the complexities of what constitutes “popular” literature in different periods of antiquity.