Through a series of close readings centered primarily on Virgil's Aeneid, Kirk Freudenburg shows that the experiential effects that Virgil puts into play do serious narrative work of their own by structuring lines of sight, both visual and emotive, and shifting them about in ways that move readers (interpellated as viewers) into and out of the visual and emotional worlds of the story's characters.
Through a series of close readings centered primarily on Virgil's Aeneid, Kirk Freudenburg shows that the experiential effects that Virgil puts into play do serious narrative work of their own by structuring lines of sight, both visual and emotive, and shifting them about in ways that move readers (interpellated as viewers) into and out of the visual and emotional worlds of the story's characters.
Kirk Freudenburg is Brooks and Suzanne Ragen Professor of Classics at Yale University. His previous publications include Satires of Rome: Threatening Poses from Lucilius to Juvenal and, as editor, The Cambridge Companion to Roman Satire.
Inhaltsangabe
Introduction Seeing with Eyes Tightly Shut Two Worlds in Dialogue: Film Analysis and Classic Narratology Chapter One: Introducing Suture Tracking Turnus: Visual Pursuit Watching Paris: Hatred at First Sight Sightings, First and Last: the Insect Similes of the Aeneid Chapter Two: Precedents in Earlier Roman Poetry Getting High with Lucretius Vertical Relations The Grammar of Angles Taken The Other Side of High: Positioning Pathos Chapter Three: Seeing as Telling The Temple Ecphrasis of Aeneid 1 Aeneas the Neoteric Duces Feminae: Fade to Dido Image Pairs: the Catullan Background Caving in to Desire: Dido's Wedding Parade Chapter Four: Imagery as Understory Dido's Visual Feast Picturing Virgil's Words: Dido in the Middle Golden Dido On Keeping Dido Unfathomable Girl on Fire Chapter Five: Imagery as Counternarrative in the Death of Camilla Imagining Camilla Tracking Prey with Camilla Dressed to Kill: Clothing as Fire-starter, Again The Death of Camilla as a Life Fully Lived One Last Look: Visual Counternarrative, and the Humanness of Virgil's 'Heroes' Appendix of Classic Film Edits Works Cited Index
Introduction Seeing with Eyes Tightly Shut Two Worlds in Dialogue: Film Analysis and Classic Narratology Chapter One: Introducing Suture Tracking Turnus: Visual Pursuit Watching Paris: Hatred at First Sight Sightings, First and Last: the Insect Similes of the Aeneid Chapter Two: Precedents in Earlier Roman Poetry Getting High with Lucretius Vertical Relations The Grammar of Angles Taken The Other Side of High: Positioning Pathos Chapter Three: Seeing as Telling The Temple Ecphrasis of Aeneid 1 Aeneas the Neoteric Duces Feminae: Fade to Dido Image Pairs: the Catullan Background Caving in to Desire: Dido's Wedding Parade Chapter Four: Imagery as Understory Dido's Visual Feast Picturing Virgil's Words: Dido in the Middle Golden Dido On Keeping Dido Unfathomable Girl on Fire Chapter Five: Imagery as Counternarrative in the Death of Camilla Imagining Camilla Tracking Prey with Camilla Dressed to Kill: Clothing as Fire-starter, Again The Death of Camilla as a Life Fully Lived One Last Look: Visual Counternarrative, and the Humanness of Virgil's 'Heroes' Appendix of Classic Film Edits Works Cited Index
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