By Daniel E. Harris-McCoy
In old Greece and Rome, desires have been believed via many to supply perception into destiny occasions. Artemidorus' Oneirocritica, a treatise on dream-divination and compendium of dream-interpretations written in old Greek within the mid-second to early-third centuries advert, is the one surviving textual content from antiquity that instructs its readers within the artwork of utilizing goals to foretell the long run. In it, Artemidorus discusses the character of goals and the way to interpret them, and gives an encyclopaedic catalogue of interpretations of desires with regards to the typical, human, and divine worlds.
In this quantity, Harris-McCoy deals a revised Greek textual content of the Oneirocritica with dealing with English translation, a close creation, and scholarly statement. trying to show the richness and intelligence of this understudied textual content, he supplies specific emphasis to the Oneirocritica's composition and development, and its aesthetic, highbrow, and political foundations and context.
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Extra resources for Artemidorus’ Oneirocritica: Text, Translation, and Commentary
19) or burn (Pers. 90 84 85 86 87 88 89 90 Bartsch 2006: 59–62. Smith 1999 suggests Euclid and Hero of Alexandria as pure emissionists (28). 61: Soph. OT 1384–5; Eur. Hipp. 1437–8; HF 1153–62; IT 1217–8; Theophrastus Char. 14; Heliod. Aeth. 4. See Morales 1996, Morales 2004. Bartsch 2006: 145–52 also has many good observations on different metaphors associated with the gaze in Greek and Roman literature. Lucr. 1045–56, with Brown 1987: 132–3. Bartsch 2006: 149. Aetna 349; Hor. Ep. 132. Cf. also the sharp, blinding gaze of Augustus at Suet.
Zeus is represented as separate from the other gods and in control of them, watching them along with the mortals, showing his control over both realms, mortal and immortal, by the fact that he does not need to act. 20 What sort of effect might the mediating internal audience of Zeus have on the experience of the external audience (readers or listeners)? Does it create a sense of alienation, or can we identify with his joy? The external audience are not in any way in control of the narrative, but rather, like the other gods in book 11, they must watch but not intervene.
Not all of these phenomena are exclusively epic manifestations, and this approach might be expanded fruitfully to other genres. But this book explores a selection of the characteristic ways of viewing (in) epic, in a way that offers a new perspective on epic, and on individual epic poems. I have not tried to be comprehensive, either: in a book of this size, on material of this range, it would be impossible. However, ancient epic is represented in all its variety, from central and very well-studied texts, like Homer and Virgil, to the tangentially epic, such as Hesiod, Lucretius, Ovid and Catullus 64, to the sadly fragmentary, like Ennius and the epic cycle, and the extant poems which many may wish had disappeared, such as Silius Italicus, Quintus Smyrnaeus and Nonnus, and the newly recanonised, such as Apollonius, Lucan, Valerius Flaccus and Statius.