The Female Gaze in Flavian Epic: Looking Out From the Walls in Valerius Flaccus and Statius

Lovatt, Helen

doi:10.1163/9789047417712_005

Cited by 26 publications

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“…13.81-92 (when he pictures the Phaeacian ship at high sea that carries Odysseus home); in both passages comparisons (with birds and flowers in a meadow, with a flying bird, and with horses in a plain) advertise his bird's-eye view. 15 In general on gods averting their gaze in epic see Lovatt (2013) 71-7. 16 I think 'trivial' is too strong and 'tiny' might be a better word.…”

Section: Divine Oroskopiamentioning

confidence: 99%

“…17 See e.g. Purves (2010) 24-64 (in the Iliad the action is seen as a landscape from above and we are dealing with a permanent immortal point of view) and Lovatt (2013) 29-78 (esp. 32, 33: 'we can think of the gaze of Zeus, along with the gaze of the narrator, as overseeing the whole narrative', 43, 71).…”

Section: Divine Oroskopiamentioning

confidence: 99%

“…The force of the use of the topos is even greater when we realise, with Hunter (1993b) 78 andLovatt (2013) 48, that this is actually the only collective ouranoskopia scene in the narrative. The effect is, according to Lovatt, to 'mark the departure of the Argo as a sublime epic moment' but also to mislead the narratees in assuming that this poem 'will be more Iliadic than it actually is'.…”

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confidence: 96%

“…Linguists such asTaylor and Tversky (1996) 376 speak of the survey perspective: 'viewing an environment from the top of a tree or a hill' as if looking at a map. 6Lovatt (2006),(2013)217-50 and Fuhrer (2015); and cf. Scodel (2010).…”

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confidence: 99%

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THE VIEW FROM THE MOUNTAIN (OROSKOPIA) IN GREEK AND LATIN LITERATURE

Jong

2018

Camb. class. j.

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This paper argues for the existence of the topos of oroskopia in Greek and Latin literature. Gods and mortals are positioned on mountains to watch events or landscapes below. The view from above symbolises power (in the case of the gods) or an attempt at control or desire for power (in the case of mortals). It may also suggest an agreeable and relaxed spectatorship with no active involvement in the events watched, which may metaphorically morph into a historian's objectivity or a philosopher's emotional tranquillity. The elevated position may also have a temporal aspect, gods looking into the future or mortals looking back on their life.

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Section: Divine Oroskopiamentioning

confidence: 99%

Section: Divine Oroskopiamentioning

confidence: 99%

mentioning

confidence: 96%

mentioning

confidence: 99%

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THE VIEW FROM THE MOUNTAIN (OROSKOPIA) IN GREEK AND LATIN LITERATURE

Jong

2018

Camb. class. j.

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“…The combination of physical and gender transgression is also a feature of Atys's foray onto the battlefield as a male soldier-bride. 26 For detailed analyses of the teichoscopy scene, see Fucecchi 1997 andLovatt 2006. Muse to relay information about the battle. At 575, the focus shifts from the battlefield to Medea on her perch; at Juno's urging, she discerns Jason among the fighting crowd.…”

Section: Medea In Apollonius and Valerius Flaccus: Dream And Teichoscopymentioning

confidence: 99%

Incohat Ismene : The Dream Narrative as a Mode of Female Discourse in Epic Poetry

Scioli¹

2010

apa

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summary: This article examines Ismene's nightmare in book 8 of Statius's Thebaid by contextualizing it within the epic's narrative, comparing it with the dream narrations of other female characters in epic poetry, and aligning it with other typically female modes of subjective expression in epic, such as weaving, teichoscopy, and lamentation. My analysis shows that by exposing the difficulties inherent in retelling a dream, Statius demonstrates sympathy with the female perspective on the horrific war that constitutes the central action of his poem and foreshadows the subsequent inadequacy of words in reaction to such horror.

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Reading Fear in Flavian Epic

Agri

2022

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This book examines the textual representations of emotions, fear in particular, through the lens of Stoic thought and their impact on depictions of power, gender, and agency. It first draws attention to the role and significance of fear, and cognate emotions, in the tyrant’s psyche, and then goes on to explore how these emotions, in turn, shape the wider narratives. The focus is on the lengthy epics of Valerius Flaccus’ Argonautica, Statius’ Thebaid, and Silius Italicus’ Punica. All three poems are obsessed with men in power with no power over themselves, a marked concern that carries a strong Senecan fingerprint. Seneca’s influence on post-Neronian epic discourse can be felt beyond his plays. His Epistles and other prose works prove particularly illuminating for each of the poet’s gendered treatment of the relationship between power and emotion. By adopting a Roman Stoic perspective, both philosophical and cultural, this study brings together a cluster of major ideas to draw meaningful connections and unlock new readings.

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The Female Gaze in Flavian Epic: Looking Out From the Walls in Valerius Flaccus and Statius

Cited by 26 publications

References 0 publications

THE VIEW FROM THE MOUNTAIN (OROSKOPIA) IN GREEK AND LATIN LITERATURE

THE VIEW FROM THE MOUNTAIN (OROSKOPIA) IN GREEK AND LATIN LITERATURE

Incohat Ismene : The Dream Narrative as a Mode of Female Discourse in Epic Poetry

Reading Fear in Flavian Epic

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