By Henry J. M. Day
This can be the 1st entire learn of the chic in Lucan. Drawing upon renewed literary-critical curiosity within the culture of philosophical aesthetics, Henry Day argues that the class of the chic bargains a way of relocating past readings of Lucan's Bellum civile by way of the poem's political dedication or, then again, nihilism. Demonstrating in discussion with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continued power of Longinus' foundational treatise at the elegant, Day charts Lucan's advanced and instructive exploration of the connection among sublimity and moral discourses of freedom and oppression. in the course of the Bellum civile's cataclysmic imaginative and prescient of civil battle and metapoetic bills of its personal genesis, via its heated linguistic texture and proclaimed results upon destiny readers, and, such a lot powerfully of all, via its illustration of its dual protagonists Caesar and Pompey, Lucan's nice epic emerges as a important textual content within the historical past of the elegant.
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Additional resources for Lucan and the Sublime: Power, Representation and Aesthetic Experience (Cambridge Classical Studies)
Russell (1965) xvi; Kirwan (2005) 159; Thomas (2007) 219. Contra Russell (1965) xvii, who explains his use of the term ‘sublimity’ to translate Ìyov as a direct attempt to ‘diminish some of the associations which “the sublime” has had since the later eighteenth century’. 36 sources and theories into (hopefully illuminating) dialogue. As I aim to show, Longinus’ concerns (and Lucan’s) do reveal important connections with those of these later theorists; moreover, as their texts often explicitly demonstrate, these theorists themselves clearly had Longinus in mind.
For all the sublime’s traditionally masculine appeal, its coimplication with the feminine persists: see the discussion in Chapter 2 of the Longinian Pythia (De sub. 2) and of the Lucanian figures of the Bacchic matrona (Luc. 430–830). On Sappho fr. 31 and the sublime, see further eg. DeJean (1989) 84–7; Warren (1989) 204; Freeman (1995) 13–26. On the female sublime more broadly, see Battersby (1989); Yaeger (1989); Maxwell (2001); Shaw (2006) 56–63, 105–11. Porter (forthcoming). See Porter (2001) and (forthcoming); cf.
31 ‘in the general context of a discussion of Ìyov, is in fact much more suprising than is often acknowledged’. Notwithstanding Demetrius’ identification of 38 sources and theories beloved, feels her body dissolve so that she thinks herself ‘very near to death’: fa©neta© moi k nov sov qoisin mmenì ßnhr, Àttiv nnti»v toi «znei kaª plsion du fwne©sav ÉpakoÅei kaª gela©sav «mer»en, t» mì § mn kard©an n stqesin pt»aisen. âv gr <v> sì dw br»ceì ßv me fÛnav oÉdn tì ekeiá ll km mn glässa ageá lpton dì aÉt©ka cr pÓr Épodedr»maken ½pptessi dì oÉdn Àrhmmì, pir»mbeisi dì kouaiá d mì drwv kakcetai, tr»mov d pa±san grei, clwrotra d po©av mmiá teqnkhn dì ½l©gw ìpideÅhv fa©nomì <maut >á ll p n t»lmaton, peª .