Martin T. Dinter – författare

Situated at the crossroads of rhetoric and fiction, the genre of declamatio offers its practitioners the freedom to experiment with new forms of discourse. This volume places the literariness of Roman declamation into the spotlight by showcasing its theoretical influences, stylistic devices, and generic conventions as related by Seneca the Elder, the author of the Controversiae and Suasoriae, which jointly make up the largest surviving collection of declamatory speeches from antiquity. Authored by an international group of leading scholars of Latin literature and rhetoric, the chapters explore not only the historical roles of individual declaimers, but also the physical and linguistic techniques upon which they collectively drew. In addition, the ''dark side of declamation'' is illuminated by contributions on the competitiveness of the arena and the manipulative potential of declamatory skill and, in keeping with the overall treatment of declamation as a literary phenomenon, a section has also been dedicated to intertextuality. Drawing on thought-provoking analyses of Seneca the Elder''s works, the volume highlights the complexity of these texts and maps out, for the first time, the socio-cultural context for their composition, delivery, and reception, as well as providing a comprehensive, innovative, and up-to-date treatment of Roman declamation that will be essential for both students and scholars in the fields of Latin literature, Republican Roman history, and rhetoric.

Situated at the crossroads of rhetoric and fiction, the genre of declamatio offers its practitioners the freedom to experiment with new forms of discourse. This volume places the literariness of Roman declamation into the spotlight by showcasing its theoretical influences, stylistic devices, and generic conventions as related by Seneca the Elder, the author of the Controversiae and Suasoriae, which jointly make up the largest surviving collection of declamatory speeches from antiquity. Authored by an international group of leading scholars of Latin literature and rhetoric, the chapters explore not only the historical roles of individual declaimers, but also the physical and linguistic techniques upon which they collectively drew. In addition, the ''dark side of declamation'' is illuminated by contributions on the competitiveness of the arena and the manipulative potential of declamatory skill and, in keeping with the overall treatment of declamation as a literary phenomenon, a section has also been dedicated to intertextuality. Drawing on thought-provoking analyses of Seneca the Elder''s works, the volume highlights the complexity of these texts and maps out, for the first time, the socio-cultural context for their composition, delivery, and reception, as well as providing a comprehensive, innovative, and up-to-date treatment of Roman declamation that will be essential for both students and scholars in the fields of Latin literature, Republican Roman history, and rhetoric.

Situated at the crossroads of rhetoric and fiction, the genre of declamatio offers its practitioners the freedom to experiment with new forms of discourse. This volume places the literariness of Roman declamation into the spotlight by showcasing its theoretical influences, stylistic devices, and generic conventions as related by Seneca the Elder, the author of the Controversiae and Suasoriae, which jointly make up the largest surviving collection of declamatory speeches from antiquity. Authored by an international group of leading scholars of Latin literature and rhetoric, the chapters explore not only the historical roles of individual declaimers, but also the physical and linguistic techniques upon which they collectively drew. In addition, the 'dark side of declamation' is illuminated by contributions on the competitiveness of the arena and the manipulative potential of declamatory skill and, in keeping with the overall treatment of declamation as a literary phenomenon, a section has also been dedicated to intertextuality. Drawing on thought-provoking analyses of Seneca the Elder's works, the volume highlights the complexity of these texts and maps out, for the first time, the socio-cultural context for their composition, delivery, and reception, as well as providing a comprehensive, innovative, and up-to-date treatment of Roman declamation that will be essential for both students and scholars in the fields of Latin literature, Republican Roman history, and rhetoric.

The Cambridge Companion to Roman Comedy provides a comprehensive critical introduction to Roman comedy and its reception through more than twenty accessible and up-to-date chapters by leading international scholars. This book defines the fundamentals of Roman comedy by examining its literary and comic technique as well as its stagecraft and music, and then traces the genre's influence through the centuries. Roman comedy has served as a model for writers as well as artists ranging from Shakespeare to Molière and from Martin Luther to Cole Porter. Just as the Middle Ages spawned Christianised versions of Terence's comedies, in which harlots find God rather than a husband and young men become martyrs rather than never-do-well lovers, the twentieth century has also given us its take on Roman comedy with Stephen Sondheim's A Funny Thing Happened on the Way to the Forum and numerous modern versions of Plautus' Amphitryon.

Cultural memory is a framework which elucidates the relationship between the past and the present: essentially, why, how, and with what results certain pieces of information are remembered. This volume brings together distinguished classicists from a variety of sub-disciplines to explore cultural memory in the Roman Republic and the Age of Augustus. It provides an excellent and accessible starting point for readers who are new to the intersection between cultural memory theory and ancient Rome, whilst also appealing to the seasoned scholar. The chapters delve deep into memory theory, going beyond the canonical texts of Jan Assmann and Pierre Nora and pushing their terminology towards Basu's dispositifs, Roller's intersignifications, Langlands' sites of exemplarity, and Erll's horizons. This innovative framework enables a fresh analysis of both fragmentary texts and archaeological phenomena not discussed elsewhere.

Cultural memory is a framework which elucidates the relationship between the past and the present: essentially, why, how, and with what results certain pieces of information are remembered. This volume brings together distinguished classicists from a variety of sub-disciplines to explore cultural memory in the Roman Republic and the Age of Augustus. It provides an excellent and accessible starting point for readers who are new to the intersection between cultural memory theory and ancient Rome, whilst also appealing to the seasoned scholar. The chapters delve deep into memory theory, going beyond the canonical texts of Jan Assmann and Pierre Nora and pushing their terminology towards Basu's dispositifs, Roller's intersignifications, Langlands' sites of exemplarity, and Erll's horizons. This innovative framework enables a fresh analysis of both fragmentary texts and archaeological phenomena not discussed elsewhere.

The Cambridge Companion to Roman Comedy provides a comprehensive critical introduction to Roman comedy and its reception through more than twenty accessible and up-to-date chapters by leading international scholars. This book defines the fundamentals of Roman comedy by examining its literary and comic technique as well as its stagecraft and music, and then traces the genre's influence through the centuries. Roman comedy has served as a model for writers as well as artists ranging from Shakespeare to Molière and from Martin Luther to Cole Porter. Just as the Middle Ages spawned Christianised versions of Terence's comedies, in which harlots find God rather than a husband and young men become martyrs rather than never-do-well lovers, the twentieth century has also given us its take on Roman comedy with Stephen Sondheim's A Funny Thing Happened on the Way to the Forum and numerous modern versions of Plautus' Amphitryon.

The Cambridge Companion to Roman Comedy provides a comprehensive critical introduction to Roman comedy and its reception through more than twenty accessible and up-to-date chapters by leading international scholars. This book defines the fundamentals of Roman comedy by examining its literary and comic technique as well as its stagecraft and music, and then traces the genre''s influence through the centuries. Roman comedy has served as a model for writers as well as artists ranging from Shakespeare to Molière and from Martin Luther to Cole Porter. Just as the Middle Ages spawned Christianised versions of Terence''s comedies, in which harlots find God rather than a husband and young men become martyrs rather than never-do-well lovers, the twentieth century has also given us its take on Roman comedy with Stephen Sondheim''s A Funny Thing Happened on the Way to the Forum and numerous modern versions of Plautus'' Amphitryon.

The Cambridge Companion to Roman Comedy provides a comprehensive critical introduction to Roman comedy and its reception through more than twenty accessible and up-to-date chapters by leading international scholars. This book defines the fundamentals of Roman comedy by examining its literary and comic technique as well as its stagecraft and music, and then traces the genre''s influence through the centuries. Roman comedy has served as a model for writers as well as artists ranging from Shakespeare to Molière and from Martin Luther to Cole Porter. Just as the Middle Ages spawned Christianised versions of Terence''s comedies, in which harlots find God rather than a husband and young men become martyrs rather than never-do-well lovers, the twentieth century has also given us its take on Roman comedy with Stephen Sondheim''s A Funny Thing Happened on the Way to the Forum and numerous modern versions of Plautus'' Amphitryon.

As a genre situated at the crossroad of rhetoric and fiction, declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of (Ps)Quintilian, this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. It is of interest to students and scholars of Rhetoric and Roman Literature.

As a genre situated at the crossroad of rhetoric and fiction, declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of (Ps)Quintilian, this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. It is of interest to students and scholars of Rhetoric and Roman Literature.

As a genre situated at the crossroad of rhetoric and fiction, declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of (Ps)Quintilian, this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. It is of interest to students and scholars of Rhetoric and Roman Literature.

As a genre situated at the crossroad of rhetoric and fiction declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of Calpurnius Flaccus this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. Contributions from an international group of leading scholars from the field of Roman Literature and Rhetoric will explore the question of how Roman Declamation functions as a literary genre. This volume investigates the literary technique and the generic conventions of declamatio in its social, pedagocial and ethical context to determine “the poetics” of Roman Declamation.This volume is of interest to students and scholars of Rhetoric and Roman Literature. If you are interested in Roman Declamation, we also recommend the volume on the Declamations Ascribed to Quintilian by the same editors to you.

As a genre situated at the crossroad of rhetoric and fiction declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of Calpurnius Flaccus this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. Contributions from an international group of leading scholars from the field of Roman Literature and Rhetoric will explore the question of how Roman Declamation functions as a literary genre. This volume investigates the literary technique and the generic conventions of declamatio in its social, pedagocial and ethical context to determine “the poetics” of Roman Declamation.

This volume is of interest to students and scholars of Rhetoric and Roman Literature.

If you are interested in Roman Declamation, we also recommend the volume on the Declamations Ascribed to Quintilian by the same editors to you.

As a genre situated at the crossroad of rhetoric and fiction declamatio offers the freedom to experiment with new forms of discourse. Placing the literariness of declamatio into the spotlight, this volume showcases declamation as a realm of genuine literary creation with its own theoretical underpinning, literary technique and generic conventions. Focusing on the oeuvre of Calpurnius Flaccus this volume demonstrates that these texts constitute a genre on their own, the rhetorical and literary framework of which remains not yet fully mapped. Contributions from an international group of leading scholars from the field of Roman Literature and Rhetoric will explore the question of how Roman Declamation functions as a literary genre. This volume investigates the literary technique and the generic conventions of declamatio in its social, pedagocial and ethical context to determine “the poetics” of Roman Declamation.

This volume is of interest to students and scholars of Rhetoric and Roman Literature.

If you are interested in Roman Declamation, we also recommend the volume on the Declamations Ascribed to Quintilian by the same editors to you.