Sebastian Matzner – författare

Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities.Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing thefundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the innerworkings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a ''hellenizing'' style, what happens to it in ''classic'' German translations of Aeschylus'' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm.Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis,translation criticism, and structuralist studies across a much wider range of disciplines.

Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities.Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing thefundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the innerworkings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a ''hellenizing'' style, what happens to it in ''classic'' German translations of Aeschylus'' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm.Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis,translation criticism, and structuralist studies across a much wider range of disciplines.

This volume investigates an important and surprisingly widespread phenomenon in Latin literature, which has to date received little sustained discussion: the deliberate assumption of a weaker voice by speakers who in fact hold sufficient status not to be forced into this position. Though often associated with the markers of imperial hegemony and elite speech, Latin literature evinces a remarkably broad range of strategies designed to enable the adoption of a markedlydisempowered voice- from topoi such as recusatio (professing a lack of ability to write in status-conforming, superior genres) and rhetorical devices such as prosopopoeia (artfully and strategically adopting a persona to garner favour, even when this means temporarily forfeiting one''s higher statusand discursive privileges), to the long-silenced female heroines of Ovid''s Heroides and satire''s irreverent take on the great and the good by framing its narratives as being articulated ''from below''. Even large-scale cultural self-positionings fall within this scope, be they expressions of Roman cultural inferiority vis-à-vis classical Greece or the tensions that arise between humble (yet spiritually superior) Christian writers and their grand, canonical, and classical (yet pagan)predecessors.The intersecting case studies offered in Complex Inferiorities examine this phenomenon in a wide range of genres, periods, and authors. By demonstrating that re-negotiating alleged weakness constitutes a central activity in Latin literature, this volume reveals the extent of the literary and cultural-political possibilities opened up by assuming and speaking in voices of weakness and inferiority. Authored by experts in their fields, the individual chapters explore the crucial role ofthe ''weaker voice'' in establishing, perpetuating, and challenging hierarchies and values in a wide range of contexts- from poetics and choices of genre, to social status and intra- and intercultural relations- thereby offering invaluable insights not only for the study of classics, but for literary andcultural studies across the humanities.

This volume investigates an important and surprisingly widespread phenomenon in Latin literature, which has to date received little sustained discussion: the deliberate assumption of a weaker voice by speakers who in fact hold sufficient status not to be forced into this position. Though often associated with the markers of imperial hegemony and elite speech, Latin literature evinces a remarkably broad range of strategies designed to enable the adoption of a markedlydisempowered voice- from topoi such as recusatio (professing a lack of ability to write in status-conforming, superior genres) and rhetorical devices such as prosopopoeia (artfully and strategically adopting a persona to garner favour, even when this means temporarily forfeiting one''s higher statusand discursive privileges), to the long-silenced female heroines of Ovid''s Heroides and satire''s irreverent take on the great and the good by framing its narratives as being articulated ''from below''. Even large-scale cultural self-positionings fall within this scope, be they expressions of Roman cultural inferiority vis-à-vis classical Greece or the tensions that arise between humble (yet spiritually superior) Christian writers and their grand, canonical, and classical (yet pagan)predecessors.The intersecting case studies offered in Complex Inferiorities examine this phenomenon in a wide range of genres, periods, and authors. By demonstrating that re-negotiating alleged weakness constitutes a central activity in Latin literature, this volume reveals the extent of the literary and cultural-political possibilities opened up by assuming and speaking in voices of weakness and inferiority. Authored by experts in their fields, the individual chapters explore the crucial role ofthe ''weaker voice'' in establishing, perpetuating, and challenging hierarchies and values in a wide range of contexts- from poetics and choices of genre, to social status and intra- and intercultural relations- thereby offering invaluable insights not only for the study of classics, but for literary andcultural studies across the humanities.

''Metalepsis'' is a term from classical rhetoric, but in the twentieth century, it was re-framed more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gérard Genette, has so far largely been theorized on the basis of examples from post-modern novels and films. Yet metalepsis has a much greater potential to address all sorts of transgressions between ''worlds'' or ''levels'', not only in post-modern but also pre-modern literature.This volume explores metalepsis in classical antiquity, considering questions such as: if metalepsis consists fundamentally in the breaking down of barriers, what sort of barriers and what sort of transgressions can the concept be fruitfully applied to? Can it be used within approaches other than narratology? Does metalepsis require recognisable levels of reality and fictionality, and if so, what role might be played by other planes, such as the past, the mythical or the divine? What form does metalepsis take in less obviously ''narrative'' genres, such as lyric poetry? And how should it be understood in visual media? Reflecting on these questions sheds new light on important dynamics in ancient texts, and advances literary theory by probing how explorations of ancient metalepsis might change, refine, or extend our understanding of the concept itself.

''Metalepsis'' is a term from classical rhetoric, but in the twentieth century, it was re-framed more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gérard Genette, has so far largely been theorized on the basis of examples from post-modern novels and films. Yet metalepsis has a much greater potential to address all sorts of transgressions between ''worlds'' or ''levels'', not only in post-modern but also pre-modern literature.This volume explores metalepsis in classical antiquity, considering questions such as: if metalepsis consists fundamentally in the breaking down of barriers, what sort of barriers and what sort of transgressions can the concept be fruitfully applied to? Can it be used within approaches other than narratology? Does metalepsis require recognisable levels of reality and fictionality, and if so, what role might be played by other planes, such as the past, the mythical or the divine? What form does metalepsis take in less obviously ''narrative'' genres, such as lyric poetry? And how should it be understood in visual media? Reflecting on these questions sheds new light on important dynamics in ancient texts, and advances literary theory by probing how explorations of ancient metalepsis might change, refine, or extend our understanding of the concept itself.

Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities. Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing the fundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the inner workings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a 'hellenizing' style, what happens to it in 'classic' German translations of Aeschylus' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm. Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis, translation criticism, and structuralist studies across a much wider range of disciplines.

Although metonymy has long been recognized as being a central device in poetic language, it has received little critical attention in its own right. Not only has this created a gap in literary analytical scholarship which needs to be addressed, but it has also allowed for problematic appropriations of metonymy as a critical concept now widely in use in structuralist studies across the humanities. Rethinking Metonymy is the first monograph to confront and resolve these issues. It advances the theory of poetic language by developing a ground-breaking new definition of metonymy on the basis of an evaluation of examples in Greek tragedy and lyric poetry, considering these in conjunction with examples from classicizing and Romantic German poetry for the purposes of illustration and comparison, including works by Goethe, Schiller, and Hölderlin. In addition to establishing the fundamental principle, different conformations, and aesthetic effects of this important poetic device, the volume also demonstrates how the new arguments it offers have the potential to set an agenda for far-reaching reconsiderations in literary studies and beyond. It mobilizes analytical insights into the inner workings of metonymy by examining three case studies designed to explore the trope in critical practice, covering its role in creating a 'hellenizing' style, what happens to it in 'classic' German translations of Aeschylus' Agamemnon, and critically re-assessing its modern re-appropriations as a structural-semiotic paradigm. Connecting classical perspectives with modern linguistic and literary theory, Rethinking Metonymy is a compelling and authoritative analysis that rehabilitates and brings much-needed clarity to an oft-neglected literary device. Its combination of in-depth engagement with classical literature and cross-cultural and cross-linguistic comparison makes it an invaluable resource not only to specialists in Greek poetry, but also to students and scholars engaged in literary analysis, translation criticism, and structuralist studies across a much wider range of disciplines.

This volume investigates an important and surprisingly widespread phenomenon in Latin literature, which has to date received little sustained discussion: the deliberate assumption of a weaker voice by speakers who in fact hold sufficient status not to be forced into this position. Though often associated with the markers of imperial hegemony and elite speech, Latin literature evinces a remarkably broad range of strategies designed to enable the adoption of a markedly disempowered voice- from topoi such as recusatio (professing a lack of ability to write in status-conforming, superior genres) and rhetorical devices such as prosopopoeia (artfully and strategically adopting a persona to garner favour, even when this means temporarily forfeiting one's higher status and discursive privileges), to the long-silenced female heroines of Ovid's Heroides and satire's irreverent take on the great and the good by framing its narratives as being articulated 'from below'. Even large-scale cultural self-positionings fall within this scope, be they expressions of Roman cultural inferiority vis-à-vis classical Greece or the tensions that arise between humble (yet spiritually superior) Christian writers and their grand, canonical, and classical (yet pagan) predecessors.The intersecting case studies offered in Complex Inferiorities examine this phenomenon in a wide range of genres, periods, and authors. By demonstrating that re-negotiating alleged weakness constitutes a central activity in Latin literature, this volume reveals the extent of the literary and cultural-political possibilities opened up by assuming and speaking in voices of weakness and inferiority. Authored by experts in their fields, the individual chapters explore the crucial role of the 'weaker voice' in establishing, perpetuating, and challenging hierarchies and values in a wide range of contexts- from poetics and choices of genre, to social status and intra- and intercultural relations- thereby offering invaluable insights not only for the study of classics, but for literary and cultural studies across the humanities.