In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:L’esthétique de StaceA. M. KeithAnne-Marie Taisne. L’esthétique de Stace. Paris: Les Belles Lettres, 1994. 433 pp. Paper, 280 FF. (Collection d’Etudes Anciennes 122)Anne-Marie Taisne is the author of numerous articles concerning the literary history and artistic context that inform single poems in Statius’ Silvae and self-contained passages in his Thebaid and unfinished Achilleid, papers which lay the groundwork for her comprehensive new study of the literary aesthetic on (...) display in the extant poetic oeuvre of P. Papinius Statius. In this ambitious monograph, she undertakes to explore two facets of Statius’ technical artistry, his spatial and temporal imagery, within the theoretical framework provided by ancient literary criticism. She is particularly concerned to articulate the poet’s dynamic reuse of the weighty literary tradition to which he is heir, and accordingly proposes, in her introduction, to structure her discussion around such central ancient critical issues as imitatio (mimesis) along with its close relatives aemulatio and contaminatio, and doctrina with its associated critical vocabulary of ingenium, ratio, and ars (6–10). Throughout the volume, she explicates these techniques in detailed analysis of Statian imagines, which she defines generally in the sense of “imagery” following S. Viarre (“L’image et le symbole dans la poésie d’Ovide: Recherches sur l’imaginaire,” REL 62 [1974] 263–80), and particularly by reference to individual usages of the term as they are discussed in the article on imago in the Thesaurus Linguae Latinae (11).Part 1, “Correspondances dans l’espace,” examines the spatial imagery of Thebaid, Achilleid, and Silvae in three chapters which treat (1) echo and reflection (17–52), (2) metamorphosis, multiplication, and contagion (53–119), and (3) simile (120–76). Part 2, “Correspondances dans le temps,” investigates the poems’ use of time as a structural principle, again in three chapters which discuss (1) prophecies and portents (177–236), (2) digressive elements such as ecphrases and embedded narratives (237–303), and (3) leitmotifs, or repeated patterns of imagery, such as divine and human interventions and the role of nature in the poems. The material Taisne analyzes in part 1 coheres more convincingly with her overarching theme of spatial imagery than that which she discusses in part 2 under the rubric of temporal imagery. I did not understand, for example, why nature, well discussed in connection with Statius’ use of the simile in part 1 (137–62), reappears in part 2 (331–58) with no explanation of its relevance to temporal imagery.Taisne persuasively documents the wide range of literary models on which Statius draws in all his poetry, and shows that the Thebaid makes particular use of epic and tragic models (166–68, 170, 373–75), the Achilleid of tragic and lyric models (168–71, 374–78). Her discussion of the literary echoes and wider symbolic relevance of individual passages is often very interesting, and the sheer accumulation of literary parallels is extremely impressive. I was reminded of and newly alerted to significant literary resonances on almost every page, and noticed only one incomplete assemblage of literary parallels (in her discussion of Hylas [End Page 159] in Silvae 1.2.199 [27–28], there is no mention of Theocr. Id. 13, Ap. Rhod. Arg. 1.1207–72, or Nicander apud Ant. Lib. Met. 26). The service to which this material is put, however, is not as exciting as the length of the study might lead one to hope. Throughout, Taisne argues that Statius’ deployment of imagery is consistent with the overarching thematic framework of each poem, defined as furor and horror in the Thebaid (23 and passim), an ambiguous and deceptive calm in the Achilleid (353–54 and passim), and serenity and harmony in the Silvae (28 and passim), but she does not press her analysis beyond the accumulation of imagery in the service of these themes as evidence of Statian amplificatio. This is particularly disappointing in an author so well placed to discuss the material culture of the Flavian epoch and the interrelations between Statius’ poetry (especially the Silvae) and the culture of display in Domitian’s Rome. Nevertheless, scholars will be grateful to Taisne for the material she has collected... (shrink)

When we read the Latin Grammarians' Rules of Prosody, we are puzzled now and then. One thing that puzzles us is their silence about the features of difference between Latin Prosody and Greek. They often seem to take it for granted that Virgil's Prosody is identical with Homer's. This point of view is perhaps not surprising, since these Grammatici often speak of Latin as a mere dialect of Greek . But it has its disadvantages. Every scholboy knows that moeniă Troiae (...) is as natural in Virgil as TєίεΧεă Τροίηs would be unnatural in Homer; and every school-manual of Latin Prosody confines its examples of a Mute and Liquid lengthening, not lengthening a preceding syllable to examples of a Mute and Liquid in the middle of a word. If it mentions Catullus' impotenti̅ freta, it calls this a Greek, not a Latin type. Not so the Grammatici. Diomede's examples of a short syllable before FR, FL are :ore fremebant talia flammato. (shrink)

Loin d’être absente de l’œuvre de Warburg, la notion d’ornement brille par son éclatement et son caractère composite. Cet article se propose de restituer et d’étudier la pluralité des conceptions warburgiennes de l’ornement à partir d’un motif particulier, le drapé.

Moving from four fragments of Aristander and Callithea (47, 103, 115, 152), this article explores the narrative and ideological meaning of dreams in Constantine Manasses' narrative. Fr. 47, in particular, encloses a quotation from Euripides (Hecuba 72), which has been put in connection with the commentary on Aristotle's work De divinatione per somnia written by Michael of Ephesus. Nevertheless the arguments for a direct connection between the two texts are not cogent. On the contrary there is a wide range of (...) patristic, theological and philosophical texts showing a strong and ongoing interest in Byzantine culture for the psychological aspects of the oneiric processes. This background is reflected both in Constantine's novel and in his Chronicle, where he reworks and adapts the contemporary debates for narrative purposes. (shrink)

This is a summary and brief explanation of many of the key principles of the economic system called solidarism, developed by Fr. Heinrich Pesch, S.J. in the late nineteenth and early twentieth centuries, which was explicitly grounded on Christian and traditional natural law principles.

Dans son Commentaire au Traité De l’interprétation d’Aristote, Ammonius réfute une position, qu’il attribue à Alexandre d’Aphrodise, d’ après laquelle les « adverbes » ( epirrhêmata ) appartiennent à l’espèce des onomata. Bien qu’il soit malaisé de reconstruire la position exacte d’Alexandre sur la base du Commentaire d’Ammonius, je souhaite montrer qu’on peut en offrir une version cohérente en recourant principalement au commentaire d’Alexandre aux Topiques, à propos des différentes sortes d’adverbes. À l’inverse, semble-t-il, d’Ammonius, Alexandre aurait distingué deux classes (...) dans les adverbes dont traite Aristote dans ses écrits logiques : d’une part les tropoi ou opérateurs modaux ; d’autre part, les ptôseis, c’est-à-dire cette sorte particulière d’inflexions (les adverbes en -ôs dérivant d’un nom, en général d’un nom abstrait)qui jouent un rôle crucial dans nombre des topoi qu’ Aristote présente dans les Topiques. (shrink)