Secondary Scholarship Flashcards
1
Q
Optimistic/ Imperialist
- Richard Heinz
A
- Aeneas as a model of Augustan ideology
- Story-optimism- promise better future
- German Empire in the 19th Century
2
Q
New Criticism
- Adam Parry
A
- ‘Two Voices Theory’
- Public and Private
- Private= molis
- Public= Augustan ideology, Imperial triumph
- “There is a unity of vision and complexity of meaning”
3
Q
Wendell Clausen (New Criticism)
A
- Virgil’s view of Roman history of “Pyrrhic victory of the human spirit”
- Pyrrhic victory: so costly you may as well have lost
4
Q
Structuralist
A
- Reflects the underlying structure of contemporary society
- No ‘author-god’, based on society, constitutional
5
Q
Gian Biagio Conte (Structuralist)
A
- Epic norm- the primacy of the state and politics
- Individual and private
- Tension existed the earliest ‘epic’ Latin poets
- Polyphony - may voices (Dido, Anna, Juturna)
- Voices don’t undermine the triumphalist ideology of Roman Epic norm
6
Q
Marxist
A
- Economic organisation and class struggle determines society’s culture as a whole
- Assumes literature functions to support the interests of the ruling class
- Inadvertently reveals oppression and exploitation that underpin the social and economic order
- Fate/Rome destiny elevate what was essentially self-interested exploitation of nature and people into a divinely ordained task to ‘civilise’ the word
7
Q
Feminist
A
- Women are a negative force in Aeneid and reflect wider Roman stereotypes about females
- Furor exemplified by female characters (Juno, Allecto, Dido)
- Pietas characterises male heros
- Rome’s mission is de-feminised
8
Q
Sarah Spence (Feminist)
A
- Dido challenges Aeneas’ duty to the public over private, illuminating ethical limitations of pietas
- Power of Dido to absorb the reader’s interest and to make them question the imperial mission as not just a ‘modern reaction’ as Ancient Romans reacted in similar ways.
- “Dido exerts an enduring moral challenge to epic’s dominant ideology”
9
Q
R. D. Williams
A
- Aeneas is a complex character who attempts to fulfil his fate
- We expect him to make different moral choices
- Doesn’t always show a Roman moral compass, but the real meaning is about the victims of Rome
- Turnus as a sympathetic antagonist
- Aeneas is human, not completely reliant on the gods
- Social hero
- Shouldn’t be judged by Homeric standards
10
Q
Carl P. E. Springer
A
- Turnus is similar to Hector (both defending their homeland)
- Sympathetic
11
Q
Phillip Hardie
A
- Aeneas is depicted as a colourless character as a result of the roles forced on him by the plot
- Rather than being driven by an internal ambition, he is forced by a circumstance beyond his control
- He is a vessel by which the plot is carried
12
Q
Robin Sowerby
A
- Aeneas, Anchises and Ascanius is “the patriarchal ideal of Roman society” and “this image and all that is contained in it expresses what pietas mean to Virgil”
- “The relationship between father and son is the closest”
- Constant throughout
- Parade of the future
13
Q
(ILIAD) Michael Silk
A
- Heroes are concerned with individualist ethic - kleos and time
- Divine intervention/gods as metephors for human psychology
14
Q
(ILIAD) Peter Jones
A
- Heroic behaviour and its consequences in Achilles are the central subjects of the Iliad
- Gods are external to human psychology; they are characters in their own right, influencing human circumstances.
15
Q
(ILIAD) Seth Schein
A
- Hector as social and human
- Achilles is inhumanely isolated and daemonic in his greatness.
