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- Cruise Ship Stories - 12 Years of Working on Cruise Ships, Behind the Crew Only Door, Getting Jobs on Ships, Life On Board.
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Archiva Ecclesiae, 15, De Gramatica M. Galoppini L. Mercanti toscani e Bruges nel tardo Medioevo. Pisa: Plus-Pisa University Press. Geltner G. Ghilarducci G. Lucca: Scuola Tipografica Artigianelli. Ghialrducci G. Giusti M. Lucca archivistica. In Lucca archivistica storica economica. Roma: Il Centro di ricerca editore. Goez E. Hannover: Hahnsche Buchhandlug. Guidi P. Roma: Istituto Storico Italiano per il Medioevo. Lamioni C.
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Pontifical Commission for the Cultural Heritage of the Church The pastoral function of church archives. Bologna: Edizioni Dehoniane Bologna. And secondly, what might the results of doing so lead us to wonder about the category of declamation itself? I propose that the extension is indeed a fruitful one, but may only really work well — in the current state of our material, and on the Greek side of things at least — if we abandon too close a focus on declamation stricto sensu in favour of a larger category of epideictic.
All of these dutifully evoke the physical setting of Troy and the Greek camp at war, and the surrounding territory of Trojan allies, either still in action, or long since disposed of by the campaigns of Achilles. But none of this shows any spark or special twist; it is all straight out of Homer, demonstrating an easy familiarity with the classic text out of which the declamations are written, but without any very clear extra edge or value. His eight surviving introductory addresses — prolaliai or dialexeis — are rich in significant geographical reference: Olympia, Thebes, Athens, the River Po, Gaul, India All of which glamorizes the speaker as a man of international range, in travel as well as reference, and brings its audiences the exotic colour they counted on star speakers to provide.
But we do not know what any of these preludes was a prelude to — it need not for any of them have been a melete , as opposed to some other kind of epideictic performance. The forensic declamations of Sophistopolis regularly acknowledge their own court-room settings, but they do so perfunctorily, with no very vivid sense of the specifics of the location, or any very pointed play on them.
In combination with the indications I have also given of more interesting exploitation of place and setting outside the strict confines of declamation proper, they might well seem to prompt a question, one which I hope other scholars better versed in the field — especially the field of Latin declamation — than me, and in particular the other contributors to this volume, may be able to help answer. I hope that it will at least constitute a helpful provocation, even if it does not seriously challenge the terms of reference on which the volume as a whole is conceived.
With that proviso, the question is this. Should reflection on this, then, prompt us to ask more generally up to what point — or, for what purposes — it is illuminating to concentrate on declamation as a separate phenomenon, distinct from other kinds of epideictic performance and composition? Are there really substantial gains to be had from putting suasoria and controversia and their Greek counterparts, in their own little box with or without the company of dialexis-prolalia , or is it — sometimes, at any rate — as illuminating, or more illuminating, to bracket them together with other epideictic forms, particularly of the branch of epideictic that is committed to entertaining without being tied to particular civic events?
I have been looking essentially at the context and procedures of the so-called Second Sophistic. But as the contents of this volume so eloquently testify, the Second Sophistic is just one section of a larger landscape that may call for a considerable variety of approaches. So, one might also want to ask, is the way that it makes sense to look at this Greek material also suitable for Roman declamation? If, on the one hand, some forms of declamation may threaten to merge into the surrounding landscape of epideictic, may it also be others resist this tendency because declamation itself is not a homogeneous phenomenon?
Bowersock G. Bowie E. Camp J. Groag E. Hilton J. Harisson, J. Hilton, V. Hunink trad. Rhetorical Works , Oxford, p. Keil B.
Kindstrand J. Nesselrath H. Innes, H. Hine, C. Weaver P. Wright W. VIII, e. III, 3; Hyperides: [Plut. X Orat. IX, d. I, 21, and II, 10, II, 9, Aristides initially proposed a kind of shadow-play version of a declamatory performance, in which the speaker fills in for the audience as well, half-heartedly mimes the body-language of a proper performance, and only a delivers the sketch of a full declamation. This is true enough, but too dismissive: stock device it may be, but the whole argument of this paper is that it is capable of some very subtle and engaging uses.
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Desktop version Mobile version. Results per book Results per chapter. Declamatory play. Search inside the book. Table of contents. Cite Share. Cited by. Philostratus, Aristides and the geography of declamation Michael Trapp. Abstract Text Bibliography Notes Author. Full text.
Aristides initially proposed a kind of shadow-play version of a declamatory performance, in w Bibliography Bowersock G. Author Michael Trapp. Read Open Access. Freemium Recommend to your library for acquisition. ISBN: DOI: Trapp, M.