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By Tim Whitmarsh

The Greek romance used to be for the Roman interval what epic was once for the Archaic interval or drama for the Classical: the valuable literary car for articulating rules in regards to the courting among self and group. This publication deals a clean studying of the romance either as a particular narrative shape (using various narrative theories) and as a paradigmatic expression of id (social, sexual and cultural). even as it emphasises the pliancy of romance narrative and its skill to deal with either conservative and transformative versions of identification. This elasticity manifests itself partially within the edition in perform among diverse romancers, a few of whom are often Hellenocentric whereas others are tougher. eventually, although, it's argued that it displays a stress in all romance narrative, which traditionally balances centrifugal opposed to centripetal dynamics. This ebook will curiosity classicists, historians of the radical and scholars of narrative theory.

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1. I have retained MS readings contra Reardon who prefers to standardise to fil»nik-, but the palaeographical and semantic conflation of the two (homophonic) terms is notorious (good discussion at Duff (1999) 83). Konstan and Rutter eds (2003). 36 Part i Returning romance that characterises him metonymically figures his effects upon society. 58 Eros thus also plays a metanarrative role: he represents the principle of inventiveness and change necessary for a story to progress. He is a strategic plotter: in both texts he is said to ‘search’ (z¯etein), respectively for an ‘opportunity’ (kairos, Char.

82 This is (as we have seen) not true in an absolute sense, but it captures an aspect of romantic sameness. The protagonists are not ravaged by age and experience like Odysseus; all the sufferings inflicted upon them during the course of the narrative are always reversible. 83 There is also a sense of the dependable eternality of the community, at least in the earlier texts: nothing changes in the polis either. Returning romance enacts a paradox: a text in which the protagonists both are and are not the same at the end.

1990) approach the problem from a variety of literary and philosophical perspectives. Duff (1999) 13: ‘Ancient conceptions of character were . .

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