Impartial Stranger: History and Intertextuality in Gibbon's Decline and Fall of the Roman EmpireUniversity of Delaware Press, 1999 - 290 páginas The analysis of particular cases of the interplay of dramatic and fictional forms in this eighteenth-century landmark provides a perspective on theories of historical narrative as well as an illustration of the problems encountered by Enlightenment historians in finding a satisfactory literary vehicle."--BOOK JACKET. |
Contenido
| 7 | |
| 9 | |
Tropes of Transcendence | 44 |
Pandemonium and Romance | 96 |
The Genres of the Fact | 156 |
Translating the Sources Dialogue or Bricolage? | 195 |
Conclusion | 248 |
Notes | 251 |
Bibliography | 269 |
Index | 278 |
Otras ediciones - Ver todas
Impartial Stranger: History and Intertextuality in Gibbon's Decline and Fall ... Peter Cosgrove Vista de fragmentos - 1999 |
Términos y frases comunes
allusions ancient argues Attila Barthes Bayle bricolage Byzantine Cambridge Capitoline Hill century chapter claims classical consciousness criticism critique cultural David Hume Decline and Fall dialogue discourse Edited Edward Gibbon eighteenth eighteenth-century emperor emplotment epic Essays fact fiction figures of speech footnotes Frank Ankersmit function genres heteroglossia historian historiographical history writing human Hume Ibid ideal identity imagination imitation impartial stranger intertextual J. G. A. Pocock J. H. Hexter Justinian Kenner kind knowledge language linguistic literary literature means metaphor method mind mode narrative voice narrator narrator's notes notion novel object original past Peter Cosgrove philosophical Poggio Priscus reader reading reconstruction reference referential remarks rhetorical Roland Barthes Roman Empire romance Rome ruins says scholar scholarly seems sense significance sources spolia structure symbolic textual theories thought tion tive traditional trans transcendence translation trope truth University Press words York
Pasajes populares
Página 73 - It was at Rome, on the 15th of October, 1764, as I sat musing amidst the ruins of the Capitol, while the barefooted friars were singing vespers in the Temple of Jupiter 1, that the idea of writing the decline and fall of the city first started to my mind.
Página 22 - Mankind are so much the same, in all times and places, that history informs us of nothing new or strange in this particular. Its chief use is only to discover the constant and universal principles of human nature...
Página 108 - But yet if we would speak of things as they are, we must allow that all the art of rhetoric, besides order and clearness, all the artificial and figurative application of words eloquence hath invented, are for nothing else but to insinuate wrong ideas, move the passions, and thereby mislead the judgment, and so indeed are perfect cheats...
Página 51 - Thus I live in the world rather as a spectator of mankind than as one of the species...
Página 252 - The mind is a kind of theatre, where several perceptions successively make their appearance, pass, repass, glide away, and mingle in an infinite variety of postures and situations.
Página 255 - I read it a little as a duty, but it tells me nothing that does not either vex or weary me. The quarrels of popes and kings, with wars or pestilences, in every page; the men all so good for nothing, and hardly any women at all...
Página 161 - And he brought forth the people that were therein, and put them under saws, and under harrows of iron, and under axes of iron, and made them pass through the brickkiln : and thus did he unto all the cities of the children of Ammon.
Página 118 - Eloquence, like the fair sex, has too prevailing beauties in it to suffer itself ever to be spoken against. And it is in vain to find fault with those arts of deceiving, wherein men find pleasure to be deceived.
Página 18 - Pecuchet, those eternal copyists, at once sublime and comic and whose profound ridiculousness indicates precisely the truth of writing, the writer can only imitate a gesture that is always anterior, never original. His only power is to mix writings, to counter the ones with the others, in such a way as never to rest on any one of them. Did he wish to express himself, he ought at least to know that the inner 'thing
Página 17 - Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing.