Relevant bibliographies by topics / Didactic epic

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Didactic epic'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Didactic epic"

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Fesenko, Andrew. "Ancient didactic astronomical texts." Hypothekai 5 (September 2021): 19–42. http://dx.doi.org/10.32880/2587-7127-2021-5-5-19-42.

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The article focuses on ancient astronomy as an academic dis-cipline. Antiquity created a holistic image of the world and a cul-ture of thinking, in which the natural and exact sciences and lib-eral arts were not artificially differentiated and remained in har-monious unity, becoming the basis of an interdisciplinary ap-proach in education. Therefore, even the exact sciences were studied literarily from poetic works. On the example of ancient culture, the connection between the astronomical worldview and other components of the mindset is particularly clearly traced. This is crucial in terms of technology since ancient pedagogy contained all the criteria for technological effectiveness. In the Homeric age, the basic mnemonic rules for navigating by the stars, the definition of the conditions for visibility of heavenly bodies in all seasons, the connection of celestial phenomena with the calendar, known since the Cretan-Mycenaean age, were liter-arily recorded in the epic. This trend was further developed in Hesiod’s didactic epic and took shape in the content as a para-digm of astronomical education. The appearance of Cleobulina’s astronomical riddles appeared, which are allegorical in nature and show similarities with the allegories of Homer, took place approximately at the same time. In subsequent periods (from the 5th century BC), the school study of the Homer and Hesiod’s works required writing comments on the astronomical passages of these and later other authors. With the development of natural philosophical doctrines, new methods of presenting astronomical material appeared. The original form of the philosophical epic was replaced by a prosaic form. The reaction to the natural philo-sophical revolution led to a preference for the traditional Homer and Hesiod. Special educational astronomical texts written by such authors as Aratus, Germanicus, Alexander Aetolus, etc. came to exist-ence as a separate group.
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Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (2018): 208–31. http://dx.doi.org/10.1515/phil-2018-0005.

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AbstractThe article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero (or god) through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on heroic aretalogies, and on Heracleids and Theseids in particular, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’ (i.e. lyric poets such as Stesichorus, who writes ‘epic’ aretalogies).
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Milovanovic, Celica. "Gregory of Nazianzus's De rebus suis and the tradition of epic didactic poetry." Zbornik radova Vizantoloskog instituta, no. 45 (2008): 43–69. http://dx.doi.org/10.2298/zrvi0845043m.

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Gregory's poem De rebus suis (Carm.2.1.1) is examined in this article from the point of view both of its content and of its literary and stylistic features. In content, the poem is personal and reflexive, and its central theme appears to be a crisis of faith that its author had experienced in his later years. In form, it has all the characteristics of the epic didactic genre: it is metaphrastic in nature (i.e., it turns prose material into verse form); it is written in the archaizing epic language; it makes use of the modified Homeric simile (the so-called multiple correspondence simile); and it carefully avoids the use of specific liturgical terms and expressions replacing them instead with various poetic paraphrases. The overall conceptual simplicity of the poem is generic too, and it may have been modeled on the earliest known representative of the genre, Hesiod's Works and Days. .
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Roling, Bernd. "Victorious Virgin: Early Modern Mary Epics between Theological-Didactical and Epic Poetry (Virgo Victrix: Frühneuzeitliche Marienepik zwischen theologischem Lehrgedicht und Epos)." Daphnis 46, no. 1-2 (2018): 30–64. http://dx.doi.org/10.1163/18796583-04601012.

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This paper deals with a neglected subgenre of biblical poetry, namely with epic poems on the life of the Blessed Virgin. After an introduction into the poetic treatment of Mary in early modern latin poetry in general, one single epic poem is discussed in detail, the Mariados libri tres of the Italian-German scholar Giulio Cesare Delfini. As it will be demonstrated, Delfini’s poem included long explanations of medico-theological problems, like the digestion of the Divine Virgin or her intellectual skills, which the poet treated in addition in separate glosses. As result the poem presents itself as hybrid between didactic and epic poetry. In addition the study contains as an Appendix a list of (approximately) all accessible Latin poems, written between 1550 and 1650, on the incarnation and birth of Christ.
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Janssen, Niek. "A Gemstone of Many Complexions." Mnemosyne 68, no. 6 (2015): 956–74. http://dx.doi.org/10.1163/1568525x-12341763.

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The Orphic Lithica is often considered an incoherent hodge-podge of teachings on magical stones. This paper, however, argues that the polyphony of voices (human, semi-divine, and divine), as well as the amalgam of various subtypes of the hexametric super-genre (didactic epic, narrative epic, bucolic, hymn, oracle), contribute to the ultimate goal of the Lithica: to overwhelm the reader with authorities for the hermetic truth that the poem preaches. The poem further accomplishes this by appealing to the poetic tradition, so as to make the subject matter more recognizable and enjoyable to the audience.
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Kumar, Dr Indrajit. "Marginalized: [Transgender] SHIKHANDI." SMART MOVES JOURNAL IJELLH 7, no. 12 (2019): 7. http://dx.doi.org/10.24113/ijellh.v7i12.10206.

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Trans-genders roles, contributions, sacrifices, achievements, anger, agony, desire and objectives are not less than others. The significance of Shikhandi cannot be devaluated, underestimated or neglected due to any of the reasons. My study of ‘Shikhandi’ as Trans-gender is to re-establish the participations of this marginalized section. A thorough study of the character will surely enhance and add certain attributes to the stereotyped thought process of the existing world. As it is evident that the Mahabharata has been recognized as one of the oldest, largest and most popular epics of the world. It has been acknowledged as one of the most significant epics out of two-The Ramayana and The Mahabharata. The epic has immense religious and philosophical significance in india as well as outside. It consists of a mass of mythological and didactic material.
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Korenjak, Martin. "Explaining Natural Science in Hexameters. Scientific Didactic Epic in the Early Modern Era." Humanistica Lovaniensia 68, no. 1 (2019): 135–75. http://dx.doi.org/10.30986/2019.135.

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Uskenbayevich Shakharov, Ykylas. "Artistic features of the work of Ahmed Yugnaki "Gift of Truth"." SCIENTIFIC WORK 61, no. 12 (2020): 78–81. http://dx.doi.org/10.36719/2663-4619/61/78-81.

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The article is based on the epos of Akhmet Yugineka “The Gift of Truth”. Ideological and thematic orientation, compositional structure, artistic features are analyzed. The epic “Gift of Truth”, common to all Turkic-speaking peoples, tells about the problems that were urgent for its time, about the high artistic level. Key words: Medieval literature, Hibat-ul-Khakaik, didactic sari, common heritage of the Turkic peoples, artistic phenomena
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Ahmed, Mahmood Rakan. "Revolution and Modernity in Nazim Hikmet’s “The Epic of Sheikh Bedridden”." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 58, no. 4 (2019): 1–12. http://dx.doi.org/10.36473/ujhss.v58i4.1014.

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This paper aims to prove that the poem “The Epic of Sheikh Bedridden” by the first Turkish modernist poet Nazim Hikmet expresses a political unconscious of modernity by incarnating and adopting modernist, rebellious and revolutionary ideas in his poem in both form and content in order to subjugate repression and oppression. Throughout his didactic poem he urges his people for a better Turkey whose freedom of thought and expression and liberty are essential ideals. Hikmet’s proposal for a more tolerant and open Turkey becomes undeniable truth after a long history of contestation through the power of the words
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Korn, Uwe Maximilian, Dirk Werle, and Katharina Worms. "The carmen heroicum in Early Modernity (Das carmen heroicum in der frühen Neuzeit)." Daphnis 46, no. 1-2 (2018): 1–14. http://dx.doi.org/10.1163/18796583-04601014.

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The special issue at hand provides a contribution to the historical exploration of early modern carmina heroica (epic poems) in the German area of the early modern period, especially of the ‘long’ 17th century. To this purpose, perspectives of Latin and German Studies, of researchers with expertise in medieval and modern literary history, are brought together. This introductory article puts the following theses up for discussion: 1) The view that epic poems of the early modern period are a genre with little relevance for the history of literature is wrong and has to be corrected. 2) Accordingly, the view has to be corrected that the history of narrative in the modern era leads teleologically to the modern novel. 3) For the exploration of the history of carmina heroica, the traditions of didactic poems and heroic poems have to be taken into consideration together. 4) Epic poems of the ‘long’ 17th century have a particular tendency to generic hybridization. 5) The genre history of carmina heroica can be reconstructed appropriately only by taking into account the vernacular as well as the Latin tradition.
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Dissertations / Theses on the topic "Didactic epic"

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Rosenblatt, Kelly Jane. "The Eighteenth-Century Georgic as Didactic Epic." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19201.

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This dissertation examines the eighteenth-century English georgic in the broader context of the didactic epic. Reading "georgics" through the schema of didactic epic, I provide an alternative trajectory for understanding developments in and experiments with genre during the long eighteenth century. More than swapping parallel terminology my use of didactic epic imports the scholarship of Classical and neo-Latin scholars to reinvigorate a genre hampered by defining the "georgic" as poems about farming, derived exclusively from Virgil's Georgics. Within the framework of didactic epic, I reinterpret peripheral works such as John Gay's Trivia, Eliza Haywood's Anti-Pamela, and James Grainger's The Sugar Cane claiming these queer, fascinating texts represent critical experimentation with literary form in the eighteenth century. I contend that the incorporation of didactic epic elements into these texts demonstrates the plasticity and persistence of the genre thereby making the study of these foundational English texts and their Classical and neo-Latin sources an integral part of English literary studies. I argue the essays, poems, and novels of Joseph Addison, John Philips, John Gay, Eliza Haywood, and James Grainger dialogue with Classical and neo-Latin poems in addition to Virgil's Georgics such as Manilius's Astronomica, Fracastoro's Syphilis, and more-canonical Classical didactic epics from the Ars Poetica of Horace to Lucretius's De Rerum Natura. Because the separation of didactic and narrative epic derived from reliance on "georgic" has promoted a too-easy separation between the natural world (georgic) and the human world (epic), scholarship has approached English didactic epics as poems that have little bearing on humans and culture. However, analyzing the formal modulations I describe how eighteenth-century texts showcase radical experimentation with narrative persona and polyphonic registers thereby magnifying the presence of human beings in the natural world as organizers and consumers of the landscape and useable land. In the experimentations evident in eighteenth-century English texts, I locate innovations and modulations of the didactic epic that demonstrate the authors variously dissecting and critiquing ideologies of labor and imperialism and offering new paradigms of gender and labor that anticipate modern approaches to literary forms and modern concerns with the interrelation of humans and nature.
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Maynard, Katherine S. "Epic lessons : pedagogy and national narrative in the epic poetry of Early Modern France /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/8299.

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Gonçalves, Natália Kneipp Ribeiro [UNESP]. "A “didática” nas peças didáticas de Bertolt Brecht: ensino em cena." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/138286.

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Submitted by NATALIA KNEIPP RIBEIRO GONÇALVES null (nataliakneipp@yahoo.com.br) on 2016-05-09T18:42:33Z No. of bitstreams: 1 TESE_NATALIA_final_rev_repositorio.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5)<br>Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-10T17:10:28Z (GMT) No. of bitstreams: 1 concalves_nkr_dr_arafcl.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5)<br>Made available in DSpace on 2016-05-10T17:10:28Z (GMT). No. of bitstreams: 1 concalves_nkr_dr_arafcl.pdf: 2362286 bytes, checksum: a857cd8026881e08ef411c76c41566ac (MD5) Previous issue date: 2016-03-09<br>Pró-Reitoria de Pós-Graduação (PROPG UNESP)<br>O presente trabalho caracteriza-se como pesquisa bibliográfica e tem como objetivo a compreensão da didática a partir do estudo das peças didáticas de Bertolt Brecht (1898-1956), as quais são uma tipologia do teatro épico brechtiano e compreendem as seguintes obras: “O voo sobre o oceano” (escrita em 1928/1929); “A peça didática de Baden-Baden sobre o acordo” (escrita em 1929); “Aquele que diz sim”/“Aquele que diz não” (encenadas sempre em conjunto, escritas em 1929/1930); “A decisão” (escrita em 1929/1930); “A exceção e a regra” (escrita em 1929/1930) e “Os Horácios e os Curiácios” (escrita em 1934); além dos fragmentos “O malvado Baal, O Associal” e “Decadência do egoísta Johann Fatzer”. A didática é a categoria central deste trabalho, o universo são as peças didáticas de Bertolt Brecht e o método de análise é o materialismo histórico e dialético. Pretendemos contribuir com a discussão dos processos pedagógicos, sobretudo no que se refere à práxis pedagógica escolar e, para tanto, os caminhos trilhados em nossa pesquisa partiram da análise do conceito de didática presente na obra “Didática Magna”, de Comênio (1592-1670), que é um marco referencial da Pedagogia Moderna, e se dirigiram ao estudo da didática nas peças didáticas brechtianas. Compomos um panorama sobre as condições sócio-históricas do teatro europeu, em fins do século XIX e início do século XX; enfatizamos as aproximações e distanciamentos do expressionismo e do teatro político de Erwin Piscator (1893-1966) em relação ao desenvolvimento do teatro épico brechtiano; discutimos o elemento didático presente em peças anteriores às didáticas; e, por fim, analisamos as peças didáticas e seus fundamentos. Assim, consideramos que a didática compreendida a partir das peças didáticas propicia que o ensino seja posto em cena e aponta possibilidades ao diálogo entre o teatro e a educação escolar na perspectiva da práxis.<br>This work is characterized as bibliographic search and has aimed to understand the teaching from the study of learning plays of Bertolt Brecht (1898-1956) which are a type of Brechtian epic theater and consist the following works: “The Ocean Flight” (written in 1928/1929); “The learning play of The Baden-Baden Lesson on Consent” (written in 1929); “He Who Says Yes”/ “He Who Says No” (always together staged, written in 1929/1930); “The Decision” (written in 1929/1930); “The Exception and the rule” (written in 1929/1930) and “The Horations and the Curiatians” (written in 1934); beyond the fragments “Bad Baal, the Antisocial Man” e “ Demise of the Egotist Johann Fatzer”. The teaching is the central category of this work, the universe are the learning plays of Bertolt Brecht and the method of analysis is the historical and dialectical materialism. We intend to contribute to the discussion of pedagogical processes, particularly with regard to school pedagogical praxis and, therefore, the paths in our research set out the teaching this concept analysis in the work “Magna Didactics”, of Comênio (1592-1670), wich is a reference point of the Modern Education, and headed to the study of teaching in Brechtian learning plays. We compose an overview of the socio-historical conditions of european theater, in the late nineteenth century and early twentieth century; we emphasize the similarities and differences of expressionism and political theater of Erwin Piscator (1893-1966) for the development of Brechtian epic theater; we discuss this didactic element in previous parts to learning; and finally, we analyze the learning plays and its fundamentals. Like this, we consider that the didactic understood from the learning plays provides that education be put into play and points out possibilities for dialogue between theater and education from the perspective of praxis.
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Hubert, Gwenaelle. "L’acte de commencer : étude comparée de débuts d’œuvre dans plusieurs genres poétiques de la période augustéenne." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040211.

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Cette thèse s'inscrit dans une démarche de comparaison – encore peu entreprise malgré l'intérêt que suscitent les débuts d’œuvre – entre des œuvres des genres épique, didactique et élégiaque de la période augustéenne. Nous cherchons à saisir les principes guidant la composition des débuts d’œuvre en poésie et à expliquer les variations apparaissant dans la pratique. En resituant les œuvres augustéennes dans une tradition, nous établissons qu’il existe à cette époque des rituels de début différenciés entre les proèmes épiques et didactiques, à tel point qu’ils contribuent à l’inscription des œuvres dans deux genres distincts. Puis en mobilisant les éléments que les comparaisons font apparaître comme marqueurs de début en raison de leur récurrence, mais aussi les outils de la pragmatique et le concept de paratexte, nous mettons en évidence les caractères qui, au-delà d’une représentativité programmatique, qualifient les pièces liminaires des recueils élégiaques pour ouvrir l’œuvre. Il apparaît alors que seul Ovide se positionne par rapport à l’épopée en jouant avec les codes de début de celle-ci, parce qu’il écrit à un moment où le genre élégiaque a gagné en maturité et où le proème de l’Énéide a établi un modèle de début épique de référence en latin. Mais au stade du premier livre de Properce et de Tibulle, aucun rituel de début d’œuvre spécifiquement élégiaque n’est institué, le positionnement de l’élégie par rapport à l’épopée ne se traduit pas dans la forme du début d’œuvre, et il ne sera formulé plus explicitement en termes méta-littéraires que dans les livres suivants. D’une manière générale, le premier début est moins réflexif que les débuts de livres intermédiaires<br>This thesis aims at comparing different epic, didactic and elegiac writings from the Augustan period. Although the beginnings of literary works have been extensively studied, comparisons are still needed. We try to understand the principles at work in the beginning of poetry writings. We also explain the variations observed between them.By placing Augustan texts in a tradition, we notice that there are characteristic differences between the rites of epic and didactic proems. These differences are so important that they contribute to the identification of a work's genre.Then mobilizing elements that comparisons reveal as markers for their recurrence, but also the tools of pragmatics and the concept of paratext, we highlight the characters which, beyond programmatic representativity, qualify the poems opening elegiac collections as beginnings.It appears that only Ovid describes his position in relation to epic, by playing with beginning codes of that genre, because he wrote at a time when the elegiac genre had matured and when the proem of the Aeneid had established a Latin model for epic proems. But at the time of the first book of Propertius and Tibullus, no specific ritual of beginning is established for elegiacs. Elegy's relationships to epic do not appear in the form of the beginning and they will be described more explicitly in metaliterary terms in the following books. Generally speaking, the first beginning is less metapoetic than the beginnings of intermediate books
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Martin, KIRSTEN. "Erasmus Darwin’s Deistic Dissent and Didactic Epic Poetry: Promoting Science Education to a Mixed Audience Under the Banner of Tolerance." Thesis, 2012. http://hdl.handle.net/1974/7316.

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Erasmus Darwin’s task as a Deistic Dissenter poet who wished to promote science education to a mixed audience was complex. There was mainstream concern over what Deists and Dissenters actually believed about God, their involvement in science, and, especially, how their published works, whatever the subject, might affect public morality and politics. I argue that Darwin’s poetry is primarily in the genre of Lucretian didactic epic but that it also involves elements of other written traditions (literary and non-literary). I focus on English didactic poetry, the theological written traditions of Dissent and Deism, and a particular tradition of erotic satire. The genre of Lucretian didactic epic and the tradition of English didactic poetry are non-identical. In Darwin’s Lucretian didactic epic, resemblances to such poems as Pope’s Essay on Man challenge ideas about what kind of narrative a didactic poem in the English language can deliver. Techniques from the theological written traditions of Dissent and Deism reflect Darwin’s affiliations, signal that science education fits within a larger debate about intellectual freedom, and promote tolerance for differences of opinion about nature. Mimicry of a particular tradition of erotic satire helps to downplay the address to a mixed audience while satirising some common misconceptions about poetry, botany, and women in the period. Darwin’s poetry challenges ideas about what people from his community of belief meant to communicate or transmit by writing for the general public, what the general public was entitled to learn, and what poetry was able to teach. Perhaps Darwin’s biggest modification of Lucretian didactic epic was that he did not tell his readers exactly what to think, but how.<br>Thesis (Ph.D, English) -- Queen's University, 2012-07-09 10:04:51.446
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Takakjy, Laura Chason. "Lucretius, Pietas, and the Foedera Naturae." 2013. http://hdl.handle.net/2152/22790.

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The presentation of pietas in Lucretius has often been overlooked since he dismisses all religious practice, but when we consider the poem’s overall theme of growth and decay, a definition for pietas emerges. For humans, pietas is the commitment to maintaining the foedera naturae, “nature’s treaties.” Humans display pietas by procreating and thereby promoting their own atomic movements into the future. In the “Hymn to Venus,” Lucretius uses animals as role models for this aspect of human behavior because they automatically reproduce come spring. In the “Attack on Love,” Lucretius criticizes romantic love because it fails to promote the foedera naturae of the family. Lucretius departs from Epicurus by expressing a concern for the family’s endurance into the future, or for however long natura will allow. It becomes clear that Lucretius sees humans as bound to their communities since they must live together to perpetuate the foedera naturae of the family.<br>text
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Books on the topic "Didactic epic"

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Lucretius and the didactic epic. Bristol Classical Press, 2001.

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Epic lessons: An introduction to ancient didactic poetry. Routledge, 1996.

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Gotshalk, Richard. Homer and Hesiod: Myth and philosophy. University Press of America, 2000.

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Vergil's Georgics and the traditions of ancient epic: The art of allusion in literary history. Oxford University Press, 1991.

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Playing the farmer: Representations of rural life in Vergil's Georgics. University of California Press, 2011.

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Milton and the paradoxes of Renaissance heroism. Louisiana State University Press, 1987.

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Fajardo-Acosta, Fidel. The condemnation of heroism in the tragedy of Beowulf: A study in the characterization of the epic. E. Mellen Press, 1989.

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Virgil. The eclogues ; The georgics ; The aeneid. 2nd ed. Encyclopædia Britannica, Inc., 1990.

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The Chaonian dove: Studies in the Eclogues, Georgics, and Aeneid of Virgil. E.J. Brill, 1986.

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Schneider, Helmuth. Das griechische Technikverständnis: Von den Epen Homers bis zu den Anfängen der technologischen Fachliteratur. Wissenschaftliche Buchgesellschaft, 1989.

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Book chapters on the topic "Didactic epic"

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"Didactic Epic." In Oppian's Halieutica. Cambridge University Press, 2020. http://dx.doi.org/10.1017/9781108892728.002.

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"WHO READS DIDACTIC EPIC?" In Epic Lessons. Routledge, 2013. http://dx.doi.org/10.4324/9780203707364-6.

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"A LITERARY HISTORY OF LEISURE? THE DIDACTIC EPIC." In Epic Lessons. Routledge, 2013. http://dx.doi.org/10.4324/9780203707364-15.

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"DIDACTIC DINNERS: INSTRUCTION IN NARRATIVE EPIC AND IN THE NOVEL." In Epic Lessons. Routledge, 2013. http://dx.doi.org/10.4324/9780203707364-14.

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"WORD OF MOUTH: ORALITY AND DIDACTIC POETRY FROM HESIOD TO EMPEDOCLES." In Epic Lessons. Routledge, 2013. http://dx.doi.org/10.4324/9780203707364-7.

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"Didactic and epic: origins, continuity, and interactions." In Structures of Epic Poetry. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-010.

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"Nonnus’ Paraphrase of the Gospel According to John as Didactic Epic." In The Genres of Late Antique Christian Poetry. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110696219-014.

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Gardner, Hunter H. "Roman Pestilence." In Pestilence and the Body Politic in Latin Literature. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198796428.003.0001.

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This chapter addresses the tradition of plague writing in antiquity and outlines the innovations that Roman epic poets have made within the discourse. It observes a distinction between eyewitness accounts of plague and the relatively fictive representations of epidemic disease in Lucretius’ De Rerum Natura, Vergil’s Georgics, and Ovid’s Metamorphoses. The plague narrative experiences a revival in the late Roman Republic, prompting an investigation into the ideological work such narratives perform: why did the Romans of this period favor epidemic disease as a way of illustrating the collapse of the social order? How were epic accounts of plague informed not only by political rhetoric tethering the language of pestis (“plague”) to the chaos of the late Republic, but also by epidemic diseases discussed in medical writers, didactic treatises, and historical anecdotes? After identifying characteristics that accompany notices of “real” plague in the late Republic, the chapter examines twentieth-century theorists whose work addresses those characteristics: Artaud (1958), Foucault (2003), Sontag (1988), and Girard (1974). While no single theory explains the features of Latin plague, collectively these thinkers address bodily decay and liquefaction, the opportunities for state intervention in the context of an outbreak, and the friction between individual and collective concerns that define Roman treatments of epidemic disease. Perhaps most significantly, the work of these theorists underscores the alternatingly corrosive and purifying power of plague, which gestures toward a new order, while also dwelling on the aftermaths and remainders of the old.
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Vergados, Athanassios. "The Powers and Limits of Etymology." In Hesiod's Verbal Craft. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198807711.003.0004.

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This chapter discusses several instances of Hesiodic etymology in the Theogony and the Works and Days and shows that naming and etymology fulfil a variety of purposes in Hesiod’s poetry: in the Theogony they support the poet’s didactic programme, contribute to the construction of the narrative, lend authority to Hesiod’s versions of the divine stories, function as an organizational principle, and reveal the poet’s reflection on the epic dialect. Through the etymological approach the poet sometimes aids his audience in understanding words that he (may have) coined. But it also becomes clear through the discussion of Hesiod’s treatment of Pandora’s name in the Works and Days that in the poet’s view, the powers of etymology are not unlimited: knowing a name’s constituent parts does not warrant that one knows its precise meaning and function. The relation of the constituent parts to each other, i.e. the syntax of etymology, is equally important, and in case of multiple possible combinations it is paramount to examine the context in which the etymology is uttered. The etymology of a name can thus under certain conditions reveal something substantial about the bearer’s nature. But when the various possible syntactic relations are not sufficiently unpacked, it can lead to misunderstandings and, as Epimetheus found out, disasters.
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"Chapter Seven. Ariosto, Orlando Furioso (1516): Didactic Allegory." In The Romance Epics of Boiardo, Ariosto, and Tasso. University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442682245-010.

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Conference papers on the topic "Didactic epic"

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Ermakova, Galina A., Alena M. Ivanova, Marina E. Kroshneva, Marina P. Savirova, and Galina N. Semenova. "Aesthetic and Philosophical Views on the Human in the Ancient Indian Epic and G.N. Aygi's Poems." In Proceedings of the International Conference "Topical Problems of Philology and Didactics: Interdisciplinary Approach in Humanities and Social Sciences" (TPHD 2018). Atlantis Press, 2019. http://dx.doi.org/10.2991/tphd-18.2019.35.

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