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Books on the topic 'Prosopopeya'

Author: Grafiati
Published: 4 June 2025
Last updated: 23 June 2025

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1

editor, Memisha Enver, ed. Prosopopea: (poema heroike e Ballit Kombëtar). West Print, 2018.

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2

Brigitte, Gauvin, ed. La prosopopée des animaux =: Prosopopeia animalium aliquot. J. Millon, 2011.

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3

Guyon, Patrick. Le devoir du poème: Prosopopée de l'homme debout pour tenter de répondre dans le silence Auschwitz. Ombres, 1998.

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4

Enrico, Straub, ed. Prosopopea Ecaterina II und Istanza: Zwei unbekannte Texte von Giacomo Casanova de Seingalt (1725-1798) : kritische Ausgabe der italienischen Handschriften aus dem Casanova-Nachlass in Mnichovo Hradisté (Tschechische Republik). P. Lang, 1993.

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5

Rilla, Jerónimo. El Leviatán como prosopopeya. Teseo, 2019. http://dx.doi.org/10.55778/ts877838077.

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<p>Si tuviéramos que diseñar un frontispicio que anticipara nuestro argumento como acostumbraba a hacer Hobbes, lo elaboraríamos sobre la base de una oposición entre individualismo y corporativismo. Así, el principal adversario teórico será toda lectura que identifica al individuo en su versión moderna –autónomo, libre e igual a sus pares– como el único actor relevante en el escenario político hobbesiano.</p><p>Por nuestra parte, argüiremos que la afamada “guerra de todos contra todos” es, en sentido estricto, una guerra de corporaciones. Esta línea de hermeneusis nos obligará a indagar en el mecanismo por el cual los individuos se incorporan en un grupo, esto es, la representación por ficción. Es a través de una operatoria muy similar a la prosopopeya de la retórica clásica que Hobbes logra elucidar cómo los representantes dan voz y acción a una multitud que se constituye por ese mismo acto en una persona <em>ficta</em>.</p><p>Pero si la representación por ficción evidencia las aptitudes humanas para la asociación, también nos introduce en sus ineptitudes. Sugestivamente parecidos al Estado, serán los grupos, en tanto <em>lesser Commonwealths</em>, quienes determinen las dinámicas del desorden. He aquí la verdadera morfología del conflicto político que la teoría de Hobbes deberá resolver.</p>
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6

Bento, Teixeira, and Jan Oliveira. Prosopopéia. Independently Published, 2018.

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7

Prosopopoeia. Action Books, 2016.

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8

Prosopopéa. Creative Media Partners, LLC, 2023.

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9

Appavoo, Letchumy. Prosopopoeia Fiction. Minerva Press, 1998.

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10

Romeva, Mercè Riba. Trànsit: Prosopopeia de la infància. Edicions Cal·lígraf, 2022.

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11

Spenser, Edmund. Prosopopoia Or Mother Hubberds Tale. Kessinger Publishing, 2004.

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12

Marina Menezes, Gabrielli. Prosa e poesia com as figuras de linguagem na floresta prosopopeia. EDITORA CRV, 2018. http://dx.doi.org/10.24824/978854442346.2.

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13

III Premio de Investigación de la Academia. Las prosopopeyas de María Velasco. Academia de las Artes Escénicas de España, 2018.

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14

Rosenmeyer, Patricia A. Talking with the Colossus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626310.003.0003.

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Chapter 3 explores the personal relationship visitors thought they had with Memnon. In response to Memnon’s morning cry, visitors used inscriptions to communicate with the articulate yet inanimate statue. Following two main impulses of animation, inscribers either addressed the god as a listener through the rhetorical figure of apostrophe or imagined him as a speaker, calling out to his mother or to them, through prosopopeia. The latter impulse overlaps with the concept of epiphany, where the god makes himself manifest by some sign—usually visual, but in this case aural. This chapter discusses apostrophe, prosopopeia, and epiphany as evidence for visitors’ yearning to commemorate their interactions with Memnon. Inserting themselves into the collective practice of sacred tourism, they nevertheless seek to make the verbal exchange meaningful on a personal level. The inscriptions bear witness to this tension between the communality and the uniqueness of each instance of communication with Memnon.
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15

Épicos: Prosopopéia, O Uraguai, Caramuru, Vila Rica, A Confederaçao dos Tamoios, I-Juca-Pirama. EDUSP, 2008.

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16

Alexander, Gavin. Song in Shakespeare. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0032.

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This chapter explores the place of song within Shakespeare’s plays. It also considers Shakespeare’s songs as texts, because their ontological oddity—the way they raise questions about what they are doing in their dramatic setting—is bound up with various kinds of textual oddity. Songs in As You Like It, Othello, Measure for Measure, and Twelfth Night are examined closely and related to the classical rhetorical theory of prosopopoeia or personation. Song is used by Shakespeare to explore the ways we understand and perform identity. The characters in a song, the characters in a play, the actors who played them, the writers and musicians, the scribes and printers, the oral and literary traditions that produced the plays as written, as variously performed in Shakespeare’s day, and as printed—all determine and inflect the words of Shakespeare’s songs. We must situate the personae that speak or sing in his songs between all these various agencies.
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17

Parker, John. Persona. Edited by James Simpson and Brian Cummings. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199212484.013.0031.

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This chapter argues that Christian antitheatricalists could persuasively oppose pagan theater only by offering their faith as a superior but fundamentally similar substitute — starting with Tertullian's use ofpersona(the Latin term for a theater mask) to describe the multiple facets of a Trinitarian godhead. The patristic hermeneutics of prosopopoeia (or in Latin,fictio personae) likewise treated scripture explicitly as a drama in which God plays multiple roles. Medieval Christians went even further by staging the Bible and once again using masks as an indispensable theatrico-theological property; hence the common English Protestant position that Christian culture had devolved into little more than paganism by a different name. Ironically enough, early modern antitheatricalists constantly cited their patristic antecedents in order to demonstrate the theater's dangerous allegiance to polytheism — even as they once again implicitly positioned their "strictly scriptural" version of Christianity as the ultimate drama. By the time Sidney published hisDefense of Poesieit was in fact possible to argue that scripture itself had achieved such sublime effects onlyby means ofits quasi-theatrical impersonation of multiple sacred figures.
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