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Breaking the frame: from Catullus 64 to ancient metalepsis

打破框架：从 Catullus 64 到古代Metalepsis

基本信息

批准号：
AH/K008145/1
负责人：
Gail Trimble
金额：
$ 15.68万
依托单位：
University of Oxford
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FK008145%2F1
关键词：
Breaking frame Catullus 64 ancient

项目摘要

The proposed research will lead to a commentary on Catullus 64, with newly edited text, to be published in the CUP series Cambridge Classical Texts and Commentaries (the 'orange' series). Research on a recurring aspect of Catullus 64, metalepsis or the breaking of the narrative frame, will be used to launch a collaborative exploration of metalepsis in Greek and Roman literature.Catullus 64 is a miniature epic (just over 400 lines) from the mid-first century BC. After a misleading opening implying that it will be about the Argonauts, it narrates the meeting and marriage of Peleus and Thetis, parents of Achilles. More than half of it, however, is an extended description ('ecphrasis') of the couple's marriage bed, on the coverlet of which is a picture of the abandoned Ariadne. This is a very atypical ecphrasis: the depicted Ariadne utters a lengthy speech. When the narration returns to the wedding, the Fates sing a song prophesying Achilles' heroic but bloody exploits, and the poem suddenly ends with a conclusion in which the narrator laments the moral decline of civilisation since the heroic age.Like Catullus' other poetry, 64 is both central to and problematic for Classical scholarship. Catullus wrote under the late Roman Republic in political circumstances very different from those of the Augustan and imperial periods from which so much widely studied Latin poetry comes. His small corpus covers a large and unpredictable range of genres, and 64, his longest poem, has always created its own problems for critics. Modern discussions, in articles and occasional monographs, have pursued various lines of inquiry, with a particularly clear dichotomy between accounts that see 64 as 'about' something external to itself - whether Catullus' own emotional life or his attitude to his times - and those that see it as 'about' aspects of its own poetic nature - such as ecphrasis, intertextuality, or narrative confusion. Meanwhile, readers of the poem still rely on inadequate commentaries, usually constrained in scope by their appearance within commentaries on the whole Catullan corpus.The proposed commentary will transform our understanding of Catullus 64 by offering important new literary interpretations of the poem that are both informed by up-to-date, theoretically aware approaches to Roman poetry and based on a thoroughgoing reassessment of the problems of the text from the scale of the individual word upwards. Simultaneously, it will be an essential, reliable tool for researchers and students in the wider fields of Greek and Roman literature and cultural history. It will also demonstrate that commentary remains a form of essential importance in Classics, but one that should be constantly reinvigorated through self-critical reflection: I shall make a practical contribution to this by collaborating with another early career commentator to hold a workshop for commentary writers, with an emphasis on commentators at the beginning of their careers who will be taking the form forward in the future. One aspect of Catullus 64's literary depth and complexity is its recurring use of metalepsis. Metalepsis is the breaking of the frame between narrative levels, for instance an author and his text, or Ariadne on the coverlet and the wedding-guests who are gazing at her. It is a concept which has only recently begun to be discussed in Classics, but could lead to fresh and interesting interpretations of key phenomena in ancient literature. To stimulate research in this area I shall convene an international conference on metalepsis in a wide range of Greek and Roman texts, again collaborating with an early career colleague, and I shall speak myself on metalepsis across Catullus' poetry.While the main research outputs are aimed at the academic community, it will be possible to communicate some of the fruits of the research in a programme of impact activities: talks in schools and art galleries and articles in educational magazines.

拟议的研究将导致对Catullus 64的评论，新编辑的文本，将在剑桥经典文本和评论系列（“橙色”系列）中发表。对《卡图卢斯64》中反复出现的一个方面的研究，即幻醉或叙事框架的打破，将被用来开展对希腊和罗马文学中幻醉的合作探索。《卡图卢斯64》是公元前一世纪中期的一部微型史诗（只有400多行）。在一个令人误解的开头暗示它将是关于阿尔戈英雄的故事之后，它讲述了阿喀琉斯的父母珀琉斯和忒提斯的相遇和婚姻。然而，它的一半以上是对这对夫妇的婚床的扩展描述（“概要”），床上的被单上是被遗弃的阿里阿德涅的照片。这是一个非常不典型的短语：描绘的阿里阿德涅发表了一篇冗长的演讲。当叙述者回到婚礼时，命运女神唱了一首预言阿喀琉斯英勇但血腥的事迹的歌，诗突然以叙述者哀叹英雄时代以来文明道德衰落的结尾结束。像卡图卢斯的其他诗歌一样，《64》是古典学术的核心，也是有问题的。卡图卢斯在罗马共和国晚期的政治环境下写作，与奥古斯都和帝国时期的政治环境截然不同，而这些时期的拉丁诗歌被广泛研究。他的小语料库涵盖了大量不可预测的体裁，他最长的诗《64》总是给评论家们带来自己的问题。现代的讨论，在文章和偶尔的专著中，都在追求各种各样的探究路线，其中有一种特别明确的两分法，一种是把《64》看作是“关于”它自身之外的东西——无论是卡图卢斯自己的情感生活还是他对时代的态度——另一种是把它看作是“关于”它自身诗歌性质的方面——比如外文表达、互文性或叙事混乱。与此同时，这首诗的读者仍然依赖于不充分的评论，通常受限于它们在整个卡图兰语料库的评论中出现的范围。提议的评注将会改变我们对《卡图卢斯64》的理解通过提供重要的新的文学解释这首诗既有最新的，对罗马诗歌的理论认识的方法也基于对文本问题的彻底的重新评估从单个单词的尺度向上。同时，它将成为研究希腊罗马文学和文化史更广泛领域的研究人员和学生必不可少的、可靠的工具。这也将证明评论在经典中仍然是一种至关重要的形式，但它应该通过自我批判的反思不断地重新活跃起来：我将为此做出实际的贡献，与另一位早期职业评论员合作，为评论作家举办一个研讨会，重点放在职业生涯初期的评论员身上，他们将在未来推动这种形式的发展。《卡图卢斯64》的文学深度和复杂性的一个方面是它反复使用的幻念。幻醒是指打破叙事层次之间的框架，比如作者和他的文本，或者是躺在被单上的阿里阿德涅和注视着她的婚礼宾客。这是一个最近才开始在经典中讨论的概念，但可以导致对古代文学中关键现象的新鲜和有趣的解释。为了促进这一领域的研究，我将与一位早期的职业同事合作，召开一次关于大量希腊和罗马文本中的醉魇症的国际会议，我将自己谈谈卡图卢斯诗歌中的醉魇症。虽然主要的研究成果是针对学术界的，但也有可能在影响活动方案中传播一些研究成果：在学校和艺术画廊的讲座以及在教育杂志上的文章。