Název: Performance in den byzantinischen Romanen des 12. Jahrhunderts und das Theatron
Variantní název:
- Performance in the Byzantine novels and the theatron
Zdrojový dokument: Graeco-Latina Brunensia. 2016, roč. 21, č. 1, s. 21-30
Rozsah
21-30
-
ISSN1803-7402 (print)2336-4424 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/GLB2016-1-2
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/135486
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
During the 12th century, the history of the European novel came to a turning point. While the so-called chanson de geste and the early Arthurian novels gained prominence in Western Europe, the Byzantine Empire could welcome four new love novels after an eight-century break. One of these novels is Drosilla and Charicles by Nicetas Eugenianos. The Comnenian novels might have been written for aristocrat patrons and the Byzantine intelligentsia. We may also presume that these books were recited, either in smaller sections or in their full form, to an audience in the salons of the age, namely the theatra. Very few investigations have been made so far into the question of how we could find proof for the recitals. This article scrutinizes the signs that may prove these novels to have been performed, based on Nicetas Eugenianos. The study offers two perspectives on this topic: on the one hand, rhetorics and narratology areuge involved in the scrutiny (closely in line with our knowledge on theatron); on the other hand, performative scenes in the plot of the novel are also analyzed (e.g. the dance of the old lady Baryllis). These investigations confirm the fact that Drosilla and Charicles is a significant point in the development of the novel.
Note
Die Veröffentlichung der im Aufsatz vorgezeigten Forschungsergebnisse wurde vom Nationalen Wissenschafts- und Forschungsfonds Ungarn (OTKA NN 104456) unterstüzt.
Reference
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[13] MacAlister, S. (1996). Dreams and Suicides. The Greek Novel from Antiquity to the Byzantine Empire. London: Routledge.
[14] Magdalino, P. (1993). The Empire of Manuel I Komnenos, 1143–1180. Cambridge – New York: Cambridge University Press.
[15] Marciniak, P. (2007). Byzantine Theatron – A Place of Performance? In M. Grünbart (Ed.), Theatron: Rhetorische Kultur in Spätantike und Mittelalter / Rhetorical Culture in Late Antiquity and the Middle Ages (pp. 277–286). Berlin – New York: de Gruyter.
[16] Mullett, M. (1984). Aristocracy and Patronage in the Literary Circles of Comnenian Constantinople. In M. Angold (Ed.), The Byzantine Aristocracy: IX to XIII Centuries (BAR International Series, 22, pp. 173–201), Oxford: British Archaeological Reports.
[17] Nilsson, I. (2001). Erotic Pathos, Rhetorical Pleasure. Narrative Technique and Mimesis in Eumathios Makrembolites' Hysmine & Hysminias (Acta Universitatis Upsaliensis. Studia Byzantina Upsaliensia, 7). Uppsala: Uppsala University Library.
[18] Nilsson, I. (2014). Raconter Byzance. La littérature au XIIe siècle (Seminaries Byzantins Series, 3). Paris: Les Belles Lettres.
[19] Roilos, P. (2005). Amphoteroglossia. A Poetics of the Twelfth-Century Medieval Greek Novel (Hellenic Studies, 10). Washington: Center for Hellenic Studies, Trustees for Harvard University.
[20] Roilos, P. (2012). Oral Literature, Ritual, and the Dialectics of Performance. In K. Reichl (Ed.), Medieval Oral Literature (pp. 225–249). Berlin – Boston: de Gruyter.
[21] Vitz, B. E. (1999). Orality and Performance in Early French Romance. Cambridge: D. S. Brewer.
[22] Vitz, B. E. (2007). Variegated Performance of Aucassin et Nicolette. In E. Doss-Quinby, R. L. Krueger, & E. J. Burns (Eds.), Cultural Performances in Medieval France. Essays in Honor of Nancy Freeman Regalado (pp. 235–245). Cambridge: D. S. Brewer.
[2] Agapitos, P. A. (2006). Writing, Reading and Reciting (in) Byzantine Erotic Fiction. In B. Mondrain (Ed.), Lire et écrire à Byzance (pp. 125–176). Paris: Presses Universitaires de France.
[3] Agapitos, P. A., & Reinsch, D. R. (Eds.). (2000). Der Roman im Byzanz der Komnenenzeit. Referate des Internationalen Symposiums an der Freien Universität Berlin, 3. bis 6. April 1998 (Meletemata, 8). Frankfurt am Main: Beerenverlag.
[4] Beaton, R. (1996). The Medieval Greek Romance (2nd edition). London: Routledge.
[5] Burton, J. B. (2012). From Theocritean to Longan Bucolic: Eugenianus' Drosilla and Charicles. Greek, Roman, and Byzantine Studies, 52, 684–713.
[6] Conca, F. (Ed.). (1990). Nicetas Eugenianus. De Drosilla et Chariklis amoribus (London Studies in Classical Philology, 24). Amsterdam: J. C. Gieben.
[7] Delbó, K. L. (2015). Hagyomány és újítás a bizánci regényekben: az öreg nő alakja [Tradition und Erneuerung im byzantinischen Roman: die Gestalt der alten Frau]. Antik Tanulmányok, 59, 245–253. | DOI 10.1556/092.2015.59.2.7
[8] Harder, R. E. (2003). Der byzantinische Roman des 12. Jahrhunderts als Spiegel des zeitgenössischen Literaturbetriebs. In S. Panayotakis, M. Zimmerman, & W. Keulen (Eds.), The Ancient Novel and Beyond (Mnemosyne Supplementa, 241, pp. 357–369). Leiden – Boston: Brill. | DOI 10.1163/9789047402114_025
[9] Hunger, H. (1978). Die hochsprachliche profane Literatur der Byzantiner (Vol. II). München: C. H. Beck.
[10] Hunger, H. (1980). Antiker und byzantinischer Roman (Sitzungsberichte der Heidelberger Akademie der Wissenschaften, Phil.-hist. Kl., Jahrgang 1980, Abhandlung 3). Heidelberg: Carl Winter.
[11] Jeffreys, E. (2014). Four Byzantine Novels (Translated Texts for Byzantinists, Vol. 1; 2nd edition). Liverpool: Liverpool University Press.
[12] Kazhdan, A. P., & Epstein, A. W. (1985). Change in Byzantine Culture in the Eleventh and Twelfth Centuries (Transformation of the Classical Heritage, 7). Berkeley – Los Angeles – London: University of California Press.
[13] MacAlister, S. (1996). Dreams and Suicides. The Greek Novel from Antiquity to the Byzantine Empire. London: Routledge.
[14] Magdalino, P. (1993). The Empire of Manuel I Komnenos, 1143–1180. Cambridge – New York: Cambridge University Press.
[15] Marciniak, P. (2007). Byzantine Theatron – A Place of Performance? In M. Grünbart (Ed.), Theatron: Rhetorische Kultur in Spätantike und Mittelalter / Rhetorical Culture in Late Antiquity and the Middle Ages (pp. 277–286). Berlin – New York: de Gruyter.
[16] Mullett, M. (1984). Aristocracy and Patronage in the Literary Circles of Comnenian Constantinople. In M. Angold (Ed.), The Byzantine Aristocracy: IX to XIII Centuries (BAR International Series, 22, pp. 173–201), Oxford: British Archaeological Reports.
[17] Nilsson, I. (2001). Erotic Pathos, Rhetorical Pleasure. Narrative Technique and Mimesis in Eumathios Makrembolites' Hysmine & Hysminias (Acta Universitatis Upsaliensis. Studia Byzantina Upsaliensia, 7). Uppsala: Uppsala University Library.
[18] Nilsson, I. (2014). Raconter Byzance. La littérature au XIIe siècle (Seminaries Byzantins Series, 3). Paris: Les Belles Lettres.
[19] Roilos, P. (2005). Amphoteroglossia. A Poetics of the Twelfth-Century Medieval Greek Novel (Hellenic Studies, 10). Washington: Center for Hellenic Studies, Trustees for Harvard University.
[20] Roilos, P. (2012). Oral Literature, Ritual, and the Dialectics of Performance. In K. Reichl (Ed.), Medieval Oral Literature (pp. 225–249). Berlin – Boston: de Gruyter.
[21] Vitz, B. E. (1999). Orality and Performance in Early French Romance. Cambridge: D. S. Brewer.
[22] Vitz, B. E. (2007). Variegated Performance of Aucassin et Nicolette. In E. Doss-Quinby, R. L. Krueger, & E. J. Burns (Eds.), Cultural Performances in Medieval France. Essays in Honor of Nancy Freeman Regalado (pp. 235–245). Cambridge: D. S. Brewer.