http://www.loc.gov/mods/v3 http://www.loc.gov/standards/mods/v3/mods-3-2.xsd
Reader immersion in Latin prose and verse narrative
This text introduces contemporary critical perspectives to the study of ancient Latin narrative texts, demonstrating how they encourage their readers to experience the fictional world and its inhabitants - the fictional characters - as if they were to some extent real.
Cover -- Reader Immersion in Latin Prose and Verse Narrative -- Copyright -- Contents -- Acknowledgements -- Note on Translations and Abbreviations -- List of Images -- Introduction -- 1: Towards Immersion -- 1.1. Visual Engagement -- 1.1.1. Modern Narrative -- 1.1.2. The Visual Arts, Metalepsis, and Embedded Viewer Advice -- 1.1.3. Ancient Narrative Spaces -- 1.1.4. Evidentia and Ekphrasis -- 1.2. Emotional Engagement -- 1.2.1. Metaleptic Emotions -- 1.2.2. The Rhetoric of Emotions -- 1.2.3. Emotions, Embedded Reader Advice, and Suspense -- 1.2.4. Sharing Emotions: Empathic Identification
1.3. Bodily Engagement -- 1.3.1. Immersion and the Body: Modern and Ancient Views -- 1.3.2. The Five Senses -- 1.4. Intellectual Engagement -- 1.4.1. Modern Narrative -- 1.4.2. Cognitive Perspectives: Narrative Texts and their Readers -- 1.4.3. Ancient Narrative -- 1.5. Articulating Immersion -- 1.5.1. Enchantment -- 1.5.2. Vividness -- 1.5.3. Psychagogy and Transportation -- 1.5.4. Ancient Narrative and Immersion -- 2: Small Things Matter Engaging Discourse -- 2.1. Vivid Language: indignanti similis, tantillus/tantulus -- 2.2. Mirativity: ecce, cum inversum, Parataxis
2.3. Emotional Syntax: Anacoluthon -- 2.4. Deixis and Prologues: Shifting and Complex Deixis -- 2.4.1. Who, When, Where, From Where: Apuleius' Prologue -- 2.4.2. Person Deixis in Prologues: Narrative and Other Genres -- 2.4.3. Performative Texts and Shifting Deictics -- 2.4.4. Complex Deixis and Metalepsis -- 2.5. Iste : Deixis, Vividness, Emotions -- 3: Reading Ekphraseis -- 3.1. Gazing at One's Own Past: Aeneas in Carthage -- 3.1.1. Viewing, Emotions, Embodiment -- 3.1.2. Interpretation, Dramatic Irony, and Cognitive Dissonance -- 3.1.3. Know Thyself: Aeneas and the Reader
3.2. Not Recognizing One's Own Future: Lucius, Actaeon, Diana -- 3.2.1. Picturing -- 3.2.2. Movement -- 3.2.3. Apostrophe -- 3.2.4. Other Sensory Perceptions -- 3.2.5. Verbal Tenses -- 3.2.6. Emotions -- 3.2.7. Breaking the Spell? I: Meaning and mise en abyme -- 3.2.8. Breaking the Spell? II: Cultured Reflection -- 3.2.9. The Ekphrasis and a Mosaic -- 3.3. A Non-Immersive Ekphrasis in Petronius -- 4: The Narratology of Emotions: Embedded Reader Advice and Metalepsis -- 4.1. Aeneas' Double Audience and 'Generic Enrichment' -- 4.2. Amazement and Credulity: Metamorphoses, Werewolves, and Witches
4.3. 'Don't Listen to Me': Orpheus in Ovid's Metamorphoses -- 4.4. Apuleius' Metamorphoses and the Matryoshka Effect -- 4.4.1. First Doll: Socrates and Aristomenes -- 4.4.2. Second Doll: Aristomenes and Lucius -- 4.4.3. Third Doll: Lucius and his Reader -- 4.5. Emotions, Curiosity, and Credibility: The Historia Apollonii -- 5: Mind and Heart Games Cognitive Dissonance and Empathy -- 5.1. The Theory -- 5.2. Empathy, Sympathy, and Emotional Contagion -- 5.3. Tragic Dissonances in Seneca -- 5.3.1. Vicarious Dissonance -- 5.3.2. The Dangers of Immersion -- 5.4. Adapting Tragedy: The Dilemma Speech
Includes bibliographical references and indexes.