Formal and symbolic aspects of its ‘concentric’ structure; Paradoxical relationships of comparisons and similes in some of Pindar’s Odes and in the poems of Catullus
An essay for a conference of the Society for the Study of Biblical and Semitic Rhetoric, entitled ‘Semitic Rhetoric and Beyond’, held at the Gregorian University, Rome, 2010.
An essay for a conference of the Society for the Study of Biblical and Semitic Rhetoric, entitled ‘Semitic Rhetoric and Beyond’, held at the Gregorian University, Rome, 2010.
Sommario
- Concentric structure in Catullus poem 68A (or 68B)
- About the history of a mystery and polysemic word: omphalòs
- Umbilicus, the starting point of life, but also of a book (or better, of a papyrus roll)
- The centre
- Of a shield (the shield-boss or umbo), of an army, of a rose, of the vault of an arch;
- Of the sea — Ogygia, the island of Calypso, Od. I, 50;
- Of the world — Delphi, omphalòs tou kòsmou —; umbilicus Romae;
- In the citharoedic nomos of Terpander, that is, a vocal composition with a traditional melodic nucleus; Terpander and the archaic perception of music; music as an image of cosmic harmony
- In Pindar’s Odes
- The omfalòs in Catullus poem 68A
- The analogical alternation of the mythical and biographical; heroes and author’s ego
- Antithetical arrangement and the paradoxical function of the divergence of analogies in relation to the concentric structure, or: the narrative function of colossal comparisons and the extravagant incongruity of the similes relating to points of detail.
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