Christos Tsagalis's Inscribing Sorrow: Fourth-Century Attic Funerary Epigrams PDF








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V. ‘gnome’ (VI, cols. 74-90), and Huart (1973) 11-13. See also the relevant discussion in Liapis (2002) 13. v. ‘Gnome’. The English translations between brackets are mine. v. v. ‘Gnome’ col. 1109). v. ‘gnome’ (640). Russo (1997) 49-64, 143-149 and in particular 56. See Arist. Rhet. 1395a2-6; Demetrius (On Style 232). Russo (1997) 57 rightly observes: “It might appear that Demetrius diverges from Aristotle by assuming that proverbs characterize common people’s speech, whereas Aristotle said that rustics characteristically used maxims.

The deictic center is the ego of the dead man, who speaks from his grave. Despite the fact that all three epitaphs begin with a gnomic statement, they subsequently find recourse to divergent forms of spatial deixis. This difference is significant for the interpretation of the epitaph by a future passer-by who would stop and read the inscription. In CEG 493, the focal center of the speech-act is a nonparticipant, a third person, someone who is neither the ‘voice from the grave’ nor the reader.

In fact, the extension and evolution of this part of the gnomic statement into a eulogy must be seen as a by-product of the approval of the maxim’s content. 88 Performance has in this context the meaning of “an optional and impromptu creative response to an important social and psychological situation”,89 and may be seen as emergent. 90 Successful evaluation of the gnomic statement (and subsequently the epitaph it belongs to) would entail a successful performance, for whose attainment the composer of the epitaph has offered to his reader specific staging guidelines, as I have argued above.

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Inscribing Sorrow: Fourth-Century Attic Funerary Epigrams (Trends in Classics) by Christos Tsagalis


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