β Scribed by Suzanne Maria Adema
No coin nor oath required. For personal study only.
In Tenses in Vergil's Aeneid, Suzanne Adema presents a framework to analyze the role of tenses in Latin narrative texts. She applies the framework to the tense forms of the Aeneid, investigating their role in its narrative style and structure.
βContents
βPreface
βTables
βChapter 1. Introduction
β1. Tense in the Aeneid
β2. Approach and Outline of This Book
βChapter 2. Latin Tenses in Narrative Texts
β1. Temporal Relation between Narrator and State of Affairs
β2. Narrative Temporal Progression
β3. Text Structure and Discourse Modes
β3.1. Narrative Mode
β3.2. Description Mode
β3.3. Report Mode
β3.4. Information Mode
β3.5. Conclusion on Discourse Modes
β4. The Sequence as a Unit, Methods of Analysis
β5. Conclusions
βChapter 3. Praesens
β1. Semantic Value of the Present Tense
β2. Pseudo-simultaneous Narrative
β3. Description Mode
β3.1. Pseudo-simultaneous Description
β3.2. Ambiguous Descriptions
β4. Report Mode
β4.1. Report from a Base in the Time of Narration
β4.2. Report from a Base in Reference Time
β5. Information Mode
β5.1. Information from a Base in the Time of Narration
β5.2. Information Presented from a Base in Reference Time
β5.3. The Present Tense in Similes
β6. Conclusion
βChapter 4. Perfectum
β1. Semantic Value of the Perfect Tense
β2. Narrative Mode
β2.1. Retrospective Narrative
β2.2. Pseudo-simultaneous Narrative
β3. (Pseudo-)simultaneous Description
β4. Report Mode
β4.1. Report from a Base in the Time of Narration
β4.2. Report from a Base in Reference Time
β5. Information Mode
β5.1. Information from a Base in the Time of Narration
β5.2. Information from a Base in Reference Time
β5.3. The Perfect Tense in Similes
β6. Conclusion
β7. A Perfect Tense for Perfect Beings?
βChapter 5. Imperfectum
β1. Semantic Value of the Imperfect Tense
β2. Narrative Mode
β2.1. Retrospective Narrative
β2.2. Pseudo-simultaneous Narrative
β3. Description Mode
β3.1. Retrospective Description
β3.2. Pseudo-simultaneous Description
β4. Information Mode
β4.1. Information from a Base in the Time of Narration
β4.2. Information from a Base in Reference Time
β4.3. The Imperfect Tense in Similes
β5. The Imperfect Subjunctive for Counterfactuals
β6. Conclusion
βChapter 6. Plusquamperfectum
β1. Semantic Value of the Pluperfect Tense
β2. Narrative Mode
β2.1. Retrospective Narrative
β2.2. Pseudo-simultaneous Narrative
β3. Description Mode
β4. Information Mode
β5. The Pluperfect Subjunctive
β6. Conclusion
βChapter 7. Future Tenses
β1. Base in Time of Narration: Narratorial Announcements and Hopes
β2. Base in Time of a Characterβs Narration: Great Expectations and Prophecies
β3. Base in Reference Time: Displaced Immediacy
β4. Conclusion
βChapter 8. Historical Infinitive
β1. Semantic Value of the Historical Infinitive
β1.1. The Use of the Historical Infinitive in the Aeneid
β2. Retrospective Narrative
β3. Pseudo-simultaneous Narrative
β4. Pseudo-simultaneous Description
β5. Conclusion
βChapter 9. Tenses in the Narrative Style and Structure of the Aeneid
β1. Narrative Mode
β1.1. Pseudo-simultaneous Narrative
β1.2. Retrospective Narrative
β2. Description Mode
β2.1. (Pseudo-)simultaneous Description
β2.2. Retrospective Description
β3. Report Mode
β3.1. Report Mode from a Base in the Time of Narration
β3.2. Report Mode from a Base in Reference Time
β4. Information Mode
β4.1. Information from a Base in the Time of Narration
β4.2. Information from a Base in Reference Time
β5. Displaced Immediacy in the Aeneid
β6. Latin Tenses as a Feature of Narrative Style and Structure
βBibliography
βIndex Rerum
βIndex Locorum
π SIMILAR VOLUMES
In Tenses in Vergilβs Aeneid, Suzanne Adema presents a framework to analyze the role of tenses in Latin narrative texts. She applies the framework to the tense forms of the Aeneid, investigating their role in its narrative style and structure.
<span>Virgil's Cinematic Art</span><span> concerns the rhetoric of visual manipulation that provokes us to envision what is written on the page, treating visual details in ancient epic not as mere scene-setting information or enhancements to any given story, but as cues for performing specific imagi
<span>Elegiac Love and Death in Vergil's 'Aeneid'</span><span> poses new questions about Vergil's pervasive engagement with elegy, both amatory and funerary, throughout his final epic endeavor. A foundational discussion of elegiac experimentation in the </span><span>Eclogues</span><span>, </span><sp
<span>Elegiac Love and Death in Vergil's 'Aeneid'</span><span> poses new questions about Vergil's pervasive engagement with elegy, both amatory and funerary, throughout his final epic endeavor. A foundational discussion of elegiac experimentation in the </span><span>Eclogues</span><span>, </span><sp
In the<i>Aeneid</i>men, women, gods, and goddesses are characterized by the speeches assigned to them far more than by descriptions of their appearance or behavior. Most of the speeches are highly emotional and individualized, reminding us of the most powerful utterances of Greek tragedy.<br /><br /