![]() ![]() Cui Bonadeo? Riding on revaluation of Statius, the Preface emphasises synergy between the multi-dimensional interplay of Statian artistry and a critical hermeneutic systematically open to semiotic ambiguity and amphibology: Bonadeo has picked the poem that does art history-’Statius’ Statue’, if you will-the ekphrastic poem that hooks verbal play onto plastic icon in its interactive work of description, but fills this out suggestively and invitingly by embedding the challenge to evoke graphic representation within a multifaceted staging of art culture that brings together ideology, history, politics, and aesthetics, in a self-referential and self-promotional microcosm of Flavian Italy just aside from the heat and glare of Domitian’s court.Įx pede Herculem: 1 4.6 is also the poem that brings to the table the multum in parvo basis of the self-deprecating poetics of minor, occasional, off-parade, un-epic verse most clearly by unpacking the world of meaning embodied in a table-ornament statuette less than one foot tall. ![]() There, 22 pages of austere brevitas did for the 109 hexameters of 4.6-not 149 accommodating pages of introduction plus 122 of theory-friendly comment (in smaller but still agreeable font). ![]() Mehercule! Two decades plus of polysemic, metaliterary, intermedial, cultural-historical Silver and Silvan Latinity separate this fine new non-Anglo-German style commentary from Kathy Coleman’s scarily distinguished Oxford edition of Silvae Book 4. ![]()
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