Kathrin Winter
Biographic Data
| ID | 5657095 |
|---|---|
| NAME | Kathrin Winter |
| GIVEN NAMES | Kathrin |
| FAMILY NAME | Winter |
| SIGNATURE | WINTER K |
| AFFILIATIONS | Heidelberg University |
| VERIFIED | No |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 9 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2017 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
Vividness and Spatial Scenes: Four Examples from Heraclitus’ Fragments
Heraclitus’ fragments employ a powerful literary technique which is used to convey information without giving it directly: the texts appeal to sensation and bodily experience to evoke spatial scenes and so become intuitively comprehensible and display a surprisingly vivid quality. The means to bring this effect about can be analysed and explained with approaches from cognitive studies. This article presents three criteria to analyse vividness in …
Speaking Silence in Cicero’s Brutus and Tacitus’ Dialogus de Oratoribus
Cicero’s Brutus a nd Tacitus’ Dialogus de Oratoribus deal with the silence of eloquence resulting from the change of the political system in the first century BC. This silence leads to a paradoxical effect: it produces all the more eloquent speech, which helps to keep the discourse of the position of eloquence going. In the Brutus, the narrative is driven by the interlocutors’ desire for eloquent speech while the silence of speech is compensated …
Theseus und Ariadne
In Ovids Behandlung des Mythos von Theseus und Ariadne tritt nicht der epische Held mit seinen ruhmvollen Taten ins Rampenlicht. Stattdessen besteht, gemäß dem ovidischen Interesse an den randständigen Partien einer Geschichte, der eindrücklichste Teil der Theseusdarstellung in den Metamorphosen aus einer Beschreibung des Labyrinths. Noch eindrücklicher und häufiger hat Ovid die Szene der verlassenen Ariadne am Strand gestaltet.
Medea und Iason
In Ovids Darstellung des Mythenkomplexes um die Argonautenfahrt tritt der in der epischen Tradition eigentliche Held der Geschichte, Iason, fast völlig hinter den ambivalenten und exzessiven Charakter der Medea zurück. Wenn die junge Königstochter ihr eigenes Leben aufgibt und sich von der Liebe zu Iason leiten lässt, um dann von ihm verlassen zu werden, trägt die Figur sympathieerweckende Züge; zugleich zeigt sie sich aber auch als kaltblütige M…
Nicht Wissen ist auch Macht. Zur Gesprächsdynamik der Eingangsszene in Platons Kratylos
In the introductory scene of Plato’s Cratylus a power game takes place that is based on an asymmetrical distribution of knowledge and which determines the dynamics of the communication. Since Cratylus claims to have greater knowledge than Hermogenes, he puts his discussion partner in an inferior position. Hermogenes strives to balance out this power differential by different strategies. One such strategy is that of including Socrates in the discu…
Maria Backhaus: Mord(s)bilder – Aufzählungen von Gewalt bei Seneca und Lucan
As a critical journal for all classical studies, the GNOMON fosters the links between the distinct classical disciplines. It has thus an exceptional position among the classical review journals and allows familiarization with research and publications in neighbouring disciplines. The reviews address an international readership from all fields in classical studies. The GNOMON publishes reviews in German, English, French, Italian and Latin
Disturbingly (Dis)Similar: Narcissus and Claudius in Seneca, Apocolocyntosis 13
In Apocolocyntosis 13 the figure of Narcissus is not a minor character with a solely ornamental function but part of a complex play of echoes, repetitions, and similarities. Exploiting the fact that this particular freedman of Claudius was named Narcissus, Seneca turns the figure into a mirror image of Claudius and uses it to make subtle intertextual allusions. In this way, he destabilises the identities of Claudius and Narcissus to ridicule Clau…
‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea
In Greek and Roman antiquity, revenge is represented as a masculine duty, which is usually carried out by relatives or intimate friends. In Seneca’s drama, Medea adopts this masculine role by exacting revenge for her father and brother, which marks her as a transgressive woman. However, Medea also describes her revenge through language that aligns vengeance to the process of giving birth, a quintessentially female act; as Medea herself proclaims …
Chapter 4 ‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea
Horace and Seneca: Interactions, Intertexts, Interpretations
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Horace and Seneca: Interactions, Intertexts, Interpretations
‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea
In Greek and Roman antiquity, revenge is represented as a masculine duty, which is usually carried out by relatives or intimate friends. In Seneca’s drama, Medea adopts this masculine role by exacting revenge for her father and brother, which marks her as a transgressive woman. However, Medea also describes her revenge through language that aligns vengeance to the process of giving birth, a quintessentially female act; as Medea herself proclaims …
Chapter 4 ‘Now I am Medea’: Gender, Identity and the Birth of Revenge in Seneca’s Medea
Disturbingly (Dis)Similar: Narcissus and Claudius in Seneca, Apocolocyntosis 13
In Apocolocyntosis 13 the figure of Narcissus is not a minor character with a solely ornamental function but part of a complex play of echoes, repetitions, and similarities. Exploiting the fact that this particular freedman of Claudius was named Narcissus, Seneca turns the figure into a mirror image of Claudius and uses it to make subtle intertextual allusions. In this way, he destabilises the identities of Claudius and Narcissus to ridicule Clau…
Speaking Silence in Cicero’s Brutus and Tacitus’ Dialogus de Oratoribus
Cicero’s Brutus a nd Tacitus’ Dialogus de Oratoribus deal with the silence of eloquence resulting from the change of the political system in the first century BC. This silence leads to a paradoxical effect: it produces all the more eloquent speech, which helps to keep the discourse of the position of eloquence going. In the Brutus, the narrative is driven by the interlocutors’ desire for eloquent speech while the silence of speech is compensated …
Theseus und Ariadne
In Ovids Behandlung des Mythos von Theseus und Ariadne tritt nicht der epische Held mit seinen ruhmvollen Taten ins Rampenlicht. Stattdessen besteht, gemäß dem ovidischen Interesse an den randständigen Partien einer Geschichte, der eindrücklichste Teil der Theseusdarstellung in den Metamorphosen aus einer Beschreibung des Labyrinths. Noch eindrücklicher und häufiger hat Ovid die Szene der verlassenen Ariadne am Strand gestaltet.
Medea und Iason
In Ovids Darstellung des Mythenkomplexes um die Argonautenfahrt tritt der in der epischen Tradition eigentliche Held der Geschichte, Iason, fast völlig hinter den ambivalenten und exzessiven Charakter der Medea zurück. Wenn die junge Königstochter ihr eigenes Leben aufgibt und sich von der Liebe zu Iason leiten lässt, um dann von ihm verlassen zu werden, trägt die Figur sympathieerweckende Züge; zugleich zeigt sie sich aber auch als kaltblütige M…
Nicht Wissen ist auch Macht. Zur Gesprächsdynamik der Eingangsszene in Platons Kratylos
In the introductory scene of Plato’s Cratylus a power game takes place that is based on an asymmetrical distribution of knowledge and which determines the dynamics of the communication. Since Cratylus claims to have greater knowledge than Hermogenes, he puts his discussion partner in an inferior position. Hermogenes strives to balance out this power differential by different strategies. One such strategy is that of including Socrates in the discu…
Maria Backhaus: Mord(s)bilder – Aufzählungen von Gewalt bei Seneca und Lucan
As a critical journal for all classical studies, the GNOMON fosters the links between the distinct classical disciplines. It has thus an exceptional position among the classical review journals and allows familiarization with research and publications in neighbouring disciplines. The reviews address an international readership from all fields in classical studies. The GNOMON publishes reviews in German, English, French, Italian and Latin
Vividness and Spatial Scenes: Four Examples from Heraclitus’ Fragments
Heraclitus’ fragments employ a powerful literary technique which is used to convey information without giving it directly: the texts appeal to sensation and bodily experience to evoke spatial scenes and so become intuitively comprehensible and display a surprisingly vivid quality. The means to bring this effect about can be analysed and explained with approaches from cognitive studies. This article presents three criteria to analyse vividness in …
Classical Antiquity Studies (8 works) · Art (7 works) · Philosophy (7 works) · Classical Philosophy and Thought (4 works) · History (4 works) · Humanities (4 works) · Literature (4 works) · Psychology (4 works) · Aesthetics (3 works) · Law (3 works)