O narrador no romance grego

• Autor(a) principal: Brandão, Jacyntho Lins
• Data de Publicação: 1999
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: https://doi.org/10.34624/agora.v0i1.11847

In this study the author suggests a classification of the strategies of presentation and representation of the narrator in ancient Greek romance by highlighting three aspects: the variety of solutions used; how processes which were attempted in previous genres have been transformed, how the fictional dimension of the text is made explicit, considering the romance to be a fictional prose narrative. Firstly, the formulas used for the presentation of the narrator are analysed, especially the historians’ titles, proems and epilogues which constitute a zero degree of representation since no distinction is made between the narrator and the author (in this category we can include the narrators of Ephesiaca, Story of Chaereas and Callirrhoe, Daphnis and Chloe and, probably, Babylonica; to some extent the same strategy is used in Aethiopica). Afterwards the strategies of representation are analysed according to the following categories: 1) narrating characters who, in accordance with the Homeric model, are responsible for framed narratives, manipulated by the main narrator who is identified with the author (the most important examples being Aethiopica and The wonderful things beyond Thule); 2) dramatized narrators whose narrative transcends the initial frame and is developed autonomously (as found in Clitophon and Leucippe); 3) character narrators whose first person narrative is directly presented to the reader without any frame or any distinction being made between the narrator and the character (as in Lucius or the Ass), or even between the author, the narrator and the character (as in A True History).