The Fallen Angel (Gabriel Allon, Book 12) (Canadian Edition) by Daniel Silva

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By Daniel Silva

Paintings restorer, murderer, spy—Gabriel Allon returns in The Fallen Angel, one other blockbuster espionage mystery from no 1 New York Times bestselling writer Daniel Silva. The acclaimed writer of Portrait of a Spy, Silva (“a international category practitioner of undercover agent fiction” —Washington Post) is an undisputed grasp of the style who has introduced “new lifestyles to the overseas thriller” (Newsday).

A breathtaking experience that races world wide, The Fallen Angel starts in Rome, the place Allon is termed upon to enquire a homicide on the Vatican, one with disastrous repercussions which could plunge the realm right into a clash of apocalyptic proportions. in the event you haven’t but been drawn into Daniel Silva’s exciting universe of intrigue, possibility, and unheard of spycraft, commence here—and see why the Philadelphia Inqurer pronounces that, “The enigmatic Gabriel Allon is still probably the most exciting heroes of any mystery series.”

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Additional resources for The Fallen Angel (Gabriel Allon, Book 12) (Canadian Edition)

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5, 63–74) eher als Beiwerk zu verstehen sind, treten derartige Schilderungen allm¨ahlich als selbst¨ andig hervor. Das zeigt sich etwa bei Sophokles im Chorlied des Oedipus auf Kolonos (668–719) mit dem Lobpreis des attischen Landes. Darin sind, wie auch schon bei Homer, all die Elemente vereinigt, die man in der Schilderung einer Ideallandschaft erwartet: Pr¨ achtige Vegetation, reichlich fließendes Wasser, das Ganze belebt durch eine Tierwelt und durch g¨ ottliche Wesen. 153 ¨ Ahnlich sieht Ausonius das Moselland; auch es ist als eine vielfach belebte und fruchtbare Ideallandschaft dargestellt, aber im deutlichen Unterschied zu dem griechischen Tragiker: Das Element der Naturschilderung ist detailreich verfeinert.

3. Stilistisches Offensichtlich sehen viele Erkl¨ arer den Centonendichter auch in der Mosella am Werk und konstatieren eine noch kleinteiligere Montage verschiedener Versatzst¨ ucke als es die Regel f¨ ur einen Cento zul¨aßt. W¨ ahrend dort ganze oder Halbverse wortw¨ortlich u ¨bernommen und zu einer neuen Aussage verbunden werden (vgl. Auson. Cento p. ), glaubt man f¨ ur einige Stellen der Mosella eine Kombinations-Technik feststellen zu m¨ ussen, the combination of compounding of references in ” the space of a short phrase, a single line, or a description, which merits 119 Dabei haben wir es bei einem artifiziellen Dichter especial interest“.

Zur Darstellung des Wassers bei Ausonius im Kontext der sp¨ atlateinischen Dichtung vgl. ] 35–39. 160 Als Lob gesellschaftlicher Instanzen (z. B. von St¨ adten)“ definiert den Terminus ” J. Dingel, DNP s. v. Panegyrik. Darunter l¨ aßt sich auch das Lob einer Landschaft subsumieren. ] 191 die Georgica. 162 Vgl. z. B. zu V. 3 (Vergleich mit Cannae). ] 144 schließt aus dieser Aussage auf den Verzicht dichterischer Freiheiten bei Ausonius und kommt in Hinblick auf das Gesamtwerk zu dem Ergebnis, daß er in Wahrheit mehr Rhetor als Dichter ist“.

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