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1
Wright, Matthew. "The tragedian as critic: Euripides and early Greek poetics." Journal of Hellenic Studies 130 (November 2010): 165–84. http://dx.doi.org/10.1017/s0075426910000066.
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AbstractThis article examines the place of tragic poetry within the early history and development of ancient literary criticism. It concentrates on Euripides, both because his works contain many more literary-critical reflections than those of the other tragedians and because he has been thought to possess an unusually ‘critical’ outlook. Euripidean characters and choruses talk about such matters as poetic skill and inspiration, the social function of poetry, contexts for performance, literary and rhetorical culture, and novelty as an implied criterion for judging literary excellence. It is argued that the implied view of literature which emerges from Euripidean tragedy is both coherent and conventional. As a critic, Euripides, far from being a radical or aggressively modern figure (as he is often portrayed), is in fact distinctly conservative, looking back in every respect to the earlier Greek poetic tradition.
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Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (January 16, 2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.
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In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In view of this, Walter J. Ong's caution with respect to the rational processes produced by generations of literate culture will be acknowledged and alternative critiques sought, including performance criticism and performance-oriented frameworks such as orality, via which Frendo traces possible critical trajectories that would allow contemporary scholarship to deal with ancient tragedy as a performance rather than literary phenomenon. Reference will be made to Aristotle's use of the term ‘poetry’, and how performance criticism may provide new insight into how the Poetics deals with one of the earliest performance phenomena in the West. Mario Frendo is lecturer of theatre and performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is director of CaP, a research group focusing on links between culture and performance. His research interests include musicality in theatre, ancient tragedy, and relations between philosophical thought and performance.
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Skarbek-Kazanecki, Jan. "The Ancient Greek Symposion as Space for Philosophical Discourse: Xenophanes and Criticism of the Poetic Tradition." Tekstualia 1, no. 8 (September 15, 2022): 3–24. http://dx.doi.org/10.5604/01.3001.0015.9904.
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The aim of the present article is to discuss relations between archaic Greek philosophy and poetry through the example of Xenophanes of Colophon (sixth century BCE), the poet best known for a critique of traditional religion using anthropomorphic imagery. The initial problem lies in understanding the performative aspect in Xenophanes’ elegiac poems; analysis of fragments 1W and 2W has revealed that his literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question: how the poetic fragments fi t with those compositions in which Xenophanes attacks traditional beliefs and poetic ideas of Homer and Hesiod. As I suggest, the critique of traditional mythical narratives, and undermining other poets’ authority, can be interpreted as an expression of performative practices functioning at symposia of the archaic and classical epochs. By removing the division between “philosophy” and “poetry”, different aspects of Xenophanes’ fragments begin to coincide with the phenomenon of the ancient symposium, understood as a space for intellectual competition.
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Skarbek-Kazanecki, Jan. "Greek symposion as a space for philosophical discourse: Xenophanes and criticism of the poetic tradition." Tekstualia 1, no. 56 (July 21, 2019): 35–52. http://dx.doi.org/10.5604/01.3001.0013.3286.
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The aim of the present article is to discuss the relation between the philosophy and poetry in archaic Greece on the example of Xenophanes of Colophon (6th century BC), the poet best known for a critique of anthropomorphic imagery of the traditional religion. The initial problem lies in understanding the performative aspect of the elegiac poems of Xenophanes; analysis of the fragment 1W and 2W has revealed that the Xenophanes’ literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question, wiz. how the poetic fragments fi t with the Xenophanes’ compositions in which he attacks the traditional beliefs and poetic ideas of Homer or Hesiod. The particular focus has been on the fragments of elegies that are presumed to belong to the collection named Sylloi: as the author has suggested, the critique of traditional mythical narratives, as well as undermining the authority of other poets, can be interpreted as an expression of performative practices functioning at the symposia of the archaic and classical epochs. By removing the division between the „philosophy” and „poetry”, the different aspects of Xenophanes’ fragments start to coincide with the phenomenon of ancient symposium, understood as a space for the intellectual competition.
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Vardi, Amiel D. "Diiudicatio locorum: Gellius and the history of a mode in ancient comparative criticism." Classical Quarterly 46, no. 2 (December 1996): 492–514. http://dx.doi.org/10.1093/cq/46.2.492.
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Comparison of literary passages is a critical procedure much favoured by Gellius, and is the main theme in several chapters of his Noctes Atticae: ch. 2.23 is dedicated to a comparison of Menander's and Caecilius′ versions of the Plocium; 2.27 to a confrontation of passages from Demosthenes and Sallust; in 9.9 Vergilian verses are compared with their originals in Theocritus and Homer; parts of speeches by the elder Cato, C. Gracchus and Cicero are contrasted in 10.3; two of Vergil's verses are again compared with their supposed models in ch. 11.4; a segment of Ennius′ Hecuba is contrasted with its Euripidean original in 13.27; Cato's and Musonius′ formulations of a similar sententia are confronted in 16.1; in 17.10 Vergil's description of Etna is compared to Pindar's; the value of Latin erotic poetry is weighed against the Greek in ch. 19.9, in which an Anacreontean poem and four Latin epigrams are cited; and finally in 19.11 a ‘Platonic' distich is set side by side with its Latin adaptation, composed by an anonymous friend of Gellius, though in this case no comparison of the poems is attempted.
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Moula, Evangelia E., and Konstantinos D. Malafantis. "Homer’s Odyssey: from classical poetry to threshold graphic narratives for dual readership." Journal of Literary Education, no. 2 (December 6, 2019): 52. http://dx.doi.org/10.7203/jle.2.13779.
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This article’s focus is some unconventional adaptations of the Odyssey in graphic language, belonging to the threshold literary field and contextualized in different historical and cultural milieus. Since ancient Greek literature in general and Homer in particular, ceased to be considered as sacred scripts, they discarded the centuries-long formalistic and idealistic approach and served as a vehicle for criticism or as a mirror of each receiving culture’s present. The kind of relation established between each adaptation and its pre-text is defined by the inscribed meta-narratives in its body. The graphic adaptations under discussion, countercultural, demystifying or even subversive, participate in the so called “cross-audience phenomenon”, addressing a dual readership, both children and adults. They aim at undermining the heroic ethos, provoking skepticism and criticizing allusively the contemporary politics. They also trivialize the original by means of humorous, satiric or ironic imitation. This way they facilitate dialogue between past and present, by creating a contact zone within which pluralism is the major trait.
Key words: The Odyssey, classics’ reception, comic book adaptations, threshold literature, pluralism
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Kaya, Nilay. "Ekphrastic Expression of Western Painting and Cultural In-Betweenness in Evliyâ Çelebi’s Seyahatnâme (The Book of Travels)." Culture and Dialogue 10, no. 2 (November 29, 2022): 143–57. http://dx.doi.org/10.1163/24683949-12340118.
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Abstract Ekphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles’ shield in Homer’s Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author’s treatment of the object depicted. Ekphrastic studies enable the identification of the author’s relationship with objectivity and subjectivity, and the building blocks of the said subjectivity, through literary elements. What kind of fictional language does ekphrasis, which is essentially the act of making the mute object speak, point to, in Evliya Çelebi’s representation? This article will aim to examine the subjective factors, personal taste and cultural positioning that emerge in Evliyâ Çelebi’s writing practice, mainly in his “ekphrastic” narration of the Western paintings that he saw in the Balkans and Vienna, which he describes in great detail in his Seyahatnâme. It is of the author’s opinion that, although Evliyâ Çelebi’s cultural positioning imposed limitations on his aesthetic perception and ekphrastic narration, he had an admiration for the Western art; and his “actual” cultural position manifests itself in an “in-betweenness” in the East-West spiral, which also reflects his unique literary mode.
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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (December 2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.
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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.
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Chiżyńska, Katarzyna. "Recenzja książki: René Nünlist , The ancient critic at work. Terms and concepts of literary criticism in Greek Scholia, Cambridge University Press, New York 2009, s. 459." Collectanea Philologica 15 (January 1, 2012): 113–16. http://dx.doi.org/10.18778/1733-0319.15.11.
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In this volume are included two flattering reviews, first of Eleanor Dickey, Ancient Greek scholarship: a guide to finding, reading and understanding scholia, commentaries, lexica and grammatical treatises, from their beginnings to the Byzantine period (New York 2007) and the second of René Nünlist, The ancient critic at work. Terms and concepts of literary criticism in Greek scholia (New York 2009). Both reviewed works focuses on Greek scholarship and are very helpful for modern scholars with understanding ancient literary criticism and reading scholia. Scientists rarely use Greek commentaries, because of their technical and philological difficulties, especially because of particular writing and vocabulary, used by scholiasts. There are very few works concerning this theme, so any new published results of researches this kind is priceless. Moreover both reviewed works are of highest scientific level.
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Chiżyńska, Katarzyna. "Recenzja książki: Eleanor Dickey, Ancient Greek scholarship: a guide to finding, reading and understanding scholia, commentaries. lexica and grammatical treatises, from their beginnings to the Byzantine period, Oxford University Press, New York 2007, s. 362." Collectanea Philologica 15 (January 1, 2012): 109–12. http://dx.doi.org/10.18778/1733-0319.15.10.
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In this volume are included two flattering reviews, first of Eleanor Dickey, Ancient Greek scholarship: a guide to finding, reading and understanding scholia, commentaries, lexica and grammatical treatises, from their beginnings to the Byzantine period (New York 2007) and the second of René Nünlist, The ancient critic at work. Terms and concepts of literary criticism in Greek scholia (New York 2009). Both reviewed works focuses on Greek scholarship and are very helpful for modern scholars with understanding ancient literary criticism and reading scholia. Scientists rarely use Greek commentaries, because of their technical and philological difficulties, especially because of particular writing and vocabulary, used by scholiasts. There are very few works concerning this theme, so any new published results of researches this kind is priceless. Moreover both reviewed works are of highest scientific level.
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Berman, Daniel W. "Eroticism in Ancient and Medieval Greek Poetry." Comparative Literature Studies 43, no. 1-2 (January 1, 2006): 197–200. http://dx.doi.org/10.2307/25659519.
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Berman, Daniel W. "Eroticism in Ancient and Medieval Greek Poetry." Comparative Literature Studies 43, no. 1-2 (January 1, 2006): 197–200. http://dx.doi.org/10.2307/complitstudies.43.1-2.0197.
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Berman, Daniel W. "Eroticism in Ancient and Medieval Greek Poetry (review)." Comparative Literature Studies 43, no. 1 (2006): 197–200. http://dx.doi.org/10.1353/cls.2006.0025.
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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (November 8, 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.
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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.
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Abritta, Alejandro. "On the Role of Accent in Ancient Greek Poetry." Mnemosyne 71, no. 4 (June 20, 2018): 539–54. http://dx.doi.org/10.1163/1568525x-12342375.
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AbstractIn this paper, I set out to study the distribution of some accentual types of two different word shapes in the Homeric hexameter: iambs and iambic ending words and dactyls and dactylic ending words. Following Nagy 2000 and 2010 and David 2006, I start from the idea that accent has a role in Ancient Greek poetry, which has been corroborated in Abritta 2015 by studying the distribution of trochaic ending words. In the sections corresponding to each word shape, after a statistical consideration of the distribution, I examine some literary uses of accentual types, which the poet places in the line apparently in order to produce a certain effect on the audience. The article is conceived as a first approximation to the study of accentual distribution in Ancient Greek poetry.
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Lee-Lenfield, Spencer. "Literary Translation as Cultural Affiliation: The Case of Victorian Poetry and Classical Verse Composition." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 490–505. http://dx.doi.org/10.1632/s0030812923000378.
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AbstractThe ability to translate English poetry into ancient Greek and Latin sat at the pinnacle of a Victorian classical education, but we rarely read the resulting Greek and Latin poetry as serious literature. Yet this corpus documents an important, culturally prestigious poetic practice that entrenched a narrative of cultural descent from Greece and Rome, affiliating modern British poetry with classical antecedents. Moreover, it taught generations of schoolboys (and some noteworthy schoolgirls) interpretive methods for understanding English poetry, thereby providing an arena in which the canon of English poets coalesced before the institutionalization of English literature in universities. I re-create the interpretive moves and cultural affiliations enacted through verse composition in the Victorian period, and I analyze particular verse compositions that shed new light on the classicizing context informing contemporary poetic creation.
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Egorova, L. V. "Contemporary Greek prose: An anthology; Contemporary Greek poetry: An anthology." Voprosy literatury, no. 1 (August 15, 2023): 209–14. http://dx.doi.org/10.31425/0042-8795-2023-1-209-214.
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The review discusses two anthologies of contemporary Greek literature (prose and poetry), comprising works of the authors distinguished with the country’s State Prize for Literature in the years from 2010 to 2018. The two books succeed in capturing the multidimensional character of Greece’s modern life and literature in small forms (short stories, novellas and poems). The first anthology features short stories and novellas by fourteen authors. The second contains works by twenty poets, each represented by five poems. While some authors were rewarded for their literary debut, others received the prize for lifetime achievements. Thanks to the anthologies, characterised by a diversity of subjects, artistic methods and poetic messages, the Russian audiences can join in the polylogue between classics and avant-gardists, realists and surrealists, and gurus and novices, as well as broaden their knowledge of the latest developments in a literature rooted in ancient history that remains unique and inspired through the oeuvre of its masters.
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Shi, Jiaxin. "Analysis of Narrative Characteristics of the Novel "Life and Death Are Wearing Me Out" Using the Ideological Criticism Method." Lecture Notes in Education Psychology and Public Media 41, no. 1 (March 14, 2024): 1–15. http://dx.doi.org/10.54254/2753-7048/41/20240528.
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Ideological criticism in literature refers to the analysis and study of literary works from specific class or party perspectives, aiming to illustrate the ideological nature inherent in all literary creations. Ideological criticism in literature has existed since ancient Greek times and evolved into a systematic critical theory and doctrine in the nineteenth century. By the twentieth century, with the rise of Marxist literary criticism in the Western world, ideological criticism entered a new phase, giving rise to numerous critics and theorists, becoming a significant phenomenon in twentieth-century literary and cultural criticism. Since adopting Western models and concepts of literary criticism in the twentieth century, ideological criticism has been one of the most influential critical schools in domestic literary criticism practices in China. The extensive novel by the author Mo Yan, "Life and Death Are Wearing Me Out," can be thoroughly analyzed through the ideological criticism method, focusing on its content from the perspectives of characters, language, and plot.
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Lu, Guorong, and Yingxin Li. "Translation Criticism on Qinyuan Chun•Changsha Based on Xu Yuanchong’s Art of Beautifulization." English Language and Literature Studies 14, no. 1 (February 26, 2024): 74. http://dx.doi.org/10.5539/ells.v14n1p74.
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Mao Zedong, the great leader of China, is also one of the greatest poets in China. His poetry is regarded as the treasure of Chinese literary, in which Qinyuan Chun·Changsha plays an leading position. With the background of “Chinese literary going out”, the translation of the poem seems really meaningful. So in this paper, the author compare seven English versions with the three theories proposed by Professor Xu Yuanchong, the distinguished translator who bend himself to Chinese and English Translation in the field of Chinese poetry so as to provide a reference for promoting the English translation activity of Chinese ancient poetry.
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Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (October 25, 2018): 208–31. http://dx.doi.org/10.1515/phil-2018-0005.
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AbstractThe article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero (or god) through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on heroic aretalogies, and on Heracleids and Theseids in particular, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’ (i.e. lyric poets such as Stesichorus, who writes ‘epic’ aretalogies).
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Davies, M. "Monody, Choral Lyric, and the Tyranny of the Hand-Book." Classical Quarterly 38, no. 1 (January 1988): 52–64. http://dx.doi.org/10.1017/s0009838800031268.
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Open any history or hand-book of Greek literature in general, or Greek lyric in particular, and you will very soon come across several references to monody and choral lyric as important divisions within the broader field of melic poetry. And the terms loom larger than the mere question of handy labels: they permeate and pervade the whole approach to archaic Greek poetry. Chapters or sub-headings in literary histories bear titles like ‘Archaic choral lyric’ or ‘Monody’. Indeed it is possible to write a whole book and call it Early Greek Monody. Diehl's Anthologia Lyrica Graeca was structured around this distinction, which it adopted in preference to the chronological arrangement that is the obvious alternative. Indeed, it went so far as ‘to invent Greek titles “μονωιδίαι” and “χορωιδίαι” (sic)’. Most scholars would now agree that this is to go too far. But most would also continue to accept the validity and importance of the division, which a scholar has recently termed ‘the most fundamental generic distinction within ancient lyric poetry’
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Pelucchi, Marco. "The Περὶ ποιητῶν Literature. A General Outline and Survey of the Extant Fragments." Trends in Classics 16, no. 1 (July 1, 2024): 80–123. http://dx.doi.org/10.1515/tc-2024-0004.
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Abstract The Greek manuscript tradition transmits various fragments of works with the title Περὶ ποιητῶν, composed by both philosophers and grammarians from the Classical to the Imperial periods. The aim of this paper is to analyse these surviving fragments with a view to delineating the contents, forms, and characteristics of this type of literature. In the first part, I propose a survey of all authors and fragments of ancient Greek works On Poets. The second section outlines their literary-historical profile. Based on comparison with ancient works treating similar topics, I suggest a unitary reading of the writings Περὶ ποιητῶν. Through a combination of biographical, exegetical, theoretical, and (perhaps) technical information, this type of literature appears to have comprised the earliest “histories” of ancient poetry.
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Lotman, Maria-Kristiina. "Prosody and versification systems of ancient verse." Sign Systems Studies 29, no. 2 (December 31, 2001): 535–61. http://dx.doi.org/10.12697/sss.2001.29.2.08.
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The aim of the present study is to describe the prosodic systems of the Greek and Latin languages and to find out the versification systems which have been realized in the poetical practice. The Greek language belongs typologically among the mora-counting languages and thus provides possibilities for the emergence of purely quantitative verse, purely syllabic verse, quantitative-syllabic verse and syllabic-quantitative verse. There is no purely quantitative or purely syllabic verse in actual Greek poetry; however, the syllabic-quantitative versification systems (the Aeolian tradition) and quantitative-syllabic versification systems (the Aeolian tradition) were in use. The Latin language, on the other hand, has a number of features, which characterize it as a stress-counting language. Since at the same time there exists also the opposition of short and long syllables, there are preconditions for the syllabic, accentual and quantitative principle, as well as for the combinations of these. The Roman literary heritage shows examples of purely accentual, syllabic-quantitative, quantitative-syllabic, as well as of several other combinatory versification systems.
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Kalasaridou, Sotiria. "The history of C. P. Cavafy in Greek education: Landmarks and Gaps." Journal of Literary Education, no. 2 (December 6, 2019): 90. http://dx.doi.org/10.7203/jle.2.12049.
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This article aims to highlight the crucial stages of C.P. Cavafy’s “history in education” through textbooks about literature from 1930 until today. More specifically, the research is constructed around two areas: a) the fundamental role of literary criticism and how it was related to the introduction of C.P. Cavafy in education in 1930, b) the degree of osmosis between History of Literature and History of Education. The methodological criteria of the research are drawn from different areas, such as: i) literary criticism, ii) history of education and educational policy, iii) history of textbook anthologies, and iv) poetry anthologies. a) During a course of eighty years, C. P. Cavafy is found in thirty-five anthologies, teachers’ textbooks and curricula, whereas the parallel reading recommendations reach a staggering eighty-seven; Ithaca is the most anthologised poem — twelve times. b) The positive opinions by the critics and the momentum of school anthologies that tried a holistic approach to poetry defined the inclusion of C. P. Cavafy in the school anthologies during the educational reform of 1929-1932. c) The position of Cavafy in the History of Modern Greek Literature by K. Th. Dimaras surpasses the efforts made by the critics of that time. Moreover, Linos Politis also holds a part of the restoration of C. P. Cavafy as far as the school textbooks are concerned, as his History of Modern Greek Literature, as well as his poetic anthology, determined the school literary canon from the days of the Restoration of Democracy until now.
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Bula, Andrew. "Literary Musings and Critical Mediations: Interview with Rev. Fr Professor Amechi N. Akwanya." Journal of Practical Studies in Education 2, no. 5 (August 6, 2021): 26–31. http://dx.doi.org/10.46809/jpse.v2i5.30.
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Reverend Father Professor Amechi Nicholas Akwanya is one of the towering scholars of literature in Nigeria and elsewhere in the world. For decades, and still counting, Fr. Prof. Akwanya has worked arduously, professing literature by way of teaching, researching, and writing in the Department of English and Literary Studies of the University of Nigeria, Nsukka. To his credit, therefore, this genius of a literature scholar has singularly authored over 70 articles, six critically engaging books, a novel, and three volumes of poetry. His PhD thesis, Structuring and Meaning in the Nigerian Novel, which he completed in 1989, is a staggering 734-page document. Professor Akwanya has also taught many literature courses, namely: European Continental Literature, Studies in Drama, Modern Literary Theory, African Poetry, History of Theatre: Aeschylus to Shakespeare, European Theatre since Ibsen, English Literature Survey: the Beginnings, Semantics, History of the English Language, History of Criticism, Modern Discourse Analysis, Greek and Roman Literatures, Linguistics and the Teaching of Literature, Major Strands in Literary Criticism, Issues in Comparative Literature, Discourse Theory, English Poetry, English Drama, Modern British Literature, Comparative Studies in Poetry, Comparative Studies in Drama, Studies in African Drama, and Philosophy of Literature. A Fellow of Nigerian Academy of Letters, Akwanya’s open access works have been read over 109,478 times around the world. In this wide-ranging interview, he speaks to Andrew Bula, a young lecturer from Baze University, Abuja, shedding light on a variety of issues around which his life revolves.
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Dobroshi, Veron. "Recontextualization of the Greek myths in the poetry of Ismail Kadare." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2023): 81–86. http://dx.doi.org/10.59295/dia.2023.1.10.
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Mythology and literature are closely related and this has been proven by numerous literary works throughout history. This study focuses on the influence of Greek myths in the poetry of Ismail Kadare, one of the most well-known and valued Albanian authors in the world. Although this author is better known for his prose works, we should not forget the fact that his poetry also carries some important elements that should not be ignored and forgotten. In this study, some characteristics and elements of the Greek myths that are manifested in the verses of Kadare will be analyzed; it will be shown how these myths are recontextualized and adapted in the verse of the writer from Gjirokastra. The ancient Greek myths are so dense and manifested in the literature that there is no way they are not present in the creation of Ismail Kadare. In this study, this study, some Greek myths will be found and decoded, these make up the basis of some poems of Kadare and are incorporated, making the poetry of this author even richer in terms of ideo-thematic and artistic aspects.
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Phillips, Tom. "Unapprehended relations." Classical Receptions Journal 12, no. 1 (January 1, 2020): 109–27. http://dx.doi.org/10.1093/crj/clz024.
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Abstract This article addresses P.B. Shelley’s ‘Hymn to Mercury’ and allusions to classical literature in ‘Ode to Liberty’. Congruities emerge between Shelley’s poetic practice, his conception of poetry’s social role, and his understanding of the relationship between antiquity and the present. When translating and reshaping ancient Greek poetry, he brings to the surface morally significant features of that poetry which only emerge in the dialogues that his writing creates. In doing so, he enacts literary history as a process that both reflects and enables expansions of the moral imagination.
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Ballesteros, Bernardo. "ON GILGAMESH AND HOMER: ISHTAR, APHRODITE AND THE MEANING OF A PARALLEL." Classical Quarterly 71, no. 1 (May 2021): 1–21. http://dx.doi.org/10.1017/s0009838821000513.
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AbstractThis article reconsiders the similarities between Aphrodite's ascent to Olympus and Ishtar's ascent to heaven in Iliad Book 5 and the Standard Babylonian Gilgamesh Tablet VI respectively. The widely accepted hypothesis of an Iliadic reception of the Mesopotamian poem is questioned, and the consonance explained as part of a vast stream of tradition encompassing ancient Near Eastern and early Greek narrative poetry. Compositional and conceptual patterns common to the two scenes are first analyzed in a broader early Greek context, and then across further Sumerian, Akkadian, Ugaritic and Hurro-Hittite sources. The shared compositional techniques at work in Mesopotamia and the Eastern Mediterranean can be seen as a function of the largely performative nature of narrative poetry. This contributes to explaining literary transmission within the Near East and onto Greece.
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Klavan, Spencer A. "SUNG POEMS AND POETIC SONGS: HELLENISTIC DEFINITIONS OF POETRY, MUSIC AND THE SPACES IN BETWEEN." Classical Quarterly 69, no. 2 (December 2019): 597–615. http://dx.doi.org/10.1017/s0009838820000075.
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Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible manifestations. Likewise, ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’, from the assembly of a table to the construction of a rhetorical argument. Of course, there were specifically artistic usages of these terms—according to Plato, ‘musical and metrical production’ was the default meaning of ποίησις in everyday speech. But even in discussions which restrict themselves to the sphere of human art, we find nothing like the neat compartmentalization of harmonized rhythmic melody on the one hand, and stylized verbal composition on the other, which is often casually implied or expressly formulated in modern comparisons of ‘music’ with ‘poetry’. For many ancient theorists the City Dionysia, a dithyrambic festival and a recitation of Homer all featured different versions of one and the same form of composition, a μουσική or ποιητική to which λόγοι, γράμματα and συλλαβαί were just as essential as ἁρμονία, φθόγγοι, ῥυθμός and χρόνοι.
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Πασχάλης, Μιχαήλ. "Η τεθλασμένη πρόσληψη της αρχαιοελληνικής ποίησης και το ποίημα «Πάνω σ’ ένα ξένο στίχο» του Γ. Σεφέρη." Σύγκριση 30 (October 30, 2021): 24–34. http://dx.doi.org/10.12681/comparison.25293.
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Refracted Modern Greek reception of Ancient Greek poetry and George Seferis’ poem ‘Upon a Line of Foreign Verse’The term ‘refracted’ describes instances where Modern Greek reception of Ancient Greek poetry is mediated through one or more intertexts, like Italian-Latin or French-Latin. After treating briefly Dionysios Solomos’ poem ‘The Shade of Homer’ (1821-1822) the paper focuses on George Seferis’ ‘Reflections on a Foreign Line of Verse’ (1931). Each of the two poets claims the Homeric heritage for himself as a Greek poet through a poem that constitutes a refracted reception of Homer. The former opens a chain of three literary windows one after the other: first the appearance of Homer to the character Ennius in Petrarch’s Latin epic Africa; next Cicero’s ‘Dream of Scipio’; and finally the appearance of Homer to the Latin poet Ennius, who in the proem of his Annals represented himself as a reincarnation of the Greek poet. In responding to Solomos about a hundred years later Seferis treated the subject of Homeric Odysseus’ sea wanderings by commenting on ‘Heureux qui, comme Ulysse, a fait un beau voyage’, the opening line of Joachim du Bellay’s famous sonnet XXXI of the collection Les regrets (1558). Most probably Bellay reached back to Homeric Odysseus through a passage of Ovid’s collection of elegies written in exile and entitled Ex ponto. Ovid conceived his banishment from Rome to a region of modern Romania as the analogue of Odysseus’ wanderings away from Ithaca and became a source of inspiration for Du Bellay and other poets.
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JOBES, KAREN H. "When God Spoke Greek: The Place of the Greek Bible in Evangelical Scholarship." Bulletin for Biblical Research 16, no. 2 (January 1, 2006): 219–36. http://dx.doi.org/10.2307/26424077.
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Abstract The Septuagint was the OT of the Christian church for centuries because it was the Scripture of Israel in its Greek form that was used extensively by the NT writers and the early Church fathers. From the time of the Reformation, the Hebrew Masoretic Text has eclipsed the place of the Septuagint in Protestant scholarship. This article, originally delivered as a plenary lecture at the IBR meeting in 2004, argues for a place for the Septuagint in evangelical scholarship that moves beyond textual criticism of the Hebrew Bible and the discussion of canon. New Testament exegesis that refers to the Hebrew text where the NT authors were in fact using the Greek OT is methodologically flawed, as is biblical theology that fails to give the Septuagint its historical due as a literary and theological background of the NT. Moreover, much fresh opportunity for scholarship awaits those who study the ancient Greek versions of the OT in their own right.
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Mitchell, Jack. "The Culture of the Ancient Epithet: Gerard Manley Hopkins and the Translation of Imagination." Translation and Literature 22, no. 2 (July 2013): 149–66. http://dx.doi.org/10.3366/tal.2013.0110.
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A culturally nuanced translation of archaic Greek verbal culture can only be achieved with reference to the original audience. In Bacchylides 17 (‘Theseus’ Dive’), the fifth-century poet's compound epithets operate entirely within an epic-lyric tradition, in contrast to the fourth-century verbal innovation of Timotheus. Poetry in the English language has always followed Timotheus more than Bacchylides, reaching a climax in the theory of ‘inscape’ and expressive epithets of Gerard Manley Hopkins. As a classicist, Hopkins was intimately familiar with Greek poetic diction, and his notebooks record that he interpreted the Iliad's traditional epithets contextually and not merely lexically. Analogically, we may imagine Greek audiences as projecting their own personal contexts and experience into the interpretation of the traditional compound epithets of Bacchylides 17.
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Markowska, Helena. "Euzebiusz Słowacki – Writer and Literary Critic." Ruch Literacki 58, no. 1 (January 26, 2017): 1–13. http://dx.doi.org/10.1515/ruch-2017-0011.
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Summary This article examines the relationship between literary practice and literary criticism in Polish late Neoclassicism in the work of Euzebiusz Słowacki, who combined the roles of writer and critic in a way not untypical at that time. Born in 1773, he made his reputation as a playwright, literary critic, poet and translator, and in 1811 became Professor of Poetry and Elocution at the University of Wilno. First, the article sets out to prove that both his literary work and his criticism are greatly indebted to the late eighteenth-century doctrine of taste, of which he wrote at length himself. The second part is concerned with a comparison of his theoretical reflections about tragedy and his own tragedies. The analysis of their form shows that Euzebiusz Słowacki not only strove to scale the ultimate tragic heights but also to create a Polish version of the neoclassic tragedy. His tragedy follows the best French and ancient models - especially Racine (whom he probably translated into Polish) - but also questions them in a way which shows that Słowacki was no mere imitator.
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Rysiaieva, Maryna. "On Ancient Greek Thymiateria and Their Purpose." Text and Image: Essential Problems in Art History, no. 2 (2019): 5–33. http://dx.doi.org/10.17721/2519-4801.2019.2.01.
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The paper looks at the ancient Greek thymiateria and aims at finding data in literary, epigraphic and visual sources that would cast light on the use of thymiateria in private and public rituals of the VIІ th century BC – IVth century AD. Systematic collection of data and its comparative historical analysis were in the core of the methodology. Among the main methods of analysing the collected sources, one should mention empirical, analytical, structural-typological and iconographical methods. A thymiaterion (an incense burner) is firstly mentioned in the Vth century BC in Herodotus’ Historia. In centuries to come, the panhellenic name of thymiaterion would dominate and enter to Roman and Germanic languages. This device was used solely with fire, charcoal or heated pebbles to burn aromatic compounds, incense and aromatic plants and flowers in particular. Thymiateria didn’t have any fixed shapes or sizes. In narrative sources, they were also named bomiskos, libanotis (libanotris), escharis, tripodiskos etc. In this paper, I examine the basic constructive elements of thymiateria. As visual sources and lyric poetry suggest, they were used in the archaic period. The earliest instance of the use of thymiateria in the ritual practice date late to the VIth century BC in the Phanagoria of the Bosporus. The thymiateria is depicted on mostly in mythological scenes on the Athenian red-figure pottery late of the Vth – IVth centuries BC found in Panticapaeum and in the surrounding area. The Greek iconography of mythological scenes on the vases was clear for the locals. The majority of visual, numismatics and epigraphic sources that reveal the use of thymiateria on the Bosporus are dating to the IVth–ІІth centuries BC, when they were spread in Hellenistic Greece and, especially in sanctuaries of Delos. Although aroma was an essential part of thymiateria culture, only Orphic Hymns cast light on the use of particular incenses (in pure form or in compound) for each gods or heroes. One important question persists: which aromas were burnt in thymiateria and from which countries were they brought to Greece? From literary sources, we know that plant-based aromas, namely incense and myrrh were brought from South Arabia and Syria. Thymiateria were used during rituals in sanctuaries and temples, during religious processions, funerals, symposiums and wedding that were accompanied by aromatic smoke. The present essay should be regarded as a starting point for the further in-depth study of thymiateria from the Northern Black sea region and Olbia in particular.
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Zvonska, Lesia. "UKRAINIAN TRANSLATIONS OF ANCIENT GREEK LITERATURE: ACHIEVEMENTS AND PROSPECTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 17–20. http://dx.doi.org/10.17721/1728-2659.2021.30.5.
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The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.
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O'Sullivan, Patrick, and Judith Maitland. "Greek and Latin Teaching in Australian and New Zealand Universities: A 2005 Survey." Antichthon 41 (2007): 109–20. http://dx.doi.org/10.1017/s0066477400001787.
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The study of Latin and Ancient Greek at tertiary level is crucial for the survival of Classics within the university sector. And it is not too much to say that the serious study of Greco-Roman antiquity in most, if not all, areas is simply impossible without the ancient languages. They are essential not just for the broad cross-section of philological and literary studies in poetry and prose (ranging at least from Homer to the works of the Church Fathers to Byzantine Chroniclers) but also for ancient history and historiography, philosophy, art history and aesthetics, epigraphy, and many branches of archaeology. In many Classics departments in Australia, New Zealand and elsewhere, enrolments in non-language subjects such as myth, ancient theatre or epic, or history remain healthy and cater to a broad public interest in the ancient Greco-Roman world. This is, of course, to be lauded. But the status of the ancient languages, at least in terms of enrolments, may often seem precarious compared to the more overtly popular courses taught in translation. Given the centrality of the ancient languages to our discipline as a whole, it is worth keeping an eye on how they are faring to ensure their prosperity and longevity.
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Comunetti, Marco. "Homer and Euripides: Remarks on Mythological Innovation in the Scholia." Athens Journal of Philology 9, no. 2 (May 25, 2022): 161–80. http://dx.doi.org/10.30958/ajp.9-2-4.
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This paper analyses two exegetical strategies adopted by ancient scholars to explain Euripides’ mythological innovations and variations with respect to Homer through a selection of scholia. The first approach considers Euripides a (mis-) reader of Homer. The dramatist regards an epic passage as the reference text, but fails to understand its wording correctly: therefore, he uncritically reproduces the model, even though inspired by a genuine impulse to emulate; this circumstance de facto equates the tragedian with a sort of exegete and represents his deviation from the epic text as the locus of an implicit (erroneous) interpretation. The second approach evaluates the work of Euripides, comparing it with the Homeric poems, by means and in the light of concepts of literary criticism. The tragedian creates a good or bad product depending on whether his innovation achieves a certain poetic result: an implausible or unrealistic description of a character is contested, whereas a strategy to enhance the emotional impact of the dramatic moment is recognised and perceived as a careful and conscious artistic operation, hence possibly praised. Keywords: ancient scholarship, exegetical activity, Greek scholia, literary comparison, literary criticism
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Chukwu, Mathias O., Kingsley O. Ugwuanyi, and Anenechukwu K. Amoke. "Texture in Okigbo’s poetry: An exploration of cohesion." IKENGA International Journal of Institute of African Studies 22, no. 3 (September 1, 2021): 1–19. http://dx.doi.org/10.53836/ijia/2021/22/3/001.
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Even among system texts, poetic language is unique. On the surface, the words appear disparate, resulting in the perceived difficulty associated with its study/analysis. Okigbo’s works have been criticised for their esotericism. Insights from the linguistic approach of cohesion, however, reveal that Okigbo’s poetic language is neither disparate nor deny access to the poetic text. Indeed, the words cohere, quite uniquely, sustaining ancient kinships and entering into new relationships, helping them to achieve texture. A(re)reading of Okigbo in light of this approach addresses the perceived opacity associated with his works and raises fresh questions on the traditional criticism of Okigbo, particularly the motif of the prodigal son. This study, therefore, explores the interpretive affordances of the notion of cohesion in selected poems by Okigbo. The overarching aim is to re-examine Okigbo’s works with the lens of cohesion, underpinned by the cohesion theory of Halliday and Hasan (1976/2013) in order to offer new insights into the interpretation and criticism of his poetry.
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Norton-Curry, Jo. "LATIN POETRY IN THE ANCIENT GREEK NOVELS - (D.) Jolowicz Latin Poetry in the Ancient Greek Novels. Pp. xiv + 401. Oxford: Oxford University Press, 2021. Cased, £90. ISBN: 978-0-19-289482-3." Classical Review 72, no. 1 (December 6, 2021): 108–10. http://dx.doi.org/10.1017/s0009840x21003255.
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Van Dyck, Karen. "Xenitia, the Nation, and Intralingual Translation." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 551–66. http://dx.doi.org/10.1632/s0030812923000421.
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AbstractModern Greek poets often imagine interlingual translation as intralingual—that is, as rewording within the same language when two distinct languages are involved. George Seferis and Yannis Ritsos provide two cases, Seferis in translating Ancient Greek poetry and Ritsos in translating Romanian, Czech, and Slovakian poetry. For these poet-translators on opposite sides of the political spectrum, the claim of intralingualism responds to different experiences of exile: Seferis as a refugee from Asia Minor and then as an overseas diplomat, Ritsos as a political prisoner and then as a Communist Party emissary. Intralingual translation assuages xenitia, the pain of not being able to go home, but it also masks interlingual differences that serve other cultural and political functions, whether imagining a national language that continues a valuable cultural past or serving as a transnational vehicle for unifying minor cultures.
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Allen, Nick. "PLATO'S REPUBLIC AND THE INDO-EUROPEAN PENTADIC IDEOLOGY." Classical Quarterly 70, no. 2 (December 2020): 592–604. http://dx.doi.org/10.1017/s0009838821000069.
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Similarities between ancient Greek philosophy and Indian philosophy have long been recognized and are usually ascribed to East-West contact. However, when similarities are recognized between Greek and Indian poetic diction or, more generally, between the myths and the poetry of the two cultures, they are often ascribed to Indo-European common origin; and one asks whether the same explanation could apply in philosophy. The two types of explanation are not incompatible, for a remote common origin could have been followed by one or more periods of interaction. Nevertheless, it is worth seeing how far an explanation of common origin can be pressed before falling back on the explanation of contact.
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Squire, Michael. "Reading a View: Poem and Picture in the Greek Anthology." Ramus 39, no. 2 (2010): 73–103. http://dx.doi.org/10.1017/s0048671x00000448.
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‘A picture is a silent poem, a poem is a speaking picture’ (attr. Simonides)‘A picture is a silent poem, a poem is a blind picture’ (Leonardo da Vinci)How do words represent images? In what ways do visual signs function like (and unlike) verbal ones? And which medium better captures its represented subjects—pictures that are seen, or poems that are heard, written and read?These questions stretch the length and breadth of western literary criticism. Already in the Homeric description of Achilles' shield (Il.18.478-608), we find the respective resources of pictures and poetry pitched against one other, in a passage that plays with the respective visibility of words and the audibility of images. By the late sixth century BCE, the relationship between poetry and painting seems to have been theorised explicitly. Whatever the origins of the maxim attributed to Simonides—‘frequently repeated’, as Plutarch elsewhere describes it—a related sentiment was evidently widespread by the fourth century BCE. When Plato came to theorise the relationship in hisPhaedrus, he has Socrates define words and paintings in closely related terms: ‘the creatures that painting begets stand in front of us as though they were living entities,’ Socrates concludes; ‘ask them a question, however, and they maintain a majestic silence’ (ϰαὶ γὰϱ τὰ ἐϰείνης ἔϰγονα ἕστηϰε μὲν ὡς ζῶντα, ἐὰν δ' ἀνέϱῃ τι, σεμνῶς πάνυ σιγᾷ, Pl.Phdr.275d).Vt pictura poesis—as is painting, so is poetry’: that was how Horace famously summed up the analogy some four centuries later, giving rise to the so-called ‘sister arts’ tradition of conceptualising painting and poetry.
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Riaz, Sana, Ayaz Ahmad Aryan, and Marina Khan. "Analyzing Hellenistic Elements in Keatsâs Poetry- with Special Reference to His Tales in Verse." Global Social Sciences Review VII, no. I (March 30, 2022): 455–62. http://dx.doi.org/10.31703/gssr.2022(vii-i).42.
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This study incorporates elements of myths and feministic beauty in inter-contextual structure in John Keats' poetry. This research is majorly concerned with the use of ancient Greek mythology and the elements of feminine beauty in Keats' mythological poetry. The study investigates Keats's search for truthfulness and beauty, his identification of love for poetry and his creation of his poetic genius with special reference to feminine beauty in his poetic works. The research is descriptive and qualitative in nature the framework is established by reviewing related poems and previous literature. Thus the data is generated from two main sources, the primary source which includes the selected poetry of John Keats and the secondary source which includes reviews of previous literary work. The Textual Analysis Method of Research is followed as the theoretical framework of Hellenism that comprehends a certificate for the conclusion of research problems.
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Pontani, Filippomaria. "The Ancient Critic at Work: Terms and Concepts of Literary Criticism in Greek Scholia (review)." Classical World 104, no. 2 (2011): 264–65. http://dx.doi.org/10.1353/clw.2011.0033.
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Sadowski, Witold. "A Brief History of O!" Poetics Today 43, no. 1 (March 1, 2022): 103–25. http://dx.doi.org/10.1215/03335372-9471010.
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Abstract In the poetry of many nations, the interjection O! is a marker of poeticalness, a marker that contributes to the factors distinguishing poetry from colloquial speech. O! is treated not so much as an expression derived from the language in which a given poem was written (i.e., English, Italian, Polish, etc.) as a common lexeme within an international poetic language. In different countries, the interjection O! is understood in similar ways and does not require translation, even if the other parts of the poem are rendered in distinct languages. Despite the importance of the interjection in world literature, research into the semantics of O! has been limited in scope. The aim of this article is to trace the main stages of development that O! has undergone in European poetry from antiquity until the present day. The article initially discusses the semantic variants of the interjection in ancient Greek and Latin poetry. These derive from two functions of O!, functions that are described within the context of the Bakhtinian concepts of the addressee and superaddressee. Subsequently, the process in which the autonomy of this lexeme was shaped with regard to vernacular languages is considered. The examples illustrating this process have been taken from Bulgarian, English, French, German, Italian, Occitan, and Polish poetry.
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YILMAZ, Tuğba. "THEMATIC APPROACH TO AZIM SUYUN’S POEMS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 35 (January 15, 2023): 14–24. http://dx.doi.org/10.31567/ssd.808.
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Azim Suyun was born on February 22, 1948 in the village of Nakurt, in the province of Samarkand, Uzbekistan. He is known for his works in the genres of story, drama, epic, poetry and translation in Uzbek Literature. In addition to his; he has many works written about poetry and poet. The poet is one of the important figures of Uzbek Literature in the Soviet and Independence Period. Azim Suyun did not remain indifferent to the problems of the age in which he lived, and dealt with the existing troubles and the events he personally witnessed in his works. At the same time, the poet drew attention to the unique beauties of the geography he lived in after mentioning the historical importance of the ancient cities of Uzbekistan. Between 1978 and 2020, Azim Suyun came to the forefront with his works written on many subjects such as love, nature, family, homeland, nation, independence, language, religion, goodness, philosophy, historical and literary figures, poets and poetry, criticism and so on. In the study, after the subjects that the poet mainly deals with in his poems are mentioned, his works are examined thematically. It covered classified under eight headings as “Poems About Homeland and Nation”, “Literary Personalities”, “Poems About Poet”, “Criticism Poems”, “Poems on Religious Subjects”, “Poems About Nature”, “Poems About Seasons” and “Love Poems”. In this study, it is aimed to introduce his works by emphasizing the aesthetic power and poetic features of the poet’s poems.
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Mniсh, Roman. "MAGDALENE, A POEM BY INNOKENTY ANNENSKY: GOSPEL TEXT AT THE CROSSROADS OF LITERARY TRADITIONS." Проблемы исторической поэтики 19, no. 1 (February 2021): 308–27. http://dx.doi.org/10.15393/j9.art.2021.9022.
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The article offers an interpretation of Innokenty Annensky's poem Magdalene written in 1885, but published only in 1997. This early work of the poet differs significantly from his poetry, known from published collections (Quiet Songs and Cypress Box), which are not characterized by an appeal to biblical images and motifs. In the poem Magdalene Annensky offers his interpretation of the Gospel story, depicting the conflict and struggle between human feelings (Mary Magdalene) and divine vocation (Jesus) in the dialogues between Magdalene and Jesus. Analysis of the structure of the poem allows us to determine the presence of three literary traditions in it: 1) ancient Greek tragedy and the chorus as one of its main actors; 2) a romantic poem about unrequited love (first of all, The Demon by Mikhail Lermontov) and the concept of romantic duality; 3) Faust by Johann Wolfgang Goethe. The combination of antique concepts (fate, destiny, metamorphosis) with the ideas of Christianity, as well as allusions to the works of Russian romantics, allowed the author to combine three aspects in the image of Mary Magdalene: ancient fate (destiny), Christian (Orthodox) holiness and romantic alienation from the world. The combination of these three aspects in the poem by I. Annensky forms a new quality: the romantic poem did not provide for the chorus as a character, and the ancient Greek tragedy did not allow for such lyrical digressions typical for a romantic poem. The Gospel text in the poem by I. Annensky is transformed in line with the three mentioned traditions, and thus the theme “grows” into a dramatic poem.
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Maroulis, D. "Ancient Greek myth in the European poetry during the period of literary work of the Greek poet C. P. Cavafy (1863–1933)." Indo-European linguistics and classical philology XXII (June 7, 2018): 842–50. http://dx.doi.org/10.30842/ielcp230690152260.
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Krasniqi, Nysret. "Sema and Soma in the Poems about Death by Constantine P. Cavafy." Anafora 9, no. 2 (2022): 265–83. http://dx.doi.org/10.29162/anafora.v9i2.3.
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The aim of this article is to analyse Constantine P. Cavafy’s poems on death with the help of theoretical and hermeneutical literary principles and the interplay of the Greek words sema (“a grave”) and soma (“the body”). The aim is to study their forms and symbolisms as one of the fundamental motifs of Cavafy’s oeuvre. Simultaneously, the article will compare the poetic symbols with ancient philosophy on death (exemplified by Plato), as well as with the later authors’ (for instance, Stéphane Mallarmé’s) symbolistic considerations of death, which inspired Cavafy’s, modern, poetry. Through a textual analysis of his poetry on death, the poet’s influence and the sense of destruction he arouses in the reader will be explored. Furthermore, the article will focus on the thymotic power of his poetry, arguing that this author of historical heritage—that is, of the inheritance of Eros inheritance—is also an author of the inheritance of Thanatos.
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Pawłowska, Maja. "Peut-on reconstruire le sens d’une oeuvre littéraire ? Edward Porębowicz, Jan Andrzej Morsztyn et la poésie française." Romanica Wratislaviensia 69 (November 29, 2022): 173–82. http://dx.doi.org/10.19195/0557-2665.69.15.
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Edward Porębowicz in a study Andrzej Morsztyn, przedstawiciel baroku w poezji polskiej (1893), gives new meaning to Morsztyn’s work, demonstrating that his poems are not part of the romantic aesthetic but they fully belong to the baroque current. Thus, Porębowicz proves that one can reconstruct the meaning of a literary work. However, a very wide erudition and general knowledge of culture are necessary. The critic succeeded in rectifying the erroneous interpretation of Morsztyn’s poetry, then prevailing, thanks to his competent and rigorous comparative proofreading of ancient Greek, Latin as well as modern Italian, French, Spanish and Polish texts.