Academic literature on the topic 'Classical; Greek; Homer'
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Journal articles on the topic "Classical; Greek; Homer"
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Geddes, A. G. "Homer in Translation." Greece and Rome 35, no. 1 (April 1988): 1–13. http://dx.doi.org/10.1017/s0017383500028710.
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In the first term of last year I had two classes with whom I was reading the Iliad. In the Classical Studies class we had to read and discuss the Iliad in Richmond Lattimore's English translation, and in the Greek IIA class we read Book I of the Iliad in Greek.
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Chadwick, John. "The Descent of the Greek Epic." Journal of Hellenic Studies 110 (November 1990): 174–77. http://dx.doi.org/10.2307/631738.
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A fundamental assumption throughout this article is that the text of Homer is no different from that of other classical authors, since it has been preserved by the same kind of manuscript tradition. The difference is that while all our texts go back to the editions of the Hellenistic scholars, the gap between these and the author is relatively short for fourth and fifth century writers, but very much longer for Homer, if we assign to him a very approximate date of the late eighth, or even early seventh, century.
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Vítek, Tomáš. "Greek Necromancy: Reality or Myth?" Acta Antiqua Academiae Scientiarum Hungaricae 60, no. 1-2 (June 24, 2021): 27–51. http://dx.doi.org/10.1556/068.2020.00004.
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SummaryThe article investigates the extent to which Greek necromancy fits into the wider eschatological, cultic and historical context of an epoch demarcated on the one hand by Homer and on the other by the Classical period. The oldest purported necromantic ritual, with the help of which Odysseus descended into the underworld, is a literary construct inspired especially by the heroic tomb-cults. Scenes depicting funereal necromancy, written by dramatists of the Classical period, were also drawn from this source. Ability, behavior and appearance of heroes were additionally ascribed to the so-called restless spirits and revenants and later came to include all the dead. The main cause of this was a change in eschatological ideas and especially heroization, which in the Roman period spread nominally to all the dead. Reports about necromancy include a high percentage of mythical and literarily-dramatized elements that simply do not correspond with contemporary ideas about the soul, the dead, the underworld and chthonic deities. It therefore appears almost certain that, at least to the end of the period described, necromancy was not carried out in reality but remained only the literary surmise of the possibility indicated by Homer.
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Horsley, G. H. R. "Homer in Pisidia: Aspects of the History of Greek Education in a remote Roman Province." Antichthon 34 (November 2000): 46–81. http://dx.doi.org/10.1017/s0066477400001179.
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In the pantheon of poets of all cultures and ages, Homer (however we respond to the ‘Homeric Question’) has a unique place. His primacy is due to the fact that his two epic poems encapsulated Hellenic culture, both for the Greeks themselves, and for others steeped in the ‘European tradition’ whether in antiquity or in subsequent ages. So much is this the case that the very name ‘Homer’ became an abstraction, summing up what it was to be Hellenic. All literature written by Greeks, in the Archaic, Classical, Hellenistic, and Imperial periods, and much that was produced by others (including in Latin), looks back to the Iliad and the Odyssey, takes its rise from them, finds its locus in them. A canonicity was conferred on these poems such as on no other Greek text in equal degree. If Shakespeare was representative of an entire age in one culture, Homer summed up a culture itself.
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Novokhatko, Anna A. "Contemporary Metaphor Studies and Classical Texts." Mnemosyne 74, no. 4 (June 3, 2021): 682–703. http://dx.doi.org/10.1163/1568525x-bja10109.
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Abstract This article reviews recent studies on metaphor theories applied to the classical corpus and argues that approaches from cognitive linguistics are essential for the re-interpretation of Greek and Latin texts. Its main focus are two monographs, Andreas T. Zanker’s Metaphor in Homer and Tommaso Gazzarri’s Theory and Practice of Metaphors in Seneca’s Prose. The volume of collected papers on spatial metaphors in ancient texts edited by Fabian Horn and Ciliers Breytenbach proposes that the Lakoff-Johnson approach to cognitive metaphor is productive and that mappings from empirically accessible domains construct abstract concepts in spatial models of mental activity.
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Miola, Robert S. "Lesse Greeke? Homer in Jonson and Shakespeare." Ben Jonson Journal 23, no. 1 (May 2016): 101–26. http://dx.doi.org/10.3366/bjj.2016.0154.
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Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.
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Bremmer, Jan N. "The agency of Greek and Roman statues. From Homer to Constantine." Opuscula. Annual of the Swedish Institutes at Athens and Rome 6 (November 2013): 7–21. http://dx.doi.org/10.30549/opathrom-06-02.
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In the Archaic period the Greeks did not yet conceptualize the difference between a divinity and its statue. Therefore, stories that stressed the agency of statues separate from their divinities must have seemed less strange at that time than when the statues had become independent, so to speak, from their gods or goddesses. The latter started to happen in the transitional period to the Classical era when the well-known triad of divinities—heroes—mortals came into being, and philosophers began to criticize the worship of statues. All these changes together led to a development in which the agency of statues increasingly became noteworthy. After the 5th century BC we keep hearing about the agency of statues but we can also notice a growing critique of the worship of statues by different philosophical schools. In both Greece and Rome divine statues manifested themselves in particular during moments of crisis or of a decisive political character. In the Greek East the belief in the agency of statues lasted until the 3rd century AD, as Archaic statues represented a kind of cultural capital for the Greeks under Roman rule. Yet, in the end the continuing philosophical critique, which had been radicalized by the Christians, made the agency of statues intellectually unacceptable.
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Miles, Margaret M., Victor Davis Hanson, and John Heath. "Who Killed Homer? The Demise of Classical Education and the Recovery of Greek Wisdom." American Journal of Archaeology 103, no. 1 (January 1999): 174. http://dx.doi.org/10.2307/506631.
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Fukuyama, Francis, Victor Davis Hanson, and John Heath. "Who Killed Homer? The Demise of Classical Education and the Recovery of Greek Wisdom." Foreign Affairs 77, no. 4 (1998): 121. http://dx.doi.org/10.2307/20048981.
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Valls-Russell, Janice. "Book review: Homer and Greek Tragedy in Early Modern England’s Theatres, Classical Receptions Journal." Cahiers Élisabéthains: A Journal of English Renaissance Studies 98, no. 1 (March 22, 2019): 132–35. http://dx.doi.org/10.1177/0184767818821603a.
Full textDissertations / Theses on the topic "Classical; Greek; Homer"
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Manley-Tannis, Richard Michael. "Greek arbitration, homer to classical Athens." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/MQ28231.pdf.
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Currie, Bruno. "Hero cult and Pindar." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340126.
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Cairns, Douglas Laidlaw. "The concept of Aidos in Greek literature from Homer to 404 BC." Thesis, University of Glasgow, 1987. http://theses.gla.ac.uk/1379/.
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The introduction deals briefly with the question of the classification of societies as shame or guilt-cultures, and the position is taken that, firstly, such a distinction has no real basis in human psychology and, secondly, that its application to the differences between ancient Greek culture and our own is largely superficial. The challenge to the shame-culture/guilt culture antithesis continues in the chapter on Homer, of which one of the central topics is the extent to which Homeric man possesses an internal conscience. The fundamental association of aidos with popular opinion is noted, and the terms which describe both the kind of situation or conduct which merits censure and the censure itself are studied, with a particular view to their relevance to competitive and co-operative standards. It is concluded that there is no basis for a subordination of the co-operative to the competitive in the vocabulary of the poems, although it is certainly the case that many characters are more concerned with failure in the latter sphere. This, however, is in no way part of the moral ideology of either the poet or his characters. The main areas of operation of aidos are identified: its role in battle and as fear of disgrace in general, its relevance to the co-operative standard of philia, its concern with positive regard for others, especially suppliants and guests and the particular form which the concept takes with regard to sex, especially in women. These are broadly the categories which also obtain in subsequent chapters. Instances of the relevant terms in the poetry from Hesiod to Pindar are largely heterogeneous, but particularly worthy of note are Hesiod's remarks on the ambivalence of aidos (a notion also present in Homer), Solon's application of the verb, aideomai, to his lack of concern for the misguided opinions of others, and the association of qualities like aidos and loyalty to one's friends, itself promoted by aidos, with arete, both moral and social, in Theognis. In the Tragedians, attention is paid first of all to the role of aidos etc. in the motivation of characters, then to its importance in the thematic structure of the plays, and only then, and with some caution, to the possibility that the usage of the tragedians may reflect changes in the society outside the plays. In Aeschylus, the operation of the concept in the above-mentioned categories is, briefly, surveyed, but the bulk of the chapter is concerned with its role in the psychology of characters faced with an acutely difficult choice: here the inhibitory force of aidos is apparent, as it frequently provokes crises of indecision. Such indecision, moreover, is often an important sign that all is not well. The psychological insight of Aeschylus, it is argued, is very far from elementary, but, of the three tragedians, it is Sophokles who makes most use of aidos in the psychology and motivation of his characters. In all but two of the extant tragedies aidos etc. have a central thematic importance: the possibility of conflicting ideas of aidos, a topic perhaps suggested by sophistic relativist theory, is frequently explored, and one demand of traditional aidos is often set against another. Sophistic discussions of the nature of aidos are particularly in evidence in two plays, the Ajax and the Philoktetes, which both reveal the operation of the concept as an internal form of conscience which can work without reference to the `other people' whose judgement is often mentioned in the context of the aidos-reaction. This appreciation of the internal aspect of aidos corresponds with Demokritos' view of its operation in the conscience of the individual. Sophistic ideas are even more readily apparent in Euripides, although they are much less closely integrated into the psychology of individual characters than they are in Sophokles. Relativism is also important in the younger poet, and a particular feature of his
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Nikolaev, Alexander Sergeevich. "Diachronic Poetics and Language History: Studies in Archaic Greek Poetry." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10489.
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The broad objective of this dissertation is an interdisciplinary study uniting historical linguistics, classical philology, and comparative poetics in an attempt to investigate archaic Greek poetic texts from a diachronic perspective. This thesis consists of two parts. The first part, “Etymology and Poetics”, is devoted to several cases where scantiness of attestation and lack of semantic information render traditional philological methods of textual interpretation insufficient. In such cases, the meaning of a word has to be arrived at through linguistic analysis and verified through appeal to related poetic traditions, such as that of Indo-Iranian. Chapter 1 proposes a new interpretation for the enigmatic word ἀάατο̋, the Homeric epithet of the waters of the Styx, which is shown to have meant ‘sunless’. Chapter 2 deals with the word ἀριδείκετο̋, argued to mean ‘famous’: this solution finds support in the use of the root *dei̯k- in the poetic expression “to show forth praise”, found in Greek choral lyric and the Rigveda. Chapter 3 investigates the history of the verbs ἰάπτω ‘to harm’ and ἰάπτω ‘to send forth (to Hades)’. Chapter 4 improves the text of Pindar (O. 6.54), restoring a form ἀπειράτωι. Chapter 5 discusses the difficult word ἀμαυρό̋, establishing for it a meaning ‘weak’ and proposing a new etymology. Finally, Chapter 6 places Alc. 34 in the context of comparative mythology, with the object of reconstructing the history of the Lesbian lyric tradition. The second part, “Grammar of Poetry”, shifts the focus of the inquiry from comparative poetics to the language of early Greek poetry and its use. Chapter 7 addresses the problematic Homeric aorist infinitives in -έειν, showing how these artificial forms were created by allomorphic remodeling driven by metrical necessity; the problem is placed in the wider context of the debate about the transmission and development of Homeric epic diction. The metrical and linguistic facts relating to the distribution of infinitives are further discussed in Chapter 8, where it is argued that the unexpected Aeolic form νηφέμεν in Archil. 4 should be viewed as an intentional allusion to the epic tradition, specifically, the famous midsummer picnic scene in Hesiod.Linguistics
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Fox, Peta Ann. "Heroes at the gates appeal and value in the Homeric epics from the archaic through the classical period." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002168.
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This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.
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Hosty, Matthew. "An edition with commentary of the Batrachomyomachia." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:9af478b9-771d-4a9f-94ed-8cf6bc7d7cd2.
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The thesis consists of three main sections: the Introduction, the text (with apparatus), and the Commentary. The Introduction begins with a survey of the available evidence for the poem’s date and authorship, before moving on to consider its generic affiliations and influences, focusing on two particular areas: its links with the ill-defined genre of παρῳδία, and its relationship to animal-narratives elsewhere in ancient literature (particularly fable) and visual art. This is followed by a detailed analysis of the poem’s style and metre, a brief tour of its Nachleben up to the 13th century, and a summary of the notoriously tangled manuscript tradition. The text is new, and differs substantially from both that of Allen (in the OCT) and of West (the most recent English edition). The apparatus, as explained in more detail on p. 117, is somewhere between the two: it takes into account the readings of only nine MSS from the 80-100 extant, and does not attempt to represent every single textual variation even among these nine, but it is much fuller than the minimalist apparatus of the Loeb. It aims to provide a useful source for scholars interested in the poem’s many and serious textual cruces, while remaining more succinct and user-friendly than the dense and sometimes baffling apparatus of Ludwich’s monumental 1896 edition. The text is followed by an English prose translation: this makes no claims to beauty, and is simply intended as a relatively literal guide to the sense of the Greek. The Commentary, finally, is twofold. Any commentary on the Batrachomyomachia will inevitably spend much space and ink on purely textual issues, and on the fundamental task of unearthing meaning from the dizzying range of wild and nonsensical variants available. Interspersed with these textual points, however, this commentary includes considerations of the poem not as a mechanics problem but as a sophisticated Hellenistic work of art – exploring its intertextualities, its characterisation, its dramatic effects, its dry sense of humour, and subjecting it to the serious literary analysis it has often been denied.
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Ladianou, Aikaterini. "Logos Gynaikos: Feminine Voice in Archaic Greek Poetry." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1236711421.
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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.
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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Gilchrist, Katie E. "Penelope : a study in the manipulation of myth." Thesis, University of Oxford, 1997. http://ora.ox.ac.uk/objects/uuid:ace5d5e9-520e-455a-a737-0f2ee162e1e1.
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Mythological figures play a number of roles in literature: they may, of course, appear in person as developed characters, but they may also contribute more indirectly, as part of the substratum from which rhetorical argument or literary characterisation are constructed, or as a background against which other literary strategies (for example, the rewriting of epic or the appropriation of Greek culture by the Romans) can be marked out. This thesis sets out to examine the way in which the figure of Penelope emerges from unknown origins, acquires portrayal in almost canonical form in Homer's Odyssey, and then takes part in the subsequent interplay of Homeric and other literary allusions throughout later Classical literature (with chapters focusing particularly on fifth-century Greek tragedy, Hellenistic poetry, and Augustan poetry). In particular, it focuses on the manner in which, despite the potential complexities of the character and the possible variants in her story, she became quintessentially a stereotypical figure. In addition to considering example where Penelope is evoked by name, a case is also made for the thesis that allusion, or intertextual reference, could also evoke Penelope for an ancient audience. A central point of discussion is what perception of Penelope would be called to mind by intertextual reference. The importance of approaching relationships between ancient texts in intertextual terms rather terms of strict "allusion" is thus demonstrated. The formation of the simplified picture is considered in the light of folk-tale motifs, rhetorical simplification of myth, and favoured story patterns. The appendices include a summary of the myth of Penelope with all attested variants, and a comprehensive list of explicit references to her in classical literature.
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Harden, Sarah Joanne. "Self-referential poetics : embedded song and the performance of poetry in Greek literature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.
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This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.
Books on the topic "Classical; Greek; Homer"
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Rutherford, R. B. Homer. Oxford: Published for the Classical Association, Oxford University Press, 1996.
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Homer. 2nd ed. London: Bristol Classical, 2001.
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Death in the Greek world: From Homer to the classical age. Norman: University of Oklahoma Press, 2012.
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Wolf, Friedrich August. Prolegomena to Homer, 1795. Princeton, N.J: Princeton University Press, 1985.
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Wolf, Friedrich August. Prolegomena to Homer, 1795. Princeton, N.J: Princeton University Press, 1988.
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Pepper, Timothy. A Californian hymn to Homer. Washington, D.C: Center for Hellenic Studies, 2010.
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Homer: The Odyssey. 2nd ed. Cambridge: Cambridge University Press, 2004.
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Nisetich, Frank J. Pindar and Homer. Baltimore: Johns Hopkins University Press, 1989.
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Homer. The Odyssey: Homer. New York: Spark Pub., 2014.
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illustrator, Fraumeni Thomas, and Homer, eds. The Odyssey of Homer. Englewood Cliffs, N.J: Globe Book Co., 1992.
Find full textBook chapters on the topic "Classical; Greek; Homer"
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Smith, Kay Higuera. "Mark and Homer." In Classical Greek Models of the Gospels and Acts, 25–34. Claremont Press, 2018. http://dx.doi.org/10.2307/j.ctvbcd1wt.8.
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Kochenash, Michael. "Even Good Homer Nods." In Classical Greek Models of the Gospels and Acts, 17–24. Claremont Press, 2018. http://dx.doi.org/10.2307/j.ctvbcd1wt.7.
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Spivey, Nigel. "Homer and the Sculptors." In The Archaeology of Greece and Rome. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474417099.003.0006.
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‘In the beginning, Homer was just a very good poet living in Ionia’ (Snodgrass 1998: 11). That premise is more controversial than perhaps it seems at first sight: if Homer appeared to his contemporaries an extraordinary genius, a poet uniquely privileged with divine inspiration, then one might indeed argue that he directly catalysed the coming of Greek literacy, and the development of figure scenes in early Greek art.1 But suppose, for present purposes, that the reputation of an eighth-century BC Homer was local to Ionia, and that the poet died (as one legend had it)poor and obscure. So his genius was only recognised/created/celebrated later; and so ‘a very good poet’ became Homer the great founding father of Classical literature. How important was it that visible form was given to this transfiguration? We can argue about what Homer did for artists. What did artists do for ‘Homer’?
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Thonemann, Peter. "Books and Literary Culture." In An Ancient Dream Manual, 125–42. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198843825.003.0008.
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Quotations from earlier Greek literary works are very frequent in the Oneirocritica, and it is possible to reconstruct in some detail Artemidorus’ knowledge of (and tastes in) ‘classical’ Greek literature. As one might expect, Homer is particularly prominent, but in a manner that suggests that Artemidorus may not have been equally acquainted with all parts of the Iliad and Odyssey. His knowledge of early Greek poetry, tragedy, and comedy, and other ‘high’ Greek literature appears at first sight to be impressively extensive, but patterns of quotation in the Oneirocritica imply that he in fact knew little of this literature at first-hand. It is suggested that Artemidorus provides us with an unusually clear and representative picture of the intellectual and literary horizons of an ordinary ‘middling’ member of the civic elite in the Greek world during the high Roman imperial period.
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Platte, Ryan. "Gilding American History through Song Culture in O Brother, Where Art Thou? (2000)." In Screening the Golden Ages of the Classical Tradition, 65–82. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474440844.003.0004.
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In the first of two chapters investigating the role of Homeric epic in fabricating golden ages, Platte reveals how Joel and Ethan Coen’s O Brother, Where Art Thou?, which proclaims its debt to Homer’s Odyssey in the opening credits, also re-enacts Homeric epic’s creation of a golden age. Platte focuses on the role of song in generating ancient and modern societies’ gilded memories of the past, including the nostalgia-laden misremembering of the Depression-era American South in which the film is set. Platte emphasizes how technological change affected the American folk-song tradition through recording – a phenomenon similar to that which changed Greek song culture into “Homeric” epic. By focusing on a moment of epochal change, the filmmakers undercut the notion that folk music is a simple and genuine artefact of the past. Instead, invoking nostalgia through song exposes the artificiality of the traffic in nostalgia, which has shaped attitudes toward the ancient Greek and modern American pasts. Through the protagonist’s encounter with two Homer avatars, the Coens dramatize both the process of nostalgia-creation for such a golden age and the rejection of attempts to politically weaponize it: in this case, by obscuring racism in romantic depictions of the “Old South.”
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Abulafia, David. "The Greek and the unGreek, 1830–1920." In The Great Sea. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195323344.003.0044.
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An important feature of the Fifth Mediterranean was the discovery of the First Mediterranean, and the rediscovery of the Second. The Greek world came to encompass Bronze Age heroes riding the chariots described by Homer, and the Roman world was found to have deep roots among the little-known Etruscans. Thus, during the nineteenth and early twentieth centuries entirely new perspectives on the history of the Mediterranean were opened up. An early lead was given by the growth of interest in ancient Egypt, discussed in the previous chapter, though that was closely linked to traditional biblical studies as well. In the eighteenth century, the Grand Tour introduced well-heeled travellers from northern Europe to classical remains in Rome and Sicily, and Englishmen saw it as an attractive alternative to time spent at Oxford or Cambridge, where those who paid any attention to their studies were more likely to be immersed in ancient texts than in ancient objects. On the other hand, aesthetic appreciation of ancient works of art was renewed in the late eighteenth century, as the German art historian Winckelmann began to impart a love for the forms of Greek art, arguing that the Greeks dedicated themselves to the representation of beauty (as the Romans failed to do). His History of Art in Antiquity was published in German in 1764 and in French very soon afterwards, and was enormously influential. In the next few decades, discoveries at Pompeii and Herculaneum, in which Nelson’s cuckolded host, Sir William Hamilton, was closely involved, and then in Etruria, further enlarged northern European interest in ancient art, providing interior designers with rich patterns, and collectors with vast amounts of loot – ‘Etruscan vases’, nearly all in reality Greek, were shipped out of Italy as the Etruscan tombs began to be opened up. In Greece, it was necessary to purchase the consent of Ottoman officials before excavating and exporting what was found; the most famous case, that of the Parthenon marbles at the start of the nineteenth century, was succeeded by other acquisitions for northern museums: the Pergamon altar was sent to Berlin, the facings of the Treasury of Atreus from Mycenae were sent to the British Museum, and so on.
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Hopkins, David. "Milton and the Classics." In John Milton. British Academy, 2010. http://dx.doi.org/10.5871/bacad/9780197264706.003.0002.
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This chapter discusses John Milton's acquaintance with classical literature, which began early and continued throughout his lifetime. Between 1615 and 1620, Milton entered St. Paul's, which was founded by John Colet, a friend and disciple of Erasmus. St. Paul's was heavily influenced by Erasmus's humanist principles, which centred on a thorough and actively practical engagement with classical literature and civilization. Prior to his education in St. Paul's, Milton was home tutored, which centred on the elements of classical learning. From 1625, Milton continued his studies at Christ's College, Cambridge. During these periods of educational quest, Milton honed his knowledge of classical literature and languages. He mastered Greek and Latin, and acquainted himself with the works of Latin and Greek poets. Even at the onset of his blindness, Milton maintained his acquaintance with the classical literature; he taught his daughter Greek and Latin so she could read to him in those languages. His convictions were centrally grounded in the classics; for instance, his republicanism was grounded in Roman precedent. Milton worked in Latin, and his English poems were steeped in classical forms such as imagery, rhetoric, and allusions. Three of his major works were written in mainstream classical genres: twelve-book epic, pastoral, and Aristotelian tragedy. Milton's poetic language was saturated at the local level of vocabulary, syntax, and metaphorical resonance with Greek and Latin languages.
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Varsos, George. "Out of Homer: Greek in Pound’s Cantos." In The Classics in Modernist Translation. Bloomsbury Academic, 2019. http://dx.doi.org/10.5040/9781350040984.ch-002.
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Heath, Malcolm. "Rhetoric in mid-antiquity." In Classics in Progress. British Academy, 2006. http://dx.doi.org/10.5871/bacad/9780197263235.003.0017.
Full textAbstract:
The book's concluding study presents the rhetorical education of the fourth century ad, not as the end but as only midway in the literary culture of Hellas, between Homer and the Byzantine emperor Manuel Palaeologus. The first section of this chapter examines the rhetoric from Homer to Byzantium, from the Iliad to Emperor Manuel II. The second section considers mid-antiquity's pivotal significance, when the Roman empire of Manuel — Greek, Christian and detached from Rome — began to take root. The third section examines a lengthy passage from the scholia to Demosthenes' speech On the False Embassy. The lecturer deploys, in what may seem obsessive detail, the formidably elaborate apparatus of contemporary rhetorical theory. The fourth section notes that his contemporaries and successors saw Menander primarily as a specialist in the kind of minute analysis of forensic and deliberative oratory.
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Taplin, Oliver. "Boustrophedon between Hellas and Home." In Seamus Heaney and the Classics, 14–25. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198805656.003.0002.
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Seamus Heaney did not actually visit Greece until 1995, a trip ‘long promised, long deferred’, followed by a later visit to Delphi, which added a tribute to Zbigniew Herbert and two further ‘Sonnets from Hellas’ to the four set in the Peloponnese. These were all published in Electric Light in 2001, as was the superb poem ‘Out of the Bag’, which works in a ‘pilgrimage’ to Epidaurus. The aim of this short study will be to trace the topography of Heaney’s Hellas poems in order to bring out his vivid observation of locality and landscape. At the same time it will consider the associations that the Greek settings bring to his mind, especially those of other places: hyperborean Poland, Harvard, Lourdes, and, above all, the myth-haunted island at the far north-west of Europe.