Log in

Relevant bibliographies by topics / Greek poetry / Journal articles

To see the other types of publications on this topic, follow the link: Greek poetry.

Journal articles on the topic 'Greek poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Greek poetry.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Heath, Malcolm. "Greek Literature." Greece and Rome 69, no. 1 (March 7, 2022): 135–39. http://dx.doi.org/10.1017/s0017383521000280.

Full text

Abstract:

The influence of Greek poetry on Latin poetry is well known. Why, then, is the reciprocal influence of Latin poetry on Greek not so readily discernible? What does that reveal about Greek–Latin bilingualism and biculturalism? Perhaps not very much. The evidence that Daniel Jolowicz surveys in the densely written 34-page introduction to his 400-page Latin Poetry in the Ancient Greek Novel amply testifies to Greek engagement with Latin language and culture on a larger scale than is usually recognized. That this engagement is more readily discernible in Greek novels than in Greek poetry is no reason to dismiss the evidence that the novels provide. On the contrary, the seven main chapters provide ‘readings of the Greek novels that establish Latin poetry…as an essential frame of reference’ (2). In Chapters 1–3 Chariton engages with the love elegy of Propertius, Ovid and Tibullus, with Ovid's epistolary poetry and the poetry of exile, and with the Aeneid. In Chapters 4–5 Achilles Tatius engages with Latin elegy and (again) the Aeneid, and also with the ‘destruction of bodies’ (221) in Ovid, Lucan, and Seneca. In Chapter 7 Longus engages with Virgil's Eclogues and the Aeneid. The strength of the evidence requires only a brief conclusion. Jolowicz's rigorously argued and methodologically convincing monograph deserves to be read widely, and with close attention.

APA, Harvard, Vancouver, ISO, and other styles

2

WILLETT, STEVEN J. "Anthologizing Greek Poetry." Arion: A Journal of the Humanities and the Classics 18, no. 3 (2010): 163–79. http://dx.doi.org/10.1353/arn.2010.0044.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Knox, Bernard, Albin Lesky, and Matthew Dillon. "Greek Tragic Poetry." Classical World 78, no. 3 (1985): 229. http://dx.doi.org/10.2307/4349745.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

West, M. L. "EARLY GREEK POETRY." Classical Review 50, no. 2 (October 2000): 402–3. http://dx.doi.org/10.1093/cr/50.2.402.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 2 (September 16, 2016): 251–55. http://dx.doi.org/10.1017/s0017383516000127.

Full text

Abstract:

Let us begin, as is proper, with the gods rich in praise – or, more precisely, with The Gods Rich in Praise, one of three strikingly good monographs based on doctoral theses that will appear in this set of reviews. Christopher Metcalf examines the relations between early Greek poetry and the ancient Near East, focusing primarily on hymnic poetry. This type of poetry has multiple advantages: there is ample primary material, it displays formal conservatism, and there are demonstrable lines of translation and adaptation linking Sumerian, Akkadian, and Hittite texts. The Near Eastern material is presented in the first three chapters; four chapters examine early Greek poetry. Two formal aspects are selected for analysis (hymnic openings and negative predication), and two particular passages: the birth of Aphrodite in Theogony 195–206, and the mention of a dream interpreter in Iliad 1.62–4. In this last case, Metcalf acknowledges the possibility of transmission, while emphasizing the process of ‘continuous adaptation and reinterpretation’ (225) that lie behind the Homeric re-contextualization. In general, though, his detailed analyses tend to undermine the ‘argument by accumulation’ by which West and others have tried to demonstrate profound and extensive Eastern influence on early Greek poetry. Metcalf finds no evidence for formal influence: ‘in the case of hymns, Near Eastern influence on early Greek poetry was punctual (i.e. restricted to particular points) at the most, but certainly not pervasive’ (3). His carefully argued case deserves serious attention.

APA, Harvard, Vancouver, ISO, and other styles

6

Giangrande, Giuseppe. "Written Composition and Early Greek Lyric Poetry." Emerita 82, no. 1 (June 2, 2014): 149–51. http://dx.doi.org/10.3989/emerita.2014.07.1312.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Clayman, Dee L. "Sigmatism in Greek Poetry." Transactions of the American Philological Association (1974-) 117 (1987): 69. http://dx.doi.org/10.2307/283960.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Thalmann, William G., and David Mulroy. "Early Greek Lyric Poetry." Classical World 87, no. 6 (1994): 522. http://dx.doi.org/10.2307/4351591.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Ghosh, Ritwik. "Contemporary Greek Poetry as World Literature." International Journal of English and Comparative Literary Studies 2, no. 3 (April 22, 2021): 71–78. http://dx.doi.org/10.47631/ijecls.v2i3.247.

Full text

Abstract:

In this paper, I argue that Greek poetry is a living tradition characterized by a diversity of voices and styles and that Greek poetry is a vital part of contemporary World Literature. The diversity of voices in contemporary Greek poetry gives it both aesthetic value and political relevance. Greek poetry, as it survives translation into a number of languages, including English, gives us a model for the successful translation of texts in both World literature and Comparative literature. A thematic analysis of some poems is presented in this paper. The aim is not to chronicle the contemporary Greek poetic production but to show how Greek poetic tradition continues to expand beyond national boundaries.

APA, Harvard, Vancouver, ISO, and other styles

10

Bashir, Burhan. "Insanity or Inspiration: A Study of Greek and Arab Thoughts on Poetry." Arab World English Journal For Translation and Literary Studies 5, no. 2 (May 15, 2021): 115–25. http://dx.doi.org/10.24093/awejtls/vol5no2.9.

Full text

Abstract:

The nexus between poetry, insanity, and inspiration is peculiar and can be traced back to earlier centuries. There are many examples in Greek and Arab literature where poetry is believed to have connections with divinity, possession, or even madness. The paper will try to show what Greeks and Arabs thought about the origin and the creation of poetry. It will attempt to show how early mythology and legends of both assign a supernatural or abnormal source to poetry. References from these two cultures will show the similarity in some theories like that of muses and supernatural beings, helping the poet achieve his goal. In order to show the similarity, many Greek and Arab philosophers/poets shall be referred to in the discussion. The methodology used shall be descriptive and analytical in nature.

APA, Harvard, Vancouver, ISO, and other styles

11

Donlan, Walter, and Barbara Hughes Fowler. "Archaic Greek Poetry: An Anthology." Classical World 89, no. 3 (1996): 227. http://dx.doi.org/10.2307/4351790.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Arkins, Brian. "Greek Myth in Latin Poetry." Syllecta Classica 5, no. 1 (1994): 17–28. http://dx.doi.org/10.1353/syl.1994.0001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

13

Benzi, Nicolò. "The Redefinition of Poetic Authority in Early Greek Philosophical Poetry." Dialogues d'histoire ancienne 44/2, no. 2 (2018): 15. http://dx.doi.org/10.3917/dha.442.0015.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

Kennedy, Catherine Louise. "Sappho through Mimesis, a Pedagogical Approach to Teaching Poetry." English Journal 104, no. 4 (March 1, 2015): 26–31. http://dx.doi.org/10.58680/ej201527038.

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

Bowman, Laurel. "The "Women's Tradition" in Greek Poetry." Phoenix 58, no. 1/2 (2004): 1. http://dx.doi.org/10.2307/4135194.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry." L'antiquité classique 80, no. 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.3798.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Sage, Paula Winsor, and Charles Segal. "Interpreting Greek Tragedy: Myth, Poetry, Text." Classical World 81, no. 4 (1988): 326. http://dx.doi.org/10.2307/4350215.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Lidov, Joel B. "Alternating Rhythm in Archaic Greek Poetry." Transactions of the American Philological Association (1974-) 119 (1989): 63. http://dx.doi.org/10.2307/284261.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Rojcewicz *, Stephen. "Poetry therapy in ancient Greek literature." Journal of Poetry Therapy 17, no. 4 (December 2004): 209–13. http://dx.doi.org/10.1080/0889367042000325076.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Hordern, J. H. "Two notes on Greek dithyrambic poetry." Classical Quarterly 48, no. 1 (May 1998): 289–91. http://dx.doi.org/10.1093/cq/48.1.289.

Full text

Abstract:

The fragment is preserved in two sources, Clement of Alexandria's Miscellanies, Strom. 5.14.112 (ii.402 Stählin), which gives the order of words printed above, and Eusebius' Praep. Evang. 13.680c, in which the second line is given as . The latter reading was preferred by Bergk, but there seems at first little reason to prefer one order over the other. I shall return to this issue shortly.

APA, Harvard, Vancouver, ISO, and other styles

21

Tedeschi, Gennaro, and Ch Segal. "Interpreting Greek Tragedy. Myth, Poetry, Text." Quaderni Urbinati di Cultura Classica 31, no. 1 (1989): 149. http://dx.doi.org/10.2307/20546987.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Henderson, William J. "Family Values in Greek Lyric Poetry." Acta Patristica et Byzantina 21, no. 2 (January 2010): 74–94. http://dx.doi.org/10.1080/10226486.2010.11879119.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry." L'antiquité classique 80, no. 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.4014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

Andrade, Tadeu. "Insularity and the Unique Position of Aeolic Song in Archaic Greek Poetry." Mare Nostrum 12, no. 2 (August 4, 2021): 79–114. http://dx.doi.org/10.11606/issn.2177-4218.v12i2p79-114.

Full text

Abstract:

Archaic Greek poetry was a multiple phenomenon: different areas developed diverse, though interrelated genres. This article comments on the unique position Aeolic mélos had in the archaic Greek song tradition. Firstly, it points to Sappho and Alcaeus’ somewhat ambivalent reception by ancient authors. Secondly, it shows how different aspects of their corpus exhibit a pattern of communication with other Greek poetry, while maintaining its own particularities. This unique status is demonstrated by an analysis of Aeolic poetic formulae. Finally, the article proposes the insular geography of Lesbos as one of the reasons for the singularity of this poetry.

APA, Harvard, Vancouver, ISO, and other styles

25

Georgiou, Nadia. "Regarding Symbolic Capital: Poetry Translators from Modern Greek into English." HERMES - Journal of Language and Communication in Business, no. 58 (December 22, 2018): 99–115. http://dx.doi.org/10.7146/hjlcb.v0i58.111676.

Full text

Abstract:

The research object of this study is the symbolic capital of poetry translators and how it shapes and is being shaped by the current practices and self-descriptions of translators of Modern Greek poetry into English. A number of case studies indicate that people who translate poetry come from a variety of backgrounds, including those of a poet and an academic, which often do not include any formal translation training (Hofstadter 1997; Waldinger 2003; Bullock 2011; Isaxanli 2014). It also appears to be common that translators of poetry have a number of complementary roles, with that of ‘poetry translator’ not always central. The study draws on data consisting of Modern Greek into English poetry translators’ responses to a survey, of paratexts created by Modern Greek into English translators and of ten interviews. Cultural and educational capitals are examined in their institutionalized, objectified and embodied form as bearers of symbolic capital. Three overlapping categories are explored: the translators’ connection to poetry and the source culture, translator education and translator self-description. The translators’ “extratextual visibility” (Koskinen 2000 as cited in Chesterman 2018: 446) is also analyzed as it forms part of the translators’ embodied cultural and symbolic capital. This empirical exploration offers insights into the variety of attitudes and approaches to poetry translation; the emerging patterns map out profiles of a group of contemporary poetry translators, investigate the realities of the craft and re-position poetry translation practitioners with respect to other translation professionals.

APA, Harvard, Vancouver, ISO, and other styles

26

Middleton, Fran. "THE POETICS OF LATER GREEK ECPHRASIS: CHRISTODORUS COPTUS, THE PALATINE ANTHOLOGY AND THE PERIOCHAE OF NONNUS’ DIONYSIACA." Ramus 47, no. 2 (December 2018): 216–38. http://dx.doi.org/10.1017/rmu.2018.15.

Full text

Abstract:

There is increasing interest in what might be thought ‘special’ about late antique poetry. Two volumes of recent years have focused on Latin poetry of this time, Classics Renewed: Reception and Innovation in the Latin Poetry of Late Antiquity edited by Scott McGill and Joseph Pucci (2016) as well as The Poetics of Late Latin Literature edited by Jaś Elsner and Jesús Hernández Lobato (2017), while it has become increasingly acceptable to remark on late antiquity as a cultural period in its own right, rather than a point of transition between high antiquity and the middle ages. Greek poetry of late antiquity has yet to receive the level of attention offered to Latin literature of this time, and so it is to help answer the question of what may be thought special about late antique Greek poetry that I here discuss the poetics of later Greek ecphrasis.

APA, Harvard, Vancouver, ISO, and other styles

27

Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.

Full text

Abstract:

The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.

APA, Harvard, Vancouver, ISO, and other styles

28

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

29

Bowie, Ewen L. "Greek Table-Talk before Plato." Rhetorica 11, no. 4 (1993): 355–71. http://dx.doi.org/10.1525/rh.1993.11.4.355.

Full text

Abstract:

Abstract: This essay analyses conversation at archaic and classical Greek banquets and symposia, using first epic, then elegiac and lyric poetry, and finally Old Comedy. Epic offers few topics, mostiy arising from the situation of a guest. Those of sympotic poetry, from which prose exchanges may cautiously be inferred, are more numerous:reflection, praise of the living and the dead, consolation of the bereaved, proclamations of likes and dislikes, declarations of love,narrative of one's own erotic experiences or (scandalously) of others',personal criticism and abuse, and the telling of fables. Many of these verbal interventions are competitive. Comedy reinforces the prevalence of an ethos of entertainment, corroborating the telling of fables and adding creditable anecdotes about one's career, singing skolia,and playing games of "comparisons" and riddles.

APA, Harvard, Vancouver, ISO, and other styles

30

Kuhn-Treichel, Thomas. "Performanz, Textualität und Kognition." POEMA 1, no. 1 (January 2023): 25–37. http://dx.doi.org/10.38072/2751-9821/p3.

Full text

Abstract:

This paper traces recent developments in the study of early Greek lyric poetry and suggests some tracks that could be followed in the near future. Research on early Greek lyric poetry has undergone significant change over the last five decades. From the 1970ies onwards, scholars tended to emphasize the performative context of the songs, including its social or cultic function. Only in recent years have interpreters started to rediscover the textual dimension of the poems, i.e. their status as literary texts that were intended to be received beyond their primary performance. Other vibrant fields of research that have been recently, or could be fruitfully, applied to early Greek lyric poetry include historical narratology, diachronic narratology, and cognitive poetics. In order to illustrate some of these developments and potential, I summarize recent approaches to the problem of the poetic ›I‹ in Pindar, including my own model, and suggest the more general phenomenon of underdetermined reference as a possible topic for future research on different branches of lyric poetry.

APA, Harvard, Vancouver, ISO, and other styles

31

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.

Full text

Abstract:

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’

APA, Harvard, Vancouver, ISO, and other styles

32

Surin, О. A. "Ancient Greek Ideas about the Pelasgians in the Archaic and Classical Periods." Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 165, no. 4-5 (January 17, 2024): 66–78. http://dx.doi.org/10.26907/2541-7738.2023.4-5.66-78.

Full text

Abstract:

This article uses ancient Greek epic poetry, tragedy, and lyrics to describe how the Greeks treated the Pelasgians in the Archaic and Classical periods and provides a glimpse into the role assigned to them by the Hellenic authors. The evolution of the ancient Greeks’ ideas about the Pelasgians in the Archaic and Classical periods is traced. The place of the ethnonym of the Pelasgians in ancient Greek culture is outlined. The references to the Pelasgians in epic literature are examined. The image of the Pelasgians in tragedy and lyrics is reconstructed. The method of comparative analysis was employed: a thorough review of epic poetry, tragedy, and lyrics allowed for a comparison of the specifics of how the Pelasgians were portrayed. Hypotheses are proposed for the differences in the portrayal of the Pelasgians. Homer’s influence on subsequent works is not evident. The study’s findings provide new perspectives on historiography and resolve the longstanding disputes surrounding the study of the Pelasgians.

APA, Harvard, Vancouver, ISO, and other styles

33

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Kowerski, Lawrence. "Early Greek Hexameter Poetry by Peter Gainsford." Classical Journal 113, no. 3 (2017): 378–81. http://dx.doi.org/10.1353/tcj.2017.0006.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Greene, Robin J. "Post-Classical Greek Elegy and Lyric Poetry." Brill Research Perspectives in Classical Poetry 2, no. 2 (June 17, 2021): 1–130. http://dx.doi.org/10.1163/25892649-12340004.

Full text

Abstract:

Abstract This volume traces the development of Greek elegy and lyric in the hands of Hellenistic and Roman-era poets, from literary superstars such as Callimachus and Theocritus to more obscure, often anonymous authors. Designed as a guide for advanced students and scholars working in adjacent fields, this volume introduces and explores the diverse body of surviving later Greek elegy and lyric, contextualizes it within Hellenistic and Roman culture and politics, and surveys contemporary critical interpretations, methodological approaches, and avenues for future study.

APA, Harvard, Vancouver, ISO, and other styles

36

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Hawkins, Tom. "Agamben, “Bare Life,” and Archaic Greek Poetry." Mouseion 15, no. 1 (March 2018): 49–70. http://dx.doi.org/10.3138/mous.15.1.5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Madden, John A., and J. C. B. Petropoulos. "Eroticism in Ancient and Medieval Greek Poetry." Classics Ireland 11 (2004): 111. http://dx.doi.org/10.2307/25528408.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Robinson, Christopher. "Musicality in Modern Greek Poetry 1900–1930." Byzantine and Modern Greek Studies 14, no. 1 (January 1990): 224–39. http://dx.doi.org/10.1179/byz.1990.14.1.224.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

Littlewood, A. R. "Eroticism in Ancient and Medieval Greek Poetry." Byzantine and Modern Greek Studies 29, no. 1 (January 2005): 102–4. http://dx.doi.org/10.1179/byz.2005.29.1.102.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Rosenmeyer, Patricia A. "Girls at Play in Early Greek Poetry." American Journal of Philology 125, no. 2 (2004): 163–78. http://dx.doi.org/10.1353/ajp.2004.0022.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Bien, Peter. "The Predominance of Poetry in Greek Literature." World Literature Today 59, no. 2 (1985): 197. http://dx.doi.org/10.2307/40141452.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

44

Burton, Diana. "Response and Composition in Archaic Greek Poetry." Antichthon 45 (2011): 58–76. http://dx.doi.org/10.1017/s0066477400000058.

Full text

Abstract:

AbstractThis paper discusses a series of archaic poems in which one poet responds directly to the work of another, identifying the other by name or by direct allusion (for example, Simonides frag. 542 PMG, Solon frag. 20 West, Sappho frag. 137 Voigt). Such responses often disagree with their models, and this disagreement is frequently constructed in terms of a correction, not only to the subject matter, but also to the way in which the original is composed. These responses, therefore, not only reflect the pattern of improvisation and ‘capping’ common to much Greek poetry, but form an ongoing debate on the nature and role of the poet and his poetry. The construction of such responses also serves to underline both the importance of improvisation and the permanency of the fame conveyed by the completed poem.

APA, Harvard, Vancouver, ISO, and other styles

45

Quayle, Jonathan. "Directing the ‘Unfinished Scene’: Utopia and the Role of the Poet in Shelley's Hellas." Romanticism 26, no. 3 (October 2020): 280–91. http://dx.doi.org/10.3366/rom.2020.0478.

Full text

Abstract:

Hellas; A Lyrical Drama (1822) reveals profound tensions in Shelley's thinking about the role that poets play in writing the future. In the Preface, Shelley invokes his ‘poet's privilege’ to imagine the outcome of the ‘unfinished scene’ – the ongoing Greek War of Independence – but the final chorus, which begins by triumphantly announcing the return of a ‘great age’, also voices an anxiety that it may be impossible to imagine a future that is unbound by the failures of the past. This essay examines the ways in which Shelley imagines the outcome of the Greek War in Hellas, especially in dialogue with the claims he makes for poetry and poets in A Defence of Poetry (comp. 1821). I argue that what emerges in Hellas is a fraught form of utopian thought that is defined by hazardous struggle, but which may ultimately direct humanity towards a better future.

APA, Harvard, Vancouver, ISO, and other styles

46

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.

Full text

Abstract:

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).

APA, Harvard, Vancouver, ISO, and other styles

47

Reggi, Annalisa. "Leopardi and the ancient Greek mathematics." Journal of Science Communication 01, no. 02 (June 21, 2002): A01. http://dx.doi.org/10.22323/2.01020201.

Full text

Abstract:

"I consider Leopardi's poetry and pessimism to be the best expression of what a scientist's credo should be". This quotation is from Bertrand Russell, no less. With these very emblematic words, the greatest man of letters, the supreme icon of the Italian Parnasse, the author of such collections of poems as Canti (Poems) and Operette Morali (The Moral Essays) and philosophical thoughts as Zibaldone (Miscellany) has been associated to the world of science. This relationship, very intense and to a certain extent new, was greatly emphasised on the occasion of the poet's birth bicentenary. During the celebration in 1996, an exhibition with the name of Giacomo and Science was organized in his birthplace to underline the close connection between the poet and the scientific culture of his epoch. This point has also been stressed recently.

APA, Harvard, Vancouver, ISO, and other styles

48

Canevaro, Lilah Grace. "Greek literature." Greece and Rome 71, no. 1 (March 6, 2024): 120–27. http://dx.doi.org/10.1017/s0017383523000268.

Full text

Abstract:

How do we read Greek literature? In the original language or in translation? With a theoretical lens or without? Bringing in our modern perspectives or trying to track ancient approaches? Identifying with characters or exercising supposed academic detachment? How we read Greek texts affects what we read in those texts. And who we are affects how we read. A number of recent publications prompt us to interrogate our reading practices by drawing on theories ancient and modern and reflecting on who we are and how entangled we are with other entities (from the objects we use to the poetry we embody to the narratives in which we are immersed).

APA, Harvard, Vancouver, ISO, and other styles

49

Blyth, Dougal. "Political Technê: Plato and the Poets." Polis 31, no. 2 (August 15, 2014): 313–51. http://dx.doi.org/10.1163/20512996-12340019.

Full text

Abstract:

Plato’s treatment of poetry is usually discussed without reference to other contemporary reception of Greek poetry, leading to divergent political or aesthetic accounts of its meaning. Yet the culture of the Greek polis, in particular Athens, is the defining context for understanding his aims. Four distinct points are made here, and cumulatively an interpretation of Plato’s opposition to poetry: on the basis of other evidence, including Aristophanes’ Frogs, that Plato would quite reasonably understand poetry to claim the craft of looking after a city (political technê); that Socrates makes a rival claim that philosophy is the pursuit of this skill; that Plato considers the poets, owing to this rivalry, to aim to exclude philosophy from Athens; and finally, that Plato’s exclusion of poetry from the theoretical just city of the Republic is part of his defence of the possibility of philosophy in Athens.1

APA, Harvard, Vancouver, ISO, and other styles

50

Agosti, Gianfranco. "Literariness and Levels of Style in Epigraphical Poetry of Late Antiquity." Ramus 37, no. 1-2 (2008): 191–213. http://dx.doi.org/10.1017/s0048671x00004975.

Full text

Abstract:

Nowadays, scholars usually speak of a ‘renaissance’ of poetry in the Greek literature of late antiquity, underlining at the same time the new relevance of poetic communication in late antique society and the renewal of our interest in this not so well-known production of late Greek literature. Renaissance and related terms are, of course, effective ways to describe the flowering of Greek poetry from the fourth to sixth centuries CE, so long as this does not undervalue the importance of continuity (which is not the same as tradition). Even the most significant innovation in late antique Greek poetry, namely the so-called ‘Nonnian manner’ or ‘modern style’, stems from a longtime sedimentation and perfectioning of linguistic and stylistic features which can be traced back to the Hellenistic age. Albert Wifstrand, in his seminal book of 1933, already pointed to this major fact, which Mary Whitby has systematically dealt with in an important article of 1994. Moreover, recent studies demonstrate that for a proper understanding of late antique poetry one must take into account Christian poetic production as well, which stands four-square within the traditions of Greek literature (in spite of the fact that classical = pagan is an equation which dies hard for some classicists). In the present paper both pagan and Christian epigrams will be considered to equally represent the aesthetics of late antiquity (or estetica antico-bizantina, to use Averincev's terminology).

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!