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Journal articles on the topic 'Homer Odyssey Homer Odyssey'

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Published: 10 December 2022

Last updated: 29 January 2023

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1

Semêdo, Rafael de Almeida. "Rhetoric in Homer?" Nuntius Antiquus 16, no. 1 (July 31, 2020): 13–34. http://dx.doi.org/10.35699/1983-3636..21481.

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This article discusses the possibility of exploring the field of rhetoric within the Homeric poems. Is it adequate to employ the term “rhetoric” in discussions of Homeric poetry? We contend, following Knudsen (2014), that yes, the Iliad and the Odyssey provide us with the earliest instances of rhetorical activity in Antiquity. Firstly, we address why some scholars disregard that possibility, then argue why we disagree with them. Finally, we apply the elements of our theoretical discussion to an analysis of Odysseus’ supplication to Nausicaa in Odyssey 6, focusing on: a) the introduction by the Homeric narrator with the terms kerdíon, kerdaléos, and meilíkhios; and b) Odysseus’ strategic speaking when trying to convince Nausicaa to provide him with clothes and information about the way to town.

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2

Doherty, Lillian E., and Jasper Griffin. "Homer: The Odyssey." Classical World 83, no. 2 (1989): 124. http://dx.doi.org/10.2307/4350572.

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3

CHESSICK, RICHARD D. "Homer: The Odyssey." American Journal of Psychiatry 155, no. 12 (December 1998): 1792–93. http://dx.doi.org/10.1176/ajp.155.12.1792.

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4

Jacobson, Howard. "Homer, Odyssey 17.221." Classical Quarterly 49, no. 1 (May 1999): 315. http://dx.doi.org/10.1093/cq/49.1.315-a.

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In the discussions and debates about the precise nature of Melanthios’ abuse of Eumaios and Odysseus at Od. 17.215–32 and especially the meaning of μoλoβρóν at 219, an important point appears to have been missed.

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5

SCANLON, THOMAS F. "CLASS TENSIONS IN THE GAMES OF HOMER: EPEIUS, EURYALUS, ODYSSEUS, AND IROS." Bulletin of the Institute of Classical Studies 61, no. 1 (June 1, 2018): 5–20. http://dx.doi.org/10.1111/2041-5370.12067.

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AbstractThree contest scenes in Homer reveal a thematic concern with class tension: the two contests with Epeius in Iliad 23, Odysseus's encounter with Euryalus in Odyssey 8, and Odysseus's boxing match with Iros in Odyssey 18. Epeius is a comic scapegoat who succeeds in challenging the elite Euryalus, boasts ineptly, and is later ridiculed. Odysseus in Odyssey 8 is also challenged by a (different) nobleman named Euryalus, whom Odysseus rebukes, saying that a man cannot be skilled in all things and that one ought not judge by appearances. The skilled man phrase found both in the Epeius episode and in that with Odysseus (Il. 23.670–71; Od. 8. 59–60), highlights the intertextuality and focuses on the theme of merit over appearances. Finally the Iros–Odysseus boxing match parodies and parallels the above epic-challenge scenes. Each episode fosters consideration of the essential ambiguity of class relations in the period of transition to the polis c. 700 bce.

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6

Silvermintz, Daniel. "Unravelling the Shroud for Laertes and Weaving the Fabric of the City: Kingship and Politics in Homer’s Odyssey." Polis: The Journal for Ancient Greek Political Thought 21, no. 1-2 (2004): 26–42. http://dx.doi.org/10.1163/20512996-90000059.

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Building on the work of Scheid and Svenbro (Craft of Zeus, 1996) regarding the political significance of weaving in Greek literature, this essay attempts to proffer the Odyssey’s political teaching through an interpretation of Penelope’s wily weaving of the burial shroud for the former king, Laertes. Homeric scholars have often noted the multiple oddities surrounding the shroud; few critics have noted the peculiarity of the dethroned Laertes. In spite of recent attempts by scholars such as Halverson, ‘The Succession Issue in the Odyssey’ (1986), to discredit political interpretations of the Odyssey as well as Homer’s understanding of kingship, I contend that Homer is presenting the institution in a state of transition. The shroud for Laertes will thus provide an interpretive key for narrating both the change of office enacted by Odysseus’ rule and the new political order formed at the end of the Odyssey.

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7

Goldhill, Simon. "Reading Differences: The Odyssey and Juxtaposition." Ramus 17, no. 1 (1988): 1–31. http://dx.doi.org/10.1017/s0048671x00003179.

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This article comprises a discussion of four separate passages in Homer and some of the critical problems which each involves. My intention is not to produce a blueprint or set of rules for the interpretation of Homer, but rather — a more limited aim — to increase attention to the complex texture of the poetry of the Odyssey, and to the need for a critical practice alive to such complexity. The four passages are the speech of Amphimedon's ghost; the recognition scene between Odysseus and Argus; the story telling of Menelaus and Helen; and, finally, Odysseus' first speech to Nausicaa. Each passage opens questions about how Homer is read, and, in particular, about how what is often referred to as Homer's juxtapositional technique interrelates with the role of the reader in the activity of interpretation.

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8

Olson, S. Douglas, and Allen Mandelbaum. "The Odyssey of Homer." Classical World 85, no. 2 (1991): 119. http://dx.doi.org/10.2307/4351024.

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9

Lowenstam, Steven, T. E. Lawrence, Homer, D. C. H. Rieu, E. V. Rieu, and William G. Thalmann. "The Odyssey of Homer." Classical World 88, no. 1 (1994): 70. http://dx.doi.org/10.2307/4351636.

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10

Jacobson, Howard. "Homer, Odyssey 1.132–3." Classical Quarterly 50, no. 1 (May 2000): 290. http://dx.doi.org/10.1093/cq/50.1.290-a.

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11

DEN BOER, PIM. "Homer in Modern Europe." European Review 15, no. 2 (April 4, 2007): 171–85. http://dx.doi.org/10.1017/s1062798707000191.

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Homer is considered the father of poetry in European culture, but the written Greek text of the Iliad and the Odyssey was for ages not available in modern Europe, and knowledge of Greek was almost completely lost. Homer entered European classrooms during the 19th century. The popularity of the Iliad and the Odyssey coincided with the creation of modern educational systems in European empires and nation-states. At the end of the 19th century Homer was considered perfect reading material for the formation of the future elite of the British Empire. In the course of the 20th century teachers and pedagogues became increasingly accustomed to perceive Homer and his society as totally different from our times. All reading of Homer is contemporary reading.

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12

Geroux, Robert. "Regarding Homer/Homer Regarding: Odysseus' Scar, Time, and the Origins of Subjectivity in Myth." KronoScope 5, no. 2 (2005): 237–57. http://dx.doi.org/10.1163/156852405774858708.

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AbstractAs the historian Martin Jay and others have pointed out, continental thinkers in the twentieth century have been especially critical of the "scopic regime" of modernity: for Sartre, reflexivity emerges under the imaginary gaze of the other, for Hannah Arendt, the rise of the totalitarian "social" means the disappearance of the private, and for Foucault, the quintessentially modern way of seeing is surveillance, which is intimately and inextricably tied to punishment. These critiques imply a predmodern understanding of subjectivity free from the Cartesian grid and Baconian "prevision and control." What I argue for instead is the existence of a totalizing scopic regime present in one of the foundational and consitutive texts of the western tradition, Homer's Odyssey. I do this by way of revisiting and extending Erich Auerbach's wellknown exegesis of a passage from Odyssey 19, wherein the perfect tense and the present are temporally collapsed. Auerbach notes that this collapse - which occurs as a result of the discovery of a scar on Odysseus' body by his nurse Eurykleia - is not a "flashback" like what occurs in modern narratives, but an especially powerful example of a narrative gaze that seeks to expose and illuminate everything, for the sake of rendering a story that is complete and encompassing. I argue that this suggests a tension, and a constitutive moment whereby subjectivity emerges, not in a moment of awareness of the "gaze of the other" (Sartre), but rather as an attempt to "privatize" one's own story against the totalizing power of a narrator. Consciousness of a punctual "present" here means an effort to carve out a subjective space against the narrative power of one who would collapse such distinctions. I conclude with the stor y of Prometheus as a counter-myth, one which points forward to the theologically-important construction of consciousness-as-rebellion.

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13

Emlyn-Jones, Chris. "True and Lying Tales in the Odyssey." Greece and Rome 33, no. 1 (April 1986): 1–10. http://dx.doi.org/10.1017/s0017383500029909.

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What is truth and what are lies in the Odyssey? Odysseus in his lying story to Eumaios (14.192ff.), just as the sea-nymph Eidothea in her true advice to the weather-bound Menelaos (4.383ff.), claims to be speaking μαλ' ἀτρɛκέως, ‘quite precisely’. As all politicians are aware, if you wish to stand a chance of being believed it helps to emphasize the accuracy of what you are saying; this introductory line was as much a formula for Homer as it is today.

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14

Lang, Mabel L., Homer, and R. B. Rutherford. "Homer: Odyssey. Books XIX and XX." Classical World 87, no. 6 (1994): 526. http://dx.doi.org/10.2307/4351596.

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15

Nesbet, Anne. "Coming Home to Homer: Gogol's Odyssey." Slavic and East European Journal 39, no. 3 (1995): 385. http://dx.doi.org/10.2307/308239.

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16

Chappell, M. "Review: Homer: Odyssey VI and VII." Classical Review 54, no. 2 (October 1, 2004): 275–76. http://dx.doi.org/10.1093/cr/54.2.275-a.

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17

Vinci, Felice, and Arduino Maiuri. "Is the Main Character of the Odyssey Really the Odysseus from the Iliad Himself?" Athens Journal of Mediterranean Studies 9, no. 1 (December 19, 2022): 53–68. http://dx.doi.org/10.30958/ajms.9-1-3.

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In the Odyssey the figure of Odysseus appears very different from the one outlined in the Iliad, in which he is not an archer. Also considering many other details of the Odyssey narrative – for example, the concomitance between the journey of Telemachus in search of news of his father and the unexpected return of Odysseus after twenty years, not to mention Odysseus’s strange departure from Ithaca after the massacre of the suitors – it is reasonable to assume that who could hide behind the character of Odysseus could be an expert fighter engaged by Telemachus to prevent Penelope’s impending marriage (which might have jeopardized his aspiration to become king of Ithaca). Actually, all the characteristics of the protagonist of the Odyssey correspond in an extraordinary way to those of a hero of the Iliad, the Cretan Meriones, who during the Trojan War had distinguished himself as a very strong and shrewd warrior and archer: it was he who won the archery competition in the games on the occasion of Patroclus's funeral. One can assume, therefore, that Telemachus on his journey to Pylos and Sparta met that veteran of the Trojan War who put his experience as a fighter at the disposal of the son of his former comrade in arms, helped him solve his problems and left soon after. However, later the poet of the Odyssey would have twisted the reality of the facts in order to transform the final massacre of dozens of unarmed men into a heroic and morally acceptable act. One should also consider that in this new interpretation the journey of Telemachus gains a fundamental importance, while in the traditional reading of the Odyssey it appears completely irrelevant. Keywords: Odyssey, Odysseus, Meriones, Homer, Ithaca

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18

Lyne, R. O. A. M. "Vergil's Aeneid: Subversion by Intertextuality Catullus 66.39–40 and Other Examples." Greece and Rome 41, no. 2 (October 1994): 187–204. http://dx.doi.org/10.1017/s0017383500023408.

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I think we have to accept that the term intertextuality serves a purpose. One of the terms it allows us to dispense with, allusion, has its disadvantages.Up until recently I was happy with ‘allusion’: Vergil ‘alludes’ to Homer. The term was time-honoured, and, surely, unproblematical. Unproblematical, and not, so far as it went, and in the right hands, unsubtle. One meant that Vergil was not just using his source text (or his significant source text) as raw material. The source text became part of the new text, its characters and context were relevant to the new text. Thus, when in his opening speech Aeneas ‘quotes’ Homer's Odysseus, we sense that Vergil is casting Aeneas as a new Odysseus, comparing him and contrasting him with Odysseus, in a new Odyssey. And so the Aeneid proceeds: an allusive text, constantly alluding to Homer, re-forming Homer, remaking the Homeric characters, re-forming other texts in the same significant way … What texts? What texts does it not significantly re-form?

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19

Duarte, Adriane Da Silva. "Laertes e o mundo do trabalho na Odisseia." Nuntius Antiquus 3 (June 30, 2009): 3. http://dx.doi.org/10.17851/1983-3636.3.0.3-13.

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<p>ABSTRACT: Odysseus establishes several alliances to fight Penelope’s suitors in order to reassume his place at Ithaca. These alliances are marked by work. Humble workers (like Eumaeus, Philoetius, Eurycleia) stand side by side the hero’s wife, Penelope, the weaver. All this activity contrasts with the suitors’ idleness, constantly consuming the products of other people’s work. One of the last recognition scenes of the poem, in which the hero is recognized by his father, Laertes (<em>Od</em>., XXIV 205-360), reaffirms work’s special place at Odysseus’ relationships and strategies. This paper intends to examine this scene and discuss its meaning to the major context of the <em>Odyssey</em>.</p>KEYWORDS: Homer; <em>Odyssey</em>; Laertes; work; recognition scenes.

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20

Rutherford, R. B. "The philosophy of the ODYSSEY." Journal of Hellenic Studies 106 (November 1986): 145–62. http://dx.doi.org/10.2307/629649.

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The ancient critics are well known—some might say notorious—for their readiness to read literature, and particularly Homer, through moral spectacles. Their interpretations of Homeric epic are philosophical, not only in the more limited sense that they identified specific doctrines in the speeches of Homer's characters, making the poet or his heroes spokesmen for the views of Plato or Epicurus, but also in a wider sense: the critics demand from Homer not merely entertainment but enlightenment on moral and religious questions, on good and evil, on this life and the after-life. When they fail to find what they seek, they follow Plato and find him wanting.

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21

Yuyen, Chang. "The Imagined Phoenicians in Homer"s Odyssey." Tamkang review 47, Nо. 1 (2016): 41–62.

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22

West, M. L. "The invention of Homer." Classical Quarterly 49, no. 2 (December 1999): 364–82. http://dx.doi.org/10.1093/cq/49.2.364.

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I shall argue for two complementary theses: firstly that ‘Homer’ was not the name of a historical poet, but a fictitious or constructed name, and secondly that for a century or more after the composition of the Iliad and Odyssey there was little interest in the identity or the person of their author or authors. This interest only arose in the last decades of the sixth century; but once it did, ‘Homer’ very quickly became an object of admiration, criticism, and biographical construction.

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23

Buzzetti, Eric. "Plato Through Homer: Poetry and Philosophy in the Cosmological Dialogues." Canadian Journal of Political Science 37, no. 3 (September 2004): 775–77. http://dx.doi.org/10.1017/s0008423904420101.

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Plato Through Homer: Poetry and Philosophy in the Cosmological Dialogues, Zdravko Planinc, Columbia: University of Missouri Press, 2003, pp. xii, 134Professor Planinc analyzes in this monograph three of Plato's dialogues: the Timaeus, the Critias and the Phaedrus. His primary aim is to show that their structure and poetic imagery is modelled after that of important episodes of Homer's Odyssey. In Planinc's words, Plato consciously “refigures” the “literary tropes” of the Odyssey, and this fact is of central importance to interpreting these dialogues properly (13).

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24

Jones, P. V. "The past in Homer's Odyssey." Journal of Hellenic Studies 112 (November 1992): 74–90. http://dx.doi.org/10.2307/632153.

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The first section of this paper argues that Homer's description of the world of Ithaca as it existed before Odysseus ever left for Troy (henceforth ‘the pre-departure world’) is largely Homeric invention. The second section of the paper brings in the world of Ithaca during Odysseus' absence (henceforth ‘the intervening years’), which is also, for the most part, Homeric invention, and considers the literary function of this and the pre-departure world.At Poetics 1451a, Aristotle argues that Homer is superior to all other epic poets in his method of constructing an epic. The reason he gives is that Homer does not tell everything there is to tell about his subject, but centres his epic round a single action (μία πρᾶξις) and for the purpose of the telling selects only those incidents which make the other incidents ‘necessary or probable’ (cf. 1459a-b, where Aristotle gives examples of what he means from the Iliad).

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25

Toepfer, Regina. "Ovid and Homer in ‘German Rhymes’ (Ovid und Homer in ‘teutschen Reymen’)." Daphnis 46, no. 1-2 (March 15, 2018): 85–111. http://dx.doi.org/10.1163/18796583-04601016.

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This contribution examines the relationship between vernacular translations of the sixteenth century and the history of the epic poetry genre in the seventeenth. To this end, it systematically analyses the Early Modern High German translations of Ovid’s Metamorphoses and Homer’s Iliad and Odyssey and identifies the various reasons why translators decided in favour of prose or verse. Of all the protagonists of the German reception of antiquity – including such figures as Jörg Wickram, Simon Schaidenreisser, and Johannes Baptista Rexius – it is the Meistersinger Johannes Spreng of Augsburg who most consistently chose rhyme for his translations of the classical epics into German.

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26

Xanthakos, Viviani. "Cena-típica e tema em Homero: recepção do hóspede no Canto XIV da Odisseia." CODEX – Revista de Estudos Clássicos 2, no. 1 (July 5, 2010): 162. http://dx.doi.org/10.25187/codex.v2i1.2829.

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<div class="page" title="Page 162"><div class="layoutArea"><div class="column"><p><span>O estudo de cenas-típicas na poesia homérica teve início com o trabalho de Walter Arend, em 1933, que desenvolveu a teoria de que tanto na <em>Ilíada</em> quanto na <em>Odisseia</em> existem ações recorrentes que são descritas com muitos detalhes e palavras semelhantes. Embora o trabalho de Arend tenha sido independente das pesquisas desenvolvidas por Milman Parry acerca da oralidade em Homero, o conceito de cena-típica (ou tema, como foi tratado por Albert Lord) também está presente na teoria Parry-Lord, como uma das características da composição oral. Desde então, além da divergência de nomenclatura (cena-típica/tema), sua definição e função tem sido debatida entre os estudiosos de Homero. </span></p><div class="page" title="Page 162"><div class="layoutArea"><div class="column"><p><span>O objetivo deste trabalho é a análise da recepção de Odisseu pelo porqueiro Eumeu, no canto XIV da <em>Odisseia</em>, segundo o conceito de cena-típica, estudando a sequência da cena de hospitalidade, sobretudo o posicionamento do hospedeiro como audiência de seu hóspede.</span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span><strong>Type-scene and theme in Homer: welcoming the host in Odyssey XIV</strong> </span></p><p><strong>Abstract </strong></p><p><span>The study of type-scene in Homeric poetry began so to speak with a book by Walter Arend (Die typischen Scenen bei Homer, 1933), who showed that in the Iliad and the Odyssey there are recurrent actions described with many similar details and words. </span><span>Although Arend’</span><span>s book was independent of the research developed by Milman Parry about orality in the homeric poems, the concept of type-</span><span>scene (or ‘theme’</span><span>, as used by Albert Lord) is also present in the Parry-Lord theory as one of the keystones of oral composition. Since then its definition and function have been under discussion among Homeric scholars. The objective of this paper is to analy</span><span>ze Odysseus’ </span><span>welcome by the swineherd Eumeus in Odyssey XIV focusing on the hospitality-scene and specially on the figure of the host as an </span><span>‘audience’ </span><span>of his guest. </span></p><p><span><strong>Keywords:</strong> oral composition, Homer, type-scene, Odyssey, Odysseus </span></p></div></div></div><p><span><br /></span></p></div></div></div><p><span><br /></span></p></div></div></div>

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27

Freitas, Eduardo da Silva de. "HUNTER, Richard. The Measure of Homer: The Ancient Reception of the Iliad and Odyssey. Cambridge: Cambridge University Press, 2018." Nuntius Antiquus 16, no. 2 (December 21, 2020): 177–81. http://dx.doi.org/10.35699/1983-3636.2020.24445.

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28

Hamner, Robert D. "Creolizing Homer for the Stage: Walcott's "The Odyssey"." Twentieth Century Literature 47, no. 3 (2001): 374. http://dx.doi.org/10.2307/3176023.

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Hamner, Robert D. "Creolizing Homer for the Stage: Walcott’s The Odyssey." Twentieth-Century Literature 47, no. 3 (2001): 374–90. http://dx.doi.org/10.1215/0041462x-2001-4005.

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30

Patel, Sachin, and Danny G. Winder. "An Odyssey of Fear: Homer Stresses New Mechanisms." Biological Psychiatry 68, no. 11 (December 2010): 980–81. http://dx.doi.org/10.1016/j.biopsych.2010.10.005.

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31

DAVIDSON, JOHN. "HOMER AND EURIPIDES' TROADES." Bulletin of the Institute of Classical Studies 45, no. 1 (December 1, 2001): 65–79. http://dx.doi.org/10.1111/j.2041-5370.2001.tb00232.x.

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Abstract Like all other Greek poets, Euripides falls under the shadow of Homer. The Troades is closely bound up with the Iliad, in that it represents the fulfilment of Troy's fate so clearly foreshadowed in the Homeric epic. It is not so much a question of linguistic echoes as of situational allusion associated especially with the figures of Andromache and Asyanax, widow and son of Hector. While Homeric and 5th Century values are clearly in tension, as can also be seen in the formal debate between Hecabe and Helen (which also draws the Odyssey into the intertextual nexus), and while Euripides may well to some extent be ironizing and critiquing, he appears at the same time to be offering an impassioned Homeric sequel to the Iliad itself.

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32

Cuddy, Lois. "Teaching Homer’s Odyssey Through Charles Darwin’s The Descent of Man: An Ancient Version of Evolution." New England Classical Journal 46, no. 1 (April 15, 2019): 88–96. http://dx.doi.org/10.52284/necj.46.1.article.cuddy.

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This paper argues that Homer’s Odyssey was the world’s introduction to ideas about human evolution popularized by Darwin and that these ideas are recognizable in the individuals and communities that the hero and his son encounter on their journeys. Homer represents the stages of human evolution through the characteristics of various social groups described in the Odyssey , such as the Cyclopses, Lastrygonians, Ithacans, Kikones, and Phaeacians, as well as through the characteristics of noteworthy individuals such as Helen and Penelope. This comparison of different communities and individuals seems to mirror Darwin’s hierarchy of evolution in The Descent of Man. Ultimately, Homer seems to demonstrate that the participation of women and pursuit of peace serve as markers of a society's development, anticipating the ideas of Darwin by over two millennia.

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33

Finkelberg, Margalit. "Homer and Traditional Poetics." Trends in Classics 12, no. 1 (June 25, 2020): 5–15. http://dx.doi.org/10.1515/tc-2020-0002.

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AbstractAlthough Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.

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Fisher, R. K. "The Concept of Miracle in Homer." Antichthon 29 (1995): 1–14. http://dx.doi.org/10.1017/s0066477400000903.

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My aim is to establish whether there is a concept of ‘miracle’ or ‘the miraculous’ implicit in the Homeric poems (and therefore perceived and understood by Homer's audience). Such a question is fraught with difficulties, as it necessarily involves broader (and still widely debated) issues such as Homeric man's view of the gods and the essential nature of the early Greek oral epic tradition. But, if an answer can be found, it should in the process help us to gain more insight into those wider issues—the theological basis of the Iliad and the Odyssey, and the world-view of Homer's audience.

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35

New, Melvyn. "The Iliad and Odyssey of Homer (review)." Scriblerian and the Kit-Cats 45, no. 1 (2012): 73–75. http://dx.doi.org/10.1353/scb.2012.0004.

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36

Porter, Andrew. "Homer and the Epic Cycle." Brill Research Perspectives in Classical Poetry 2, no. 3 (January 3, 2022): 1–126. http://dx.doi.org/10.1163/25892649-12340005.

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Abstract How can the ancient relationship between Homer and the Epic Cycle be recovered? Using findings from the most significant research in the field, many ancient and modern assumptions are questioned and alternative perspectives offered that are better aligned with ancient epic performance realities and modern epic studies. This volume addresses a number of related issues: the misrepresentation of Cyclic (and Homeric) epic by Aristotle and his inheritors (including the part played by mythographers like Proclus); the role of the epic singer, patron/collector, and scribe/poet in the formation of memorialized songs; the relevance of shared patterns and devices and of other traditional connections between ancient epics; and the distinct fates of Homeric (Iliad, Odyssey) and Cyclic epic. The volume provides new answers to an age-old problem.

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37

KOLOVOU, Georgia E. "Homère chez Eustathe de Thessalonique : la traduction des Proèmes sur l’Iliade et l’Odyssée." Collectanea Christiana Orientalia 15 (July 20, 2018): 71–118. http://dx.doi.org/10.21071/cco.v15i.1072.

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In the present contribution, we present the translation of the Proems on Odyssey and Iliad of the Byzantize scholar of the 12th century Eustathius of Thessalonica. Firstly, we integrate these texts into the ensemble of the philological works of the erudite Byzantine and we show how the commentary on the Odyssey can be read in relation to the commentary on the Iliad. In the second part, we translate in French his Proems where Eusthathius explains himself the particular method of his compilative, autonomous and highly personal commentary on Homer.

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Podlecki, A. J. "One Homer, or Two? Some Suggested Stylistic Separators in the Homeric Poems." Mouseion 17, no. 3 (July 1, 2021): 441–64. http://dx.doi.org/10.3138/mous.17.3.001.

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How many Homers (if any)? This is a question that has bedevilled professional Hellenists since the Alexandrian period. Luckily, such misgivings have not, in general, disquieted students or casual readers, who simply read, study, and enjoy the two lengthy epic poems traditionally ascribed to a composer or, if you lower the date a little, an author, to whom generations have given the name “Homer.” In 1955 the distinguished British Classicist D. L. Page delivered a set of lectures at Bryn Mawr College, Pennsylvania, entitled The Homeric Odyssey whose main thesis was that the two epics were composed in separate places ( a fortiori by different authors), independently of each other. My project in the study that follows is to examine more closely the stylistic features called into court by Page to attest to the separateness of the two works in respect of authorship. My ulterior motive is to look for explanations of the discrepancies Page claims to have found on a hypothesis other than separate authorship. Page’s linguistic “separators,” as they might be termed, fall into several categories: dialectal, the words used and especially those with the intensifying prefix ἐρι- “exceedingly”; morphological, e.g. datives plural with the short termination -οις vs. the long -οισι; metrical, the lengthening (or not) of naturally short vowels before mute + liquid or nasal; lexical, words, phrases and formular expressions that are favoured by the Iliad and which might be expected to occur also in the Odyssey but don’t, and vice versa, words and formular phrases found exclusively or predominantly in the Odyssey but which are rare in or totally absent from the Iliad.

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Jacobson, Howard. "Iliad 7.293ff." Classical Quarterly 47, no. 1 (May 1997): 292. http://dx.doi.org/10.1093/cq/47.1.292.

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Wordplay involving names is routine in Homer. Less common, but not rare, is wordplay that does not have anything to do with names. Thus, at Iliad 1.290f. there is a play on ; at 24.611 an implicit play on (people)/ (stone); at Odyssey 12.45–46 a possible play on .

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Nelson, Thomas J. "Intertextual Agōnes in Archaic Greek Epic: Penelope vs. the Catalogue of Women." Yearbook of Ancient Greek Epic Online 5, no. 1 (November 30, 2021): 25–57. http://dx.doi.org/10.1163/24688487-00501002.

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Abstract Archaic Greek epic exhibits a pervasive eristic intertextuality, repeatedly positioning its heroes and itself against pre-existing traditions. In this article, I focus on a specific case study from the Odyssey: Homer’s agonistic relationship with the Catalogue of Women tradition. Hesiodic-style catalogue poetry has long been recognized as an important intertext for the Nekyia of Odyssey 11, but here I explore a more sustained dialogue across the whole poem. Through an ongoing agōn that sets Odysseus’s wife against catalogic women, Homer establishes the pre-eminence of his heroine and—by extension—the supremacy of his own poem.

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Li, Wu, and Zhenjia Sun. "Discussion on Positive Effects for Students’ Moral Development from Integrating Mentors and Doctoral Students into One Party Branch." ITM Web of Conferences 26 (2019): 01007. http://dx.doi.org/10.1051/itmconf/20192601007.

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The word “mentor” comes from the Odyssey by the Greek poet Homer. Odyssey entrusted his friend Mentor to care for and educate his son, Telemachus.The word “mentor” later refers to a trustworthy advisor, counsellor and friend.A mentoring relationship has been defined as a “nurturing process in which a more skilled or experienced person, serving as a role model, teaches, sponsors, encourages, counsels and befriends a less skilled or less experienced person” (Anderson & Shannon, 1988). This paper mainly focuses on how to successfully mentor the doctoral students through the integration of mentors and doctoral students into one party branch.

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Kahane, Ahuvia. "Homer and Ancient Narrative Time." Classical Antiquity 41, no. 1 (April 1, 2022): 1–50. http://dx.doi.org/10.1525/ca.2022.41.1.1.

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This paper considers the nature of time and temporality in Homer. It argues that any exploration of narrative and time must, as its central tenet, take into account the irreducible plurality and interconnectedness of memory, the event, and experienced time. Drawing on notions of complexity, emergence, and stochastic behavior in science as well as phenomenological traditions in the discussion and analysis of time, temporality, and change, and offering extensive readings of Homer, of Homeric epithets and formulae, and of key passages in the Iliad and Odyssey, the paper argues against chronological notions of linear (“numbered”) time and progression and in favor of a complex, dynamic temporal “geometries” of Homeric temporality. The paper concludes by briefly extending the argument to the wider domain of ancient time in general. Homer is a fundamental point of reference in the ancient world. Thus, Homeric temporality—irreducibly complex—affects the cognition and perception of time throughout the whole of antiquity.

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Calvert, Ian. "Augustan Allusion: Quotation and Self-Quotation in Pope’s Odyssey." Review of English Studies 70, no. 297 (January 9, 2019): 869–89. http://dx.doi.org/10.1093/res/hgy120.

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Abstract The status of Pope’s Homer as a text which engages with numerous seventeenth-century poems and translations of classical epics is well established. Much of the criticism on this topic has so far focused on Pope’s use of Paradise Lost and Dryden’s Works of Virgil. This article contends that Pope’s use of other writers in the translation, including Denham and Waller, has been under-appreciated. I examine some previously unacknowledged borrowings from Denham and Waller in Pope’s Odyssey and relate them to Pope’s use of Milton and Dryden. I suggest that, within the context of direct quotation of whole verse-lines, Pope was himself responsible for privileging the presence of certain seventeenth-century authors in his Homer translations over others. The quotations of complete lines from Milton and Dryden are designed as ‘outward-looking’, but those from Denham and Waller are more ‘inward-looking’ and represent moments where he is reflecting privately on the main characteristics of their allusive strategies. Pope acknowledges that where Denham’s primary intertextual relationship was with Waller, the key source for Waller himself was his own early poetry. Waller’s early poems had, in turn, frequently drawn on works by other poets, and I outline how, in his Homer translations, Pope too repeats certain quotations frequently enough that they begin to function as self-quotations. I subsequently connect this technique to Pope’s readiness to repeat lines across his Iliad and Odyssey that are (largely) of his own invention to suggest that, in general, Pope’s allusive poetics follow Waller’s intertextual practice more closely than those of his other antecedents.

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Bassino, Paola. "TRANSLATING THE POET: ALEXANDER POPE'S ENGAGEMENT WITH THE HOMERIC BIOGRAPHICAL TRADITION IN HIS TRANSLATIONS OF THE ILIAD AND THE ODYSSEY." Greece and Rome 68, no. 2 (September 8, 2021): 183–207. http://dx.doi.org/10.1017/s0017383521000024.

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This article explores Alexander Pope's experience as a translator of the Iliad and the Odyssey, particularly his engagement with Homer as a poet and his biographical tradition. The study focuses on how Homer features in Pope's correspondence as he worked on the translations, how the Greek poet is described in the prefatory essay by Thomas Parnell and Pope's own notes to the text, and finally how his physical presence materializes in the illustrations within Pope's translations. The article suggests that, by engaging with the biography of Homer, Pope explores issues such as poetic authority and divine inspiration, promotes his own translations against European competitors, and ultimately establishes himself as a translator and as a poet. Throughout the process, Homer appears as a presence that forces Pope constantly to challenge himself, until he feels he can stand a comparison with the greatest poet ever.

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Burrus, Virginia, and Dennis R. MacDonald. "Christianizing Homer: The Odyssey, Plato, and the Acts of Andrew." Journal of Biblical Literature 115, no. 1 (1996): 163. http://dx.doi.org/10.2307/3266844.

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Bagby, L. M. J. "Thomas Hobbes: Translations of Homer: The Iliad and the Odyssey." English Historical Review CXXV, no. 514 (May 26, 2010): 721–23. http://dx.doi.org/10.1093/ehr/ceq104.

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Redfield, James. "Dreams From Homer to Plato." Archiv für Religionsgeschichte 15, no. 1 (March 2014): 5–16. http://dx.doi.org/10.1515/arege-2013-0002.

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Abstract In archaic and classical literature dreams often appear as independent entities that enter human consciousness as messengers or omens. In Homer a god can come in a dream-always in disguise-or can send a dream. Dreams are insubstantial, like the psychai; a psyche like a god may come in a dream. If a dream bears a message (which may be a lie) it declares itself a messenger; ominous dreams simply arrive and require interpretation-which may be erroneous. Insubstantial and deceptive, dreams occupy a territory between reality and unreality. The resultant ambiguities are explored at length in Odyssey 19, where a truthful, self-interpreting dream is told and rejected by the teller, who nevertheless proceeds to act as if she believed it. Later literature shows us specific rituals for dealing with dreams, and tells of their origin as children of Night or Chthôn. Sometimes exogenic dreams are contrasted with endogenic dreams, which may arise from organic states. Finally in Plato’s Republic we have an account of certain dreams as irruptions into consciousness of hidden aspects of the psyche.

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Zerba, Michelle. "Renaissance Homer and Wedding Chests: TheOdysseyat the Crossroads of Humanist Learning, the Visual Vernacular, and the Socialization of Bodies." Renaissance Quarterly 70, no. 3 (2017): 831–61. http://dx.doi.org/10.1086/693882.

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AbstractBroadening the interdisciplinary base of study on Renaissance Homer, this essay looks to cassone (wedding chest) painting in the Quattrocento to explore how the textual reception of the “Odyssey” was enriched by the visual arts. As artifacts, wedding chests had a role in the public sphere, though they were destined for the private, and they made the epic available to audiences of nonelites. Nausicaa is a key figure, merging the vernacular courtly love tradition and romance. In working across the fields of literary study and art history, this essay introduces new critical concepts to account for the complexities of Renaissance reception of Homer.

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Greenwood, Emily. "A Tale of Two O's: Odysseus and Oedipus in the Black Atlantic." New West Indian Guide / Nieuwe West-Indische Gids 83, no. 3-4 (January 1, 2009): 281–89. http://dx.doi.org/10.1163/13822373-90002454.

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[First paragraphs]Crossroads in the Black Aegean: Oedipus, Antigone, and Dramas of the African Diaspora. Barbara Goff & Michael Simpson. Oxford: Oxford University Press, 2007. xii + 401 pp. (Cloth US$ 150.00)Romare Bearden: A Black Odyssey. Robert G. O’Meally. New York: DC Moore Gallery, 2007. 116 pp. (Cloth$ 45.00)Commenting on cultural imperialism under European colonialism, Frantz Fanon (1990:39) remarked that “The settler makes history; his life is an epoch, an Odyssey.” In Fanon’s analysis the settler’s sense of history derived from the history of the “mother country,” rather than the history of the colony that he or she inhabited. But history did not stop here: the reference to the Odyssey reminds us that behind the modern colonial metropolis was a fictional line of descent reaching back to a Greco-Roman cradle, such that theEuropean settler could lay claim to an even more ancient cultural inheritance. The two books examined here make short work of these classical imperial fictions; O’Meally demonstrates how Romare Bearden’s collages of theOdyssey collaborate with Homer, jazz style, to produce an epic that Black America can recognize as its own. If the voyage of Odysseus is sometimes taken to symbolize the migration of ancient Greek civilization toward the West, Barbara Goff and Michael Simpson interject the troubled figure of Oedipus, who plays Poseidon to the settler’s Odyssey, disrupting the voyage and confusing the trajectory (p. 268).Both studies are timely and speak to a wave of recent research on Black Classicism – an examination of the work to which the classical tradition has been put in Africa and the African diaspora, ranging from the hegemonic appropriation of Classics by colonizers and slave-owners to the use ofClassics as an ironic counterdiscourse that writes back to racism and imperialism, or as a source of mythopoiesis in the formation of modern black identity.

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Trencsényi, Katalin. "Storytellers: The Factory’s Dramaturgy." TDR/The Drama Review 60, no. 3 (September 2016): 39–63. http://dx.doi.org/10.1162/dram_a_00570.

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The London-based Factory theatre company is renowned for its experiments with an improvisational approach to classics, chance dramaturgy, and a playful relationship between performers and audience. The dramaturgies of three Factory productions, Hamlet (2007), The Seagull (2009), and The Odyssey after Homer (2012), create porous structures that allow classics to be rendered within postdramatic theatre.

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