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Journal articles on the topic 'Iliad'

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Published: 4 June 2021

Last updated: 22 February 2023

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1

Shapovalova, A. A. "Klein, L. (2019). The Iliad: An epic and history. St. Petersburg: Eurasia. (In Russ.)." Voprosy literatury, no. 6 (December 28, 2020): 280–83. http://dx.doi.org/10.31425/0042-8795-2020-6-280-283.

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The Iliad: An Epic and History [‘Iliada’: epos i istoriya] is the last book by L. Klein, a prominent Russian historian, archaeologist, philologist, and the founder of theoretical archaeology. The book was originally conceived as the third part of a larger research project, The Iliad Deciphered [Rasshifrovannaya ‘Iliada’]. The Iliad: An Epic and History includes important additions to The Iliad’s Anatomy [Anatomiya ‘Iliady’], with references to its tables and maps, as well as to Disembodied Heroes [Besplotnye geroi]. Klein analyzes how frequently epithets were used with city names and names of the heroes, as well as morphemes of frequently used and key words in terms of their age and geography. Based on the results of this analysis, he divides the Iliad into parts and proceeds to describe them in detail. Klein also elaborates on the images of the heroes and their origins in local cults. A large part of the work is devoted to analysis of the Catalogue of Ships. Thanks to the findings provided by the book the readers get a comprehensive view of the overall textual structure of the Iliad.

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2

McCoskey, Denise E. "Reading Cynthia and Sexual Difference in the Poems of Propertius." Ramus 28, no. 1 (1999): 16–39. http://dx.doi.org/10.1017/s0048671x00001806.

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‘she is always and never the same’(advertising slogan for ‘Contradiction’, a ‘fragrance for women’ by Calvin Klein, 1999)In the first poem of his second book, Propertius presents an emphatic declaration of his status as a love poet, slyly incorporating a detailed recusatio to Maecenas, who he claims has requested that he compose epic instead. Later in the poem, Propertius' preference for elegy over epic seems to be echoed by the predilections of his lover Cynthia, who, as Propertius insists, finds the entire Iliad distasteful. According to Propertius, Cynthia's aversion to the poem emerges from a very specific source: the epic's primary female protagonist, Helen. For, as Propertius recalls it, Cynthia disapproves of the whole epic precisely because she finds fault with its ‘leuis’ heroine: si memini, solet ilia leuis culpare puellas,/et totam ex Helena non probat Iliada (‘If I remember, she is accustomed to castigate mutable women and does not approve of the whole Iliad because of Helen’, 2.1.49f.).

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3

Farrell, Alan F., Homer, Stanley Lombardo, and Sheila Murnaghan. "Iliad." Journal of Military History 61, no. 3 (July 1997): 602. http://dx.doi.org/10.2307/2954038.

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4

deForest Lord, George, Martin Mueller, Tom Winnifrith, Penelope Murray, and K. W. Gransden. "The Iliad." Modern Language Review 82, no. 1 (January 1987): 153. http://dx.doi.org/10.2307/3729920.

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5

Keller, Harold. "Iliad Drawings." Arion: A Journal of the Humanities and the Classics 24, no. 3 (2016): 75–86. http://dx.doi.org/10.1353/arn.2016.0014.

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6

Rose, Peter W., and Martin Mueller. "The Iliad." Classical World 79, no. 4 (1986): 291. http://dx.doi.org/10.2307/4349893.

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7

Laba, Jacqueline, and Jonathan Shay. "Vietnam "Iliad"." English Journal 86, no. 3 (March 1997): 106. http://dx.doi.org/10.2307/820662.

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8

Chappell, Mike. "The Iliad." Classical Review 55, no. 1 (March 2005): 3–4. http://dx.doi.org/10.1093/clrevj/bni002.

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9

Willcock, M. M. "Iliad II." Classical Review 55, no. 1 (March 2005): 4–5. http://dx.doi.org/10.1093/clrevj/bni003.

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10

Haddock, Bruce A. "The Iliad." New Vico Studies 4 (1986): 185–86. http://dx.doi.org/10.5840/newvico1986430.

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11

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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12

Janko, Richard. "WEST’s Iliad." Classical Review 50, no. 1 (April 2000): 1–4. http://dx.doi.org/10.1093/cr/50.1.1.

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13

Russo, Joseph. "ILIAD I." Classical Review 53, no. 1 (April 2003): 1–3. http://dx.doi.org/10.1093/cr/53.1.1.

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14

Tatum, James. "The Alexandrian Iliad." Arion: A Journal of the Humanities and the Classics 19, no. 3 (2011): 163–78. http://dx.doi.org/10.1353/arn.2011.0001.

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15

Pearcy, Lee T., Homer, and Robert Fagles. "Homer: The Iliad." Classical World 85, no. 1 (1991): 52. http://dx.doi.org/10.2307/4350988.

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16

Homer and Translated by Peter Green. "Iliad, Book 24." Arion: A Journal of Humanities and the Classics 22, no. 3 (2015): 9. http://dx.doi.org/10.2307/arion.22.3.0009.

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17

West, M. L. "Iliad and Aethiopis." Classical Quarterly 53, no. 1 (May 2003): 1–14. http://dx.doi.org/10.1093/cq/53.1.1.

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18

Rutherford, Richard. "II - The Iliad." New Surveys in the Classics 41 (2011): 44–75. http://dx.doi.org/10.1017/s0017383512000393.

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The Iliad is not an Achilleid, although Achilles is the most important character in the epic. One of the most striking features of the poem is the way in which it embraces the action of the whole Trojan War by retrospective and prospective references, rather than by narrating the events in full. In this, as is evident from ancient testimony, the Iliad was markedly different from the ‘cyclic’ epics (see esp. Hor. Ars P. 136–7). The human characters refer to the abduction of Helen, the initial embassy to the Trojans, the mustering at Aulis, the earlier campaigns and clashes; the prophecies and comments of the gods, particularly Zeus and Thetis, anticipate the doom of Achilles and the ultimate fall of Troy, also grimly foreshadowed in other ways. In an important passage which seems to be deliberately reserved for a late stage in the poem, Homer himself looks back to the origin of the whole conflict, the judgement of Paris which aroused the implacable anger of Athena and Hera against Troy.

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19

Kovacs, David. "Iliad 1.282-284." Mnemosyne 70, no. 4 (June 16, 2017): 655–57. http://dx.doi.org/10.1163/1568525x-12342301.

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20

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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21

Brunner, Theodore. "P. Köln I. 25 Frr. k-o : Iliad or not Iliad ?" Chronique d'Egypte 63, no. 126 (July 1988): 305–7. http://dx.doi.org/10.1484/j.cde.2.308780.

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22

Lukan, Blaž. "In search of lose wholeness: Phenomenological digression on Jernej Lorenci’s theatre." Maska 30, no. 175 (November 1, 2015): 26–43. http://dx.doi.org/10.1386/maska.30.175-176.26_1.

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The article discusses the characteristics of the theatre of director Jernej Lorenci from his directing of The Oresteia (2009) to The Illiad (2015). It defines Lorenci’s break with his former poetics in the directing of The Oresteia, and finds the new condensation of his directing procedures in The Iliad. In the discussed theatre period, Lorenci seeks the possible lapses, soft slips, the play of the alleged that only constitute the true reality, and is not interested in a well-made play. In his shows, Lorenci believes the man rather than the world; in fact, he acknowledges the world only insofar as it is reflected in the man and is projected out of him. His understanding of the man and his humanity perhaps compares to Agamben’s conception of the man as a being who is infinitely missing himself. The paper illustrates the mentioned thesis by analysing two of Lorenci’s figures from The Iliad.

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23

ARAS, Tugce. "The Elements of 'Virtue' in The Iliad." International Journal of Languages, Literature and Linguistics 5, no. 3 (September 2019): 163–67. http://dx.doi.org/10.18178/ijlll.2019.5.3.221.

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24

Harold Keller. "Iliad Drawings." Arion: A Journal of Humanities and the Classics 24, no. 3 (2017): 75. http://dx.doi.org/10.2307/arion.24.3.0075.

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25

Whetter, K. S. "PITY IN THE ILIAD." Classical Review 52, no. 2 (September 2002): 235–36. http://dx.doi.org/10.1093/cr/52.2.235.

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26

Lateiner, Donald. "NARRATIVES WITHIN THE ILIAD." Classical Review 53, no. 1 (April 2003): 3–5. http://dx.doi.org/10.1093/cr/53.1.3.

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27

Buchan, Mark. "POLITICS IN THE ILIAD." Classical Review 53, no. 2 (October 2003): 275–76. http://dx.doi.org/10.1093/cr/53.2.275.

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28

Postlethwaite, N. "Thersites in the Iliad." Greece and Rome 35, no. 2 (October 1988): 123–36. http://dx.doi.org/10.1017/s0017383500033027.

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The character of Thersites, as presented by Homer in Iliad 2, has received an almost universally bad press, typical of which are the comments of F. A. Paley: ‘one of the turbulent and insolent malcontents in an army, who use their best efforts to misrepresent the authorities and to incite sedition in others’. Paley's view is typical both in the unsympathetic view it presents of Thersites and in its tendency to see him as representative of a whole genre of subversive and recalcitrant soldiery. My concern in this paper is to examine Thersites within the context of the Iliad alone, without any regard for his treatment by subsequent authors, and to attempt to explain his portrayal solely in terms of the dramatic situation at the beginning of the Iliad. My contention will be that the episode of Thersites is an important element in Homer's introductory purpose of presenting the backcloth against which the poem's theme, the menis is acted out.

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29

Schofield, Malcolm. "Euboulia in the Iliad." Classical Quarterly 36, no. 1 (May 1986): 6–31. http://dx.doi.org/10.1017/s0009838800010508.

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The word euboulia, which means excellence in counsel or sound judgement, occurs in only three places in the authentic writings of Plato. The sophist Protagoras makes euboulia the focus of his whole enterprise (Prot. 318e–319a):What I teach a person is good judgement about his own affairs — how best he may manage his own household; and about the affairs of the city — how he may be most able to handle the business of the city both in action and in speech.Thrasymachus, too, thinks well of euboulia. Invited by Socrates to call injustice kakoetheia (vicious disposition — he has just identified justice as ‘an altogether noble good nature (euetheia)’, i.e. as simple-mindedness), he declines the sophistry and says (Rep. 348d): ‘No, I call it good judgement’. But Plato finds little occasion to introduce the concept in developing his own ethical and political philosophy. The one place where he mentions euboulia is in his defence of the thesis that his ideal city possesses the four cardinal virtues. He begins with wisdom, and justifies the ascription of wisdom to the city on the ground that it has euboulia (Rep. 428b) — which he goes on to identify with the knowledge required by the guardians: ‘with this a person does not deliberate on behalf of any of the elements in the city, but for the whole city itself — how it may best have dealings with itself and with the other cities’ (428c–d). It is normally rather dangerous to draw an inference from the absence or rarity of a word to the absence or rarity of the idea expressed by the word.

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30

Teffeteller, Annette. "ΑΥΤΟΣ ΑΠΟΥΡΑΣ, ILIAD 1.356." Classical Quarterly 40, no. 1 (May 1990): 16–20. http://dx.doi.org/10.1017/s000983880002677x.

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At Iliad 1.355–6, Achilles, calling upon his mother, reports the injury to his honour done him by Agamemnon:ἦ γάρ μ᾽ Ἀτρείδης εὐρὺ κρείων Ἀγαμέμνωνἠτίμησεν ⋯λὼν γ⋯ρ γέρας, αὐτ⋯ς ⋯πούρας.The formulaic line 356 is repeated by Thetis to Zeus at 507 and by Thersites to the assembled Achaeans at 2.240; the problematical phrase αὐτ⋯ς ⋯πούρας is repeated in a variant form with finite verb by Agamemnon at 19.89, αὐτ⋯ς ⋯πηύρων.

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31

Jones, P. V. "Iliad 24.649: Another Solution." Classical Quarterly 39, no. 1 (May 1989): 247–50. http://dx.doi.org/10.1017/s0009838800040623.

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J. T. Hooker argues that at Il. 24.649 ⋯πικερτομ⋯ων must mean ‘taunting’ and, since ‘taunting’ makes no sense, that ⋯πικερτομ⋯ων must have entered our Iliad at this point from a version of the Iliad slightly different from ours in which it did make sense. I wish to argue that ⋯πικερτομ⋯ων has a meaning different from ‘taunting’, which makes good sense of this, and every other, context.

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32

Alexander, Caroline. "On Translating Homer's Iliad." Daedalus 145, no. 2 (April 2016): 50–58. http://dx.doi.org/10.1162/daed_a_00375.

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This reflective essay explores the considerations facing a translator of Homer's work; in particular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which remain the gold standard by which any Homeric translation is measured today. I attempt to walk the reader through the process of rendering a modern translation in accordance with Arnold's principles.

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33

Rootenberg, J. D. "An odyssey through Iliad." JAMA: The Journal of the American Medical Association 263, no. 5 (February 2, 1990): 758–59. http://dx.doi.org/10.1001/jama.263.5.758.

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34

Tsagalis, Christos C. "The Meta–Narrative Moment: Rhesus’ Horses Revisited." Trends in Classics 12, no. 1 (June 25, 2020): 92–113. http://dx.doi.org/10.1515/tc-2020-0006.

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AbstractThis study offers a thorough re-examination of the claim that the Doloneia is a major interpolation in the Iliad, since the horses of Rhesus stolen by the two Achaean spies in Iliad 10 are not used by Diomedes to win the chariot race in the Funeral Games in honor of Patroclus in Iliad 23. It is argued that this claim is wrong. Diomedes wins with the semi-divine Trojan horses he has stolen from Aeneas in Iliad 5, i. e. with the best horses after Achilles’ divine horses which are not used in the chariot race. Aeneas’ horses are the only ones that can defeat Eumelus’ excellent mares, which have been called the second-best Achaean horses in Il. 2.763–764.

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35

Murray, Jeffrey. "Homer the South African." English Today 29, no. 1 (February 27, 2013): 58–61. http://dx.doi.org/10.1017/s0266078412000521.

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When reviewing a much-translated canonical text such as Homer's Iliad, it has become something of a topos to question the need for yet another translation of it. In the twenty-first century alone, Homer's Iliad has benefited from at least six published English translations already: Rodney Merrill (2007), Herbert Jordan (2008), Anthony Verity (2011), Stephen Mitchell (2011), Edward McCrorie (2012) and James Muirden (2012). Richard Whitaker adds his translation to the list with a slight variation on the standard Anglo-American English translations already available, presenting his readers instead with a ‘Southern African English’ version. With such a variety of Standard English prose and poetic translations already on offer, is there really a need for yet another Iliad? Will the novelty of its subtitle, as a ‘Southern African English’ Iliad, justify its publication, and what will prevent it from being judged merely as a postcolonial curiosity?

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36

Rutherford, Richard. "III - The Odyssey." New Surveys in the Classics 41 (2011): 76–102. http://dx.doi.org/10.1017/s001738351200040x.

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Although it is theoretically possible (and has been asserted) that the Iliad followed the Odyssey, or that the two poems were composed quite independently, with no influence from one to the other, majority opinion ancient and modern puts the Odyssey later, and assumes it to be in important respects a successor, even a sequel, to the Iliad. This position can be maintained in two main forms: those who believe in a single master-poet as the creator of both epics may assign the Iliad to Homer's youth, the Odyssey to his riper years (a position memorably expressed by Longinus); those who follow the ancient separatists can regard the Odyssey as a rival work, composed by a poet who immensely admired the Iliad but whose own poetic and moral concerns lay elsewhere. This view is now much more common. It may be difficult, however, in a tradition which involved so much use of conventional themes and formulaic material, to decide firmly in favour of common or separate authorship. Whichever view one prefers, the important point seems to be that the Odyssey is later, and that it is conceived as a poem on the same scale as the Iliad, but differing strikingly in content and ethos.

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37

Szlezák, Thomas Alexander. "Ilias and Odyssey: Two Epics, Two World Views." Peitho. Examina Antiqua 8, no. 1 (October 24, 2017): 39–52. http://dx.doi.org/10.14746/pea.2017.1.2.

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The different world views of the authors of the Iliad and the Odyssey are illustrated by selection of verses used by both poets. The role of the gods in the Odyssey precludes the tragic conception of human life that is characteristic of the Iliad.

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38

Morales Ortiz, Alicia. "La fuerza en la Ilíada. Las lecturas de Homero de Simone Weil y Rachel Bespaloff." Nova Tellus 40, no. 2 (June 28, 2022): 177–98. http://dx.doi.org/10.19130/iifl.nt.2022.40.2.0021x58.

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In the turbulent Europe of the World Wars, two French thinkers of Jewish Origin wrote both essays on the Iliad: Simone Weil (The Iliad, or the Poem of Force, 1940-1941) and Rachel Bespaloff (On the Iliad, 1943). Both writers have in common the return to the foundational texts of Western culture —Homer in the Classical tradition and the Bible and the Gospels in the Christian tradition— to rethink war and barbarism. This paper analyses the concept of ‘force’ in both authors, their similarities and differences, in order to conclude on the way in which this notion determines their interpretation of the Homeric poem.

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39

Krauze-Kołodziej, Aleksandra. "Mit obrazem współczesności, czy współczesność odbiciem mitu? Homer, Iliada Alessandro Baricco." Roczniki Humanistyczne 67, no. 3 (July 8, 2019): 45. http://dx.doi.org/10.18290/rh.2019.67.3-3.

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The aim of the article is to analyze and interpret the new version of the Iliad written in 2004 by the contemporary Italian writer Alessandro Baricco. He based his version of the text on the Italian translation of Iliad by Maria Grazia Ciani.The reinterpretation and reconstruction of the ancient poem of Homer by Alessandro Baricco seems to be an interesting example of an attempt to modernize an ancient literary work. In the article, the author analyzes and interprets the content and the structure of the contemporary version of the poem, comparing it to the original text of the Iliad and its Italian translation on which Baricco was basing.

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40

Ready, Jonathan L. "Minor Characters in Homer’s Iliad." Classical Antiquity 39, no. 2 (October 2020): 284–329. http://dx.doi.org/10.1525/ca.2020.39.2.284.

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This article focuses on those Iliadic characters who fall in battle to the poem’s major heroes. Homer has various ways to make these characters minor, such as through processes of obscuring or typification or by focusing on a specific body part. By making a character minor, the poet signals that we need not attend to him. After he makes a character minor, the poet can suggest that in the process of being made minor a character paradoxically ends up diverting attention from another character, or he can portray minorness as marked by an inability to divert attention from another. The poet can present in one episode these two different visions of minorness and can make one character depict another as minor by using the tactics deployed by the narrator. This study accentuates the narratological complexities that arise in the poet’s depiction of minor characters. That complexity shapes our understanding of the Iliad’s concern with the distribution of narrative attention among all its characters.

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41

van der Plas, Maaike. "CORPSE MUTILATION IN THE ILIAD." Classical Quarterly 70, no. 2 (December 2020): 459–72. http://dx.doi.org/10.1017/s0009838821000136.

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The Iliad opens with the image of abandoned corpses, left as prey to the wild beasts. It closes with the hard-won and respectful funeral of Hector, during which his maimed body is finally laid to rest. In-between these passages, death and the fate of dead bodies are often part of the epic's subject matter. The audience is treated to a wide selection of images concerning the fallen and their remains, ranging from those taken gently away from the battlefield to be buried to those who are posthumously mutilated where they lie. Instances of corpse mutilation are rare elsewhere in Greek historical and literary writing, but occur in the Iliad at a regular rate. The gruesomeness of these acts makes for shocking and violent scenes, and represents a radical departure from the normal funeral ritual with lasting repercussions for the relatives of the deceased and the fate of the dead person in the afterlife.

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42

Sowerby, Robin. "The Decorum of Pope's Iliad." Translation and Literature 13, no. 1 (March 2004): 49–79. http://dx.doi.org/10.3366/tal.2004.13.1.49.

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43

Golden, Leon. "To geloion in the Iliad." Harvard Studies in Classical Philology 93 (1990): 47. http://dx.doi.org/10.2307/311282.

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44

McLeod, W., and E. T. Owen. "The Story of The Iliad." Phoenix 45, no. 2 (1991): 185. http://dx.doi.org/10.2307/1088559.

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45

Beye, Charles Rowan. "Christopher Logue and the Iliad." Arion: A Journal of the Humanities and the Classics 24, no. 1 (2016): 165–76. http://dx.doi.org/10.1353/arn.2016.0028.

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46

Heon Kim. "The Beauty(Kalos) in Iliad." Journal of Mediterranean Area Studies 19, no. 1 (February 2017): 25–51. http://dx.doi.org/10.18218/jmas.2017.19.1.25.

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47

Rexine, John E., and Mark W. Edwards. "Homer: Poet of the Iliad." Classical World 82, no. 1 (1988): 56. http://dx.doi.org/10.2307/4350278.

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48

Ascher, Leona, and Paolo Vivante. "The Iliad: Action as Poetry." Classical World 85, no. 6 (1992): 721. http://dx.doi.org/10.2307/4351148.

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49

Connelly, Peter J. "The Ideology of Pope's Iliad." Comparative Literature 40, no. 4 (1988): 358. http://dx.doi.org/10.2307/1771194.

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50

James Tatum. "The Alexandrian Iliad." Arion: A Journal of Humanities and the Classics 19, no. 3 (2012): 163. http://dx.doi.org/10.2307/arion.19.3.0163.

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