Relevant bibliographies by topics / Mimiambi (Herodas)

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Academic literature on the topic 'Mimiambi (Herodas)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Mimiambi (Herodas)"

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Ussher, R. G. "Herodas Re-Edited - I. C. Cunningham: Herodas, Mimiambi. Cum appendice fragmentorum mimorum papyraceorum. (Bibliotheca Teubneriana.) Pp. xxvi + 89. Leipzig: Teubner, 1987. 36 M." Classical Review 39, no. 1 (April 1989): 17–19. http://dx.doi.org/10.1017/s0009840x00270157.

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Hunter, Richard. "The Presentation of Herodas' Mimiamboi." Antichthon 27 (November 1993): 31–44. http://dx.doi.org/10.1017/s0066477400000770.

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The mimiamboi of Herodas reveal familiar hallmarks of the poetry of the third century: characters drawn from socially humble backgrounds; a literary re-casting of sub-literary ‘genres’; the revival of an archaic metre; the free reconstruction of an artificial literary dialect; the reaching back to claim authority for poetic practice in a great figure of the past. Obvious links between the mimiamboi and the roughly contemporary ‘mime’ poems of Theocritus (especially Idylls 2, 3, 14, and 15) have always attracted attention since the publication of the major papyrus in 1891. No subject has, however, so dominated discussion of the mimiambs as the question of how they were intended to be presented to the public, and how indeed they were so. Were they merely to be read (privately), or to be ‘performed’ either by a solo performer (with or without the assistance of mute extras), or by a ‘troupe’ of actors? We must not assume, of course, that the mode of reception of all the mimiambs was the same, or that one poem was not at different times ‘performed’ in different ways. Moreover, the history of the debate since 1891, a history of which Giuseppe Mastromarco has given a full account, suggests that it is hardly possible on internal grounds alone to prove to general satisfaction that the poems were presented in one way rather than another.
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Fountoulakis, Andreas. "HERONDAS 8.66-79: GENERIC SELF-CONSCIOUSNESS AND ARTISTIC CLAIMS IN HERONDAS' MIMIAMBS." Mnemosyne 55, no. 3 (2002): 301–19. http://dx.doi.org/10.1163/156852502760185289.

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AbstractIn Herondas' mimiamb 8, a poem particularly concerned with questions of generic identity and reception, the poet defends his work and puts forward his literary program by means of a dream dominated by images related to Dionysiac myth and cult. The interpretation of the dream at ll. 66-79 is seen in terms of the generic affinities between Herondas' mimiambs, the iambographic tradition of Hipponax and the mime. In this paper the Dionysiac character of those images is not considered as an indication of a hypothetically dramatic nature of Herondas' work. It is argued, by contrast, that the poem's Dionysiac imagery and its subsequent interpretation are linked with the associations of Herondas' work with the mime and, more specifically, with the non-literary mime. Mimiamb 8 is considered as part of a long process through which the latter was eventually regarded as a dramatic genre. Herondas seems to be conscious of the disreputable character of that part of his sources, but attempts by means of a masterful use of images pertaining to Dionysiac myth and ritual to persuade his critics of the dramatic nature of the mimic origins of his work so as to invest his poetry with the authority and prestige of dramatic poetry.
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Piacenza, Nicola. "Tre personaggi in cerca di autore: il Mimiambo 3 di Eronda e la critica letteraria nel Giambo 2 di Callimaco." Myrtia 36 (November 11, 2021): 45–60. http://dx.doi.org/10.6018/myrtia.500101.

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The first part of the article offers a metapoetic interpretation of Herondas’ Mimiamb 3, suggesting that the Hellenistic poet describes Cottalos and his passion for dice with allusion to Alexander Aetolus that wrote Astragalistai. In the second part, starting from some touch points between Mimiamb 3 and Calliamchus’ Iambus 2 (in particular the presence of three mysterious characters with similar names), the author gives some evidence for the identification of that characters with three poets who lived at that time and had undoubted contacts both with Alexander Aetolus and Callimachus: they are Antagoras of Rhodes, Philicus of Corcyra and Timon of Phlius. L’articolo offre nella prima parte un’interpretazione metapoetica del Mimiambo 3 di Eronda, suggerendo che il poeta ellenistico descriva Cottalo e la sua passione per i dadi con allusione ad Alessandro Etolo che scrisse gli Astragalistai. Nella seconda parte, prendendo le mosse da alcuni punti in comune tra il Mimiambo 3 ed il Giambo 2 di Callimaco (in particolare la presenza di tre misteriosi personaggi con nomi simili), vengono fornite alcune prove per l’identificazione di tali personaggi con tre poeti che vissero in quel periodo ed ebbero sicuri contatti sia con Alessandro Etolo che con Callimaco: si tratta di Antagora di Rodi, Filisco di Corcira e Timone di Fliunte.
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Anagnostou-Laoutides, Eva. "HERODAS' MIMIAMB 7: DANCING DOGS AND BARKING WOMEN." Classical Quarterly 65, no. 1 (April 2, 2015): 153–66. http://dx.doi.org/10.1017/s000983881400055x.

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Herodas' Mimiamb 7 has often attracted scholarly attention on account of its thematic preoccupation with the sexuality of ordinary people, thus offering a realistic and exciting glimpse of everyday life in the eastern Mediterranean of the third century b.c.e. In addition, his obscure reference in lines 62–3 to the obsession of women and dogs with dildos has been the focus of long-standing scholarly debate: while most scholars agree that the verses employ a metaphor, possibly of obscene nature, their exact meaning is still to be clarified. In response, this article offers an additional paradigm which stresses the cultural osmosis between the Greeks and their eastern neighbours in the Hellenistic period; in my view, Herodas' peculiar choice of expression could be explained more aptly through this hitherto unnoticed perspective. Despite having frustratingly little information about the poet and his life, his familiarity with the Hellenistic East is often implied in his poetic settings: for example, Cos in Mimiamb 2 and probably locations in Asia Minor in Mimiambs 6 and 7 are considered likely to reflect the places where he lived. Hence, it is reasonable to assume that Herodas spent periods of his life in areas of the eastern Aegean where cultural interaction was practically unavoidable. Moreover, his first poem exhibits a certain amount of knowledge and admiration for Ptolemaic Egypt and, although this does not necessarily mean that he lived there, he must have been very familiar with Alexandria and its erudite circles. After all, Herodas, a contemporary of Theocritus who subscribed to his preference for short, elegant poetic forms, shared the latter's interest in the lowly mime, which both of them invested with learned language. Thus, specific motifs, such as the visit of an abandoned mistress to the witches in a desperate attempt to coax back a cruel lover, are treated by both poets and ultimately derive from the literary corpus of mimes by the influential Sophron. Theocritus was also familiar with locations in Cos, an island that appears to have been culturally diverse. One of the foreign communities that increasingly made its presence felt in third-century b.c.e. Asia Minor and the nearby islands of the eastern Aegean was that of the Jews, although the history of particular communities is often difficult to recover. Nevertheless, we do know that as early as the third century b.c.e. ‘various Jewish authors writing in Greek had adopted the prevailing patterns of Greek literature in its many forms, filling them with Jewish content’. The Jews had a prominent and well-documented presence at Alexandria, where their interaction with the Greeks was promoted by the Ptolemies. There, already by the middle of the third century b.c.e., the Pentateuch (the Hebrew Torah) had been translated into Koine Greek by royal request, which probably indicates a sizeable community able to participate dynamically in the cultural interface of Ptolemaic Alexandria. In the following pages, I shall revisit the past interpretations of the aforementioned verses in Mimiamb 7 before arguing that the key to their understanding lies in the interaction of the Greeks with near eastern cultures, particularly the Jews, who seemed to have employed a distinctive metaphor about ‘dogs’ and their perceived sexual habits.
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Redondo Moyano, María Elena. "(Des)cortesía verbal y caracterización en el tercer Mimiambo de Herodas." Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 31 (March 2, 2021): 67–87. http://dx.doi.org/10.5209/cfcg.71334.

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En este trabajo se identifican y describen los procedimientos de cortesía y descortesía verbal que se emplean en el tercer Mimiambo de Herodas y se estudia el papel que estos parámetros lingüísticos juegan como medios para la caracterización.
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Redondo, Jordi. "Herondas’ mimiambs and satyr drama." Živa Antika 72, no. 1-2 (2022): 59–76. http://dx.doi.org/10.47054/ziva22721-2059r.

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Rist, Anna. "That Herodean Diptych Again." Classical Quarterly 43, no. 2 (December 1993): 440–44. http://dx.doi.org/10.1017/s0009838800039951.

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Herodas' Mimiamb VII is now generally admitted to be a sequel to VI insofar as Metro is a main character of both and Kerdon, the ‘Shoemaker’ who gives to VII its title, is a main topic of VI. Controversy remains as to whether the leather ‘baubons’ (dildoes) which Kerdon makes with consummate skill (VI 68–73) and purveys in secret (VI 63) is also an underlying topic of VII
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Llera Fueyo, Luis Alfonso. "Humor alejandrino en el Mimiambo 5 de Herodas." Emerita 61, no. 1 (June 30, 1993): 55–59. http://dx.doi.org/10.3989/emerita.1993.v61.i1.457.

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Kutzko, David. "Herodas: Mimiambs. Aris & Phillips Classical Texts (review)." Classical World 105, no. 1 (2011): 152–53. http://dx.doi.org/10.1353/clw.2011.0098.

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Dissertations / Theses on the topic "Mimiambi (Herodas)"

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Richer, Jean-Camille. "Théocrite et la création de la pastorale : entre mime et idylle." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1057.

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Dans cette thèse est proposée une définition du genre poétique bien connu qu’est la poésie bucolique. Son point de départ réside dans le double statut qui la caractérise : c’est à la fois un titre (les Bucoliques) et un genre (la poésie bucolique). Le fait de privilégier l’un ou l’autre de ces statuts oriente la définition qui est retenue. Nous avons donc examiné les sources antiques et tenté d’inverser la perspective habituellement retenue : alors que l’on considère souvent que c’est le genre qui a engendré le titre, nous pensons que c’est le titre (Bucoliques) qui a engendré le genre. En d’autres termes, à l’origine, un poème bucolique n’est pas un « poème de bouviers », mais un poème contenu dans un recueil intitulé Βουκολικά. Ce n’est que dans un second temps que le sens du titre originel (Βουκολικά) se serait restreint au genre tel que nous le connaissons aujourd’hui (une « poésie de bouviers », souvent réduite à une « poésie de pâtres ») et qui aurait entraîné, à la fin de l’Antiquité, le remplacement de ce titre par les mots « idylles » et « églogues », qui à l’origine n’avaient aucun rapport avec la poésie bucolique. La définition du poème bucolique que nous proposons est fondée sur la rencontre entre deux personnes et l’interprétation d’un chant, car ce schéma s’observe dans la plupart des poèmes bucoliques, y compris post-théocritéens. Dès lors opère une loi de variation censée varier le genre des chants insérés. Cela créée une hiérarchie entre les genres : le poème bucolique n’est pas un poème de bouviers, mais un poème comportant l’interprétation d’un chant dont le genre est appelé à varier. La notion de « mime » n’est ici étudiée qu’à titre de variante de la bucolicité. En effet, trois poèmes de Théocrite sont ainsi décrits parce qu’ils n’appartiennent ni au monde de la campagne (poèmes bucoliques), ni au monde des héros (epyllia). Nous analysons la manière dont cette catégorie s’est constituée, puis sa pertinence : si elle permet à n’en pas douter de constater des codes communs entre les poèmes de Théocrite et ceux d’Hérondas, elle ne doit pas faire oublier que la différence métrique entre les deux auteurs implique une différence d’esthétique
The aim of this study is a definition of Bucolic poetry. Nowadays it can be analized as a title (Bucolics) or as a poetry genre (bucolic poetry). The choice which is made between these two categories has consequences on the way bucolic poetry is theorised. I try to demonstrate that the genre was invented out of the title : at first, a bucolic poem was no more than a poem included in collection entitled Βουκολικά. At the end of Antiquity this title had been changed into Idylls in the Greek-speaking World and into Eglogues in the Latin-speaking world because the definition has changed. « Bucolicity » is based not on the cowherd, but on a scenario which is repeated from a poem to another : two people meet, a song is sung, and the people leave each other. Any poetic genre could be included in the song which is sung, so I distinguish the bucolic poem from the inserted song which lies inside. I then compare Theocritus to Herodas and Sophron because some bucolic poems are nowadays called « urban mimes ». The name of this categorie is modern, so it shows how new definitions (and new termes) are constantly proposed for poetic genres
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Books on the topic "Mimiambi (Herodas)"

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Campbell, Cunningham Ian, ed. Mimiambi: Herodas ; cum appendice fragmentorum mimorum papyraceorum. München: K.G. Sauer, 2004.

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Lamberto, Di Gregorio, ed. Mimiambi. Milano: Vita e Pensiero, 1997.

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Campbell, Cunningham Ian, ed. Herodae Mimiambi: Cum appendice fragmentorum mimorum papyraceorum. Leipzig: Teubner, 1987.

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4

Simon, Frank-Joachim. Ta Kyll Neidein : Interpretationen zu den Mimiamben des Herodes. Frankfurt am Main: Lang, 1991.

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Cunningham, I. C. Herodas: Mimiambi. University of Michigan Press, 2004.

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Rist, Anna. The Mimiambs of Herodas. Bloomsbury Academic, 2018.

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Mimiambs of Herodas: Translated into an English 'Choliambic' Metre with Literary-Historical Introductions and Notes. Bloomsbury Publishing Plc, 2016.

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Mimiambs of Herodas: Translated into an English 'Choliambic' Metre with Literary-Historical Introductions and Notes. Bloomsbury Publishing Plc, 2016.

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9

Zanker, Graham, ed. Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.3828/liverpool/9780856688836.001.0001.

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Before the publication of the second-century AD papyrus containing eight and a fragmentary ninth of the Mimiambs of Herodas in 1891, Herodas was known only through approximately twenty lines which had survived in quotations found principally in Athenaios and Stobaios. Even after the publication of the papyrus and subsequent work on it, scarcely anything is known of their author. The scant evidence that has survived suggests that he lived during the reign of Ptolemy Philadelphos (285–247 BC), on the island of Kos, and was a direct contemporary of the greatest of the Hellenistic poets, Callimachus, Theocritus and Apollonius. His Mimiambs are short humorous dramatic scenes written in verse, often bawdy, reflecting everyday life and dialect. This book explores what we do know of the poet including the language, dialect and metre that he uses. Each poem is translated and accompanied by an individual commentary with synopsis, information on date, setting, sources and purpose, as well as close examination of vocabulary and grammar. This edition reveals Herodas' work in all its skill and subtlety.
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Zanker, Graham, and Herodas. Herodas - Mimiambs. Liverpool University Press, 2009.

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Book chapters on the topic "Mimiambi (Herodas)"

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Schmalzriedt, Egidius, and Heinz-Günther Nesselrath. "Herodas: Mimiamboi." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7741-1.

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"The Go-Between or The Temptres (ΠΡΟΚΥΚΛΙΣ‎ Η‎ ΜΑΣΤΡΟΠΟΣ‎)." In Herodas: Mimiambs, edited by Graham Zanker, 14–41. Liverpool University Press, 2009. http://dx.doi.org/10.3828/liverpool/9780856688836.003.0002.

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This chapter focuses on Herodas' first Mimiamb, which admirably illustrates Herodas' technique of characterization. It mentions the figure of Gyllis, who speaks over two-thirds of the first Mimiamb's lines. It also analyses the prefatory remarks to Mimiamb 1, which emphasize the character of the more-or-less professional go-between that was a special feature of Sophrôn's mimes, the magoidiai and New Comedy. The chapter discusses how Gyllis have come further down the social scale into the proper province of mime and become a representative of a stock type in mime and comedy. It explains how Herodas takes the type and individualises it with particular traits called the mosaic technique.
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"Front Matter." In Herodas: Mimiambs, i—vi. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.1.

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"ΖΗΛΟΤΥΠΟΣ." In Herodas: Mimiambs, 132–57. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.10.

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"ΦΙΛΙΑΖΟΥΣΑΙ Η ΙΔΙΑΖΟΥΣΑΙ." In Herodas: Mimiambs, 158–87. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.11.

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"ΣΚΥΤΕΥΣ." In Herodas: Mimiambs, 188–217. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.12.

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"ΕΝΥΠΝΙΟΝ." In Herodas: Mimiambs, 218–35. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.13.

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"THE FRAGMENTS." In Herodas: Mimiambs, 236–39. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.14.

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"BIBLIOGRAPHY." In Herodas: Mimiambs, 240–48. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.15.

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"INDEX." In Herodas: Mimiambs, 249–52. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.16.

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