Relevant bibliographies by topics / Ancient greek poetry - literary criticism

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  2. Dissertations / Theses
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Academic literature on the topic 'Ancient greek poetry - literary criticism'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Ancient greek poetry - literary criticism"

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Wright, Matthew. "The tragedian as critic: Euripides and early Greek poetics." Journal of Hellenic Studies 130 (November 2010): 165–84. http://dx.doi.org/10.1017/s0075426910000066.

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AbstractThis article examines the place of tragic poetry within the early history and development of ancient literary criticism. It concentrates on Euripides, both because his works contain many more literary-critical reflections than those of the other tragedians and because he has been thought to possess an unusually ‘critical’ outlook. Euripidean characters and choruses talk about such matters as poetic skill and inspiration, the social function of poetry, contexts for performance, literary and rhetorical culture, and novelty as an implied criterion for judging literary excellence. It is ar
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Frendo, Mario. "Ancient Greek Tragedy as Performance: the Literature–Performance Problematic." New Theatre Quarterly 35, no. 1 (2019): 19–32. http://dx.doi.org/10.1017/s0266464x18000581.

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In this article Mario Frendo engages with the idea of ancient Greek tragedy as a performance phenomenon, questioning critiques that approach it exclusively via literary–dramatic methodologies. Based on the premise that ancient Greek tragedy developed within the predominantly oral context of fifth-century BCE Greece, he draws on Hans-Thies Lehmann's study of tragedy and its relation to dramatic theatre, where it is argued that the genre is essentially ‘predramatic’. Considered as such, ancient Greek tragedy cannot be fully investigated using dramatic theories developed since early modernity. In
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Skarbek-Kazanecki, Jan. "The Ancient Greek Symposion as Space for Philosophical Discourse: Xenophanes and Criticism of the Poetic Tradition." Tekstualia 1, no. 8 (2022): 3–24. http://dx.doi.org/10.5604/01.3001.0015.9904.

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The aim of the present article is to discuss relations between archaic Greek philosophy and poetry through the example of Xenophanes of Colophon (sixth century BCE), the poet best known for a critique of traditional religion using anthropomorphic imagery. The initial problem lies in understanding the performative aspect in Xenophanes’ elegiac poems; analysis of fragments 1W and 2W has revealed that his literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question: how the poetic fragments fi t with those compositions in
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Skarbek-Kazanecki, Jan. "Greek symposion as a space for philosophical discourse: Xenophanes and criticism of the poetic tradition." Tekstualia 1, no. 56 (2019): 35–52. http://dx.doi.org/10.5604/01.3001.0013.3286.

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The aim of the present article is to discuss the relation between the philosophy and poetry in archaic Greece on the example of Xenophanes of Colophon (6th century BC), the poet best known for a critique of anthropomorphic imagery of the traditional religion. The initial problem lies in understanding the performative aspect of the elegiac poems of Xenophanes; analysis of the fragment 1W and 2W has revealed that the Xenophanes’ literary output can be situated within the framework of the aristocratic symposium. This sympotic context determines the second question, wiz. how the poetic fragments f
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Madhu, Bala, and Kumar Amit. "Some Fascinating Creatures in Greek Mythology: Their Symbolic Significance and Depiction in Art and Literature." International Journal of Research(IJR) 9, no. 09-05-2022 (2022): 213–21. https://doi.org/10.5281/zenodo.6535275.

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Abstract Since earliest times monsters have awed, terrified and enthralled us, and they have figured in the myths, stories, poetry and prose of numerous cultures down the ages. There are thousands of poems and passages about them in Classical (i.e. ancient Greek and Latin) literature, ranging all the way from the horrific to the humorous. Finding stories about these creatures which are highly entertaining in themselves, we acquire a basic grounding in literary criticism which will enable us to read narratives about monsters with more perception and more enjoyment. The depiction of monsters and
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Vardi, Amiel D. "Diiudicatio locorum: Gellius and the history of a mode in ancient comparative criticism." Classical Quarterly 46, no. 2 (1996): 492–514. http://dx.doi.org/10.1093/cq/46.2.492.

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Comparison of literary passages is a critical procedure much favoured by Gellius, and is the main theme in several chapters of his Noctes Atticae: ch. 2.23 is dedicated to a comparison of Menander's and Caecilius′ versions of the Plocium; 2.27 to a confrontation of passages from Demosthenes and Sallust; in 9.9 Vergilian verses are compared with their originals in Theocritus and Homer; parts of speeches by the elder Cato, C. Gracchus and Cicero are contrasted in 10.3; two of Vergil's verses are again compared with their supposed models in ch. 11.4; a segment of Ennius′ Hecuba is contrasted with
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Moula, Evangelia E., and Konstantinos D. Malafantis. "Homer’s Odyssey: from classical poetry to threshold graphic narratives for dual readership." Journal of Literary Education, no. 2 (December 6, 2019): 52. http://dx.doi.org/10.7203/jle.2.13779.

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This article’s focus is some unconventional adaptations of the Odyssey in graphic language, belonging to the threshold literary field and contextualized in different historical and cultural milieus. Since ancient Greek literature in general and Homer in particular, ceased to be considered as sacred scripts, they discarded the centuries-long formalistic and idealistic approach and served as a vehicle for criticism or as a mirror of each receiving culture’s present. The kind of relation established between each adaptation and its pre-text is defined by the inscribed meta-narratives in its body.
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Kaya, Nilay. "Ekphrastic Expression of Western Painting and Cultural In-Betweenness in Evliyâ Çelebi’s Seyahatnâme (The Book of Travels)." Culture and Dialogue 10, no. 2 (2022): 143–57. http://dx.doi.org/10.1163/24683949-12340118.

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Abstract Ekphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles’ shield in Homer’s Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author’s treatment of the object depicted. Ekphrastic studies enable the identification of the author’s relationship with objectivity and subjectivity,
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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.

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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatis
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Романова, Г. И. "ТЕРМИН ОБРАЗ: К ИСТОКАМ ЛИТЕРАТУРОВЕДЧЕСКОЙ ТРАДИЦИИ (ПО «ПИСЬМАМ РУССКОГО ПУТЕШЕСТВЕННИКА» Н. М. КАРАМЗИНА»)". Русистика и компаративистика, № 13 (24 червня 2019): 8–19. http://dx.doi.org/10.25688/2619-0656.2019.13.01.

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В статье речь идет о начальном этапе использования слова образ как литературоведческого понятия в произведениях писателей XVIII в. На основе сравнительного анализа словарей XIX в. установлено, что это слово могло обозначать и формальные, и содержательные аспекты явлений. Показаны особенности использования данного слова в книге Н. М. Карамзина Письма русского путешественника, где оно встречается и в переводах цитируемых светских текстов западноевропейских писателей, и в описаниях явлений культа The article deals with the initial stage of using the word image as the term of the literary criticis
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Dissertations / Theses on the topic "Ancient greek poetry - literary criticism"

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Mérot, Guillemette. "Le « canon » des poètes grecs et latins de l’Institution oratoire. : Discours critique, traditions doctrinales, contexte culturel." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL084.pdf.

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La thèse porte sur le « canon » (au sens de « liste des auteurs considérés comme les meilleurs au sein d’un genre donné ») des poètes grecs et latins du chapitre 10.1 de l’Institution oratoire. Dans ce traité de rhétorique de l’époque flavienne, la liste-canon est issue d’une tradition littéraire et doctrinale qui sélectionne certains auteurs à inclure et les évalue les uns par rapport aux autres pour en faire des supports de lecture et des modèles d’éloquence. Le présent travail envisage la liste d’auteurs du chapitre 10.1 à la fois comme le point d’aboutissement d’un processus de constitutio
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Paleou, Matrona. "Literary criticism, poetry and ideological commitment : C.P. Cavafy and the Greek Left ( 1950-1974)." Thesis, University of Birmingham, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.529793.

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Meijering, Roos. "Literary and rhetorical theories in Greek scholia." Groningen : E. Forsten, 1987. http://books.google.com/books?id=YXtfAAAAMAAJ.

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Boeke, Hanna. "Wisdom in Pindar : gnomai, cosmology and the role of the poet." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50549.

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Thesis (PhD)--Stellenbosch University, 2005<br>ENGLISH ABSTRACT: This study investigates the cosmological context of Pindar' s victory odes, and its importance for their encomiastic purpose. The introductory chapter deals with selected aspects of Pindaric scholarship in order to establish the usefulness of such an investigation. The first part of the study focuses on gnomai as a reflection of cosmological ideas. In Chapter 2 modem scholarship on the proverb and maxim, various ancient texts on gnomai and a number of references in Pindar are analysed in support of the contention that gnoma
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Samaras, Peter Panagiotis. ""Eros tyrannidos" : a study of the representations in Greek lyric poetry of the powerful emotional response that tyranny provoked in its audience at the time of tyranny's earliest appearance in the ancient world." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=24104.

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Since its earliest appearance, the word $ tau upsilon rho alpha nu nu acute iota varsigma$ referred to absolute rule obtained in defiance of any constitution that existed previously. In early Greek lyric poetry, tyranny is represented as a divine blessing, but one that meets with opposition against the tyrant and puzzlement at the behaviour of the gods. In Archilochus and elsewhere tyrannical ambition is termed eros. The common property that makes both tyranny and beauty objects of eros is luminosity: As the 'radiance' $ rm( lambda alpha mu pi rho acute o tau eta varsigma)$ of beauty is to the
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Stoll, Daniel. "The Aesthetics of Storytelling and Literary Criticism as Mythological Ritual: The Myth of the Human Tragic Hero, Intertextual Comparisons Between the Heroes and Monsters of Beowulf and the Anglo-Saxon Exodus." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/577.

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For thousands of years, people have been hearing, reading, and interpreting stories and myths in light of their own experience. To read a work by a different author living in a different era and setting, people tend to imagine works of literature to be something they are not. To avoid this fateful tendency, I hope to elucidate what it means to read a work of literature and interpret it: love it to the point of wanting to foremost discuss its excellence of being a piece of art. Rather than this being a defense, I would rather call it a musing, an examination on two texts that I adore: Beowulf a
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Geisz, Camille H. "Storytelling in late antique epic : a study of the narrator in Nonnus of Panopolis' Dionysiaca." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:7b323af8-0512-407e-8aed-a0a7970a49ef.

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This thesis is a narratological study of Nonnus of Panopolis' Dionysiaca, focussing on the figure of the narrator whose interventions reveal much about his relationship to his predecessors and his own conception of story-telling. Although he presents himself as a follower of Homer, whom he mentions by name in his poem, the Dionysiaca are clearly influenced by a much wider range of sources of inspiration. The study of narratological interventions brings to light the narrator's relationship with Homer, between imitation and innovation. The way he renews and transforms epic narratorial devices at
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Demerliac, Oriane. "Le locus de la mer chez les poètes augustéens : miroir et creuset des mutations poétiques, politiques et morales du début du Principat." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN066.

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Pour montrer la richesse des représentations poétiques de la mer, l’époque augustéenne constitue un moment clef. Avec la bataille d’Actium, la mer occupe une place nouvelle à Rome et devient un enjeu majeur, lieu de victoires et de pouvoir dans le discours d’Auguste et dans l’imaginaire romain, à un moment de refondation aussi bien politique que morale de la cité après les guerres civiles. C’est la manière dont cet objet s’est constitué en tant que catalyseur de toutes les grandes mutations de l’époque augustéenne qui retient notre attention. Nous étudions la mer comme locus, c’est-à-dire comm
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Sze, Gillian. "The erring archive in Anne Carson." Thèse, 2015. http://hdl.handle.net/1866/12451.

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L’archive erronée dans l’œuvre d’Anne Carson enquête sur les effets que peuvent entraîner l’archive classique sur la poésie d’Anne Carson et révèle que le travail de cette dernière est issu de l’espace situé entre la critique et la créativité, ce qui génère ce qu’on appellera une « poétique de l’erreur ». La poésie de Carson se démarque par sa prédilection pour les accidents, les imperfections et les impondérables de la transmission. La présente dissertation émerge des attitudes critiques ambivalentes face à la dualité de l’identité de Carson, autant poète qu’universitaire, et leur offrira une
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Books on the topic "Ancient greek poetry - literary criticism"

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Bartol, Krystyna. Greek elegy and iambus: Studies in ancient literary sources. Uniwersytet im. Adama Mickiewicza w Poznaniu, 1993.

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E, Gerber Douglas, ed. A companion to the Greek lyric poets. Brill, 1997.

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Michael, Schmidt. The first poets: Lives of the ancient Greek poets. Weidenfeld & Nicolson, 2004.

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Plutarch, Keaney John J, and Lamberton Robert, eds. Essay on the life and poetry of Homer. Scholars Press, 1996.

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Année, Magali. Tyrtée et Kallinos: La diction des anciens chants parénétiques (édition, traduction et interprétation). Classiques Garnier, 2017.

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1952-, Doherty Lillian Eileen, ed. Homer's Odyssey. Oxford University Press, 2008.

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Johnson, Claudia D. Understanding the Odyssey: A student casebook to issues, sources, and historic documents. Greenwood Press, 2003.

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Franz, Michael. Von Gorgias bis Lukrez: Antike Ästhetik und Poetik als vergleichende Zeichentheorie. Akademie, 1999.

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Acosta-Hughes, Benjamin. Callimachus in context: From Plato to the Augustan poets. Cambridge University Press, 2011.

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Antimachus. Antimachus of Colophon: Text and commentary. E.J. Brill, 1996.

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Book chapters on the topic "Ancient greek poetry - literary criticism"

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Jixi 袁济喜, Yuan. "“Who Is the Judge of Poetry?” Exploring the Role of Ancient Literary and Art Critics." In Essentials of Chinese Literature and Art Criticism Volume I. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-7648-1_5.

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"The imaginative poet: Aeschylus’ phantasiai in ancient literary criticism." In Approaches to Greek Poetry. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110631883-013.

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Nightingale, Andrea. "Mimesis: ancient Greek literary theory." In Literary Theory and Criticism. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199291335.003.0002.

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Abstract The discipline of literary criticism did not exist until literature itself came into being. This occurred when poetic and verbal artworks—originally performed orally—were encoded in written texts. In the Western tradition, this took place in ancient Greece, in the sixth and fifth centuries bce. Literacy spread very slowly in Classical Greece, and the primary medium of communication remained oral up to the end of the fourth century. Gradually, the Greeks began to inscribe their great poems in written texts, and in the fifth and fourth centuries developed the art of prose literature. In
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Fearn, David. "The Allure of Narrative in Greek Lyric Poetry." In Experience, Narrative, and Criticism in Ancient Greece. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848295.003.0003.

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This chapter concerns itself with Greek lyric’s attention to its own allure, through an exploration of the tension between absorption into the narrativity of lyric’s worlds, on the one hand, and, on the other, attentiveness to lyric’s exposition of the artifice and ornamentation of language, and of the intertextualities that constitute the building blocks of lyric narrative. Building on accounts of lyric, literary allure, and literary narrative in recent work in comparative literature as well as hin Classics, the chapter explores the experience of narrative across a diverse range of Greek lyri
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Bishop, Caroline. "Conclusion." In Cicero, Greek Learning, and the Making of a Roman Classic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198829423.003.0008.

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After a brief summary of the book’s argument, the conclusion turns to a consideration of how successful Cicero was in shaping his own reception as a classic. The ancient reception of Cicero’s poetry, philosophy, rhetoric, and oratory are all briefly outlined, and it is shown that the works in which Cicero evoked Greek models were among his most successful. This is because Roman literary criticism and scholarship had a powerful tendency to mimic the methods of Greek literary criticism and scholarship, and authors who had themselves mimicked Greek models were easy targets for this approach. A co
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Too, Yun Lee. "From Criticism to Self-Censorship, from Republic to Empire." In The Idea of Ancient Literary Criticism. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198150763.003.0006.

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Abstract It is possible to write a narrative of literary criticism which stresses the continuities between the Greek critical enterprise and the Roman one. The texts I have examined up to this point show that critical activity in the sense of a process of literary discrimination and Judgement is the norm rather than the exception where ancient communities are concerned. In the pre-Roman period, literary criticism is an activity that is imposed from outside upon the process of literary production by leaders, legislators, and their representatives and from within by the very authors who particip
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Hardwick, Lorna. "Introduction." In Greek and Roman Antiquity in First World War Poetry. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780198907879.003.0001.

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Abstract The Introduction provides extensive material that illustrates and explains the aims of the book and the ideas and concepts used in it. It summarizes the historical and literary contexts that shaped the poetry of the First World War, discusses the choice of poets and poems and explains the categories that are used in the detailed commentaries to analyse the range of connections between ancient and modern texts and their literary mediations in the centuries between. Key terms are glossed and the poetry of unease and the poetry of survival are identified as key themes. The discussion of
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Dover, K. J. "Classical science and philosophy." In Ancient Greek Literature. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780192892942.003.0007.

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Abstract In the last few centuries the province of philosophy has been substantially reduced, since science has increasingly offered means, founded upon observation, calculation, and experiment, of answering questions to which at one time only a variety of purely speculative answers could be offered. We do not now ask a philosopher how the solar system originated or why certain plants do better in sandy soil, though we might invite his criticism of the reasoning and conceptual relations involved in scientific answers to those questions. Greeks of the archaic and classical periods whose curiosi
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Smith, Philip E., and Michael S. Helfand. "Oscar Wilde, Commonplace Book." In Oscar Wilde's Oxford Notebooks. Oxford University PressOxford, 2025. https://doi.org/10.1093/oso/9780198920731.003.0004.

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Abstract In the Commonplace Book Wilde kept notes, based in his readings, for future reference. The entries often have a title and range in length from an aphoristic phrase or a list to several paragraphs on adjacent pages. The subjects include: literature, especially classical Greek drama and Romantic poetry; literary criticism; social science, especially sociology and psychology; classical, especially Roman, history and culture; aesthetics; history of philosophy, especially classical and modern; philosophical idealism and materialism; science, especially evolution. Wilde’s subject headings r
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Tsouna, Voula. "Philodemus on the Therapy of Vice." In Oxford Studies in Ancient Philosophy. Oxford University PressOxford, 2001. http://dx.doi.org/10.1093/oso/9780199248780.003.0007.

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Abstract Philodemus of Gadara (c.I I0-&amp;lt;7-40 Be), the Greek Epicurean philosopher, migrated to Italy at a relatively early age, placed himself under the patronage of the Roman patrician Lucius Calpurnius Piso Caesoninus, and founded a flourishing Epicurean community at Herculaneum. He is a near contemporary of Cicero, Lucretius, Virgil, and Horace and, although the nature and extent of his influence on each of these authors is a matter of ongoing discussion, there is significant evidence that he was known to most of them, both in person and through his writings. Fragments of his works, w
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Conference papers on the topic "Ancient greek poetry - literary criticism"

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Sun, Li. "Zhou Zuoren' Translation of Japanese and Ancient Greek Poetry and Forming of the Literary Thought of Chinese Vernacular Prose." In Proceedings of the 2017 5th International Education, Economics, Social Science, Arts, Sports and Management Engineering Conference (IEESASM 2017). Atlantis Press, 2018. http://dx.doi.org/10.2991/ieesasm-17.2018.53.

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Lu, Yiyun. "Criticizing by Creating: Friedrich Schlegel’s Early Romantic Idea of “Criticism”." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2024. http://dx.doi.org/10.62119/icla.1.8184.

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Friedrich Schlegel is the main representative of early German Romanticism. His romantic poetics are not only important for the development of German poetry, but also for the change from Classic to Modern in European intellectual life. And at the center of his theory is the term “criticism” (Kritik). There is already a lot of re-search on this term, including Walter Benjamin’s doctoral thesis The Concept of Art Criticism in German Romanticism. Most of them put this term in the Cartesian and Kantian tradition and see it as an artistic expression of philosophical “reflection”. This is indeed one
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Tsiphuria, Lela. "Rethinking the Story of the Surami Fortress: Multicultural and Anti-imperial Dimensions of Georgian Novella and Films." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.4.9029.

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The Surami Fortress (1859-1860), a 19-the century novella by the Georgian writer Daniel Chonkadze (1830-1860), was filmed twice as full-length movies in the 20th century, by the Soviet-Georgian cinematog­ra­phers. The first Georgian film based on a literary text, The Suram Fortress (Film Department of Gansakhcomi, 1923, 65 mins.), was directed by Ivan Perestiani (1870-1959), one of the founders of Georgian cinema, the film di­rec­tor, script-writer and actor of Greek descent, born in Russian city. Later, the famous Georgian film director and artist of Armenian descent, Tbilisi-born Sergo Paraj
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