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Journal articles on the topic 'Greek Oral tradition Epic poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

RUIJGH, CORNELIS J. "The source and the structure of Homer's epic poetry." European Review 12, no. 4 (2004): 527–42. http://dx.doi.org/10.1017/s1062798704000456.

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Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to m

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Park, Jongseong. "WHAT IS AN ORAL HEROIC EPIC POETRY? – OVERCOMING THE LIMIT OF THE ILIAD." International Journal of Korean Humanities and Social Sciences 5 (February 28, 2020): 57–65. http://dx.doi.org/10.14746/kr.2019.05.04.

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The ancient Greek epic Iliad, including the oral epic and the written epic, has enjoyed a solid status as a ‘heroic epic’ (or ‘narrative poetry’) of European literature. But if a reader takes look at the general aspects of the heroic epic of oral tradition, it turns out that Iliad is not a typical work of a typical epic, but rather an individual one. Because the birth, trials, performance, and ending of a hero’s life are divided relatively evenly, and the general pattern of transferring the hero’s life to the heroic epic of oral tradition can be found in such cases as Manas, Jangar, Gesar and

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Haubold, Johannes. "Greek epic: a Near Eastern genre?" Proceedings of the Cambridge Philological Society 48 (2002): 1–19. http://dx.doi.org/10.1017/s006867350000081x.

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This article addresses a problem that is rapidly advancing to the status of a new Homeric question: the relationship between Greek epic and the narrative traditions of neighbouring Near Eastern cultures. The present situation recalls the debates that raged over the issue of oral poetry not so long ago. The formula used to be the central object of contention, now it is the ‘Near Eastern parallel’. Today there are so many parallels on record that it is hard to keep track. Yet, as with the formula, the number of known parallels seems to bear little relation to their usefulness. Now as then, probl

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Sifakis, G. M. "Formulas and their relatives: a semiotic approach to verse making in Homer and modern greek folksongs." Journal of Hellenic Studies 117 (November 1997): 136–53. http://dx.doi.org/10.2307/632553.

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In a book I published a few years ago, entitledTowards a Poetics of Modern Greek Folksong, I examined certain aspects of the poetics of modern folksongs in the light of the ‘oral composition theory’ of Homeric poetry, originally expounded by Milman Parry in the late twenties and early thirties and subsequently elaborated by Albert B. Lord. In this paper I propose to follow the opposite course, and inquire whether some of my findings regarding the verse-making techniques of the modern folksongs could be applied to the Homeric epics, and whether they could be made to cast some additional light o

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Ivanova, Karina, Oleh Sadovnikov, and Yana Balabay. "MYTHICAL WORD AND MYTH IN ANCIENT GREEK TRADITION." Sophia. Human and Religious Studies Bulletin 16, no. 2 (2020): 49–52. http://dx.doi.org/10.17721/sophia.2020.16.10.

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The term "myth" is a category of our thinking, used to combine the attempts to explain natural phenomena, creations of oral literature, philosophical constructions and cases of linguistic processes in the mind of the subject. Myth is a living word, myth was experienced, and this experience determined the essence of the myth for man in the period of transformation of thinking from figurative into conceptual. Man of ancient times didn't separate himself from society, both society from nature and cosmos as an embodiment of various and numerous gods. "Myth" was used to confirm the existence of som

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Finkelberg, Margalit. "Is KΛΕΟΣ ΑΦθΙΤΟΝ a Homeric Formula?" Classical Quarterly 36, № 1 (1986): 1–5. http://dx.doi.org/10.1017/s0009838800010491.

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Since being brought to light in 1853 by Adalbert Kuhn, the fact that the Homeric expression κλέος ἄφθιτον has an exact parallel in the Veda has played an extremely important role in formulating the hypothesis that Greek epic poetry is of Indo-European origin. Yet only with Milman Parry's analysis of the formulaic character of Homeric composition did it become possible to test the antiquity of κλέος ἄφθιτον on the internal grounds of Homeric diction.It is generally agreed that the conservative character of oral composition entails a high degree of correlation between the antiquity of a Homeric

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Duev, Ratko. "The Family of Zeus in Early Greek Poetry and Myths." Classica Cracoviensia 22 (October 29, 2020): 121–44. http://dx.doi.org/10.12797/cc.20.2019.22.05.

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The Family of Zeus in Early Greek Poetry and Myths In early epic poetry it is evident that certain differences exist in both traditions, mainly due to the fact that Homer’s epic poems were written on the western coast of Asia Minor and the surrounding islands, while Hesiod’s poems were composed on mainland Greece. From the analysis, it becomes clear that the development of the cult of an Indo-European Sky Father differs significantly from the assumed Proto-Indo-European tradition. His family is completely different from that in the Indo-European tradition. His wife is the goddess Hera, w

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Kahane, A. "K. Dickson: Nestor: Poetic Memory in Greek Epic. (Albert Bates Lord Studies in Oral Tradition 16; Garland Reference Library of the Humanities 1923.) Pp. ix + 254, figs. New York and London: Garland Publishing, Inc., 1995. Cased, $39. ISBN: 0-8153-2073-6." Classical Review 50, no. 2 (2000): 571. http://dx.doi.org/10.1017/s0009840x00240055.

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Petrovic, Sonja. "Charity, good deeds and the poor in Serbian epic poetry." Balcanica, no. 36 (2005): 51–69. http://dx.doi.org/10.2298/balc0536051p.

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The analysis of relation between the poor and the concept of charity in Serbian epic poetry is initiated as part of the research project "Ethnic and social stratification of the Balkans", which includes study of social margins and subcultures in oral literature. Charitable activities directed toward the poor are discussed as social models, but also as a complex way of social interaction between the elites and the poor, which left its mark on oral tradition and epic poetry. Care for the poor, almsgiving and charitable deeds were a religious obligation, and in the course of time, the repetitiven

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Bondar, Maria N. "Sources of Ferdowsi’s poem “Shahnāma”." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (2020): 724–33. http://dx.doi.org/10.22363/2312-9220-2020-25-4-724-733.

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The article explores one of the central problems of Ferdowsi Shahnāma (10th century) studies, e.g. its sources. In modern Iranian studies coexist different points of view and continues a discussion between the disciples of the theory of Ferdowsis use of prose sources and those who consider the poet rather a brilliant compiler and innovator, who transformed epic tales about kings and heroes (folklore oral poetry in the middle Persian language) into the new Persian language (dari). The discovery and accumulation of philological arguments indicating that the middle Persian epic poetry is hidden i

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Fernández-Delgado, José-Antonio. "Greek Genealogical Epic: Vitality of Its Formulaic Diction." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 41, no. 1 (2019): 1–16. http://dx.doi.org/10.1163/17246172-40010011.

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Abstract One aspect of the Greek epic that has yet to be thoroughly explored is the possibility of differentiating, in the midst of formulaic wording, the different genres that from the point of view of Greek literature comprise, for example, the telling of heroic deeds (Iliad, Odyssey), gnomic-paraenetic poetry (Works and Days), or the stories of genealogies, be they divine (Theogony), or heroic (Ehoiai). However, each of these forms of poetic expression had available a specific formulaic apparatus apart from the other much more abundant and more visible, the epic one, shared among the differ

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Petrovic, Sonja. "Milovan Vojicic's epic songs about the Kosovo battle 1389 in the Milman Parry collection of oral literature." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 75 (2009): 21–43. http://dx.doi.org/10.2298/pkjif0975021p.

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In "The Milman Parry Collection of Oral Literature" on Harvard University out of 131 epic songs recorded from Milovan Vojicic, several are dedicated to the popular theme of the Serbian and Balkan epic - the Kosovo Battle 1389 (Prince Lazar and Milos Obilic, The Defeat of Kosovo, ?he Kosovo Tragedy, The Kosovo Field after the Battle, The Death of Mother Jugovici, The Death of Pavle Orlovic at Kosovo, noted in 1933-34 in Nevesinje). The paper examines Vojicic?s Kosovo songs from the perspective of textual, stylistic and rhetoric criticism, poetics, and memory studies. An analysis of Milovan Voji

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Detelic, Mirjana. "The place of the symbolic city in construction of national imagery: A case of Balkan folklore - two models of epic city." Balcanica, no. 35 (2004): 171–84. http://dx.doi.org/10.2298/balc0535171d.

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This article is based on folklore studies of oral epic tradition in the Serb-Croat (or, depending on territory, Croat-Serbian) language which was common to the majority of former Yugoslavia population (in fact, all but Slovenes and Macedonians). The corpus of 1200 oral epic songs were chosen among other folklore genres because of their strong ideological position which made them the only form of oral literature where town appears as a human habitation clearly defined in time and space. In all other forms of traditional culture, the urban space is imagined and represented either as a miraculous

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Čolaković, Zlatan. "Avdo Međedović’s Post-Traditional Epics and Their Relevance to Homeric Studies." Journal of Hellenic Studies 139 (October 4, 2019): 1–48. http://dx.doi.org/10.1017/s0075426919000016.

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Abstract[Milman Parry established first that Homeric poetry was traditional, based on his studies of its formulae and language, and then that it was oral, based on his experience of recording south Slavic epic; he likened the unusually long epics of Avdo Međedović to those of Homer. Albert Lord put the two concepts together, holding that both south Slavic epic and Homeric poetry were oral-traditional and that all oral epic poetry, including that of Međedović, is traditional. However, the author’s investigations into the Milman Parry Collection of Oral Literature and his personal experience of

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Sifakis, G. M. "Homemric Survivals in the Medíeval and Modern Greek Folksong Tradition?" Greece and Rome 39, no. 2 (1992): 139–54. http://dx.doi.org/10.1017/s0017383500024128.

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The basis of comparison between the Homeric poetry and Modern Greek folksong is that in either case we have a body of poetic texts behind which stretches a long tradition of oral composition; they both have existed, roughly, in the same geographical area, including mainland Greece, Asia Minor, the islands of the Aegean and the Ionian Sea, Crete, and Cyprus; and they are cast in cognate language forms. But the two bodies of poetry are separated by a great time distance, though how great it is difficult to determine because whatever we can say about the origins of modern folksongs is hypothetica

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Allan, William. "Divine justice and cosmic order in early Greek Epic." Journal of Hellenic Studies 126 (November 2006): 1–35. http://dx.doi.org/10.1017/s0075426900007631.

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AbstractThis article examines the ethical and theological universe of the Homeric epics, and shows that the patterns of human and divine justice which they deploy are also to be found throughout the wider corpus of early Greek hexameter poetry. Although most scholars continue to stress the differences between theIliadandOdysseywith regard to divine justice, these come not (as is often alleged) from any change in the gods themselves but from theOdyssey'speculiar narrative structure, with its focus on one hero and his main divine patron and foe. Indeed, the action of theIliadembodies a system of

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Mitchell, Jack. "The Culture of the Ancient Epithet: Gerard Manley Hopkins and the Translation of Imagination." Translation and Literature 22, no. 2 (2013): 149–66. http://dx.doi.org/10.3366/tal.2013.0110.

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A culturally nuanced translation of archaic Greek verbal culture can only be achieved with reference to the original audience. In Bacchylides 17 (‘Theseus’ Dive’), the fifth-century poet's compound epithets operate entirely within an epic-lyric tradition, in contrast to the fourth-century verbal innovation of Timotheus. Poetry in the English language has always followed Timotheus more than Bacchylides, reaching a climax in the theory of ‘inscape’ and expressive epithets of Gerard Manley Hopkins. As a classicist, Hopkins was intimately familiar with Greek poetic diction, and his notebooks recor

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Haapoja-Mäkelä, Heidi Henriikka. "Silencing the Other’s Voice?" Ethnologia Fennica 47, no. 1 (2020): 6–32. http://dx.doi.org/10.23991/ef.v47i1.84255.

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Kalevalaic runosinging is a Baltic-Finnic tradition of metered oral poetry. In Finland, runo singing and the national epic Kalevala based on this tradition are often seen − especially in public speech − as nationally significant symbols of Finnishness. In this article, I examine how the idea of the Finnishness of traditional runo songs has been constructed in the changing paradigms of studying and performing folk music and oral poetry in Finland across the last hundred years, and how the concept of cultural appropriation relates to this. I will concentrate on early Finnish folk music stu

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Bodniece, Līva. "Vergilija „Eneīdas” mēģinājumi latviešu heksametros." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 231–45. http://dx.doi.org/10.37384/aplkp.2021.26-2.231.

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This paper presents the compilation and analysis of the Latvian translations of the Aeneid, the Latin epic poem written by Virgil (Publius Vergilius Maro), from the first attempts in the late 19th century until the most recent publication in 1970. The materials analysed also include republications of translation excerpts. The source texts are arranged and revised chronologically, and the text analysis is achieved through the comparative method. Particular attention is paid to the translation issues of the dactylic hexameter, the ancient meter also known as “the meter of the epic”. There is no

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Gintsburg, Sarali. "It’s got some meaning but I am not sure…" Pragmatics and Cognition 24, no. 3 (2017): 474–95. http://dx.doi.org/10.1075/pc.18017.gin.

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Abstract In this research I aim to contribute to a better understanding of transitionality in poetic language by applying for the first time the hypotheses recently developed by pioneers in the emerging field of cognitive poetics to a living tradition. The benefits of working with a living tradition are tremendous: it is easy to establish the literacy level of the authors and the mode of recording of poetic text is also easy to elicit or, when necessary, to control. I chose a living poetic tradition originating from the Jbala (Morocco). Although it is not epic and local poets create only relat

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Zieliński, Karol. "Odysseus – Trickster and the Issue of the Compatibility of the Image of the Hero with Its Function in the Traditions of the Oral Epic." Studia Religiologica 53, no. 3 (2020): 181–202. http://dx.doi.org/10.4467/20844077sr.20.013.12753.

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In the Greek epic tradition associated with the Trojan cycle, the protagonists are played by Achilles and Odysseus, two heroes with contrasting characteristics. The Homeric poems endeavor to approximate the character of Odysseus to Achilles. They cannot, however, break with his traditional image in which he represents the trickster type. Both preservation of the traditional image and its reinterpretation is typical of the oral tradition. Comparison with other traditions of the oral epic reveals a connection between the trickster character and the antagonist of the hero-protagonist. Both polari

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Hadjittofi, Fotini. "THE POET AND THE EVANGELIST IN NONNUS’ PARAPHRASE OF THE GOSPEL ACCORDING TO JOHN." Cambridge Classical Journal 66 (July 23, 2020): 70–95. http://dx.doi.org/10.1017/s1750270520000056.

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Christian poetry, and biblical epic in particular, is intensely self-conscious. Both Greek and Latin Christian poets begin or end their compositions, paraphrases and centos with poetological reflections on the value and objectives of their works. The fifth-century Paraphrase of the Gospel according to John is an anomaly in this tradition. While Nonnus’ mythological epic, the Dionysiaca, is heavily self-conscious in that it includes a strong authorial voice as well as an extensive prooemium and an interlude, the Christian Paraphrase has no prooemium, epilogue or interlude, and its narrator neve

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Marks, Jim. "Odysseus and the Cult of Apollo at Delos." Classica - Revista Brasileira de Estudos Clássicos 29, no. 1 (2017): 157. http://dx.doi.org/10.24277/classica.v29i1.411.

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This paper explores literary representations of the cult of Apollo on Delos. This island is, to be sure, mentioned only occasionally in early Greek poetry, but details specific to the cult do appear. Thus, for example, Odysseus describes a palm tree he saw at an altar of Apollo on Delos (Od. 6.162-3), and a third-century inscription from the island mentions just such a feature. References to a palm, altar, and temple at Delos in later classical authors, including Callimachus, Pliny, Cicero, and Plutarch, demonstrate that the Archaic period traditions represented by the Homeric passages continu

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Bradas, Marija. "The return of epic formulas in various Italian translations of Kosovka djevojka (The Kosovo maiden)." Balcanica, no. 44 (2013): 139–58. http://dx.doi.org/10.2298/balc1344139b.

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This paper makes a comparative analysis of the various Italian translations of the famous Serbian popular poem Kosovka djevojka [The Kosovo Maiden] and illustrates the different interpretations and consequent translations of epic formulas in nineteenth- and twentieth-century Italy. The Parry-Lord oral formulaic theory, together with other important contributions in the field of oral studies, is a starting point for this analysis, which also takes into consideration the socio-cultural context in which these translations were produced. Translation solutions are therefore brought into relation wi

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Grossardt, Peter. "The Motif of Wrath and Withdrawal in Medieval European Epic and its Impact on The Homeric Question – Some Preliminary Remarks." Classica - Revista Brasileira de Estudos Clássicos 32, no. 1 (2019): 97–129. http://dx.doi.org/10.24277/classica.v32i1.835.

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Building on his research of 2009, the author of the following article will discuss some parallels to the wrath of Achilles in the medieval European tradition, especially in the Latin Song of Waltharius and in the French chanson de geste as exemplified most notably by the Geste de Fierabras. This epic forms the best parallel to the Iliad, but doesn’t seem to depend on it. It is therefore claimed that the opening of the Iliad with the immediate conflict between the king and his main vassal represents a traditional device of oral epic poetry. As a consequence, the established idea of a chronograp

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Yamagata, Naoko. "Young And old in Homer and in Heike Monogatari." Greece and Rome 40, no. 1 (1993): 1–10. http://dx.doi.org/10.1017/s001738350002252x.

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Homer's epics have been compared with many other epic traditions in the world, such as Sumerian, Indian, Serbo-Croatian, Medieval German, and Old French epics, from various points of view, such as narrative techniques, genesis of traditions, oral or writtern nature of texts, and motifs. If comparative studies of the existing sort have any significance, it is rather surprising that there has been no serious attempt to compare Homer's epics and Heike monogatari(translated as The Tale of the Heike, Heikefor short), the best of the medieval Japanese epics, for there are many reasons to believe tha

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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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Shelemay, Kay Kaufman, Peter Jeffery, and Ingrid Monson. "Oral and written transmission in Ethiopian Christian chant." Early Music History 12 (January 1993): 55–117. http://dx.doi.org/10.1017/s0261127900000140.

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Of all the musical traditions in the world among which fruitful comparisons with medieval European chant might be made, the chant tradition of the Ethiopian Orthodox Church promises to be especially informative. In Ethiopia one can actually witness many of the same processes of oral and written transmission as were or may have been active in medieval Europe. Music and literacy are taught in a single curriculum in ecclesiastical schools. Future singers begin to acquire the repertory by memorising chants that serve both as models for whole melodies and as the sources of the melodic phrases linke

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Chatziprokopiou, Marios. "Queering the archive of Greek laments." Journal of Greek Media & Culture 4, no. 2 (2018): 223–38. http://dx.doi.org/10.1386/jgmc.4.2.223_1.

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Lament in Greece has been historically linked to notions of cultural continuity and national belonging. As a literary genre or mode of performance, but also as a rhetorical trope, it has had a constitutive role in shaping national identity. Within this ideological context, Greek laments were strategically used by nineteenth- and early twentieth-century folklorists as survivals of an uninterrupted oral tradition, and hence as original proofs of continuity between modern Greeks and their supposed ancestors. Yet, the archives of oral poetry in general were extensively edited – but also partially

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Mich, Włodzimierz. "Słowo jako medium tradycji: szkic z teorii oralności." Politeja 17, no. 4(67) (2020): 148–66. http://dx.doi.org/10.12797/politeja.17.2020.67.08.

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Word as Medium of Tradition. Essay on Theory of OralityThe goal of the paper is to outline the concept of word as medium of intergenerational transfer of tradition in cultures of primary orality as formulated in the theory of orality since the 1960s. According to the classic anthropological approach, it emphasizes the orientation on tradition and stability of oral cultures. It also focuses on mechanisms of preserving fidelity and persistence of cultural patterns in the utterances/messages despite the lack of the written form. The basic mechanism here is to grasp messages in the form of epic po

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YOSE, JOSEPH, RALPH KENNA, PÁDRAIG MacCARRON, THIERRY PLATINI, and JUSTIN TONRA. "A NETWORKS-SCIENCE INVESTIGATION INTO THE EPIC POEMS OF OSSIAN." Advances in Complex Systems 19, no. 04n05 (2016): 1650008. http://dx.doi.org/10.1142/s0219525916500089.

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In 1760 James Macpherson published the first volume of a series of epic poems which he claimed to have translated into English from ancient Scottish-Gaelic sources. The poems, which purported to have been composed by a third-century bard named Ossian, quickly achieved wide international acclaim. They invited comparisons with major works of the epic tradition, including Homer’s Iliad and Odyssey, and effected a profound influence on the emergent Romantic period in literature and the arts. However, the work also provoked one of the most famous literary controversies of all time, coloring the rec

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De C.M.Brunhara, Rafael. "Elegia marcial e ocasião de performance." CODEX – Revista de Estudos Clássicos 2, no. 1 (2010): 116. http://dx.doi.org/10.25187/codex.v2i1.2825.

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<div class="page" title="Page 116"><div class="layoutArea"><div class="column"><p><span>O presente trabalho consiste de um exame breve das correntes teóricas que propõem o simpósio aristocrático como ocasião única e evidente da <em>performance</em> de poemas elegíacos arcaicos de pequena extensão. Igualmente, considera testemunhos antigos sobre a recepção da poesia de Tirteu e a presença de tópicas militares em elegias notadamente simposiais. Por conseguinte, visa a oferecer, liminarmente, pressupostos para uma compreensão outra da elegia exortativa ma

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Ziogas, Ioannis. "Famous Last Words: Caesar’s Prophecy on the Ides of March." Antichthon 50 (November 2016): 134–53. http://dx.doi.org/10.1017/ann.2016.9.

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AbstractShakespeare’s Et tu, Brute has been influential in shaping a tradition that interprets Caesar’s last words as an expression of shock at Brutus’ betrayal. Yet this interpretation is not suggested in the ancient sources that attest the tag καὶ σύ, τέκνον (‘you too, son’). This article argues that Caesar’s dictum evokes a formula of funerary epigrams, which refers to death as the common lot of all mortals. The epitaphic connotations of καὶ σύ or tu quoque feature in epic poetry, a connection that lends a Homeric dimension to Caesar’s last words. The dictator’s oral epitaph predicts the de

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Satris, Marthine. "Codex Vitae: The Material Poetics of Randolph Healy's ‘Arbor Vitae’." Irish University Review 46, no. 1 (2016): 132–44. http://dx.doi.org/10.3366/iur.2016.0206.

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Randolph Healy's 1997 poem ‘Arbor Vitae’ connects formally experimental poetry with an Irish tradition of politically engaged literature. Eschewing questions of national boundaries or authenticity, Healy instead develops a poetics and ethics of intersection. His apparently depersonalized poem is composed of essayistic fragments that address the role of the deaf in Irish society. This essay argues that Healy's formal choices refuse the oral basis of the lyric, and instead align his poem with nonverbal forms of communication. This challenge to the authenticity of speech also questions the langua

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Segundo Guzmán, Miguel Ángel. "La moûsa canta la guerra: fragmentos de la cultura bélica por el mundo antiguo / Moûsa sings the war: fragments of the culture of war by the ancient world." Oficio. Revista de historia e interdisciplina, no. 5 (July 1, 2017): 21–34. http://dx.doi.org/10.15174/orhi.v0i5.34.

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Resumen. La guerra en el mundo antiguo fue densamente simbolizada en varios registros, penetró múltiples estratos de lo social. El presente escrito mostrará los diversos caminos que recorrió la tradición guerrera entre algunas de las más representativas fuentes literarias de la cultura griega antigua. La violencia militar fue una parte central en la construcción de los imaginarios y las prácticas de los sujetos. En el marco de una civilización agonística, permitió traducir la existencia social, tejiendo, por medio de sus símbolos, las distintas facetas del hombre. La guerra en la poesía adquir

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OLIVEIRA, GUSTAVO. "Histórias de Homero: um Balanço das Propostas de Datação dos Poemas Homéricos * Homer’s Histories: a Balance of the Dating Proposals of Homeric Poems." História e Cultura 1, no. 2 (2013): 126. http://dx.doi.org/10.18223/hiscult.v1i2.746.

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<p><strong>Resumo:</strong> A datação dos poemas homéricos é um assunto polêmico e repleto de dificuldades. Mesmo diante de tal cenário, sua utilização como fonte histórica tem ocorrido, em geral sem maiores considerações acerca da dificuldade de resolver problemas centrais para a maneira de como os poemas são contextualizados. O presente estudo tem como objetivo fazer um levantamento das possibilidades de abordagens históricas destes poemas, apontando as particularidades, os pressupostos e problemas relacionados a cada uma. Por fim é apresentada uma sugestão alternativa de a

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Piazzoli, Erika. "Ní Shíocháin, Tríona (2018). Singing Ideas: Performance, Politics and Oral Poetry. New York and Oxford: Berghahn." Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 1 (2018): 96–98. http://dx.doi.org/10.33178/scenario.12.1.8.

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Singing Ideas: Performance, Politics and Oral Poetry is a fascinating insight into the Irish tradition of singing and its potency to fuel political thought and identity, in the context of eighteenth-century Ireland. To that purpose, Tríona Ní Shíocháin takes us through an informed analysis of the lived-experience of one historical figure, the magnetic Máire Bhuí Ní Laeire (Yellow Mary O’Leary). One of the greatest Irish song poets of her time, Máire Bhuí Ní Laeire was born in 1774 and died during the Great Irish Famine in 1848. She is depicted as a charismatic woman who composed and sang anti-

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Hardie, Philip. "The speech of Pythagoras in OvidMetamorphoses15: EmpedocleanEpos." Classical Quarterly 45, no. 1 (1995): 204–14. http://dx.doi.org/10.1017/s000983880004180x.

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Ovidians continue to be puzzled by the 404-line speech put into the mouth of Pythagoras in book 15 of theMetamorphoses.Questions of literary decorum and quality are insistently raised: how does the philosopher's popular science consort with the predominantly mythological matter of the preceding fourteen books? Do Pythagoras' revelations provide some kind of unifying ground, a ‘key’, for the endless variety of the poem? Can one take the Speech as a serious essay in philosophical didactic, or is it all a mighty spoof, as intentionally laughable, perhaps, as the imperial panegyric with which the

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Ábel, Török. "Hősköltemény a Moreai Krónikában. Geoffroy de Bruyères vitézsége." Antik Tanulmányok 65, no. 1 (2021): 31–56. http://dx.doi.org/10.1556/092.2021.00003.

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A tanulmány annak a Moreai Krónikában ránk maradt egyedülálló irodalmi alkotásnak, középgörög „hőskölteménynek” eredetét és jellegzetességeit vizsgálja, amelynek főhőse a pelagóniai ütközetben vitézkedő Geoﬀroy de Bruyères.2 Bár a szakirodalomban egyetértés van abban, hogy az epizódnak valószínűleg népköltészeti háttere lehet, egyes kérdések – így többek között a fellelhető irodalmi áthallások, az intertextuális összefüggések és nem utolsósorban a (krónika)írói szándékok – nincsenek érdemben feltárva. A tanulmány elsőként a Moreai Krónika keletkezésének történeti hátterét mutatja be röviden, a

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Myers, Sara. "The Metamorphosis of a Poet: Recent Work on Ovid." Journal of Roman Studies 89 (November 1999): 190–204. http://dx.doi.org/10.2307/300740.

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It is by now obvious that Ovidian studies have ‘arrived’, apologies are no longer issued, nor are defences launched at the beginning of books. The nineties alone have seen so far the appearance of over fifty new books on Ovid in English, French, Italian, and German, and not just on the Metamorphoses, but on the Fasti, the Amores and Ars Amatoria, and the exile poetry, including the little known Ibis. Most importantly, there is a flourishing growth industry in commentaries on all of Ovid's works, with a greatly anticipated forthcoming commentary from Italy on the Metamorphoses authored by an in

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Mironov, Arseny S. "The unique concept ofglory: Devaluation ofthevalue ofpersonal fame in the Russian folk epics." Literature at School, no. 5, 2020 (2020): 9–23. http://dx.doi.org/10.31862/0130-3414-2020-5-9-23.

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The article is dedicated to the concept of glory, which should be placed among the main concepts of the world’s folk epics. According to the author’s analysis (undertaken through the axiological, comparative-historical, and historical-genetic methods), glory – as rendered in Homer’s Iliad and Odyssey, The Mahābhārata, European and Oriental medieval epics, etc. – is most often related to the rumors about a concrete hero and emerges as a substitute of individual immortality or as a pledge of postmortem beatitude. Among nearly all known works of heroic poetry, only the Russian folk epics are fund

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Evangelista Lopes, Caroline. "O tempo verbal na poesia homérica." CODEX – Revista de Estudos Clássicos 2, no. 1 (2010): 74. http://dx.doi.org/10.25187/codex.v2i1.2822.

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<div class="page" title="Page 74"><div class="layoutArea"><div class="column"><p><span>Em qualquer enunciação, a localização temporal dos eventos não ocorre somente por meio do uso dos tempos verbais. Ela se dá através da relação dos tempos entre si e da sua relação com o momento de enunciação. No caso da poesia homérica, o contexto de enunciação coincide com o momento de composição diante da audiência, o que, junto com a <em>enargeia</em>, resulta em um uso específico dos tempos verbais na estruturação da narrativa épica. Baseando-se nessa característ

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"I. The Greeks and their Past." New Surveys in the Classics 31 (2001): 9–18. http://dx.doi.org/10.1017/s0533245100030637.

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Centuries before the first historian put pen to papyrus, Greek poets sang the great deeds of their ancestors. These songs have vanished and what we have is the result of a centuries-long tradition of oral poetry, two massive epics under the name of ‘Homer’, one the story of the events in the last year of the long conflict between the Greeks and the Trojans, the other a tale of wanderings and adventure, with the eventual successful homecoming of one of those heroes. The narrator of theIliadalready has a sense of history, a sense that the deeds he narrates occurred long ago, and that those who a

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Moran, Jerome. "The Composition and Transmission of the Homeric Poems: A Summary." Journal of Classics Teaching, August 3, 2021, 1–2. http://dx.doi.org/10.1017/s2058631021000416.

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If the modern oral hypothesis, beginning in the 1920s (see 17 below), about the composition of early Greek epic poetry is correct (a ‘paradigm shift’ in Homeric studies according to Casey Dué), there were many poets who over centuries, beginning perhaps in the middle-to-late Bronze Age, composed in performance many different versions of epic poems, including poems about the Trojan War, and including the subject matter of the Iliad and the Odyssey, vestiges of which survive on papyrus fragments and in the manuscripts of later authors. But the versions of the Iliad and the Odyssey that we have w

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Boron, Lukasz. "The Language and Genealogy of Early Spy Cinema." Kinema: A Journal for Film and Audiovisual Media, November 20, 2010. http://dx.doi.org/10.15353/kinema.vi.1217.

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THE LANGUAGE AND GENEALOGY OF EARLY SPY CINEMA: 1919-1959 AbstractThe following paper is a genre-specific study of early spy cinema that traces the language and genealogy of the genre from its conception to its modernity, in the films of Hitchcock, Reed, Wilder, Huston, and Fuller. Focusing on American and German film tradition, this paper examines espionage cinema from 1919-1959. The origins of the hero are briefly examined through a historical framework that traces his lineage and literary sources of influence to: epic poetry and Byronism, mythology, folklore, legend, oral tradition and earl

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