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Journal articles on the topic 'Greek poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Heath, Malcolm. "Greek Literature." Greece and Rome 69, no. 1 (2022): 135–39. http://dx.doi.org/10.1017/s0017383521000280.

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The influence of Greek poetry on Latin poetry is well known. Why, then, is the reciprocal influence of Latin poetry on Greek not so readily discernible? What does that reveal about Greek–Latin bilingualism and biculturalism? Perhaps not very much. The evidence that Daniel Jolowicz surveys in the densely written 34-page introduction to his 400-page Latin Poetry in the Ancient Greek Novel amply testifies to Greek engagement with Latin language and culture on a larger scale than is usually recognized. That this engagement is more readily discernible in Greek novels than in Greek poetry is no reas

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2

WILLETT, STEVEN J. "Anthologizing Greek Poetry." Arion: A Journal of the Humanities and the Classics 18, no. 3 (2010): 163–79. http://dx.doi.org/10.1353/arn.2010.0044.

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3

Knox, Bernard, Albin Lesky, and Matthew Dillon. "Greek Tragic Poetry." Classical World 78, no. 3 (1985): 229. http://dx.doi.org/10.2307/4349745.

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4

West, M. L. "EARLY GREEK POETRY." Classical Review 50, no. 2 (2000): 402–3. http://dx.doi.org/10.1093/cr/50.2.402.

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5

Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 2 (2016): 251–55. http://dx.doi.org/10.1017/s0017383516000127.

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Let us begin, as is proper, with the gods rich in praise – or, more precisely, with The Gods Rich in Praise, one of three strikingly good monographs based on doctoral theses that will appear in this set of reviews. Christopher Metcalf examines the relations between early Greek poetry and the ancient Near East, focusing primarily on hymnic poetry. This type of poetry has multiple advantages: there is ample primary material, it displays formal conservatism, and there are demonstrable lines of translation and adaptation linking Sumerian, Akkadian, and Hittite texts. The Near Eastern material is p

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6

Clayman, Dee L. "Sigmatism in Greek Poetry." Transactions of the American Philological Association (1974-) 117 (1987): 69. http://dx.doi.org/10.2307/283960.

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7

Thalmann, William G., and David Mulroy. "Early Greek Lyric Poetry." Classical World 87, no. 6 (1994): 522. http://dx.doi.org/10.2307/4351591.

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8

Giangrande, Giuseppe. "Written Composition and Early Greek Lyric Poetry." Emerita 82, no. 1 (2014): 149–51. http://dx.doi.org/10.3989/emerita.2014.07.1312.

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9

Ghosh, Ritwik. "Contemporary Greek Poetry as World Literature." International Journal of English and Comparative Literary Studies 2, no. 3 (2021): 71–78. http://dx.doi.org/10.47631/ijecls.v2i3.247.

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In this paper, I argue that Greek poetry is a living tradition characterized by a diversity of voices and styles and that Greek poetry is a vital part of contemporary World Literature. The diversity of voices in contemporary Greek poetry gives it both aesthetic value and political relevance. Greek poetry, as it survives translation into a number of languages, including English, gives us a model for the successful translation of texts in both World literature and Comparative literature. A thematic analysis of some poems is presented in this paper. The aim is not to chronicle the contemporary Gr

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10

Bashir, Burhan. "Insanity or Inspiration: A Study of Greek and Arab Thoughts on Poetry." Arab World English Journal For Translation and Literary Studies 5, no. 2 (2021): 115–25. http://dx.doi.org/10.24093/awejtls/vol5no2.9.

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The nexus between poetry, insanity, and inspiration is peculiar and can be traced back to earlier centuries. There are many examples in Greek and Arab literature where poetry is believed to have connections with divinity, possession, or even madness. The paper will try to show what Greeks and Arabs thought about the origin and the creation of poetry. It will attempt to show how early mythology and legends of both assign a supernatural or abnormal source to poetry. References from these two cultures will show the similarity in some theories like that of muses and supernatural beings, helping th

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11

Donlan, Walter, and Barbara Hughes Fowler. "Archaic Greek Poetry: An Anthology." Classical World 89, no. 3 (1996): 227. http://dx.doi.org/10.2307/4351790.

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12

Arkins, Brian. "Greek Myth in Latin Poetry." Syllecta Classica 5, no. 1 (1994): 17–28. http://dx.doi.org/10.1353/syl.1994.0001.

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13

Kennedy, Catherine Louise. "Sappho through Mimesis, a Pedagogical Approach to Teaching Poetry." English Journal 104, no. 4 (2015): 26–31. http://dx.doi.org/10.58680/ej201527038.

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14

Andrade, Tadeu. "Insularity and the Unique Position of Aeolic Song in Archaic Greek Poetry." Mare Nostrum 12, no. 2 (2021): 79–114. http://dx.doi.org/10.11606/issn.2177-4218.v12i2p79-114.

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Archaic Greek poetry was a multiple phenomenon: different areas developed diverse, though interrelated genres. This article comments on the unique position Aeolic mélos had in the archaic Greek song tradition. Firstly, it points to Sappho and Alcaeus’ somewhat ambivalent reception by ancient authors. Secondly, it shows how different aspects of their corpus exhibit a pattern of communication with other Greek poetry, while maintaining its own particularities. This unique status is demonstrated by an analysis of Aeolic poetic formulae. Finally, the article proposes the insular geography of Lesbos

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15

Middleton, Fran. "THE POETICS OF LATER GREEK ECPHRASIS: CHRISTODORUS COPTUS, THE PALATINE ANTHOLOGY AND THE PERIOCHAE OF NONNUS’ DIONYSIACA." Ramus 47, no. 2 (2018): 216–38. http://dx.doi.org/10.1017/rmu.2018.15.

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There is increasing interest in what might be thought ‘special’ about late antique poetry. Two volumes of recent years have focused on Latin poetry of this time, Classics Renewed: Reception and Innovation in the Latin Poetry of Late Antiquity edited by Scott McGill and Joseph Pucci (2016) as well as The Poetics of Late Latin Literature edited by Jaś Elsner and Jesús Hernández Lobato (2017), while it has become increasingly acceptable to remark on late antiquity as a cultural period in its own right, rather than a point of transition between high antiquity and the middle ages. Greek poetry of l

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16

E. Bush, R. Mansilla. "Increase of Complexity from Classical Greek to Latin Poetry." Complex Systems 14, no. 3 (2024): 201–13. http://dx.doi.org/10.25088/complexsystems.14.3.201.

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In this paper a method is developed to analyze the increase of complexity from classical Greek poetry to classical Latin poetry by mapping large samples of poems onto a symbolic time series. This mapping setup intends to characterize the regular succession of rhythms, that is, the patterns of stressed and unstressed syllables in a verse. Using techniques from information theory; more precisely, the mutual information function, it is shown how the rhythmical patterns in Greek poetry evolve to more complex behavior in Latin poetry. Some interesting results are reported.

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17

Benzi, Nicolò. "The Redefinition of Poetic Authority in Early Greek Philosophical Poetry." Dialogues d'histoire ancienne 44/2, no. 2 (2018): 15. http://dx.doi.org/10.3917/dha.442.0015.

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18

Georgiou, Nadia. "Regarding Symbolic Capital: Poetry Translators from Modern Greek into English." HERMES - Journal of Language and Communication in Business, no. 58 (December 22, 2018): 99–115. http://dx.doi.org/10.7146/hjlcb.v0i58.111676.

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 The research object of this study is the symbolic capital of poetry translators and how it shapes and is being shaped by the current practices and self-descriptions of translators of Modern Greek poetry into English. A number of case studies indicate that people who translate poetry come from a variety of backgrounds, including those of a poet and an academic, which often do not include any formal translation training (Hofstadter 1997; Waldinger 2003; Bullock 2011; Isaxanli 2014). It also appears to be common that translators of poetry have a number of complementary roles, with that of

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19

Kubina, Krystina, and Nikos Zagklas. "Greek Poetry in a Multicultural Society: Sicily and Salento in the Twelfth and Thirteenth Centuries." Medieval Encounters 30, no. 5-6 (2024): 638–87. http://dx.doi.org/10.1163/15700674-12340200.

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Abstract In the twelfth and thirteenth centuries, southern Italy experienced a period of relative political stability and economic prosperity under the Normans as well as the Hohenstaufen dynasty that succeeded them. These cultural conditions fostered a cultural resurgence, which included the composition of Greek poetry. Poets in Sicily wrote from within a multicultural context, including the presence of Arabic- and Latin-speaking communities. Many of their poems illustrate the generative intersections between the Byzantine-Constantinopolitan, Latin, and Arabic traditions. Later in Salento, po

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20

Kokoris, Dimitris. "Criticising the Critic: The Greek Modernist Poet G.T. Vafopoulos on Greek Literary Critic Antreas Karantonis." Cultural Intertexts 10, The Roaring (20)20s (2020): 86–94. https://doi.org/10.5281/zenodo.4322253.

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Was the chief literary critic of the 1930’s, Antreas Karantonis (1910-1982), spiteful and unfair in his critical texts about the poetry of G.T. Vafopoulos (1903-1996) and was Karantonis a critic who adapted to the poetic evolution? The prominent poet of the 1930’s generation has expressed the opinion that Karantonis has been unfair to his poetry but research on the critical texts shows that, besides the negative views, Karantonis also expressed some positive ones regarding Vafopoulos’ poetry. In addition, the constant critical adaptability that comes as a result of the critic

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21

Bowman, Laurel. "The "Women's Tradition" in Greek Poetry." Phoenix 58, no. 1/2 (2004): 1. http://dx.doi.org/10.2307/4135194.

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22

Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry." L'antiquité classique 80, no. 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.3798.

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23

Sage, Paula Winsor, and Charles Segal. "Interpreting Greek Tragedy: Myth, Poetry, Text." Classical World 81, no. 4 (1988): 326. http://dx.doi.org/10.2307/4350215.

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24

Lidov, Joel B. "Alternating Rhythm in Archaic Greek Poetry." Transactions of the American Philological Association (1974-) 119 (1989): 63. http://dx.doi.org/10.2307/284261.

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25

Rojcewicz *, Stephen. "Poetry therapy in ancient Greek literature." Journal of Poetry Therapy 17, no. 4 (2004): 209–13. http://dx.doi.org/10.1080/0889367042000325076.

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26

Hordern, J. H. "Two notes on Greek dithyrambic poetry." Classical Quarterly 48, no. 1 (1998): 289–91. http://dx.doi.org/10.1093/cq/48.1.289.

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The fragment is preserved in two sources, Clement of Alexandria's Miscellanies, Strom. 5.14.112 (ii.402 Stählin), which gives the order of words printed above, and Eusebius' Praep. Evang. 13.680c, in which the second line is given as . The latter reading was preferred by Bergk, but there seems at first little reason to prefer one order over the other. I shall return to this issue shortly.

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27

Tedeschi, Gennaro, and Ch Segal. "Interpreting Greek Tragedy. Myth, Poetry, Text." Quaderni Urbinati di Cultura Classica 31, no. 1 (1989): 149. http://dx.doi.org/10.2307/20546987.

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28

Henderson, William J. "Family Values in Greek Lyric Poetry." Acta Patristica et Byzantina 21, no. 2 (2010): 74–94. http://dx.doi.org/10.1080/10226486.2010.11879119.

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29

Pontani, Filippomaria. "Bronze Heaven in Archaic Greek Poetry." L'antiquité classique 80, no. 1 (2011): 157–62. http://dx.doi.org/10.3406/antiq.2011.4014.

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30

Heilen, Stephan. "Greek and Latin Astrological Poetry Reconsidered." Aestimatio: Sources and Studies in the History of Science 4 (May 9, 2025): 1–74. https://doi.org/10.33137/aestimatio.v4.44725.

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A discussion of La poésie astrologique dans la littérature grecque et latine by Vanessa Monteventi that contextualizes this meritorious yet imperfect monograph in modern research on ancient astrological poetry and focuses on the whole range of its philological, astronomical, and astrological aspects. It is shown that Monteventi’s title promises a broader perspective than what her book actually covers. A more fitting title would be La poésie didactique astrologique dans la littérature grecque et latine de l’Antiquité. Numerous poems relevant to her actual title yet not taken into account by the

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31

Bzinkowski, Michał, and Rita Winiarska. "Images of Sculptures in the Poetry of Giorgis Manousakis." Classica Cracoviensia 19 (December 31, 2016): 5–14. http://dx.doi.org/10.12797/cc.19.2016.01.

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The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan po

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32

Egorova, L. V. "Contemporary Greek prose: An anthology; Contemporary Greek poetry: An anthology." Voprosy literatury, no. 1 (August 15, 2023): 209–14. http://dx.doi.org/10.31425/0042-8795-2023-1-209-214.

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The review discusses two anthologies of contemporary Greek literature (prose and poetry), comprising works of the authors distinguished with the country’s State Prize for Literature in the years from 2010 to 2018. The two books succeed in capturing the multidimensional character of Greece’s modern life and literature in small forms (short stories, novellas and poems). The first anthology features short stories and novellas by fourteen authors. The second contains works by twenty poets, each represented by five poems. While some authors were rewarded for their literary debut, others received th

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33

Kuhn-Treichel, Thomas. "Performanz, Textualität und Kognition." POEMA 1, no. 1 (January 2023): 25–37. http://dx.doi.org/10.38072/2751-9821/p3.

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This paper traces recent developments in the study of early Greek lyric poetry and suggests some tracks that could be followed in the near future. Research on early Greek lyric poetry has undergone significant change over the last five decades. From the 1970ies onwards, scholars tended to emphasize the performative context of the songs, including its social or cultic function. Only in recent years have interpreters started to rediscover the textual dimension of the poems, i.e. their status as literary texts that were intended to be received beyond their primary performance. Other vibrant field

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34

Davies, M. "Monody, Choral Lyric, and the Tyranny of the Hand-Book." Classical Quarterly 38, no. 1 (1988): 52–64. http://dx.doi.org/10.1017/s0009838800031268.

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Open any history or hand-book of Greek literature in general, or Greek lyric in particular, and you will very soon come across several references to monody and choral lyric as important divisions within the broader field of melic poetry. And the terms loom larger than the mere question of handy labels: they permeate and pervade the whole approach to archaic Greek poetry. Chapters or sub-headings in literary histories bear titles like ‘Archaic choral lyric’ or ‘Monody’. Indeed it is possible to write a whole book and call it Early Greek Monody. Diehl's Anthologia Lyrica Graeca was structured ar

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35

Dobre, Angela Anca. "The Destiny in the Tomitan Funerary Poetry." Analele Universităţii "Dunărea de Jos" din Galaţi Fascicula XIX Istorie 8 (November 27, 2009): 257–62. http://dx.doi.org/10.35219/history.2009.12.

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The destiny is a favorite topic in the Greek and Latin mythology, which defines it as a divine independent body, superior to all deities of the Panthenon, „dictating” the facts even to Zeus. The Greek theatre illustrates the best the relationship between destiny and the individual freedom (to see the Greek drama authors: Eschil, Sophocle, Euripide). The Romans believed as well in Destiny seeing him as a personal genius, supreme judge of everyone’s life. The Greek colony and then the metropolis of the Left Pont, Tomis was perfectly framed into the Greek philosophical-religious system, Hellenist

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36

Ermolaeva, Elena. "Neo-Hellenic poetry in Russia: Antonios Palladoklis (1747–1801) and Georgios Baldani (about 1760–1789)." Hyperboreus 25, no. 2 (2019): 375–86. https://doi.org/10.36950/dwta5502.

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The article deals with the tradition of versiﬁcation in ancient Greek in Russia. The author looks at the work of two almost forgotten native Greek, Russian subject poets, Antonios Palladoklis and Georgios Baldani, who completed laudatory and occasional odes in ancient Greek with Russian poetic translations en regard for Empress Catherine II, Potemkin, the Orlovs and other nobles. After the Russian victories in the Turkish war (1768–1774) Greeks hoped that Catherine II would free Greece from Muslim Turks and restore Hellenism. The author provides a small selection of their poetry in ancient Gre

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37

Bowie, Ewen L. "Greek Table-Talk before Plato." Rhetorica 11, no. 4 (1993): 355–71. http://dx.doi.org/10.1525/rh.1993.11.4.355.

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Abstract: This essay analyses conversation at archaic and classical Greek banquets and symposia, using first epic, then elegiac and lyric poetry, and finally Old Comedy. Epic offers few topics, mostiy arising from the situation of a guest. Those of sympotic poetry, from which prose exchanges may cautiously be inferred, are more numerous:reflection, praise of the living and the dead, consolation of the bereaved, proclamations of likes and dislikes, declarations of love,narrative of one's own erotic experiences or (scandalously) of others',personal criticism and abuse, and the telling of fables.

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38

Donelli, Giulia. "Archaic Poetry, Epigraphical Letters and Early Greek Literary Prose." Mnemosyne 78, no. 2 (2025): 298–324. https://doi.org/10.1163/1568525x-bja10310.

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Abstract Ancient Greece developed prose as a medium for intellectual expression only after centuries of reliance on poetry for authoritative public speech. The impact of this centuries-long predominance of poetry on early literary prose is traceable both in a deliberate engagement with traditional poetry, and in the adoption of comparable enunciative strategies. After reviewing select examples from the extant corpus of archaic poetry, this paper draws a comparison between select inscriptional and non-inscriptional prose evidence. It then brings poetic and prose sources together to highlight sh

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39

Surin, О. A. "Ancient Greek Ideas about the Pelasgians in the Archaic and Classical Periods." Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 165, no. 4-5 (2024): 66–78. http://dx.doi.org/10.26907/2541-7738.2023.4-5.66-78.

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This article uses ancient Greek epic poetry, tragedy, and lyrics to describe how the Greeks treated the Pelasgians in the Archaic and Classical periods and provides a glimpse into the role assigned to them by the Hellenic authors. The evolution of the ancient Greeks’ ideas about the Pelasgians in the Archaic and Classical periods is traced. The place of the ethnonym of the Pelasgians in ancient Greek culture is outlined. The references to the Pelasgians in epic literature are examined. The image of the Pelasgians in tragedy and lyrics is reconstructed. The method of comparative analysis was em

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40

Quayle, Jonathan. "Directing the ‘Unfinished Scene’: Utopia and the Role of the Poet in Shelley's Hellas." Romanticism 26, no. 3 (2020): 280–91. http://dx.doi.org/10.3366/rom.2020.0478.

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Hellas; A Lyrical Drama (1822) reveals profound tensions in Shelley's thinking about the role that poets play in writing the future. In the Preface, Shelley invokes his ‘poet's privilege’ to imagine the outcome of the ‘unfinished scene’ – the ongoing Greek War of Independence – but the final chorus, which begins by triumphantly announcing the return of a ‘great age’, also voices an anxiety that it may be impossible to imagine a future that is unbound by the failures of the past. This essay examines the ways in which Shelley imagines the outcome of the Greek War in Hellas, especially in dialogu

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41

Blyth, Dougal. "Political Technê: Plato and the Poets." Polis 31, no. 2 (2014): 313–51. http://dx.doi.org/10.1163/20512996-12340019.

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Plato’s treatment of poetry is usually discussed without reference to other contemporary reception of Greek poetry, leading to divergent political or aesthetic accounts of its meaning. Yet the culture of the Greek polis, in particular Athens, is the defining context for understanding his aims. Four distinct points are made here, and cumulatively an interpretation of Plato’s opposition to poetry: on the basis of other evidence, including Aristophanes’ Frogs, that Plato would quite reasonably understand poetry to claim the craft of looking after a city (political technê); that Socrates makes a r

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42

Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (2018): 208–31. http://dx.doi.org/10.1515/phil-2018-0005.

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AbstractThe article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero (or god) through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on heroic aretalogies, and on Heracleids and Theseids in particular

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43

Agosti, Gianfranco. "Literariness and Levels of Style in Epigraphical Poetry of Late Antiquity." Ramus 37, no. 1-2 (2008): 191–213. http://dx.doi.org/10.1017/s0048671x00004975.

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Nowadays, scholars usually speak of a ‘renaissance’ of poetry in the Greek literature of late antiquity, underlining at the same time the new relevance of poetic communication in late antique society and the renewal of our interest in this not so well-known production of late Greek literature. Renaissance and related terms are, of course, effective ways to describe the flowering of Greek poetry from the fourth to sixth centuries CE, so long as this does not undervalue the importance of continuity (which is not the same as tradition). Even the most significant innovation in late antique Greek p

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44

Berman, Daniel W. "Eroticism in Ancient and Medieval Greek Poetry." Comparative Literature Studies 43, no. 1-2 (2006): 197–200. http://dx.doi.org/10.2307/25659519.

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45

Kowerski, Lawrence. "Early Greek Hexameter Poetry by Peter Gainsford." Classical Journal 113, no. 3 (2017): 378–81. http://dx.doi.org/10.1353/tcj.2017.0006.

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46

Greene, Robin J. "Post-Classical Greek Elegy and Lyric Poetry." Brill Research Perspectives in Classical Poetry 2, no. 2 (2021): 1–130. http://dx.doi.org/10.1163/25892649-12340004.

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Abstract This volume traces the development of Greek elegy and lyric in the hands of Hellenistic and Roman-era poets, from literary superstars such as Callimachus and Theocritus to more obscure, often anonymous authors. Designed as a guide for advanced students and scholars working in adjacent fields, this volume introduces and explores the diverse body of surviving later Greek elegy and lyric, contextualizes it within Hellenistic and Roman culture and politics, and surveys contemporary critical interpretations, methodological approaches, and avenues for future study.

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47

Berman, Daniel W. "Eroticism in Ancient and Medieval Greek Poetry." Comparative Literature Studies 43, no. 1-2 (2006): 197–200. http://dx.doi.org/10.2307/complitstudies.43.1-2.0197.

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48

Hawkins, Tom. "Agamben, “Bare Life,” and Archaic Greek Poetry." Mouseion 15, no. 1 (2018): 49–70. http://dx.doi.org/10.3138/mous.15.1.5.

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49

Madden, John A., and J. C. B. Petropoulos. "Eroticism in Ancient and Medieval Greek Poetry." Classics Ireland 11 (2004): 111. http://dx.doi.org/10.2307/25528408.

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50

Robinson, Christopher. "Musicality in Modern Greek Poetry 1900–1930." Byzantine and Modern Greek Studies 14, no. 1 (1990): 224–39. http://dx.doi.org/10.1179/byz.1990.14.1.224.

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