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Journal articles on the topic 'Greek poetry'

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Published: 4 June 2021

Last updated: 3 March 2023

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1

Ghosh, Ritwik. "Contemporary Greek Poetry as World Literature." International Journal of English and Comparative Literary Studies 2, no. 3 (April 22, 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 Greek poetic production but to show how Greek poetic tradition continues to expand beyond national boundaries.

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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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 (October 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 69, no. 1 (March 7, 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 reason to dismiss the evidence that the novels provide. On the contrary, the seven main chapters provide ‘readings of the Greek novels that establish Latin poetry…as an essential frame of reference’ (2). In Chapters 1–3 Chariton engages with the love elegy of Propertius, Ovid and Tibullus, with Ovid's epistolary poetry and the poetry of exile, and with the Aeneid. In Chapters 4–5 Achilles Tatius engages with Latin elegy and (again) the Aeneid, and also with the ‘destruction of bodies’ (221) in Ovid, Lucan, and Seneca. In Chapter 7 Longus engages with Virgil's Eclogues and the Aeneid. The strength of the evidence requires only a brief conclusion. Jolowicz's rigorously argued and methodologically convincing monograph deserves to be read widely, and with close attention.

6

Andrade, Tadeu. "Insularity and the Unique Position of Aeolic Song in Archaic Greek Poetry." Mare Nostrum 12, no. 2 (August 4, 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 as one of the reasons for the singularity of this poetry.

7

Giangrande, Giuseppe. "Written Composition and Early Greek Lyric Poetry." Emerita 82, no. 1 (June 2, 2014): 149–51. http://dx.doi.org/10.3989/emerita.2014.07.1312.

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8

Heath, Malcolm. "Greek Literature." Greece and Rome 63, no. 2 (September 16, 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 presented in the first three chapters; four chapters examine early Greek poetry. Two formal aspects are selected for analysis (hymnic openings and negative predication), and two particular passages: the birth of Aphrodite in Theogony 195–206, and the mention of a dream interpreter in Iliad 1.62–4. In this last case, Metcalf acknowledges the possibility of transmission, while emphasizing the process of ‘continuous adaptation and reinterpretation’ (225) that lie behind the Homeric re-contextualization. In general, though, his detailed analyses tend to undermine the ‘argument by accumulation’ by which West and others have tried to demonstrate profound and extensive Eastern influence on early Greek poetry. Metcalf finds no evidence for formal influence: ‘in the case of hymns, Near Eastern influence on early Greek poetry was punctual (i.e. restricted to particular points) at the most, but certainly not pervasive’ (3). His carefully argued case deserves serious attention.

9

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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10

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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11

Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (October 25, 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, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’ (i.e. lyric poets such as Stesichorus, who writes ‘epic’ aretalogies).

12

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 poetry, namely the so-called ‘Nonnian manner’ or ‘modern style’, stems from a longtime sedimentation and perfectioning of linguistic and stylistic features which can be traced back to the Hellenistic age. Albert Wifstrand, in his seminal book of 1933, already pointed to this major fact, which Mary Whitby has systematically dealt with in an important article of 1994. Moreover, recent studies demonstrate that for a proper understanding of late antique poetry one must take into account Christian poetic production as well, which stands four-square within the traditions of Greek literature (in spite of the fact that classical = pagan is an equation which dies hard for some classicists). In the present paper both pagan and Christian epigrams will be considered to equally represent the aesthetics of late antiquity (or estetica antico-bizantina, to use Averincev's terminology).

13

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 fields of research that have been recently, or could be fruitfully, applied to early Greek lyric poetry include historical narratology, diachronic narratology, and cognitive poetics. In order to illustrate some of these developments and potential, I summarize recent approaches to the problem of the poetic ›I‹ in Pindar, including my own model, and suggest the more general phenomenon of underdetermined reference as a possible topic for future research on different branches of lyric poetry.

14

Currie, Bruno. "Intertextuality in Early Greek Poetry: The Special Case of Epinician." Trends in Classics 13, no. 2 (November 1, 2021): 289–362. http://dx.doi.org/10.1515/tc-2021-0011.

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Abstract This paper offers a reappraisal of the role of intertextuality in fifth-century BCE epinician poetry by means of a comparison with the role of intertextuality in all of early Greek hexameter poetry, ‘lyric epic’, and fifth-century BCE tragedy and comedy. By considering the ways in which performance culture as well as the production of written texts affects the prospects for intertextuality, it challenges a scholarly view that would straightforwardly correlate intertextuality in early Greek poetry with an increasing use and dissemination of written texts. Rather, ‘performance rivalry’ (a term understood to encompass both intra- and intergeneric competition between poetic works that were performed either on the same occasion or on closely related occasions) is identified as a plausible catalyst of intertextuality in all of the poetic genres considered, from the eighth or seventh century to the fifth century BCE. It is argued that fifth-century epinician poetry displays frequent, fine-grained, and allusive intertextuality with a range of early hexameter poetry: the Iliad, the poems of the Epic Cycle, and various ‘Hesiodic’ poems – poetry that in all probability featured in the sixth-fifth century BCE rhapsodic repertoire. It is also argued that, contrary to what is maintained in some recent Pindaric scholarship, there is no comparable case to be made for a frequent, significant, and allusive intrageneric intertextuality between epinician poems: in this respect, the case of epinician makes a very striking contrast with epic, tragedy, and comedy – poetic genres to which intrageneric intertextuality was absolutely fundamental. It is suggested that the presence or absence of intrageneric intertextuality in the genres in question is likely to be associated with the presence or absence of performance rivalry. A further factor identified as having the potential to inhibit intrageneric intertextuality in epinician is the undesirability of having one poem appear to be ‘bettered’ by another in a genre were all poems were commissioned to exalt individual patrons. This, again, is a situation that did not arise for epic, tragedy, or comedy, where a kind of competitive or ‘zero-sum’ intertextuality could be (and was) unproblematically embraced. Intertextuality in epinician thus appears to present a special case vis-à-vis the other major poetic genres of early Greece, whose workings can both be illuminated by consideration of the workings of intertextuality in epic, tragedy, and comedy, and can in turn illuminate something of the workings of intertextuality in those genres.

15

Loginov, Alexandr Vladimirovich, and Artem Aleksandrovich Trofimov. "Solon’s poetry in light of comparative-historical linguistics." Филология: научные исследования, no. 4 (April 2020): 13–30. http://dx.doi.org/10.7256/2454-0749.2020.4.32783.

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The subject of this research is the heritage of Indo-European poetics in works of the Ancient Greek poet Solon. The object of this research is the elegies and fragments of his hexametric oeuvres. The authors examine such aspects of the topic as: 1) retention in Solon’s poetry of the structures similar to exposition of hymns in Ancient Greek and Ancient Indian traditions; 2) preservation of stylistic figures widely represented in the poetry of ancient Indo-European peoples; 3) preservation of poetic expressions and mythological ideas that may date back to Indo-European times. For achieving the set goals, the author employ the methods of text hermeneutics, semantic analysis, and comparative-historical linguistics. The following conclusions are made: in the corpus of Solon’s texts there are fragments very similar to expositions of hymns in the Ancient Greek and Vedic traditions; Solon’s poetry contains stylistic approaches that can be reconstructed to the level of Indo-European poetics; poetic expressions and mythological representations dated back to Indo-European times are retained in Solon’s texts.

16

Mitchell, Jack. "The Culture of the Ancient Epithet: Gerard Manley Hopkins and the Translation of Imagination." Translation and Literature 22, no. 2 (July 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 record that he interpreted the Iliad's traditional epithets contextually and not merely lexically. Analogically, we may imagine Greek audiences as projecting their own personal contexts and experience into the interpretation of the traditional compound epithets of Bacchylides 17.

17

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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18

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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19

Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Judging Innovation (τὸ καινόν) in Greek Musical Pedagogy." Greek and Roman Musical Studies 7, no. 1 (March 21, 2019): 21–32. http://dx.doi.org/10.1163/22129758-12341332.

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Abstract The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from pre-Homeric epic poetry to the lyric poetry of the fourth century BC. Importantly, the work also contains an evaluation of the role of music in the process of educating and training citizens. Pseudo-Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

20

Graff, Richard. "Prose versus Poetry in Early Greek Theories of Style." Rhetorica 23, no. 4 (2005): 303–35. http://dx.doi.org/10.1525/rh.2005.23.4.303.

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Abstract The rise of prose in Greece has been linked to broader cultural and intellectual developments under way in the classical period. Prose has also been characterized as challenging poetry's traditional status as the privileged expression of the culture. Yet throughout the classical period and beyond, poetry was still regularly invoked as the yardstick by which innovation was measured. This paper investigates how poetry figures in the earliest accounts of prose style. Focusing on Isocrates, Alcidamas, and Aristotle, it argues that although each author distinguishes between the styles of prose and poetry, none is able to sustain the distinction consistently. The criteria for what constitutes an acceptable level of poeticality in prose were unstable. The diverse conceptions of poetic style were tied to intellectual polemics and professional rivalries of the early- to mid-fourth century bce and reflect competing aims and ideals for rhetorical performance in prose.

21

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 (May 15, 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 the poet achieve his goal. In order to show the similarity, many Greek and Arab philosophers/poets shall be referred to in the discussion. The methodology used shall be descriptive and analytical in nature.

22

Münz-Manor, Ophir. "Liturgical Poetry in the Late Antique Near East." Journal of Ancient Judaism 1, no. 3 (May 6, 2010): 336–61. http://dx.doi.org/10.30965/21967954-00103005.

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The article presents a contemporary view of the study of piyyut, demonstrating that Jewish poetry of late antiquity (in Hebrew and Aramaic) was closely related to Christian liturgical poetry (both Syriac and Greek) and Samaritan liturgy. These relations were expressed primarily by common poetic and prosodic characteristics, derived on the one hand from ancient Semitic poetry (mainly biblical poetry), and on the other from innovations of the period. The significant connections of content between the different genres of poetry reveal the importance of comparative study. Thus the poetry composed in late antiquity provides additional evidence for the lively cultural dialogue that took place at that time.

23

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 argued that the implied view of literature which emerges from Euripidean tragedy is both coherent and conventional. As a critic, Euripides, far from being a radical or aggressively modern figure (as he is often portrayed), is in fact distinctly conservative, looking back in every respect to the earlier Greek poetic tradition.

24

Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica." Peitho. Examina Antiqua 8, no. 1 (October 24, 2017): 379–90. http://dx.doi.org/10.14746/pea.2017.1.24.

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The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

25

Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica." Peitho. Examina Antiqua, no. 1(8) (October 24, 2017): 379–90. http://dx.doi.org/10.14746/peitho.2017.12238.

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The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.

26

Dougherty, Carol. "Archaic Greek foundation poetry: questions of genre and occasion." Journal of Hellenic Studies 114 (November 1994): 35–46. http://dx.doi.org/10.2307/632732.

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From the eighth to the sixth centuries BCE the Greeks settled an astounding number of new cities on foreign lands from the Black Sea to the coast of Spain, and these new civic foundations generated narratives designed to record and celebrate a city's origin. In general, the Greeks loved to speculate about beginnings; the births of heroes, the origins of cults, and the founding of cities all formed part of their aetiological repertoire. While tales of city foundations appear prominently in archaic literature, I will argue that foundation (or ktisis) poetry does not, as is commonly assumed, function as an autonomous literary genre in the archaic period. Genre is determined by type of occasion, not by content, at this time, and there is no evidence for any one specific occasion for which ktisis poetry was intentionally composed and performed. Instead, the foundation narrative always functions as part of a larger project; we find it embedded in many different poetic genres. For these reasons, the ktisis is better understood as a literary topos or theme which adds geographical detail and aetiological focus to a variety of poetic contexts and thus is performed on more than one occasion.

27

O’Connell, Peter A. "Homer and his Legacy in Gregory of Nazianzus’ ‘On his own Affairs’." Journal of Hellenic Studies 139 (September 20, 2019): 147–71. http://dx.doi.org/10.1017/s0075426919000673.

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AbstractThis paper investigates how Gregory of Nazianzus imitates and responds to the Greek literary tradition in the autobiographical poem ‘On his own affairs’ (2.1.1). Through six case studies, it contributes to the ongoing re-evaluation of Gregory’s literary merit. With learning, wit, subtle humour and faith, Gregory adapts and reinvents earlier poetry to express Christian themes. Imitation is at the heart of his poetic technique, but his imitations are never straight-forward. They include imitating both Homer and other poets’ imitations of Homer, learned word-play and combining references to non-Christian literature and the Septuagint. Gregory’s references add nuance to ‘On his own affairs’ and give pleasure to readers trained to judge poetry by comparing it to earlier poetry, especially the Homeric epics. They also demonstrate the breadth of his scholarship, which extends to Homeric variants, Platonic epigrams and the entirety of the New Testament and Septuagint. Above all, Gregory insists that he is a rightful participant in a living poetic tradition. He writes Greek poetry for the fourth century AD, just as Oppian did in the second century and Apollonius and Callimachus did in the Hellenistic period.

28

Sifakis, G. M. "Homemric Survivals in the Medíeval and Modern Greek Folksong Tradition?" Greece and Rome 39, no. 2 (October 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 hypothetical and uncertain.

29

Claude, Calame. "Il soggetto che si dice nella poesia melica greca. Finzione enunciatva, immagini poetiche e pragmatica." PARADIGMI, no. 3 (November 2009): 85–99. http://dx.doi.org/10.3280/para2009-003007.

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- Poetic images and Pragmatics Starting from Benveniste's analyses of historical enunciation, the nature of pronouns and the subjectivity of language, this essay focuses on that the kind of subjectivity implied in much Greek lyric poetry, especially in Pindar. By means of discursive tools, the narration builds an exclusively verbal image of the "I", which comes before any reference to elements external to the text. In this way, the "I" stands for an enunciative, pragmatic and polyphonic subject: it is, indeed, the actor (singer, tragic actor, choral group) of a ritualized situation. This performative identity is different from the author of the written text. In Greek poetry, the written text is above all a speech-act, mostly a song-act. This raises the problem of the difference - and of the relation - between the author's biographic subjectivity and the identity created by the linguistic devices in the text. Using different images: chariots, ceremonial processions, Calame's analysis focuses on the metaphorical identification between poetic song and journey.Key words: Enunciation, Image, Metaphor, Poetry, Pragmatics, Subjectivity.Parole chiave: Enunciazione, Immagine, Metafora, Poesia, Pragmatica, Soggettivitŕ. Vedere come.

30

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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31

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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32

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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33

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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34

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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35

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

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36

Hordern, J. H. "Two notes on Greek dithyrambic poetry." Classical Quarterly 48, no. 1 (May 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.

37

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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38

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

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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 (December 20, 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 different genres. Thus has it been pointed out on some occasions, although the critics have scarcely pursued the consequences. Here my proposal consists of investigating the dynamics of the formulaic diction of oral poetry of the genealogical type, based on information provided in this regard by the Hesiodic poems of the Theogony, and above all, of the Catalogue of Women.

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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 ‘poetry translator’ not always central. The study draws on data consisting of Modern Greek into English poetry translators’ responses to a survey, of paratexts created by Modern Greek into English translators and of ten interviews. Cultural and educational capitals are examined in their institutionalized, objectified and embodied form as bearers of symbolic capital. Three overlapping categories are explored: the translators’ connection to poetry and the source culture, translator education and translator self-description. The translators’ “extratextual visibility” (Koskinen 2000 as cited in Chesterman 2018: 446) is also analyzed as it forms part of the translators’ embodied cultural and symbolic capital. This empirical exploration offers insights into the variety of attitudes and approaches to poetry translation; the emerging patterns map out profiles of a group of contemporary poetry translators, investigate the realities of the craft and re-position poetry translation practitioners with respect to other translation professionals.

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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 poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.

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Middleton, Fran. "THE POETICS OF LATER GREEK ECPHRASIS: CHRISTODORUS COPTUS, THE PALATINE ANTHOLOGY AND THE PERIOCHAE OF NONNUS’ DIONYSIACA." Ramus 47, no. 2 (December 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 late antiquity has yet to receive the level of attention offered to Latin literature of this time, and so it is to help answer the question of what may be thought special about late antique Greek poetry that I here discuss the poetics of later Greek ecphrasis.

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Riaz, Sana, Ayaz Ahmad Aryan, and Marina Khan. "Analyzing Hellenistic Elements in Keatsâs Poetry- with Special Reference to His Tales in Verse." Global Social Sciences Review VII, no. I (March 30, 2022): 455–62. http://dx.doi.org/10.31703/gssr.2022(vii-i).42.

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This study incorporates elements of myths and feministic beauty in inter-contextual structure in John Keats' poetry. This research is majorly concerned with the use of ancient Greek mythology and the elements of feminine beauty in Keats' mythological poetry. The study investigates Keats's search for truthfulness and beauty, his identification of love for poetry and his creation of his poetic genius with special reference to feminine beauty in his poetic works. The research is descriptive and qualitative in nature the framework is established by reviewing related poems and previous literature. Thus the data is generated from two main sources, the primary source which includes the selected poetry of John Keats and the secondary source which includes reviews of previous literary work. The Textual Analysis Method of Research is followed as the theoretical framework of Hellenism that comprehends a certificate for the conclusion of research problems.

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Padel, Ruth. "Homer's Reader: A reading of George Seferis." Proceedings of the Cambridge Philological Society 31 (1985): 74–132. http://dx.doi.org/10.1017/s0068673500004764.

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The reader I have in mind is a poet. My immediate interest is the example he provides of a writer's relationship with her or his reading. My aim is double: to suggest both that Homer illuminates the work of the later poet and that the later poetry can function as an interpretation of Homer which offers even to a scholar valuable ways of reading the epics, especially the Odyssey. Accordingly, I shall usually offer translations both of the modern and of the ancient Greek, since not all classicists know modern Greek intimately and those who study modern Greek do not always know the ancient language well.Let us begin by reading one of Seferis' best-known poems. He wrote it in the Thirties and many contemporary poetic influences, both French and English, are at work in it. But I want to read it now from a special perspective, which I shall argue was crucial to Seferis through all his work. I shall read it as a search for a significant but bearable relationship in his own poetry with Homer and, through Homer, with the whole ancient poetic tradition.

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Galicia Lechuga, David. "Amor y la inspiración poética." Acta Poética 42, no. 1 (January 13, 2021): 87–112. http://dx.doi.org/10.19130/iifl.ap.2021.1.0886.

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Love’s personification has modeled the conception of love poetry since Antiquity. This article focuses on a little-known aspect of this personified figure. It will show that the process of poetic creation focused on the lyrical self is based on a profound relationship of the self with Love in its role as the inspiration of passion and writing. It will be observed how this idea begins with Greek poetics and how it was developed in three literary moments: the Latin elegy, Medieval lyric and Petrarchan poetry.

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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. Many of these verbal interventions are competitive. Comedy reinforces the prevalence of an ethos of entertainment, corroborating the telling of fables and adding creditable anecdotes about one's career, singing skolia,and playing games of "comparisons" and riddles.

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Wright, Matthew. "POETS AND POETRY IN LATER GREEK COMEDY." Classical Quarterly 63, no. 2 (November 8, 2013): 603–22. http://dx.doi.org/10.1017/s000983881300013x.

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The comic dramatists of the fifth centuryb.c.were notable for their preoccupation with poetics – that is, their frequent references to their own poetry and that of others, their overt interest in the Athenian dramatic festivals and their adjudication, their penchant for parody and pastiche, and their habit of self-conscious reflection on the nature of good and bad poetry. I have already explored these matters at some length, in my study of the relationship between comedy and literary criticism in the period before Plato and Aristotle. This article continues the story into the fourth century and beyond, examining the presence and function of poetical and literary-critical discourse in what is normally called ‘middle’ and ‘new’ comedy.

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

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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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Greene, Robin J. "Post-Classical Greek Elegy and Lyric Poetry." Brill Research Perspectives in Classical Poetry 2, no. 2 (June 17, 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.