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Relevant bibliographies by topics / Hellenistic poetry

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Academic literature on the topic 'Hellenistic poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2025

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Journal articles on the topic "Hellenistic poetry"

1

Falivene, M. Rosaria, and G. O. Hutchinson. "Hellenistic Poetry." Quaderni Urbinati di Cultura Classica 35, no. 2 (1990): 144. http://dx.doi.org/10.2307/20547056.

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Schade, Gerson. "Hellenistic mimetic poetry." Symbolae Philologorum Posnaniensium Graecae et Latinae 27, no. 1 (June 15, 2016): 5. http://dx.doi.org/10.14746/sppgl.2017.xxvii.1.1.

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Goldhill, Simon. "Framing and polyphony: readings in Hellenistic poetry." Proceedings of the Cambridge Philological Society 32 (1986): 25–52. http://dx.doi.org/10.1017/s0068673500004818.

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‘Then babble, babble words, like the solitary child who turns himself into children, two, three…” Beckett.In this paper, I intend to discuss three central Hellenistic poems: Callimachus' Hymn to Zeus, Theocritus' Idyll 11 and Idyll 7. Each of these poems holds a privileged position in the discussion of the Hellenistic era as well as in each poet's corpus. I am certainly not offering here what could be called complete or exhaustive readings of these works – that would be far beyond the scope of a paper of this length; rather, I want to focus on a key point of interpretation in each poem. In the Hymn to Zeus, I am going to investigate the language of truth; in Idyll 11, the poem's structure of frame and song; and in Idyll 7, the poem's programmatic force. There are two aims in this strategy: the first is to investigate the topic of the ‘poet's voice’ in Hellenistic poetry. The three poems and the three topics of my discussion are linked in the concern for how a poet places himself within his poetry – ‘Who speaks?’, as Roland Barthes put it. The interest in poetry and how a poet relates to his poetry is a constant and fascinating theme through these works, and each of the topics I have chosen to discuss will illuminate this interest from a different aspect. Secondly, through a consideration of these three key moments of interpretation, I shall be arguing for an increased awareness of the complexity and subtlety of Hellenistic poetry. I intend to show how critics' approaches and decisions with regard to these nodes of interpretation, which may be regarded as paradigmatic, have led to a worrying oversimplification of Hellenistic poetry. I hope to show in some measure how the intellectual complexity which makes these poems so hard to read and to criticize, can also be a source of their continuing interest and delight for us.

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Clack, Jerry, and Barbara Hughes Fowler. "Hellenistic Poetry: An Anthology." Classical World 85, no. 2 (1991): 143. http://dx.doi.org/10.2307/4351056.

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Barbantani, Silvia. "HELLENISTIC POETRY AND PROPAGANDA." Classical Review 53, no. 2 (October 2003): 312–13. http://dx.doi.org/10.1093/cr/53.2.312.

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Volk, Katharina. "‘HELLENISTIC POETRY FOR GROWN-UPS’." Classical Review 53, no. 1 (April 2003): 28–29. http://dx.doi.org/10.1093/cr/53.1.28.

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Kayachev, Boris. "CATALEPTON 9 AND HELLENISTIC POETRY." Classical Quarterly 66, no. 1 (March 31, 2016): 180–204. http://dx.doi.org/10.1017/s0009838816000070.

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The dating of Catalepton 9 has been the central issue of scholarship on that poem. The more particular questions of the poem's authorship, the identity of the addressee, and its chronological relation to other texts, both depend on and contribute to ascertaining the date of composition. The clearest exposition of the problem remains that by Richmond. Evidence provided by Catalepton 9 falls into two categories: literary and historical. Literary evidence encompasses two kinds of data: various formal features of the text and intertextual links with other poetry. While the poem's metre, language and style suggest a relatively early date of composition (before the Eclogues), the close textual parallels with the Eclogues, interpreted as borrowings from rather than sources of Virgil's poetry, point in the opposite direction. Historical indications are likewise ambivalent. On the one hand, it seems likely that the addressee is M. Valerius Messalla Corvinus (cos. 31 b.c.) and, further, that the occasion of composition is his (only) triumph in 27 b.c. (Catalepton 9.3 uictor adest, magni magnum decus ecce triumphi). On the other hand, the allusions to his military achievements (4–5, 41–54) are both too vague and exaggerated, and, if taken literally, do not fit well our Messalla at any particular point of his career (nor any other known member of the family). Richmond, following Birt and followed by Schoonhoven, believed that at least some of the historical references are ‘intended to be prophetic’. More recently, Peirano has attempted to explain this lack of precision by arguing that Catalepton 9 is not a real-life panegyric but a later biographical fiction, the real focus of which ‘is to be found […] in the relationship that the poem constructs between Virgil and his patron’.

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Bowman, Laurel. "Nossis, Sappho and Hellenistic Poetry." Ramus 27, no. 1 (1998): 39–59. http://dx.doi.org/10.1017/s0048671x00001934.

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Nossis 11 (AP 7.718)Stranger, if you're sailing towards Mitylene of the beautiful dancesto draw inspiration from the flower of the graces of Sappho,say that I was dear to the Muses, and that the Locrian land bore me, and once you know that my name was Nossis, go.Reading is a difficult art. We read best, that is, not only with most sensitivity but with greatest pleasure, those texts which we have been taught to read well. Learning to read a new author, or in a new genre, is a great effort, the more difficult if it must be self-taught. Few readers are equipped to make the attempt wholly unaided. A new poet who wishes to become well-known does well to attempt visibly to attach her work to that of a canonical predecessor, to indicate how she wants her work to be read, and that it can be read with the critical tools already in the reader's possession.

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Mitchell, Bruce W. "Hellenistic Poetry - G. O. Hutchinson: Hellenistic Poetry. Pp. xii + 374. Oxford: Clarendon Press, 1988. £40." Classical Review 40, no. 1 (April 1990): 52–53. http://dx.doi.org/10.1017/s0009840x00252098.

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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.

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Dissertations / Theses on the topic "Hellenistic poetry"

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But, Ekaterina. "Eutrapelia: Humorous texts in Hellenistic poetry." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619032780255174.

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Constantinou, Maria. "Demeter in Hellenistic poetry : religion and poetics." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9943.

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The thesis examines the presence of Demeter in Hellenistic poetry, while it also considers the way contemporary Demeter cult informs the poetic image of the goddess. My research focuses on certain poems in which Demeter is in the foreground, that is, Philitas’ Demeter, Callimachus’ Hymn to Demeter, Theocritus’ Idyll 7, and Philicus’ Hymn to Demeter, supplemented by the epilogue of Callimachus’ Hymn to Apollo and Philicus’ Hymn to Demeter. The first part of my study is dedicated to the presentation of the evidence for Demeter’s role in the religious life of places that are directly or indirectly associated with the poems I discuss, that is, Egypt, Cyrene, Cos and Cnidus, in order to establish the cultic and historical framework within which Demeter’s literary figure appears. In the second part I closely examine the poems that feature Demeter and conclude that the goddess and motifs closely linked with her have poetological significance, which supports the view that Demeter functions as a symbol of poetics. Furthermore, I examine the social elements in the narrative of the most extant Hellenistic poem on Demeter, i.e. Callimachus’ Hymn to Demeter, and propose that these reflect Demeter’s role as a ‘social’ goddess.

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Morrison, Andrew Donald. "The narrator's voice : Hellenistic poetry and archaic narrative." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271310.

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Kidder, Kathleen. "Representations of Truth and Falsehood in Hellenistic Poetry." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1526315875733844.

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Coughlan, Taylor. "The Aesthetics of Dialect in Hellenistic Epigram." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459440096.

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Kampakoglou, Alexandros. "Studies in the reception of Pindar in Hellenistic poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f97a0403-6f42-41c5-bff2-f7b3991fc48b.

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This thesis examines the reception of Pindar in Hellenistic poetry. More specifically it examines texts of three major Hellenistic poets: Theocritus of Syracuse, Callimachus of Cyrene and Posidippus of Pella. The texts discussed have been selected on the basis of two principles: (i) genre and (ii) subject matter. They include texts that inscribe themselves in the tradition of encomiastic, and more specifically, Pindaric poetry either through the generic discourse which they partake in or through the employment of myths that Pindar had used in his own odes. Throughout the thesis it is argued that the connections with Pindaric passages are carried out on the basis of ‘allusions’ which are picked up by the readers. This term is employed to describe one of the ways in which intertextuality functions. Following the model of Conte and Barchiesi, the discussion insists on the distinction between allusions to specific Pindaric passages and allusions to epinician generic motifs that can best be illustrated through Pindaric passages. The aim of the discussion for each case of textual correspondence suggested is to describe the means whereby this connection is suggested to the reader and to propose a ‘meaning’ for it. In this sense, equal emphasis is given to the detailed examination of all texts that partake in the intertextual connection suggested, i.e. to Pindaric and Hellenistic alike.

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HATCH, JOEL SIMMONS. "POETIC VOICES AND HELLENISTIC ANTECEDENTS IN THE ELEGIES OF PROPERTIUS." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1166540258.

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Leventhal, Max Peter. "The literary past and the Hellenistic symposium." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273672.

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This thesis explores the presence of canonical texts in the Hellenistic period beyond individual reading habits. It utilises the interpersonal context of the symposium to understand the place and significance of literature as a social phenomenon. Methodologically, it combines art and text, synthesising literature which represents, and literature visualised and depicted at, Hellenistic symposia. My over-arching argument is not simply that the post-classical symposium persists, contrary to much scholarship which represents it as dead or as vain re-enactments. Rather, I claim that studying the Hellenistic symposium exposes the social mechanisms which ensured that a Greek literary past remained relevant even in the Hellenistic world. Chapter One discusses the historical shift from the Archaic and Classical symposium to the Hellenistic symposium, and defends the latter’s often-questioned existence. It also theorises a new approach for handling images and texts related to the Hellenistic symposium. the subsequent chapters offer case studies showing the utility of this approach. Chapter Two considers the reception of the Phaeacians in relation to the symposium and Chapter Three looks at the theatrical tradition. Chapter Four focuses on Callimachus’ Iambi and the Letter of Aristeas, texts which in different ways have the symposium as a structuring principle and are concerned with the literary past. The aim is to highlight how the argument obtains even when the symposium is an imagined, textual one. The Conclusion advances the thesis in two ways. First, it extends my argument beyond the Hellenistic period with a short study of the visual and verbal reception of the comic poet Menander at Late Antique symposia. Second, its theorises the greater significance of studying the literary past and the Hellenistic symposia for a wider conception of how literary reception works.

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Selzer, Christoph M. "Introduction and commentary on Nonnus' Dionysiaca Book 47.1-495." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302618.

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Kerkhecker, Arnd. "Callimachus' book of Iambi." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365349.

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Books on the topic "Hellenistic poetry"

1

Hutchinson, G. O. Hellenistic poetry. Oxford [England]: Clarendon Press, 1988.

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Groningen Workshops on Hellenistic Poetry (3rd 1996 Groningen, Netherlands). Genre in Hellenistic poetry. Groningen: Forsten, 1998.

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White, Heather. New essays in Hellenistic poetry. Amsterdam: Gieben, 1985.

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Neil, Hopkinson, ed. A Hellenistic anthology. Cambridge [Cambridgeshire]: Cambridge University Press, 1988.

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L, Hunter R., ed. Tradition and innovation in Hellenistic poetry. Cambridge, England: Cambridge University Press, 2004.

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Groningen Workshops on Hellenistic Poetry (8th : 2006 : Groningen, Netherlands), ed. Nature and science in Hellenistic poetry. Leuven [Netherlands]: Peeters, 2009.

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editor, Harder Annette, Regtuit, R. F. (Remco F.), editor, and Wakker G. C. editor, eds. Gods and religion in Hellenistic poetry. Leuven: Peeters, 2012.

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Groningen Workshop on Hellenistic Poetry (1st 1992 Groningen). Callimachus: Proceedings of the Groningen Workshops on Hellenistic Poetry. Groningen: Egbert Forsten, 1993.

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Groningen Workshop on Hellenistic Poetry (2nd 1994 Groningen). Theocritus: Proceedings of the Groningen Workshops on Hellenistic Poetry. Groningen: Egbert Forsten, 1996.

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Acosta-Hughes, Benjamin. Arion's lyre: Archaic lyric into Hellenistic poetry. Princeton, N.J: Princeton University Press, 2010.

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Book chapters on the topic "Hellenistic poetry"

1

Fantuzzi, Marco. "Sung Poetry." In A Companion to Hellenistic Literature, 181–96. Oxford, UK: Blackwell Publishing Ltd, 2014. http://dx.doi.org/10.1002/9781118970577.ch13.

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Ambühl, Annemarie. "Narrative Hexameter Poetry." In A Companion to Hellenistic Literature, 151–65. Oxford, UK: Blackwell Publishing Ltd, 2014. http://dx.doi.org/10.1002/9781118970577.ch11.

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Zanker, Graham. "The Hellenistic Theory of Pictorial Realism." In Realism in Alexandrian Poetry, 39–54. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003519928-2.

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Bulloch, A. W. "Hellenistic poetry." In The Cambridge History of Classical Literature, 541–621. Cambridge University Press, 1985. http://dx.doi.org/10.1017/chol9780521210423.019.

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HUBBARD, THOMAS K. "Hellenistic Poetry." In Homosexuality in Greece and Rome, 268–307. University of California Press, 2003. http://dx.doi.org/10.1525/california/9780520223813.003.0007.

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"Hellenistic Poetry." In Αἶνοι, Λόγοι, Μῦθοι, 230–57. BRILL, 1997. http://dx.doi.org/10.1163/9789004330306_012.

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"Hellenistic Poetry and Hellenistic Prose." In Hellenistic Studies at a Crossroads, 31–52. De Gruyter, 2014. http://dx.doi.org/10.1515/9783110342949.31.

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Rüpke, Jörg, and Sofia Bianchi Mancini. "2 Hellenistic epic poetry." In Ancient Epic Poetry, 45–46. Nomos Verlagsgesellschaft mbH & Co. KG, 2024. http://dx.doi.org/10.5771/9783748943730-45.

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Hunter, Richard. "The HesiodicCatalogueand Hellenistic poetry." In The Hesiodic Catalogue of Women, 239–65. Cambridge University Press, 2005. http://dx.doi.org/10.1017/cbo9780511482243.011.

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Thomas, Richard. "Horace and Hellenistic poetry." In The Cambridge Companion to Horace, 50–62. Cambridge University Press, 2007. http://dx.doi.org/10.1017/ccol0521830028.005.

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Conference papers on the topic "Hellenistic poetry"

1

Coin-Longeray, Sandrine. "The Lexicon of Wealth in Hellenistic Poetry: Between Continuity and Recomposition Τὸ Ἄφενος, and Ἀφνειός, η, ον." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.11-2.

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In my book Poésie de la richesse et de la pauvreté. Étude du vocabulaire de la richesse et de la pauvreté dans la poésie grecque antique, d'Homère à Aristophane : ἄφενος, ὄλβος, πλοῦτος, πενία, πτωχός (Publications de l’université de Saint-Étienne, 2014), the study in particular of the theme of wealth showed how closely its stylistic uses are connected to the socio-political contexts in which poetic practice is embedded. In the epic, wealth is glorifying for the hero and a marker of social status and quality: If the situation is comparable for the choral lyrics, in a context of sporting victory and tyrannical government, it appears very different in the Athenian theatre, where material prosperity questions inequalities and the democratic process. In Hellenistic poetry, the expression of wealth evolves in a world characterized by the extension of Greek culture, the restriction of political questioning and simultaneously the passage of «public» poetry made for the greatest number of people, and an elitist poetry largely based on a high cultural and literary level. I detail both the continuity (epic imitation with ἄφενος, tragic uses of ὄλβος) and the ruptures (remoteness of the lexical field of wealth for ὄλβος, and complete absence of πλοῦτος).

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