Relevant bibliographies by topics / Homer Greek poetry Epic poetry, Greek

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  2. Dissertations / Theses
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Academic literature on the topic 'Homer Greek poetry Epic poetry, Greek'

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Published: 4 June 2021
Last updated: 3 February 2022

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Journal articles on the topic "Homer Greek poetry Epic poetry, Greek"

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

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Homer's Iliad and Odyssey were created, probably in the second half of the 9th century BC, in the framework of the Greek epic tradition of oral formulaic poetry, which started in the Peloponnese in proto-Mycenaean times (c. 1600 BC). The epic verse, the dactylic hexameter, must have been taken over from the Minoan Cretans. Whereas most 19th century scholars were analysts, considering Homer's epics' conflations of older and more recent epic poems, most modern scholars are unitarians, recognizing the unity of both epics, thanks to modern insights in the nature of oral traditional poetry and to modern narratology. Although many modern scholars ascribe the Odyssey to a later poet than that of the Iliad, there are no convincing arguments against the Ancients' opinion that both epics are the work of one single poet called Homer. Both Iliad and Odyssey are characterized by the principle of ‘unity of action’, a principle not found in other ancient epic poetry. There are reasons to suppose that Homer learnt the art of epic versification in Smyrna, his native city, by listening to performances of Aeolic singers. Driven by Ionic self-consciousness he transposed the epic Aeolic Kunstsprache into Ionic, thus creating the so-called Homeric dialect. He could perform his monumental epics at great religious festivals and at the courts of princes. There is evidence that he gave performances in the island of Euboea, the only prosperous region of the contemporary Greek world, and that there his epics were eventually written down. Thus, Homer's epics are the end-point of the oral epic tradition and the starting point of written Greek and European literature.
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Nikolaev, Alexander. "The Aorist Infinitives in -EEIN in Early Greek Hexameter Poetry." Journal of Hellenic Studies 133 (2013): 81–92. http://dx.doi.org/10.1017/s0075426913000050.

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AbstractThis paper examines the distribution of thematic infinitive endings in early Greek epic in the context of the long-standing debate about the transmission and development of Homeric epic diction. There are no aorist infinitives in -έμεν in Homer which would scan as ◡◡ – before a consonant or caesura (for example *βαλέμεν): instead we find unexplained forms in -έειν (for example βαλέειν). It is argued that this artificially ‘distended’ ending -έειν should be viewed as an actual analogical innovation of the poetic language, resulting from a proportional analogy to the ‘liquid’ futures. The total absence of aoristic -έειν in Hesiod is unlikely to be coincidental: the analogical form must have been the product of a specifically East Ionic Kunstsprache, and so could have been simply unknown in some other Ionian school of epic poetry where Hesiod was trained. Finally, the striking avoidance of anapaestic aorist infinitives in -έειν is argued to be explained better under the ‘diffusionist’ approach to the Aeolic elements in Homeric diction than under the ‘Aeolic phase’ theory.
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Duev, Ratko. "The Family of Zeus in Early Greek Poetry and Myths." Classica Cracoviensia 22 (October 29, 2020): 121–44. http://dx.doi.org/10.12797/cc.20.2019.22.05.

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The Family of Zeus in Early Greek Poetry and Myths In early epic poetry it is evident that certain differences exist in both traditions, mainly due to the fact that Homer’s epic poems were written on the western coast of Asia Minor and the surrounding islands, while Hesiod’s poems were composed on mainland Greece. From the analysis, it becomes clear that the development of the cult of an Indo-European Sky Father differs significantly from the assumed Proto-Indo-European tradition. His family is completely different from that in the Indo-European tradition. His wife is the goddess Hera, whom Homer calls ‘old’, as opposed to the Hesiodic tradition, in which Hestia and Demeter are older than her. Homer makes no mention whatsoever of Hestia. The ‘daughters of Zeus’ are the goddesses Athena and Aphrodite, and the ‘son of Zeus’ is Apollo. The family of Zeus according to Homer also differs from the archaeological findings of the tradition on land. Hera of Samos bears no resemblance to Hera of Argos. The oldest large temples are connected to her, as well as to the memory of Oceanus and Thetis as parents to the gods, which is a direct influence of the Mesopotamian myths of Apsu and Tiamat. Homer’s Zeus from Mount Ida, Hera of Samos, Apollo of Cilla, and Tenedus and Artemis of Ephesus are closer to the Anatolian tradition.
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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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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.
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Gagné, Renaud. "The Poetics of exôleia in Homer." Mnemosyne 63, no. 3 (2010): 353–80. http://dx.doi.org/10.1163/156852510x456156.

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AbstractThe notion of delayed generational punishment, or ancestral fault, has a long history in Greek literature. The identification of its earliest attestations in the Archaic period is contested, especially its presence in Homeric poetry. This paper aims to show that delayed generational punishment does indeed appear in Homer, where it is, however, confined to one context: the great oath of exôleia of Iliad 3.298-301 and 4.155-65. The institutional and ritual context of the generational oath is essential to understanding this earliest Greek attestation of ancestral fault, and making sense of the idea’s larger significance for narrative perspective, divine justice, and temporal order in the Homeric epic.
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Ferdous, Mafruha. "Reading Homer’s The Iliad in 21st Century." Advances in Language and Literary Studies 8, no. 2 (April 30, 2017): 101. http://dx.doi.org/10.7575/aiac.alls.v.8n.2p.101.

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Homer's Iliad refers to an epic story written by the ancient Greek poet Homer, which makes an account of the most significant events that earmarked the very last days which defined the Trojan War and the Greek siege of the city of Troy. Troy was also known as Ilium, Ilion, or Ilois in the past. Having made to center around the events of the Trojan War, Homer’s Iliad is a work of art that paints to all of us interested in literature, what really happened in the past. The paper purposes to provide invaluable insights regarding the significance of Homer’s Iliad today and what it teaches us about poetry and the ancient culture of the Greeks.
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Sifakis, G. M. "Formulas and their relatives: a semiotic approach to verse making in Homer and modern greek folksongs." Journal of Hellenic Studies 117 (November 1997): 136–53. http://dx.doi.org/10.2307/632553.

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In a book I published a few years ago, entitledTowards a Poetics of Modern Greek Folksong, I examined certain aspects of the poetics of modern folksongs in the light of the ‘oral composition theory’ of Homeric poetry, originally expounded by Milman Parry in the late twenties and early thirties and subsequently elaborated by Albert B. Lord. In this paper I propose to follow the opposite course, and inquire whether some of my findings regarding the verse-making techniques of the modern folksongs could be applied to the Homeric epics, and whether they could be made to cast some additional light on the making of ancient epic poetry. More specifically, in my study of formular and otherwise similar verses in the folksongs, I was able to distinguish five degrees of kinship, as it were, or of decreasing similarity, from identical formulas to sense units of similar type. Can a comparable scale of similarities be found in Homer, and, if it can, could it be used in modern discussions of ancient epic versification and composition, without further encumbering a terminology that is not always clear or generally agreed upon? The purpose of this exercise is not merely taxonomic; by using some basic concepts of structural linguistics as tools, I think we may perhaps come a little closer to understanding the verse-making process, which is a prerequisite for understanding Homer's manner of composition and, in the last analysis, his ‘creativity’ or even ‘originality’ vis à vis the tradition to which he belonged.
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Horsfall, Nicholas. "Virgil and The Poetry of Explanations." Greece and Rome 38, no. 2 (October 1991): 203–11. http://dx.doi.org/10.1017/s0017383500023585.

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The indebtedness of theAeneidto Homer in terms of plot and structure has been analysed in minute detail, and the hunt is indeed by no means at an end. Here and there, notably but not exclusively inAeneid4, long narrative sequences have been followed back to Apollonius Rhodius. Isolated episodes have been identified as owing much to Greek tragedy. But the pursuit of Virgil's principal narrative sources, already undertaken with furious critical acerbity in antiquity, is perhaps too heavily committed to a limited quantity of likely literary models and to certain patterns of enquiry, though these last have changed a good deal in recent years. If I seem to grumble about a narrowness of outlook that becomes at times oppressive and about the danger of conclusions ever more forced and improbable if we continue barking up the same few trees, it is because (i) I have worked on and off for nearly twenty-five years onAeneid7, where Virgil's sources are as mixed, complex and anomalous as they ever become and because (ii) I published recently a study (Vergilius35 (1989), 8–27) of narrative sequences inAeneid, which seemed to point strongly towards Virgil's attentive reading of Greek colonization stories. This is not the place to continue my one-man pursuit of Herodotus and Pindar in theAeneid?but it is high time that we looked at certain large narrative structures in the epic and asked whether we have really been framing the right questions about them.
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Franek, Juraj. "Invocations of the Muse in Homer and Hesiod: A Cognitive Approach." Antichthon 52 (2018): 1–22. http://dx.doi.org/10.1017/ann.2018.8.

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AbstractIn this paper, I offer a cognitive analysis of the invocations of the Muse in earliest Greek epic poetry that is based on recent advances in cognitive science in general and the cognitive science of religion in particular. I argue that the Muse-concept most likely originated in a feeling of dependence on an external source of information to provide the singer with the subject matter of their song. This source of information is conceptualised as an ontological type (or template) ‘person’ by means of the hyperactive agency detection, and the Muse’s full access to strategic information, along with other characteristics, establishes her as a minimally counter-intuitive concept (that is to say a concept that conforms to most of our intuitive expectations and runs counter to a few of them), which, in turn, significantly increases the probability of the acquisition and transmission of the Muse-concept within the culture.
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Dissertations / Theses on the topic "Homer Greek poetry Epic poetry, Greek"

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Marks, James Richard. "Divine plan and narrative plan in archaic Greek epic /." Digital version:, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3026208.

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Daskalopoulos, Anastasios A. "Homer, the manuscripts, and comparative oral traditions /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953854.

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Nikolaev, Alexander Sergeevich. "Diachronic Poetics and Language History: Studies in Archaic Greek Poetry." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10489.

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The broad objective of this dissertation is an interdisciplinary study uniting historical linguistics, classical philology, and comparative poetics in an attempt to investigate archaic Greek poetic texts from a diachronic perspective. This thesis consists of two parts. The first part, “Etymology and Poetics”, is devoted to several cases where scantiness of attestation and lack of semantic information render traditional philological methods of textual interpretation insufficient. In such cases, the meaning of a word has to be arrived at through linguistic analysis and verified through appeal to related poetic traditions, such as that of Indo-Iranian. Chapter 1 proposes a new interpretation for the enigmatic word ἀάατο̋, the Homeric epithet of the waters of the Styx, which is shown to have meant ‘sunless’. Chapter 2 deals with the word ἀριδείκετο̋, argued to mean ‘famous’: this solution finds support in the use of the root *dei̯k- in the poetic expression “to show forth praise”, found in Greek choral lyric and the Rigveda. Chapter 3 investigates the history of the verbs ἰάπτω ‘to harm’ and ἰάπτω ‘to send forth (to Hades)’. Chapter 4 improves the text of Pindar (O. 6.54), restoring a form ἀπειράτωι. Chapter 5 discusses the difficult word ἀμαυρό̋, establishing for it a meaning ‘weak’ and proposing a new etymology. Finally, Chapter 6 places Alc. 34 in the context of comparative mythology, with the object of reconstructing the history of the Lesbian lyric tradition. The second part, “Grammar of Poetry”, shifts the focus of the inquiry from comparative poetics to the language of early Greek poetry and its use. Chapter 7 addresses the problematic Homeric aorist infinitives in -έειν, showing how these artificial forms were created by allomorphic remodeling driven by metrical necessity; the problem is placed in the wider context of the debate about the transmission and development of Homeric epic diction. The metrical and linguistic facts relating to the distribution of infinitives are further discussed in Chapter 8, where it is argued that the unexpected Aeolic form νηφέμεν in Archil. 4 should be viewed as an intentional allusion to the epic tradition, specifically, the famous midsummer picnic scene in Hesiod.
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DiLorenzo, Kate. ""To share in the roses of Pieria" relationships to the Muses' gift in the epic poets and Sappho /." Diss., Connect to the thesis, 1992. http://hdl.handle.net/10066/1475.

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Goussias, Giannoula. "Heroes and heroic life in the Iliad and Akritic folk-song /." Title page, table of contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09ARM/09armg717.pdf.

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Platt, Mary Hartley. "Epic reduction : receptions of Homer and Virgil in modern American poetry." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:9d1045f5-3134-432b-8654-868c3ef9b7de.

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The aim of this project is to account for the widespread reception of the epics of Homer and Virgil by American poets of the twentieth century. Since 1914, an unprecedented number of new poems interpreting the Iliad, Odyssey and Aeneid have appeared in the United States. The vast majority of these modern versions are short, combining epic and lyric impulses in a dialectical form of genre that is shaped, I propose, by two cultural movements of the twentieth century: Modernism, and American humanism. Modernist poetics created a focus on the fragmentary and imagistic aspects of Homer and Virgil; and humanist philosophy sparked a unique trend of undergraduate literature survey courses in American colleges and universities, in which for the first time, in the mid-twentieth century, hundreds of thousands of students were exposed to the epics in translation, and with minimal historical contextualisation, prompting a clear opportunity for personal appropriation on a broad scale. These main matrices for the reception of epic in the United States in the twentieth century are set out in the introduction and first chapter of this thesis. In the five remaining chapters, I have identified secondary threads of historical influence, scrutinised alongside poems that developed in that context, including the rise of Freudian and related psychologies; the experience of modern warfare; American national politics; first- and second-wave feminism; and anxiety surrounding poetic belatedness. Although modern American versions of epic have been recognised in recent scholarship on the reception of Classics in twentieth-century poetry in English, no comprehensive account of the extent of the phenomenon has yet been attempted. The foundation of my arguments is a catalogue of almost 400 poems referring to Homer and Virgil, written by over 175 different American poets from 1914 to the present. Using a comparative methodology (after T. Ziolkowski, Virgil and the Moderns, 1993), and models of reception from German and English reception theory (including C. Martindale, Redeeming the Text, 1993), the thesis contributes to the areas of classical reception studies and American literary history, and provides a starting point for considering future steps in the evolution of the epic genre.
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Silverblank, Hannah. "Monstrous soundscapes : listening to the voice of the monster in Greek epic, lyric, and tragedy." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:f66a7bb1-de17-46f2-b79f-c671c149c366.

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Although mythological monsters have rarely been examined in any collective and comprehensive manner, they constitute an important cosmic presence in archaic and classical Greek poetry. This thesis brings together insights from the scholarly areas of 'monster studies' and the 'sensory turn' in order to offer readings of the sounds made by monsters. I argue that the figure of the monster in Greek poetry, although it has positive attributes, does not have a fixed definition or position within the cosmos. Instead of using definitions of monstrosity to think about the role and status of Greek monsters, this thesis demonstrates that by listening to the sounds of the monster's voice, it is possible to chart its position in the cosmos. Monsters with incomprehensible, cacophonous, or dangerous voices pose greater threats to cosmic order; those whose voices are semiotic and anthropomorphic typically pose less serious threats. The thesis explores the shifting depictions of monsters according to genre and author. In Chapter 1, 'Hesiod's Theogony: The Role of Monstrosity in the Cosmos', I consider Hesiod's genealogies of monsters that circulate and threaten in the nonhuman realm, while the universe is still undergoing processes of organisation. Chapter 2, 'Homer's Odyssey: Mingling with Monsters', discusses the monster whom Odysseus encounters and even imitates in order to survive his exchanges with them. In Chapter 3, 'Monsters in Greek Lyric Poetry: Voices of Defeat', I examine Stesichorus' Geryoneis and the presence of Centaurs, Typhon, and Gorgons in Pindar's Pythian 1, 2, 3, and 12. In lyric, we find that these monsters are typically presented in terms of the monster's experience of defeat at the hands of a hero or a god. This discussion is followed by two chapters that explore the presence of the monster in Greek tragedy, entitled 'Centripetal Monsters in Aeschylus' Prometheus Bound and Oresteia' and 'Centrifugal Monsters in Greek Tragedy: Euripides and Sophocles.' Here, I argue that in tragedy the monster, or the abstractly 'monstrous', is located within the figure of the human being and within the polis. The coda, 'Monstrous Mimesis and the Power of Sound', considers not only monstrous voices, but monstrous music, examining the mythology surrounding the aulos and looking at the sonic developments generated by the New Musicians.
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Harden, Sarah Joanne. "Self-referential poetics : embedded song and the performance of poetry in Greek literature." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:69380265-1014-4965-bc6a-32dbc244721a.

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This thesis is a study of embedded song in ancient Greek narrative poetry. The introduction defines the terminology (embedded song is defined as the depiction of the performance of a poem within a larger poem, such as the songs of Demodocus in Homer’s Odyssey) and sets the study in the context of recent narratological work done by scholars of Classical literature. This section of the thesis also contains a brief discussion of embedded song in the Homeric epics, which will form the background of all later examples of the motif. Chapter 1 deals with embedded song in the Homeric Hymns and Hesiod’s Theogony. It is argued that the occurrence of embedded song across these poems indicates that the motif is a traditional feature of early Greek hexameter poetry, while the possibility of “inter-textual” allusion between these poems is considered, but finally dismissed. Chapter 2 focuses on Pindar, Bacchylides and Corinna, and explores how lyric poets use this motif in the various sub-genres of Greek lyric. In epinician poetry, it is argued that embedded song is used as a strategy of praise and also to boost the authority of the poet-narrator by association with the embedded performers, who can be seen to have in each case a particular source of authority distinct from that of the poet narrator. Chapter 3 considers the Hellenistic poets Apollonius Rhodius and Theocritus, and how their interest in depicting oral poetry meshes with their identity as literate and literary poets. Appendix I gives a list of all the examples of embedded song I have found in Greek poetry. Appendix II gives an account of Pindar’s Hymn to Zeus, a highly fragmentary poem which almost certainly contained an embedded song, analysing this as an example of the difficulties thrown up by lyric fragments for a study of embedded narratives.
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Fish, Jeffrey Brian. "Philodemus, De bono rege secundum Homerum : a critical text with commentary (cols. 21-39) /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Fox, Peta Ann. "Heroes at the gates appeal and value in the Homeric epics from the archaic through the classical period." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002168.

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This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.
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Books on the topic "Homer Greek poetry Epic poetry, Greek"

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Ancient epic poetry: Homer, Apollonius, Virgil. Ithaca: Cornell University Press, 1993.

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A, Heiden Bruce, ed. The poetry of Homer. Lanham, Md: Lexington Books, 2003.

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Vivante, Paolo. Homer. New Haven: Yale University Press, 1985.

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Seeck, Gustav Adolf. Homer: Eine Einführung. Stuttgart: Reclam, 2004.

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Seeck, Gustav Adolf. Homer: Eine Einführung. Stuttgart: Reclam, 2004.

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Rutherford, R. B. Homer. Oxford: Published for the Classical Association, Oxford University Press, 1996.

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Rouse, W. H. D. Homer, The Odyssey: The story of Odysseus. New York: A Mentor Book, 1995.

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Griffin, Jasper. Homer, The Odyssey. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Homer: The poetry of the past. Ithaca: Cornell University Press, 1992.

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Neun Leben des Homer: Eine Übersetzung und Erläuterung der antiken Biographien. Hamburg: Kovac, 2013.

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Book chapters on the topic "Homer Greek poetry Epic poetry, Greek"

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"Epic and Elegiac Poetry Homer." In Space in Ancient Greek Literature, 19–38. BRILL, 2012. http://dx.doi.org/10.1163/9789004224384_003.

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"17. Meta-Cyclic Epic and Homeric Poetry." In Homer and Early Greek Epic, 169–81. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110671452-017.

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"Landscapes in Greek epic." In Structures of Epic Poetry, 303–24. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-049.

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"Prophecies in Greek epic." In Structures of Epic Poetry, 597–614. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-058.

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"Time in Greek epic." In Structures of Epic Poetry, 183–214. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-045.

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"Messenger scenes in Greek epic." In Structures of Epic Poetry, 481–500. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-055.

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Jeffreys, Elizabeth. "17 Medieval Greek Epic Poetry." In Medieval Oral Literature, edited by Karl Reichl. Berlin, Boston: DE GRUYTER, 2011. http://dx.doi.org/10.1515/9783110241129.459.

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"Theomachy in Greek and Roman epic." In Structures of Epic Poetry, 283–316. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-031.

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"‘Almost-episodes’ in Greek and Roman epic." In Structures of Epic Poetry, 565–608. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-017.

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"Naval battles in Greek and Roman epic." In Structures of Epic Poetry, 317–54. De Gruyter, 2019. http://dx.doi.org/10.1515/9783110492590-032.

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You might also be interested in the extended bibliographies on the topic 'Homer Greek poetry Epic poetry, Greek' for particular source types:
Journal articles Dissertations / Theses Books
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