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Journal articles on the topic 'Iliad'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Shapovalova, A. A. "Klein, L. (2019). The Iliad: An epic and history. St. Petersburg: Eurasia. (In Russ.)." Voprosy literatury, no. 6 (December 28, 2020): 280–83. http://dx.doi.org/10.31425/0042-8795-2020-6-280-283.

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The Iliad: An Epic and History [‘Iliada’: epos i istoriya] is the last book by L. Klein, a prominent Russian historian, archaeologist, philologist, and the founder of theoretical archaeology. The book was originally conceived as the third part of a larger research project, The Iliad Deciphered [Rasshifrovannaya ‘Iliada’]. The Iliad: An Epic and History includes important additions to The Iliad’s Anatomy [Anatomiya ‘Iliady’], with references to its tables and maps, as well as to Disembodied Heroes [Besplotnye geroi]. Klein analyzes how frequently epithets were used with city names and names of

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2

McCoskey, Denise E. "Reading Cynthia and Sexual Difference in the Poems of Propertius." Ramus 28, no. 1 (1999): 16–39. http://dx.doi.org/10.1017/s0048671x00001806.

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‘she is always and never the same’(advertising slogan for ‘Contradiction’, a ‘fragrance for women’ by Calvin Klein, 1999)In the first poem of his second book, Propertius presents an emphatic declaration of his status as a love poet, slyly incorporating a detailed recusatio to Maecenas, who he claims has requested that he compose epic instead. Later in the poem, Propertius' preference for elegy over epic seems to be echoed by the predilections of his lover Cynthia, who, as Propertius insists, finds the entire Iliad distasteful. According to Propertius, Cynthia's aversion to the poem emerges fro

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3

Farrell, Alan F., Homer, Stanley Lombardo, and Sheila Murnaghan. "Iliad." Journal of Military History 61, no. 3 (1997): 602. http://dx.doi.org/10.2307/2954038.

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4

deForest Lord, George, Martin Mueller, Tom Winnifrith, Penelope Murray, and K. W. Gransden. "The Iliad." Modern Language Review 82, no. 1 (1987): 153. http://dx.doi.org/10.2307/3729920.

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5

Keller, Harold. "Iliad Drawings." Arion: A Journal of the Humanities and the Classics 24, no. 3 (2016): 75–86. http://dx.doi.org/10.1353/arn.2016.0014.

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6

Rose, Peter W., and Martin Mueller. "The Iliad." Classical World 79, no. 4 (1986): 291. http://dx.doi.org/10.2307/4349893.

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7

Laba, Jacqueline, and Jonathan Shay. "Vietnam "Iliad"." English Journal 86, no. 3 (1997): 106. http://dx.doi.org/10.2307/820662.

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8

Chappell, Mike. "The Iliad." Classical Review 55, no. 1 (2005): 3–4. http://dx.doi.org/10.1093/clrevj/bni002.

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9

Willcock, M. M. "Iliad II." Classical Review 55, no. 1 (2005): 4–5. http://dx.doi.org/10.1093/clrevj/bni003.

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10

Haddock, Bruce A. "The Iliad." New Vico Studies 4 (1986): 185–86. http://dx.doi.org/10.5840/newvico1986430.

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11

Jacobson, Howard. "Iliad 7.293ff." Classical Quarterly 47, no. 1 (1997): 292. http://dx.doi.org/10.1093/cq/47.1.292.

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Wordplay involving names is routine in Homer. Less common, but not rare, is wordplay that does not have anything to do with names. Thus, at Iliad 1.290f. there is a play on ; at 24.611 an implicit play on (people)/ (stone); at Odyssey 12.45–46 a possible play on .

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12

Janko, Richard. "WEST’s Iliad." Classical Review 50, no. 1 (2000): 1–4. http://dx.doi.org/10.1093/cr/50.1.1.

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13

Russo, Joseph. "ILIAD I." Classical Review 53, no. 1 (2003): 1–3. http://dx.doi.org/10.1093/cr/53.1.1.

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14

Abdelfattah, Tamer Abdelbasset. "Evidence of the influence of the Iliad on Arabic literature." British Journal of Translation, Linguistics and Literature 3, no. 3 (2023): 21–63. http://dx.doi.org/10.54848/bjtll.v3i3.68.

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This paper explores the influence of the Iliad text which composed during VIII century B.C on Arabic Literature by focusing on four main points, first: how the Arab poets knew the text of the Iliad and how they tried to borrow lines from it, especially during Abbasid era, secondly: what is the relationship between Iliad and the Arab folk biography, and also the relationship between Oral narration and improvisation on both literatures. Thirdly: the influence of the Iliad on the Concept of Arabic tournament appeared in Antara's character who mixed between love and courage in his poems. Finally:

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15

Geddes, A. G. "Homer in Translation." Greece and Rome 35, no. 1 (1988): 1–13. http://dx.doi.org/10.1017/s0017383500028710.

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In the first term of last year I had two classes with whom I was reading the Iliad. In the Classical Studies class we had to read and discuss the Iliad in Richmond Lattimore's English translation, and in the Greek IIA class we read Book I of the Iliad in Greek.

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16

Tatum, James. "The Alexandrian Iliad." Arion: A Journal of the Humanities and the Classics 19, no. 3 (2011): 163–78. http://dx.doi.org/10.1353/arn.2011.0001.

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17

Pearcy, Lee T., Homer, and Robert Fagles. "Homer: The Iliad." Classical World 85, no. 1 (1991): 52. http://dx.doi.org/10.2307/4350988.

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18

Homer and Translated by Peter Green. "Iliad, Book 24." Arion: A Journal of Humanities and the Classics 22, no. 3 (2015): 9. http://dx.doi.org/10.2307/arion.22.3.0009.

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19

West, M. L. "Iliad and Aethiopis." Classical Quarterly 53, no. 1 (2003): 1–14. http://dx.doi.org/10.1093/cq/53.1.1.

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20

Rutherford, Richard. "II - The Iliad." New Surveys in the Classics 41 (2011): 44–75. http://dx.doi.org/10.1017/s0017383512000393.

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The Iliad is not an Achilleid, although Achilles is the most important character in the epic. One of the most striking features of the poem is the way in which it embraces the action of the whole Trojan War by retrospective and prospective references, rather than by narrating the events in full. In this, as is evident from ancient testimony, the Iliad was markedly different from the ‘cyclic’ epics (see esp. Hor. Ars P. 136–7). The human characters refer to the abduction of Helen, the initial embassy to the Trojans, the mustering at Aulis, the earlier campaigns and clashes; the prophecies and c

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21

Kovacs, David. "Iliad 1.282-284." Mnemosyne 70, no. 4 (2017): 655–57. http://dx.doi.org/10.1163/1568525x-12342301.

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22

Lukan, Blaž. "In search of lose wholeness: Phenomenological digression on Jernej Lorenci’s theatre." Maska 30, no. 175 (2015): 26–43. http://dx.doi.org/10.1386/maska.30.175-176.26_1.

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The article discusses the characteristics of the theatre of director Jernej Lorenci from his directing of The Oresteia (2009) to The Illiad (2015). It defines Lorenci’s break with his former poetics in the directing of The Oresteia, and finds the new condensation of his directing procedures in The Iliad. In the discussed theatre period, Lorenci seeks the possible lapses, soft slips, the play of the alleged that only constitute the true reality, and is not interested in a well-made play. In his shows, Lorenci believes the man rather than the world; in fact, he acknowledges the world only insofa

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23

Bednarowski, Paul. "Why Thersites? Achilles’ Absence in Iliad 2." American Journal of Philology 146, no. 2 (2025): 209–42. https://doi.org/10.1353/ajp.2025.a963718.

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Abstract: In Iliad 1, Achilles challenges Agamemnon to save the Greeks from misrule and the gods. Under similar circumstances in Iliad 2, it is not the best of the Achaeans who stands against Agamemnon but the man considered by many to be the worst. Thersites is part of a poetic strategy, evident in both the Iliad and Odyssey , to generate investment and suspense in extended narratives by introducing the hero only to replace him with less impressive but still potentially promising substitutes. By playing Achilles’ part poorly, Thersites encourages anticipation for Achilles’ return, but he simu

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24

Brunner, Theodore. "P. Köln I. 25 Frr. k-o : Iliad or not Iliad ?" Chronique d'Egypte 63, no. 126 (1988): 305–7. http://dx.doi.org/10.1484/j.cde.2.308780.

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25

Tsagalis, Christos C. "The Meta–Narrative Moment: Rhesus’ Horses Revisited." Trends in Classics 12, no. 1 (2020): 92–113. http://dx.doi.org/10.1515/tc-2020-0006.

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AbstractThis study offers a thorough re-examination of the claim that the Doloneia is a major interpolation in the Iliad, since the horses of Rhesus stolen by the two Achaean spies in Iliad 10 are not used by Diomedes to win the chariot race in the Funeral Games in honor of Patroclus in Iliad 23. It is argued that this claim is wrong. Diomedes wins with the semi-divine Trojan horses he has stolen from Aeneas in Iliad 5, i. e. with the best horses after Achilles’ divine horses which are not used in the chariot race. Aeneas’ horses are the only ones that can defeat Eumelus’ excellent mares, whic

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26

Sapozhkov, Sergey V. "Nikolai Minsky as a Researcher and Translator of Homer: The History of the Soviet Edition of the Iliad (GIKHL, 1935) and Accompanying Materials to It." Literary Fact, no. 32 (2024): 8–51. http://dx.doi.org/10.22455/2541-8297-2024-32-8-51.

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The information for this publication comes from archival documents from the fund of A.V. Lunacharsky (Russian State Archive of Socio-Political History, Moscow). These documents were prepared by N.M. Minsky (1855/1856–1937) as accompanying materials for the publication of his own (fifth) translation of the Iliad in the Soviet State Publishing House (Gosizdat). Minsky had sent these materials to Lunacharsky in 1929. The materials comprise four parts: 1) the history of the “Homeric question”; 2) the idea of the Iliad; 3) the translation of the Iliad; and 4) the latest foreign literature on the Ho

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27

Harold Keller. "Iliad Drawings." Arion: A Journal of Humanities and the Classics 24, no. 3 (2017): 75. http://dx.doi.org/10.2307/arion.24.3.0075.

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28

Whetter, K. S. "PITY IN THE ILIAD." Classical Review 52, no. 2 (2002): 235–36. http://dx.doi.org/10.1093/cr/52.2.235.

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29

Lateiner, Donald. "NARRATIVES WITHIN THE ILIAD." Classical Review 53, no. 1 (2003): 3–5. http://dx.doi.org/10.1093/cr/53.1.3.

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30

Buchan, Mark. "POLITICS IN THE ILIAD." Classical Review 53, no. 2 (2003): 275–76. http://dx.doi.org/10.1093/cr/53.2.275.

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31

Postlethwaite, N. "Thersites in the Iliad." Greece and Rome 35, no. 2 (1988): 123–36. http://dx.doi.org/10.1017/s0017383500033027.

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The character of Thersites, as presented by Homer in Iliad 2, has received an almost universally bad press, typical of which are the comments of F. A. Paley: ‘one of the turbulent and insolent malcontents in an army, who use their best efforts to misrepresent the authorities and to incite sedition in others’. Paley's view is typical both in the unsympathetic view it presents of Thersites and in its tendency to see him as representative of a whole genre of subversive and recalcitrant soldiery. My concern in this paper is to examine Thersites within the context of the Iliad alone, without any re

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32

Schofield, Malcolm. "Euboulia in the Iliad." Classical Quarterly 36, no. 1 (1986): 6–31. http://dx.doi.org/10.1017/s0009838800010508.

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The word euboulia, which means excellence in counsel or sound judgement, occurs in only three places in the authentic writings of Plato. The sophist Protagoras makes euboulia the focus of his whole enterprise (Prot. 318e–319a):What I teach a person is good judgement about his own affairs — how best he may manage his own household; and about the affairs of the city — how he may be most able to handle the business of the city both in action and in speech.Thrasymachus, too, thinks well of euboulia. Invited by Socrates to call injustice kakoetheia (vicious disposition — he has just identified just

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33

Teffeteller, Annette. "ΑΥΤΟΣ ΑΠΟΥΡΑΣ, ILIAD 1.356". Classical Quarterly 40, № 1 (1990): 16–20. http://dx.doi.org/10.1017/s000983880002677x.

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At Iliad 1.355–6, Achilles, calling upon his mother, reports the injury to his honour done him by Agamemnon:ἦ γάρ μ᾽ Ἀτρείδης εὐρὺ κρείων Ἀγαμέμνωνἠτίμησεν ⋯λὼν γ⋯ρ γέρας, αὐτ⋯ς ⋯πούρας.The formulaic line 356 is repeated by Thetis to Zeus at 507 and by Thersites to the assembled Achaeans at 2.240; the problematical phrase αὐτ⋯ς ⋯πούρας is repeated in a variant form with finite verb by Agamemnon at 19.89, αὐτ⋯ς ⋯πηύρων.

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34

Jones, P. V. "Iliad 24.649: Another Solution." Classical Quarterly 39, no. 1 (1989): 247–50. http://dx.doi.org/10.1017/s0009838800040623.

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J. T. Hooker argues that at Il. 24.649 ⋯πικερτομ⋯ων must mean ‘taunting’ and, since ‘taunting’ makes no sense, that ⋯πικερτομ⋯ων must have entered our Iliad at this point from a version of the Iliad slightly different from ours in which it did make sense. I wish to argue that ⋯πικερτομ⋯ων has a meaning different from ‘taunting’, which makes good sense of this, and every other, context.

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35

Alexander, Caroline. "On Translating Homer's Iliad." Daedalus 145, no. 2 (2016): 50–58. http://dx.doi.org/10.1162/daed_a_00375.

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This reflective essay explores the considerations facing a translator of Homer's work; in particular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which remain the gold standard by which any Homeric translation is measured today. I attempt to walk the reader through the process of rendering a modern translation in accordance with Arnold's principles.

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36

Rootenberg, J. D. "An odyssey through Iliad." JAMA: The Journal of the American Medical Association 263, no. 5 (1990): 758–59. http://dx.doi.org/10.1001/jama.263.5.758.

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37

Murray, Jeffrey. "Homer the South African." English Today 29, no. 1 (2013): 58–61. http://dx.doi.org/10.1017/s0266078412000521.

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When reviewing a much-translated canonical text such as Homer's Iliad, it has become something of a topos to question the need for yet another translation of it. In the twenty-first century alone, Homer's Iliad has benefited from at least six published English translations already: Rodney Merrill (2007), Herbert Jordan (2008), Anthony Verity (2011), Stephen Mitchell (2011), Edward McCrorie (2012) and James Muirden (2012). Richard Whitaker adds his translation to the list with a slight variation on the standard Anglo-American English translations already available, presenting his readers instea

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38

ARAS, Tugce. "The Elements of 'Virtue' in The Iliad." International Journal of Languages, Literature and Linguistics 5, no. 3 (2019): 163–67. http://dx.doi.org/10.18178/ijlll.2019.5.3.221.

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39

Rutherford, Richard. "III - The Odyssey." New Surveys in the Classics 41 (2011): 76–102. http://dx.doi.org/10.1017/s001738351200040x.

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Although it is theoretically possible (and has been asserted) that the Iliad followed the Odyssey, or that the two poems were composed quite independently, with no influence from one to the other, majority opinion ancient and modern puts the Odyssey later, and assumes it to be in important respects a successor, even a sequel, to the Iliad. This position can be maintained in two main forms: those who believe in a single master-poet as the creator of both epics may assign the Iliad to Homer's youth, the Odyssey to his riper years (a position memorably expressed by Longinus); those who follow the

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40

Szlezák, Thomas Alexander. "Ilias and Odyssey: Two Epics, Two World Views." Peitho. Examina Antiqua 8, no. 1 (2017): 39–52. http://dx.doi.org/10.14746/pea.2017.1.2.

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The different world views of the authors of the Iliad and the Odyssey are illustrated by selection of verses used by both poets. The role of the gods in the Odyssey precludes the tragic conception of human life that is characteristic of the Iliad.

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41

Morales Ortiz, Alicia. "La fuerza en la Ilíada. Las lecturas de Homero de Simone Weil y Rachel Bespaloff." Nova Tellus 40, no. 2 (2022): 177–98. http://dx.doi.org/10.19130/iifl.nt.2022.40.2.0021x58.

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In the turbulent Europe of the World Wars, two French thinkers of Jewish Origin wrote both essays on the Iliad: Simone Weil (The Iliad, or the Poem of Force, 1940-1941) and Rachel Bespaloff (On the Iliad, 1943). Both writers have in common the return to the foundational texts of Western culture —Homer in the Classical tradition and the Bible and the Gospels in the Christian tradition— to rethink war and barbarism. This paper analyses the concept of ‘force’ in both authors, their similarities and differences, in order to conclude on the way in which this notion determines their interpretation o

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42

Krauze-Kołodziej, Aleksandra. "Mit obrazem współczesności, czy współczesność odbiciem mitu? Homer, Iliada Alessandro Baricco." Roczniki Humanistyczne 67, no. 3 (2019): 45. http://dx.doi.org/10.18290/rh.2019.67.3-3.

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The aim of the article is to analyze and interpret the new version of the Iliad written in 2004 by the contemporary Italian writer Alessandro Baricco. He based his version of the text on the Italian translation of Iliad by Maria Grazia Ciani.The reinterpretation and reconstruction of the ancient poem of Homer by Alessandro Baricco seems to be an interesting example of an attempt to modernize an ancient literary work. In the article, the author analyzes and interprets the content and the structure of the contemporary version of the poem, comparing it to the original text of the Iliad and its It

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43

Fratantuono, Lee. "Nero’s new Troy: the reception of Virgil and Horace in the <i>Ilias Latina</i>." Vestnik drevnei istorii 84, no. 1 (2024): 119–30. http://dx.doi.org/10.31857/s032103910030334-0.

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In recent years increased attention had been focused on the miniature epic known as the ‘Latin Iliad’. Close investigation of its relationship to Virgil’s epic ‘Aeneid’ and to the lyric poetry of Horace will illustrate that the author of the Ilias Latina composed a work reflective of the Neronian Age concern with the relationship between Rome and Troy, and with the problem of showing clemency to a defeated enemy. The second of these topics is of particular relevance in light of Seneca and his De Ira and De Clementia.

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44

Ferdous, Mafruha. "Reading Homer’s The Iliad in 21st Century." Advances in Language and Literary Studies 8, no. 2 (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

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45

Sammons, Benjamin. "The Quarrel of Agamemnon & Menelaus." Mnemosyne 67, no. 1 (2014): 1–27. http://dx.doi.org/10.1163/1568525x-12341212.

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Abstract In Odyssey Book 3, Nestor relates how a quarrel between the Atreidae led to a split of the Achaean army over departure from Troy. This story implies a representation of Agamemnon and Menelaus, their relationship, and their respective political roles, that is not reconcilable with that of the Iliad. I argue that Nestor’s tale reflects a tradition whose influence is visible in later texts, particularly the Cyclic Nostoi and some dramas of Euripides. While the Iliad clearly ignores this tradition, its language betrays some awareness of it; and in a few cases it is arguable that the Iliad

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46

Ransom, Christopher. "Aspects of Effeminacy and Masculinity in the Iliad." Antichthon 45 (2011): 35–57. http://dx.doi.org/10.1017/s0066477400000046.

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AbstractThis paper considers the figure of the realised or hypothetical effeminised male in Homer's Iliad, and discusses the impact of effeminacy upon idealised masculine identity in the epic. The idea of effeminacy in the Iliad is explored alongside several related but distinct concepts, such as cowardice, childishness, dress, physical appearance and battle-field rebukes and insults. The second half of this paper addresses more specifically the figure of Paris and the comparisons drawn between Paris and his brother Hektor. I argue that actualised or hypothetical effeminacy is constructed in t

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47

Gibson, Richard Hughes. "On Not Overlooking Ogilby’s Homer." Restoration: Studies in English Literary Culture, 1660-1700 49, no. 1 (2025): 3–22. https://doi.org/10.1353/rst.2025.a965746.

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Abstract: This article reconsiders John Ogilby’s 1660 translation of the Iliad by examining its relationships to the first English Homer, George Chapman’s, and one of the most famous, Alexander Pope’s. While not suggesting that Ogilby’s Iliad is a lost masterpiece, I argue that the work’s reputation has suffered because it fell on the wrong side of a generational divide. Measured against Chapman’s prolixity, Ogilby’s Iliad marks a notable advance in representing Homer’s “rapidity” in English translation. Meanwhile, Pope’s borrowings from Ogilby have not been fully appreciated by modern critics

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48

Horn, Fabian. "THE CASUALTIES OF THE LATIN ILIAD." Classical Quarterly 70, no. 2 (2020): 767–73. http://dx.doi.org/10.1017/s0009838820000877.

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The so-called Latin Iliad, the main source for the knowledge of the Greek epic poem in the Latin West during the Middle Ages, is a hexametric poetic summary (epitome) of Homer's Iliad likely dating from the Age of Nero, which reduces the 15,693 lines of the original to a mere 1,070 lines (6.8%).

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49

Manzhula, Oksana V. "The Literary Features of Pat Barker’s Novel “The Silence of the Girls”." World Literature in the Context of Culture, no. 15 (21) (2022): 25–32. http://dx.doi.org/10.17072/2304-909x-2022-15-25-32.

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The article attempts to analyse the literary features of the novel “The Silence of the Girls” by English writer Pat Barker as an "anti-Iliad". The author considers which works form the basis of the plot of Barker's novel. The features that oppose the novel to the "Iliad" and Euripides' tragedy "The Trojans" are noted.

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50

Hooker, J. T. "A residual problem in Iliad 24." Classical Quarterly 36, no. 1 (1986): 32–37. http://dx.doi.org/10.1017/s000983880001051x.

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The late Colin Macleod's commentary on Iliad 24 (Cambridge, 1982) has rightly received praise for its sensitivity to the nuances of Homeric language and its appreciation of the entire poem as a carefully constructed work of art. Although reluctant to accept the more radical solutions proposed by the ‘oral’ school, Macleod showed himself fully aware of the contribution made by the oral theory towards elucidating the history of the epic. Nevertheless, his commentary is concerned principally with the Iliad as we have it: a poem which is at one level a masterly re-telling of saga but at another a

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