Relevant bibliographies by topics / Mimiambi (Herodas)

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Academic literature on the topic 'Mimiambi (Herodas)'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Mimiambi (Herodas)"

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Ussher, R. G. "Herodas Re-Edited - I. C. Cunningham: Herodas, Mimiambi. Cum appendice fragmentorum mimorum papyraceorum. (Bibliotheca Teubneriana.) Pp. xxvi + 89. Leipzig: Teubner, 1987. 36 M." Classical Review 39, no. 1 (1989): 17–19. http://dx.doi.org/10.1017/s0009840x00270157.

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Hunter, Richard. "The Presentation of Herodas' Mimiamboi." Antichthon 27 (November 1993): 31–44. http://dx.doi.org/10.1017/s0066477400000770.

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The mimiamboi of Herodas reveal familiar hallmarks of the poetry of the third century: characters drawn from socially humble backgrounds; a literary re-casting of sub-literary ‘genres’; the revival of an archaic metre; the free reconstruction of an artificial literary dialect; the reaching back to claim authority for poetic practice in a great figure of the past. Obvious links between the mimiamboi and the roughly contemporary ‘mime’ poems of Theocritus (especially Idylls 2, 3, 14, and 15) have always attracted attention since the publication of the major papyrus in 1891. No subject has, howev
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3

Fountoulakis, Andreas. "HERONDAS 8.66-79: GENERIC SELF-CONSCIOUSNESS AND ARTISTIC CLAIMS IN HERONDAS' MIMIAMBS." Mnemosyne 55, no. 3 (2002): 301–19. http://dx.doi.org/10.1163/156852502760185289.

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AbstractIn Herondas' mimiamb 8, a poem particularly concerned with questions of generic identity and reception, the poet defends his work and puts forward his literary program by means of a dream dominated by images related to Dionysiac myth and cult. The interpretation of the dream at ll. 66-79 is seen in terms of the generic affinities between Herondas' mimiambs, the iambographic tradition of Hipponax and the mime. In this paper the Dionysiac character of those images is not considered as an indication of a hypothetically dramatic nature of Herondas' work. It is argued, by contrast, that the
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4

Piacenza, Nicola. "Tre personaggi in cerca di autore: il Mimiambo 3 di Eronda e la critica letteraria nel Giambo 2 di Callimaco." Myrtia 36 (November 11, 2021): 45–60. http://dx.doi.org/10.6018/myrtia.500101.

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The first part of the article offers a metapoetic interpretation of Herondas’ Mimiamb 3, suggesting that the Hellenistic poet describes Cottalos and his passion for dice with allusion to Alexander Aetolus that wrote Astragalistai. In the second part, starting from some touch points between Mimiamb 3 and Calliamchus’ Iambus 2 (in particular the presence of three mysterious characters with similar names), the author gives some evidence for the identification of that characters with three poets who lived at that time and had undoubted contacts both with Alexander Aetolus and Callimachus: they are
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Anagnostou-Laoutides, Eva. "HERODAS' MIMIAMB 7: DANCING DOGS AND BARKING WOMEN." Classical Quarterly 65, no. 1 (2015): 153–66. http://dx.doi.org/10.1017/s000983881400055x.

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Herodas' Mimiamb 7 has often attracted scholarly attention on account of its thematic preoccupation with the sexuality of ordinary people, thus offering a realistic and exciting glimpse of everyday life in the eastern Mediterranean of the third century b.c.e. In addition, his obscure reference in lines 62–3 to the obsession of women and dogs with dildos has been the focus of long-standing scholarly debate: while most scholars agree that the verses employ a metaphor, possibly of obscene nature, their exact meaning is still to be clarified. In response, this article offers an additional paradigm
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Redondo Moyano, María Elena. "(Des)cortesía verbal y caracterización en el tercer Mimiambo de Herodas." Cuadernos de Filología Clásica. Estudios griegos e indoeuropeos 31 (March 2, 2021): 67–87. http://dx.doi.org/10.5209/cfcg.71334.

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En este trabajo se identifican y describen los procedimientos de cortesía y descortesía verbal que se emplean en el tercer Mimiambo de Herodas y se estudia el papel que estos parámetros lingüísticos juegan como medios para la caracterización.
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7

Egorochkin, Mikhail V. "Two Paremiological Notes on a “Delian Diver”." Schole Ancient philosophy and the classical tradition 19, no. 1 (2025): 454–67. https://doi.org/10.25205/1995-4328-2025-19-1-454-467.

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The paper consists of two notes on a Δήλιος κολυμβητής (“Delian Diver”), the expression known from the famous anecdote about the book by Heraclius of Ephesus (D.L. II, 22 et XI, 11–12). The first note explores the Byzantine paremiographic tradition in which Δήλιος κολυμβητής entered as a saying. Analyzing the materials from the Suda (Δ 400), Michael Apostolius (Paroem. V, 100 CPG II), and an anonymous collection from the Iviron manuscript 4199/79 (No. 13 Sotiroudis), the author concludes that this expression was never a real proverb, as some scholars believe, but was originally an author’s tur
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Redondo, Jordi. "Herondas’ mimiambs and satyr drama." Živa Antika 72, no. 1-2 (2022): 59–76. http://dx.doi.org/10.47054/ziva22721-2059r.

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9

Llera Fueyo, Luis Alfonso. "Humor alejandrino en el Mimiambo 5 de Herodas." Emerita 61, no. 1 (1993): 55–59. http://dx.doi.org/10.3989/emerita.1993.v61.i1.457.

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10

Rist, Anna. "That Herodean Diptych Again." Classical Quarterly 43, no. 2 (1993): 440–44. http://dx.doi.org/10.1017/s0009838800039951.

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Herodas' Mimiamb VII is now generally admitted to be a sequel to VI insofar as Metro is a main character of both and Kerdon, the ‘Shoemaker’ who gives to VII its title, is a main topic of VI. Controversy remains as to whether the leather ‘baubons’ (dildoes) which Kerdon makes with consummate skill (VI 68–73) and purveys in secret (VI 63) is also an underlying topic of VII
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Dissertations / Theses on the topic "Mimiambi (Herodas)"

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Richer, Jean-Camille. "Théocrite et la création de la pastorale : entre mime et idylle." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1057.

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Dans cette thèse est proposée une définition du genre poétique bien connu qu’est la poésie bucolique. Son point de départ réside dans le double statut qui la caractérise : c’est à la fois un titre (les Bucoliques) et un genre (la poésie bucolique). Le fait de privilégier l’un ou l’autre de ces statuts oriente la définition qui est retenue. Nous avons donc examiné les sources antiques et tenté d’inverser la perspective habituellement retenue : alors que l’on considère souvent que c’est le genre qui a engendré le titre, nous pensons que c’est le titre (Bucoliques) qui a engendré le genre. En d’a
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Books on the topic "Mimiambi (Herodas)"

1

Campbell, Cunningham Ian, ed. Mimiambi: Herodas ; cum appendice fragmentorum mimorum papyraceorum. K.G. Sauer, 2004.

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2

Lamberto, Di Gregorio, ed. Mimiambi. Vita e Pensiero, 1997.

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3

Campbell, Cunningham Ian, ed. Herodae Mimiambi: Cum appendice fragmentorum mimorum papyraceorum. Teubner, 1987.

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4

Simon, Frank-Joachim. Ta Kyll Neidein : Interpretationen zu den Mimiamben des Herodes. Lang, 1991.

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5

Cunningham, I. C. Herodas: Mimiambi. University of Michigan Press, 2004.

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6

Rist, Anna. The Mimiambs of Herodas. Bloomsbury Academic, 2018.

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7

Mimiambs of Herodas: Translated into an English 'Choliambic' Metre with Literary-Historical Introductions and Notes. Bloomsbury Publishing Plc, 2016.

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8

Mimiambs of Herodas: Translated into an English 'Choliambic' Metre with Literary-Historical Introductions and Notes. Bloomsbury Publishing Plc, 2016.

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9

Zanker, Graham, ed. Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.3828/liverpool/9780856688836.001.0001.

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Before the publication of the second-century AD papyrus containing eight and a fragmentary ninth of the Mimiambs of Herodas in 1891, Herodas was known only through approximately twenty lines which had survived in quotations found principally in Athenaios and Stobaios. Even after the publication of the papyrus and subsequent work on it, scarcely anything is known of their author. The scant evidence that has survived suggests that he lived during the reign of Ptolemy Philadelphos (285–247 BC), on the island of Kos, and was a direct contemporary of the greatest of the Hellenistic poets, Callimach
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Zanker, Graham, and Herodas. Herodas - Mimiambs. Liverpool University Press, 2009.

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Book chapters on the topic "Mimiambi (Herodas)"

1

Schmalzriedt, Egidius, and Heinz-Günther Nesselrath. "Herodas: Mimiamboi." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_7741-1.

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2

"The Go-Between or The Temptres (ΠΡΟΚΥΚΛΙΣ‎ Η‎ ΜΑΣΤΡΟΠΟΣ‎)." In Herodas: Mimiambs, edited by Graham Zanker. Liverpool University Press, 2009. http://dx.doi.org/10.3828/liverpool/9780856688836.003.0002.

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This chapter focuses on Herodas' first Mimiamb, which admirably illustrates Herodas' technique of characterization. It mentions the figure of Gyllis, who speaks over two-thirds of the first Mimiamb's lines. It also analyses the prefatory remarks to Mimiamb 1, which emphasize the character of the more-or-less professional go-between that was a special feature of Sophrôn's mimes, the magoidiai and New Comedy. The chapter discusses how Gyllis have come further down the social scale into the proper province of mime and become a representative of a stock type in mime and comedy. It explains how Her
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3

"Front Matter." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.1.

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"ΖΗΛΟΤΥΠΟΣ." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.10.

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"ΦΙΛΙΑΖΟΥΣΑΙ Η ΙΔΙΑΖΟΥΣΑΙ." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.11.

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"ΣΚΥΤΕΥΣ." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.12.

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"ΕΝΥΠΝΙΟΝ." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.13.

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8

"THE FRAGMENTS." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.14.

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"BIBLIOGRAPHY." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.15.

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"INDEX." In Herodas: Mimiambs. Liverpool University Press, 2009. http://dx.doi.org/10.2307/j.ctv1198tkn.16.

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