Academic literature on the topic 'Religious aspects of Greek epic poetry'
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Journal articles on the topic "Religious aspects of Greek epic poetry"
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Ivanova, Karina, Oleh Sadovnikov, and Yana Balabay. "MYTHICAL WORD AND MYTH IN ANCIENT GREEK TRADITION." Sophia. Human and Religious Studies Bulletin 16, no. 2 (2020): 49–52. http://dx.doi.org/10.17721/sophia.2020.16.10.
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The term "myth" is a category of our thinking, used to combine the attempts to explain natural phenomena, creations of oral literature, philosophical constructions and cases of linguistic processes in the mind of the subject. Myth is a living word, myth was experienced, and this experience determined the essence of the myth for man in the period of transformation of thinking from figurative into conceptual. Man of ancient times didn't separate himself from society, both society from nature and cosmos as an embodiment of various and numerous gods. "Myth" was used to confirm the existence of something unknown or something that couldn't be verified, but there is trust in this unknown, based on translation. "Logos" was used to denote a word generated by mind, as a word referred to some higher, metaphysical one. The word "epic" was understood as an objective metrical narrative, in which a poetic illusion, an appropriate deception, illogicality were allowed. "Myth", "logos" and "epic" were filled with different semantic meanings. The semantic nuances in the word "myth" appeared in periods of weakening the power of myth and lately, when myth, as a sacred word, was opposed to religion, science and philosophy. The mythical word weakened by religious dogmas and definitions, empirical data of science and the logic of philosophical constructions, which created a new attitude to the myth and its definition. According to the Greek tradition the word "myth" was formed as a multifaceted concept with a number of semantic nuances. The word itself was less understood, while more felt, reflecting the irrational aspects of human perception of the world or some parts. The myth was determined not by the word itself, but by the attitude to the description of experiences or events conveyed by him, formed in stories, with the addition of emotions, signs and symbols, combining verbal and nonverbal means of information.
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Park, Jongseong. "WHAT IS AN ORAL HEROIC EPIC POETRY? – OVERCOMING THE LIMIT OF THE ILIAD." International Journal of Korean Humanities and Social Sciences 5 (February 28, 2020): 57–65. http://dx.doi.org/10.14746/kr.2019.05.04.
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The ancient Greek epic Iliad, including the oral epic and the written epic, has enjoyed a solid status as a ‘heroic epic’ (or ‘narrative poetry’) of European literature. But if a reader takes look at the general aspects of the heroic epic of oral tradition, it turns out that Iliad is not a typical work of a typical epic, but rather an individual one. Because the birth, trials, performance, and ending of a hero’s life are divided relatively evenly, and the general pattern of transferring the hero’s life to the heroic epic of oral tradition can be found in such cases as Manas, Jangar, Gesar and Mwindo.
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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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Furley, William D. "Praise and persuasion in Greek hymns." Journal of Hellenic Studies 115 (November 1995): 29–46. http://dx.doi.org/10.2307/631642.
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Largely because the processes of transmission have been unkind, the religious hymns sung by the Greeks during worship of a god on a public or private occasion have received less than their due attention from modern scholars. Our sources frequently mention in passing that hymns were sung on the way to Eleusis, for example, or at the well Kallichoron on arrival at Eleusis, or by the deputations to Delos for the Delia, but they usually fail to record the texts or contents of these hymns. Until the fourth century BC temple authorities did not normally have the texts of cult songs inscribed; and the works themselves were by a diversity of authors, some well-known, some obscure, making the collection of their ‘hymns’ a difficult task for the Alexandrian compilers. Some such hymns were traditional—Olen's at Delos, for example — handed down orally from generation to generation; others were taught to a chorus for a specific occasion and then forgotten. Nor do the surviving corpora of ‘hymns’ — I refer to the Homeric Hymns, Callimachus' six hymns, and the Orphic Hymns—go very far to satisfy our curiosity as to the nature of this ubiquitous hieratic poetry. The Homeric Hymns would seem to have been preludes (προοίμια) to the recitation of epic poetry; they are in the same metre and style as epic, and the singer usually announces that he is about to commence another poem on finishing the hymn. Their content may give us authentic material about a god and his attendant myths, but the context of their performance seems distinct from worship proper. The Homeric Hymns provided the basic model for Callimachus' hymns although it is clear that he adapted the model to permit innovations such as the mimetic mode of hymns 2, 5 and 6, which present an eye-witness account of religious ritual. Some find Callimachus' hymns lacking in true religious feeling; few seriously maintain that they were intended, or could have been used, for performance in cult.
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Jäuregui, Miguel Herrero De. "Emar Tode." Classical Antiquity 32, no. 1 (April 1, 2013): 35–77. http://dx.doi.org/10.1525/ca.2013.32.1.35.
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The expression “(on) this day” has an extremely pregnant meaning in different contexts of early Greek poetry. It is used in rituals and in solemn utterances, but it is much more than an emphatic way of saying “today.” It shows that the speaker is recognizing that a decisive, irreversible moment is approaching. Such knowledge of the appointed destiny is only accessible to the gods or to mortals inspired by them, which often makes the authoritative utterance “this day” a performative speech-act that brings immediate accomplishment. The study of the instances of this expression, both with ἦμαρ and ἡμέρα, in epic, religious poetry, and tragedy, also sheds light on the different Greek notions of what a decisive day was.
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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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Kamaladdini, Seied Mohammad Bagher. "The Revolution in the Poetry of Dabiran." International Letters of Social and Humanistic Sciences 26 (April 2014): 119–24. http://dx.doi.org/10.18052/www.scipress.com/ilshs.26.119.
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The poetry of the era of the Islamic Revolution developed alongside the Islamic movement of Iran in the closing years of the previous regime, and soon indicated its future direction. Many poets were inspired by the demonstrations and protests of the days of the Revolution to write about achievements of the movement and reflect the new values of the popular movement in their poetry, with their mainly epic, mystic and religious aspects. After the Revolution, these works grew in quantity and reflected the bravery and self-sacrifice of the generation of the Revolution. The traditional and religious emotions of the people opened up a new horizon for Persian poetry and literature and paved the way for the introduction of new subjects, theme and even vocabulary into the language and literature of Iran. The poetry of Gholamreza Dabiran is a characteristic example of the poetry of the Revolution, in which all literary features and rhetorical figures are reflected.
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Heath, Malcolm. "Greek Literature." Greece and Rome 64, no. 1 (March 14, 2017): 65–71. http://dx.doi.org/10.1017/s0017383516000243.
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Mary Bachvarova's large, complex and ambitious From Hittite to Homer argues for long-distance interactions linking the Near East to Anatolia to Greece, and constructs a model of ‘why, how, and when’ (198) those interactions operated. The general thesis is not seriously in doubt, and much of the model's detail seems plausible; but since that is beyond my competence to judge, I will stick to my remit as Greek literature reviewer and focus on what the model, if right in detail, might tell us about Greek narrative poetry. How useful is Bachvarova's speculative literary prehistory, and what is it useful for? Can it illuminate the texts we have? Referential ambiguities expose one problem. The claim that ‘the overarching plot and theme of the Odyssey speak to the values of the warrior-traders that motivated the spread of Near Eastern epic motifs’ (296) is startling: Odysseus never engages in trade; indeed, to call him a trader is a calculated insult (Od. 8.159–64). It emerges a few pages later that the reference is not to the Odyssey, but to a hypothetical original: ‘The Odyssey may have originally addressed the values of heroic trade…but as the values of the Greek aristocratic class changed and trade was viewed more negatively, the role of the hero would have lost its trader aspects’ (298). I'm not sure whether this explanation also applies to (e.g.) ‘Agamemnon rejects the interpretation of his seer, refusing to release Chryseis’ (193) or ‘it has become clear to Achilles that the gods’ intervention, the advice to avoid battle…has been at the cost of his own life’ (194). Contrast the extant Iliad, in which Agamemnon agrees to release Chryseis (1.116–17) and Achilles withdraws on his own initiative (1.169–71). These may just be inaccurate recollections of ‘the supremely sophisticated and complex works that are known to us’ (396). But to the extent that Bachvarova's interpretation of extant texts is skewed by her speculative literary prehistory, or her reconstruction of lost texts is shaped by it, the parallels are not evidence for the hypothesis but artefacts of it. Parallels per se are not, in any case, sufficient evidence of influence: Mesoamerican pyramids were not derived from Egypt. Yet Bachvarova's opening sentences jump directly from parallels to the how and why of influence (1). Is ‘negative reaction to speech’ (44) so distinctive a cultural phenomenon as to make its appearance in different narrative traditions evidence of influence? If parallels between hospitality narratives (142–5) reflect cognate hospitality cultures, why should we appeal to transmission by song to explain them? The similarities between Naram-Sin and Hector (191–5) could originate independently in any two cultures which regarded divination as a source of good advice if (as is likely) they had noticed that leaders sometimes fail to accept good advice. This is a stimulating book; but Bachvarova's approach to diagnosing influence lacks the methodological rigour of Christopher Metcalf's The Gods Rich in Praise (G&R 63 [2016], 251).
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Salyha, Taras. "MUNICH CONFESSION OF VOLODYMYR YANIV (dedicated to 110th anniversary of birth)." Polish Studies of Kyiv, no. 35 (2019): 321–33. http://dx.doi.org/10.17721/psk.2019.35.321-333.
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Three major aspects of Volodymyr Yaniv’s life-creativity are described in the article: 1. biographical (his forma- tion as a creative person); 2. literary and art studies; 3. essayistic (author’s stories about the meetings with the perennial rec- tor of UFU). In parallel, there are “plots” about Volodymyr Yaniv as s historian of the church and Christianity, as a religious scholar, about his contacts with the Vatican, and in particular with His Beatitude Josyf Slipyj in the study. We can trace the “odyssey” of a young ascetic of the Galician revolutionary movement for the statehood and the unity of Ukrainian lands. A separate vision in the life of V. Yaniv is the magazine “Student’s Way”. He was fond of modern processes that took place in the cultural and artistic sphere. Studying poetry of European poets, poetry of Ukrainian creative youth, in particular B.-I. Antonych, V. Havrylyuk, O. Olzhych, poets of the Right-Bank Ukraine, Yaniv developed for himself the criteria for evaluating a literary work. The Lviv weekly “Towards” and the month “Dazhbog” and, of course, the poetry of the “Prague School” were played a special role for Yaniv as a poet. The famous Polish writers, supporters of the so-called “Ukrainian school”, Severin Goshchin- sky, Alexander Fredro, Leopold Staff, Jan Kasprovich, Maria Konopnitskaya whose creativity, undoubtedly, also influenced Volodymyr Yaniv lived and worked in Lviv. The ideological and thematic space of the poetry of Yaniv, in particular the collections “The Sun and the Lattices” and “The Foliage Fragments”, his prison poems, poetry about the Kruty heroes, are analyzed in the article. Lyro-epic creativity of V. Ya- niv in this thematic direction in her own way is biographical. The collection “Ways,” based on the scientific observations of the German, Polish and Czech theorists of psychoanalysis, is based on the ethno-psychoanalysis of the Ukrainian political prisoner. V. Yaniv is a scientist, psychologist, ethnic psychologist of the Ukrainian “soul”, sociologist and literary critic, art critic, organizer of Ukrainian science and church-religious life, public figure, professor of the Ukrainian Catholic University named after St Clemens, the Pope in Rome. The sacred motives are an organic page in poetry, literary criticism and, in general, in the works of Volodymyr Yaniv. The author used the bibliographic literature about the life and work of Volodymyr Yaniv, which, however, doesn’t allevi- ate his individual views.
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Borbenchuk, Iryna. "Borrowings as the means of Catullus’ poetic language." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 103–7. http://dx.doi.org/10.34079/2226-3055-2020-13-22-103-107.
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While studying the author’s creative work, present-day philological studies take into account a number of linguоcultural and linguocognitive factors that shape the author’s individual style. New perspectives and insights into the research of the creative work of the Roman poet Gaius Valerius Catullus (87–54 BC) prompted the scholars to refocus their attention onto a unique collection of 116 poems, which was rather popular among the ancient Romans. This paper is aimed to analyse one the expressive means typical of Catullus’ poetry, namely the borrowing, which clearly reflects the individual author’s style. It is outlined in the paper that Greek borrowings have been studied by A. Garnyk, O. Malein, and O. Mikina. Some aspects of Greek borrowings functioning in Catullus’ poems are represented in I. Shtal’s and E. Nazhott’s works. Researchers point out that the specificity of Graeco-Latin contacts lies not only in their cultural and religious relations, but also in their every-day life which affected the Latin language and thus was reflected in the Latin vocabulary. Accordingly, the existing literary traditions as well as the author’s own creative discoveries contributed to the fact that Catullus actively used Greek words in his poetry, assimilating them to the morphological system of the Latin language. By way analyzing authentic Catullus’ poems, the present paper substantiates the reasons of this vocabulary actualization in poetic works, offers a comprehensive classification of borrowings according to the criteria of their derivation type and thematic group as well as describes the specificity of their functioning and stylistic value in poetic texts. In particular, the nouns are classified into the following thematic groups: anthroponyms (ethmonyms, theonyms, mythonyms, cosmonyms), chrematonyms (i.e. the lexical units denoting material values and the results of human activities), toponyms (choronyms, hydronyms, oronyms, natural phenomena), phytonyms (the words, designating various plants), zoonyms (the vocabulary denoting animals). We have also singled out qualitative and relative adjectives belonging to the group of Greek borrowings. It was found out that qualitative adjectives are predominantly formed from mythological and geographical names with the help of various word-formative means. Despite the fact that a large number of Graecisms historically became a part of the Latin vocabulary and were used by the Romans rather unconsciously, in the analyzed texts there are cases of specifically individual use of Graecisms by Catullus when the author deliberately ignores the Latin equivalents. The analysis results demonstrate that borrowings play an important role in presenting a comprehensive view on Catullus’ idiostyle. It has been found out that Graecisms should be viewed as one of the characteristic means of Catullus’ poetic language that reflect the author’s desire to create poetry of the elevated style complying at the same time with the requirements of established literary traditions. Borrowing from the Greek language proves to be an active word-formative element of Catullus’ idiostyle, while their frequent use is conditioned by the subject matter of poetic works, their general expressive potential as well as by Catullus’ desire to create vivid poetic images.
Dissertations / Theses on the topic "Religious aspects of Greek epic poetry"
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Criado, Cecilia. "La teología de la Tebaida Estaciana el anti-virgilianismo de un clasicista /." Hildesheim : Georg Olms Verlag, 2000. http://catalog.hathitrust.org/api/volumes/oclc/43944306.html.
Full textBooks on the topic "Religious aspects of Greek epic poetry"
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The Odyssey in Athens: Myths of cultural origins. Ithaca: Cornell University Press, 1995.
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Sardonic smile: Nonverbal behavior in Homeric epic. Ann Arbor: University of Michigan Press, 1995.
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The Iliad, the Rāmāyaṇa, and the work of religion: Failed persuasion and religious mystification. University Park, Pa: Pennsylvania State University Press, 1994.
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Collins, Derek. Immortal armor: The concept of Alkē in archaic Greek poetry. Lanham, Md: Rowman & Littlefield, 1998.
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Schmitt, Arbogast. Selbständigkeit und Abhängigkeit menschlichen Handelns bei Homer: Hermeneutische Untersuchungen zur Psychologie Homers. Mainz: Akademie der Wissenschaften und der Literatur, 1990.
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Disguise and recognition in the Odyssey. 2nd ed. Lanham, Md: Lexington Books, 2010.
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D, Williams Carolyn. Pope, Homer, and manliness: Some aspects of eighteenth-century classical learning. London: Routledge, 1993.
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Disguise and recognition in the Odyssey. Princeton: Princeton University Press, 1987.
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Criado, Cecilia. La teología de la Tebaida Estaciana: El anti-virgilianismo de un clasicista. Hildesheim: Georg Olms Verlag, 2000.
Find full textBook chapters on the topic "Religious aspects of Greek epic poetry"
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Meister, Felix J. "Introduction: Approaching Divinity." In Greek Praise Poetry and the Rhetoric of Divinity, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847687.003.0001.
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This chapter starts with a general description of concepts of divinity in archaic and classical Greek literature based on a distinction between quantitative and qualitative aspects of divine life. It argues that humans may approximate to these aspects only separately, and sets out approximation to the qualitative aspects as the object of this monograph. To illustrate this kind of approximation, the Introduction then pursues comparable notions in Hellenistic and Imperial literature, particularly notions of divine bliss in philosophy, of divine joy and beauty in erotic contexts, and of divine power in martial contexts. Finally, it argues that similar notions are conceivable also in archaic and classical literature, in contrast to prevalent accounts of the religious thought during these periods.
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Halliwell, Stephen. "Imagining Divine Laughter in Homer and Lucian." In Greek Laughter and Tears. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474403795.003.0003.
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This chapter employs a historicising approach to laughter, of the kind elaborated in the same author’s Greek Laughter: a Study of Cultural Psychology from Homer to Early Christianity, in order to investigate some important but elusive aspects of the Greek mythico-religious imagination. Its central focus is on depictions of divine laughter at opposite ends of the spectrum of ancient Greek culture, in Homeric epic and Lucianic satire. What does it mean to imagine gods who can laugh at and/or with one another, as well as at and/or with humans? Is such laughter a marker of distance between divine and human conditions of existence, or does the idea of laughter serve to limit the gods by subjecting them to inescapably human evaluation? The chapter rejects models of explanation (both ancient and modern) which treat the laughter of the Olympians either as a contamination of an originally purer conception of the gods or as consistently expressing a serenely detached state of immortality. It argues, instead, that divine laughter reflects tensions between the literal and the symbolic which are intrinsic to anthropomorphising Greek religious sensibilities, and that far from conveying blissful detachment divine laughter characterises gods who are heavily invested in the conflicts of the human world.