Homer

This book aims to provide the reader of Homer with the traditional knowledge and fluency in Homeric poetry which an original ancient audience would have brought to a performance of this type of narrative. To that end, Adrian Kelly presents the text of Iliad VIII next to an apparatus referring to the traditional units being employed, and gives a brief description of their semantic impact. He describes the referential curve of the narrative in a continuous commentary, tabulates all the traditional units in a separate lexicon of Homeric structure, and examines critical decisions concerning the text in a discussion which employs the referential method as a critical criterion. Two appendices deal with speech introduction formulae, and with the traditional function of Here and Athene in early Greek epic poetry.

Tsagalis, C., Bryn Mawr Classical Review 2008.01.25
Heath, M., Greece & Rome 55 (2008) 111–12
Clackson, J., Times Literary Supplement October 17 (2008) 33
Strauss Clay, J., Religious Studies Review 34 (2008) 289
Huxley, G. L., Hermathena 184 (2008) 93–5
Cook, E., Classical Review 59 (2009) 14–16
de Jong, I., Mnemosyne 62 (2009) 478–80
Blanc, A., Revue des études grecques 122 (2009) 237–9

Continuation of the Atlantic Theory of Homer's Ilias and Odyssey (part 1: Atlantic Troy; part 2:  Atlantic Ismaros-Kikones). Odysseus' wanderings after his departure from Troy: Route Brittany-Senegal. Study of Atlantic authors De Grave, Cailleux, Gideon, Wilkens, Vinci. Identification of his first stop as North of Spain (Ulla, A Coruña), Kuthera as El Araich (Maroc) and Lotophagia as Senegambia.

This article argues that Homer's depiction of Odysseus in specifically bardic terms is an essential element in the self-presentation of the Homeric poet, in that it comprises the construction of an agonistic relationship with contemporary poets – as in the Hesiodic tradition – who deploy 'personal' details to bolster their claims to poetic authority.

This article reviews recent attempts to view the Dios Apate of Iliad Book 14 as essentially derived from (a series of) Ancient Near Eastern texts, and seeks to demonstrate that such attempts overplay supposed similarities and fail to understand the traditional construction of Homeric poetry in its Hellenic context. Interaction with Ancient Near Eastern traditions remains likely, but it is not to be reduced to an exercise in simplistic Quellenforschung.

This article reviews recent attempts to view the Dios Apate of Iliad Book 14 as essentially derived from (a series of) Ancient Near Eastern texts, and seeks to demonstrate that such attempts overplay supposed similarities and fail to understand the traditional construction of Homeric poetry in its Hellenic context. Interaction with Ancient Near Eastern traditions remains likely, but it is not to be reduced to an exercise in simplistic Quellenforschung.

Continuation of the Atlantic Theory of Homer's Ilias and Odyssey (part 1: Atlantic Troy; part 2:  Atlantic Ismaros-Kikones; part 3: Atlantic Kuthera-Lotophages; part 4: Atlantic Land of the Cyclopes; part 5: Atlantic Aiolia). Odysseus' wanderings after his departure from Troy: Route: from Corvo, Azores, to La Havana, Cuba. Study of Atlantic authors De Grave, Cailleux, Gideon, Wilkens, Vinci.

In Rhetoric and Power, Nathan Crick dramatizes the history of rhetoric by explaining its origin and development in classical Greece beginning the oral displays of Homeric eloquence in a time of kings, following its ascent to power during the age of Pericles and the Sophists, and ending with its transformation into a rational discipline with Aristotle in a time of literacy and empire. Crick advances the thesis that rhetoric is primarily a medium and artistry of power, but that the relationship between rhetoric and power at any point in time is a product of historical conditions, not the least of which is the development and availability of communication media.
Investigating major works by Homer, Heraclitus, Aeschylus, Protagoras, Gorgias, Thucydides, Aristophanes, Plato, Isocrates, and Aristotle, Rhetoric and Power tells the story of the rise and fall of classical Greece while simultaneously developing rhetorical theory from the close criticism of particular texts. As a form of rhetorical criticism, this volume offers challenging new readings to canonical works such as Aeschylus's Persians, Gorgias's Helen, Aristophanes's Birds, and Isocrates's Nicocles by reading them as reflections of the political culture of their time.
Through this theoretical inquiry, Crick uses these criticisms to articulate and define a plurality of rhetorical genres and concepts, such as heroic eloquence, tragicomedy, representative publicity, ideology, and the public sphere, and their relationships to different structures and ethics of power, such as monarchy, democracy, aristocracy, and empire. Rhetoric and Power thus provides a foundation for rhetorical history, criticism, and theory that draws on contemporary research to prove again the incredible richness of the classical tradition for contemporary rhetorical scholarship and practice.

Though Odysseus’ tales to Eumaios and Aninoos in Odyssey 14.199–359 and 17.417–44, respectively, are presented as fictional tales within Homer’s larger myth, some elements have striking analogs in Late Bronze–Early Iron Age reality.

This article examines these portions of the hero’s false ainoi within their fictive context for the purpose of identifying and evaluating those elements. Particular focus is given to Odysseus’ declaration that he led nine successful maritime raids prior to the Trojan War; to his twice–described ill–fated assault on Egypt; and to his claim not only to have been spared in the wake of that Egyptian raid, but to have spent a subsequent seven years in the land of the pharaohs, during which he gathered great wealth.

Through a comparative examination of literary and archaeological evidence from the Late Bronze–Early Iron transition in the Eastern Mediterranean, it is shown that these aspects of Odysseus’ stories are not only reflective of the historical reality surrounding the time in which the epic is set, but that Odysseus’ fictive experience is remarkably similar to that of one specific member of the ‘Sea Peoples’ groups best known from 19th and 20th dynasty Egyptian records: the ‘Sherden of the Sea.’

The Iliad is the story of Achilles’ journey through anger. Over the epic, Achilles undergoes a continual process of transformation, and as he does, the world changes around him. His anger unleashes the fiery beast of war and creates a spectacle of destruction. However, as Achilles awakens to the immense personal and social cost of his anger, the spectacle begins to transform. In place of rage, compassion and humanity come forth and the fires of war are replaced by the cathartic flames of the hearth and the funeral pyre. In this thesis I chart this journey by analysing Achilles’ communicative acts: his use of speech and action, across the epic. Through examining his communication and the ways in which others communicate with him, subtle but important changes are revealed. These changes in communication reflect the transformation that takes place within Achilles and are instrumental in generating change in the world around him. My interpretation of Achilles’ use of speech draws on insights from contemporary cognitive psychology, especially the work of Martin Seligman. My work on communication is also influenced by a range of contemporary strategic studies theorists who consider a wide range of non-verbal acts that have an important communicative function, including gestural and performative acts of violence. In charting Achilles’ transformation, we also gain a glimpse into the poet’s view of the elemental and personal dynamics that lie behind the creation of war and peace. Whilst a necessary part of the mortal condition, conflict, suffering and death are shown to hold within them the vital forces of change, and to reveal the nature of humanity itself.

This book is the edited proceedings from the conference 'The Art of Stesichorus' held at St John's College, Oxford, on June 29–30 2012. Contributors include: Ewen Bowie (Oxford), Chris Carey (London), Patrick Finglass (Nottingham), Richard Hunter (Cambridge), Adrian Kelly (Oxford), Ian Rutherford (Reading), Gerson Schade (Berlin), Laura Swift (Open University), Martin West (Oxford).

Pelling, C., Classics for All 2015/08/11

In this paper, I argue that the traditional narrative of Iphigenia's sacrifice lies allusively behind the opening scenes of the Iliad (1.8-487). Scholars have long suspected that this episode is evoked in Agamemnon's scathing rebuke of Calchas (1.105-8), but I contend that this is only one moment in a far more sustained allusive dialogue: both the debate over Chryseis and her eventual return to her father replay and rework the sacrifice story. The Iliad begins by recalling the start of the whole Trojan war. [See https://twitter.com/Nellenist/status/1517245751679762435 for a brief summary of key points and please contact me for a correctly paginated offprint.]

This article argues that the reception of Homeric poetry in the lyric poets of the Archaic period is a process of evolution, in which evidentiary difficulty and the gradual development of intertextuality combine to make Stesichorus the first truly intertextual poet in the Greek tradition. Earlier interactions are, as far as we can tell, very limited, confined to mentions of basic plot or famous episodes, whilst even his exiguous fragments allow us to see Stesichorus engaging in a sustained and recreative manner with the entire Iliad and Odyssey. This is an uncorrected proof.

Ce volume comporte trois chapitres : le premier décrit les linéaments d'une doctrine archaïque de la « phusis » visant toujours à connaître la « nature » de chaque chose, cet ensemble de caractéristiques qui fonde sa puissance, sa capacité d'agir ; le second décrit une représentation archaïque de l'Univers au moyen du schème de la croissance végétale, reconnu dans l'usage du verbe « phuô » et la poursuit jusqu'à la grande synthèse de la cosmologie archaïque, telle qu'elle s'énonce dans la deuxième partie du poème de Parménide : l'Univers est comme une grande plante qui croît et distribue l'ensemble des « natures » des choses. Le schème de la croissance et celui de la distribution des natures convergent ainsi pour esquisser la première représentation globale d'un tout cosmique organisé. La troisième partie est consacrée au débat qui, dans le deuxième Ve siècle, autour de « l'enquête sur la nature », chez les sophistes et les médecins, accompagne l'apparition d'un tout de plus en plus homogène, mais néanmoins susceptible de plusieurs visages : ainsi celui de l'homogénéité du mode de production de toutes choses ou celui de la distribution des natures de toutes choses. La Nature commence à paraître, oscillant entre une logique génétique et une logique distributive : c'est ainsi que s'accomplit une histoire qui fait progressivement du terme distribué à toutes choses pour décrire leurs puissances respectives le nom du tout organisé où chacune trouve sa place.

Odiseja xxii. [Odyssey xxii.] Историјска граматика грчког језика 1 (основне студије), јесењи и прољећни семестар ак. год. 2017.–18., Одјељење за класичне науке, Филозофски факултет, Београд / Greek Historical Grammar I  (BA Course), Winter and Summer Semester 2017.–18., Department of Classics, Faculty of Philosophy, Belgrade. (Teacher notes.) Is the metrical, grammatical and comparative-historical analysis of Odyssey xxii 1–501.

Chs. 13-15 Agamemnon was a great man with white body, strong of limb, eloquent, discreet, noble, rich. Menelaus, Dares says, was of moderate stature, ruddy, fit, agreeable, pleasant. Achilles was broad chested with attractive demeanor, strong and great members, with crested head and curly hair, compassionate, fiercest with arms, generous, of cheerful disposition, hospitable, with hair of myrtle. Patroclus had a handsome body, blue eyes, great strength, was shy, determined, moderate, hospitable. Oilean Ajax was square with strong limbs, an aquiline body, agreeable, brave. Telamonian Ajax was strong with a clear voice, black curly hair, a simple soul, savage against the enemy. Ulysses was steadfast, cunning, with a lively look, of medium stature, eloquent, wise. Diomedes was brave, square, had a respectable body, an austere countenance, was fiercest in battle, loud with a hot head, impatient, audacious. Nestor was a great man with a long, hooked nose. He was broad, brilliant, a counselor, sensible. Protesilaus had a brilliant body with a respectable face. He was swift, confident, rash. Neoptolemus, he says, was a great man, violent, wrathful, lisping, noble in appearance with an aquiline bent, round eyes, arrogant. Palamedes was tall and slim, wise, magnanimous, smooth. Podalirius was thick, strong, haughty, sad. Machaon was brave, great, sure, sensible, patient, merciful. Meriones was ruddy, of moderate stature, with a round

RESUMO: O presente artigo pretende expor e analisar algumas características dos modelos éticos e políticos de conduta dos super-heróis. Para tanto, procura oferecer um contraste entre eles e os heróis dos épicos homéricos. Após enfatizar a importância dessas figuras e da obra de Homero para a educação dos gregos antigos, realiza uma breve análise dos valores que regem as ações dos personagens mais notáveis dos épicos, tais como Aquiles, Odisseu e Heitor, a partir da qual podemos ressaltar, pela comparação, uma diferença e uma semelhança entre esses heróis e os super-heróis. Recorrendo à noção de justiça em Platão e, posteriormente, à teoria da ação de Hannah Arendt, o artigo procura articular a aparente contradição entre essas duas características-a busca da excelência e a rejeição à glória-analisando a primeira aparição do Superman e os filmes Batman-O Início e Batman: Cavaleiro das Trevas. Dessa análise conclui-se que a identidade secreta, expressão mais típica desses impulsos antagônicos, ao menos nesses casos tão paradigmáticos, resolve a contradição, ou ao menos a suspende, por meio da marginalização do super-herói. Ao final, o artigo sugere possíveis novas análises que caminhem em sentido semelhante. Palavras-chave: Modelos éticos, Homero, Arendt, Batman, Superman.

BETWEEN GOODNESS AND GLORY: SUPERHEROES AS AN ETHICAL AND POLITICAL MODEL

ABSTRACT: The present paper intends to expose and analyze some characteristics of the ethical and political role models of super-heroes. To this end, it seeks to offer a contrast between superheroes and the heroes of Homer's epics. After emphasizing the importance of these icons, and of Homer's work, for the education the ancient Greeks, the work carries out a brief analysis of the values that govern the actions of the epics' most notable characters, such as Achilles, Hector and Odysseus, with which we are able to stress, through comparison, one difference and one similarity between these heroes and superheroes. Having recourse to Plato's notion of justice and, subsequently, to Hannah Arendt's theory of action, the paper then attempts to articulate the apparent contradiction between these two characteristics-the drive towards excellence and the rejection of glory-by analyzing Superman's first appearance and the movies Batman Begins and The Dark Knight. From this analysis it is concluded that secret identities, the most typical manifestation of these antagonistic drives, solve, or at least suspend, said contradiction, by marginalizing the superhero. Finally, the paper suggests possible further research following similar paths.

The "Odissey" of Enaiat lasts seven years, from Afghanistan to Italy. Fabio Geda tells it in the novel "Nel mare ci sono i coccodrilli", that we analyse here embroiding a counterpoint of the Homeric poem.
An inter-interpretation between the contemporary novel and the classical poem.

This article seeks to demonstrate how the myth of Troy is still relevant to modern-day European culture and identity, drawing on Gregor Feindt et al.’s concept of “entangled memory” as a theoretical foundation. In order to support this claim, it discusses Wolfgang Petersen’s movie Troy (2004), the successful exhibition Troy—Dream and Reality that opened in Germany in 2001; the heated debate sparked by this exhibition among German scholars; and the political discussion about Turkey’s unsuccessful application for membership in the European Union, in which references to Troy played a surprising role.

Héritage et souvenir de l’époque mycénienne, l’épopée grecque s’est progressivement enrichie de nouvelles valeurs sociales, apparues au cours des âges obscurs et de l’époque archaïque. De cette situation résulte un décalage évident entre le récit, éloigné des auditeurs dans le temps et l’espace, et le message sous-jacent, qui leur est parfaitement contemporain. Dès lors, l’épopée est en permanence le vecteur de l’identité hellénique.

Edited and Translated into English by Brian Duvick XXXVII. After the Trojans saw this, Antenor, Aeneas, and Polydamas came to Priam, pleaded with him to convene the council and deliberate about their future fortune. Priam convened the council. Those who requested the opportunity to speak he ordered to state what they wanted. Antenor recalled that the principal defenders of Troy, Hector and his other sons, had been killed with the foreign leaders, that the Argives still had their bravest-Agamemnon, Menelaus, Neoptolemus, who was no less brave than his father, Diomedes, Locrian Ajax, and several others, including men of the highest good sense-Nestor, Ulysses. In contrast, he said, the Trojans had been shut up and worn out with fear. He argued instead to return Helena and the goods that Alexander had taken with her companions and to make peace. After they talked about procuring peace with lengthy speeches, Amphimachus stood up, a young son of Priam, very brave, delivered a horrid speech against Antenor and those who had consented. He upbraided their deeds, argued instead to muster the army and invade the camp until victorious or fall for the fatherland defeated. After he concluded, Aeneas stood up, contested Amphimachus with calm and gentle words, argued to seek peace from the Argives with urgency. Polydamas persuaded the same.

Spekali, #6

The present paper discusses Aristotle's "Poetics" in the light of one significant aspect of the Homeric innovation. Taking into account the given source and modern Homeric conceptions, the author of the paper classifies  the distinguishing criteria of the oral and written stages, which supposedly existed within the perennial process of the formation of the "Iliad". By way of illustration of the above-mentioned Book 9 of the "Iliad" is analyzed.

The first step in extracting significance from an historical text is to lay-out [aus-legen] the text, to listen first to its original voice, and then in a second, perhaps more pedagogical step, to interpret the text in and to different cultural circumstances. The question of history, or History, certainly encloses a methodological tension, which reveals itself not so much in the practical examination of specific texts, but rather in the general philosophical assumptions the historical hermeneut brings with him to the text. This speculative Ausgangspunkt, “which already sanctions prior to any actual historical consideration a philosophical distinction between acceptable (rational) and unacceptable (ir-rational) experiences of the world, shall also actively influence the process of historical re-membering, and thus History itself as the final product of that process.” (Aiken 1997:412).

Most homeowners are unaware that their properties that are older and have wooden doors and window frames are likely to lose 20% of the property's heat. At a time when energy costs are escalating, homeowners would try to do anything to help reduce energy consumption and wastage. Double glazed uPVC doors and windows can significantly reduce energy inefficiencies. The benefits of installing uPVC double glazing units Installation of double glazed uPVC doors and windows will reduce the heat that is otherwise lost from your home and the drafts that enter the house will reduce. These two factors combine to bring about a dramatic decrease in the household energy bills. How does uPVC double glazing work? Double glazed windows have two separate panes of glass instead of single panes that make up traditional windows. The two panes are spaced a few millimetres apart from one another. The space between the panes is either a vacuum or is filled by a gas, such as argon, thereby enhancing their insulating efficiency. This also helps in reducing noise. These effects can be multiplied by increasing the glazing or increasing the amount of space between two panes. How are uPVC double glazing units made? Double glazed uPVC windows and doors are constructed by the addition of an uPVC (unplasticized Poly Vinyl Chloride) cover to a rigid frame, which is usually made of steel. The uPVC coating is carefully fitted and sealed around the window and door frame to ensure it is waterproof, whilst the rigid frame ensures that the units are secure. The uPVC coating is usually white in colour, although it is also possible to find windows and doors that come in alternative colours or in a grain effect. One of the major benefits associated with uPVC is that it does not require painting and, therefore, it is relatively easy to maintain.

The paper addresses theoretical and methodological issues concerning the study of translations of Homer in languages such as English and French. It argues that such a study could contribute not only to the reading of the original text but also to the theoretical understanding of the historical persistence and actuality of old literary works. After an initial discussion of the theoretical implications of the Homeric Question, the paper presents the general historical trends of translations in the said languages, as well as a brief analysis of translation variants for specific passages. The overall image is one of an imposing weight of the original which seems to be lifting the national languages of translation over and above their connections to historically determined cultural patterns. Conclusions explore the theoretical interest of a comparison between two divergent approaches to an ontology of literary textuality, both highly critical with respect historicist hermeneutics, namely, the ones of Benjamin and Gadamer.

Cet article propose de voir à quoi correspond, dans l’Antiquité, la catégorie d’ « épopée didactique » (ou « poésie didactique »), couramment utilisée par les savants modernes pour rendre compte d’œuvres comme les Travaux et les jours, le De rerum natura ou encore les Géorgiques, en opposition avec la catégorie d’« épopée narrative » (ou parfois simplement d’« épopée »), qui comprendrait les poèmes d’Homère, l’Énéide, etc. Une enquête anthropologique et pragmatique montre que la catégorie de « poésie didactique » n’existait pas chez les Anciens. Dans un deuxième temps, on essaie de voir à quel moment on commence à parler de « poésie didactique ».

The attached is the abstract, handout and bibliography for my presentation at the Classical Association conference, 10-13 April 2015, Bristol University
Panel: Homer II (Wills Memorial Building) 1 p.m., Sunday 12th April
Title: “Procopius' sense of land and seascapes in Homer's Odyssey and his symbolism of Athena?”

For the full article, please email me at margulies@nyu.edu or visit https://doi.org/10.1017/S0009838820000919

One of the more powerful recurring motifs in the Iliad is that of the grief-stricken woman lamenting the death of a hero. As with much else in the Homeric epics, these scenes have a formulaic character; when Briseis laments Patroclus, and Hecuba, Andromache and Helen lament Hector, each is depicted delivering a specialized form of speech, specific to the context of a woman’s lament. The narrative depiction of grieving women, as well, is formalized, with specific gestures and recurring images that typify these scenes. One element of this depiction that has largely escaped serious consideration is the comparison of a woman in her initial moment of recognition of the corpse to Aphrodite. In this article, I will argue that the allusion is not merely to her beauty but to the myth of Aphrodite and Adonis, specifically the moment of the goddess’ discovery of the death of her mortal lover. As the earliest surviving explicit reference to Adonis in Greek literature appears c.600 B.C.E., this would require a raising of the terminus ante quem for the transmission of the Adonis myth from the Near East to the mid eighth century.

Renumbered to 4021. to 4720.

Pretty much 100% certain to be 100% accurate,
with merely a few minor variations in the exact numbering of a few verses here and there, like all the large books.  It was even said at one point, which path was taken. 

(In fact there are always a ton of hidden paths that only a scribe would notice, yet reveal even more secret numerology doctrines.)

This paper is aimed at studying how the primaeval relationship between music and epic poetry, whose traces are found in Homer, was thought under the light of ancient doctrines about musical teaching and its ethical effects, as well as at showing the way in which moral readings of this kind, based on the Achilles at the lyre passage from the Iliad (IX, 186-189), were exploited by Statius in his Achilleid.