Chapter 3. The Anthropology of Ancient Reception: The Late Archaic and Classical Periods ΠΙΚΡΑΓΚΑΘΙἘνεφανίσθη καὶ χάθηκε ἡ δεσποινὶς ποὺ συνήντησα μέσ᾽ στὸ συρτάρι μου. Στὴ θέσι της μιὰ τολύπηκρατεῖ τὸν φώσφορο τῆς ζωοφόρου της. Ἄποικοινέμονται τὶς ἐκτάσεις ποὺ ἐγκατέλειψε μὰ τὸ παιδὶτῶν ἀναμνήσεών μας κομίζει πλοκάμια ποὺ μοιάζουνμὲ… Read more
Chapter 10. The Rhetorics of Supplication and the Epic Intertext (Iliad I 493–516) Intertextual references that do not belong to specific epic traditions can become thematically associated intratextual sequences in Homeric epic. One form of this arrangement consists of proximal sequences, where topics originating from different versions of a given mythical context are presented intratextually as part of a thematic chain. Cumulative arrangement with its built-in linearity… Read more
Chapter 11. Intertextuality and Intratextual Distality: Thetis’ Lament in Iliad XVIII 52–64 Introduction The scene between Thetis and Achilles in Iliad XVIII 35–147 has attracted the interest of scholarly examination since the early analytical studies of Wilamowitz. [1] In line with the analytical approach to epic poetry that dominated 19th and early 20th century Homeric studies, Wilamowitz dissected the Iliad into… Read more
Chapter 12. Mapping the Hypertext: Similes in Iliad XXII In spite of the fact that Homeric similes have undergone exhaustive analysis, interest in them has been renewed in recent years, though the focus of research has shifted from studying their classification [1] to exploring their oral function [2] and the way they generate meaning. [3]… Read more
Bibliography Translations All translations of the Iliad are taken from Lattimore 1951, and of the Odyssey from Rieu 2003 (= 1946). For Aristotle I have consulted Halliwell 1995; for Herodotus, Waterfeld 1998; for the Homeric Hymns, West 2003; for Philostratus, Berenson, Maclean, and Aitken 2003 (= 2001); for Proclus, Burgess 2001; for Livy, Foster 1919; for Ovid’s Fasti, Frazer 19892 (= 1931); for Propertius, Goold 1990;… Read more
Illustrations [Due to copyright restrictions, the images included in the print version of this book are not available for reproduction online. Where possible, those images have been replaced by line drawings, open source images, or links to relevant citation information. Captions for replacement images will appear in brackets alongside the original captions.] Figure 1. Hydria in Six’s technique. Attributed to the Sappho Painter,… Read more
Preface I was first introduced to the dialects of Plato and Sappho in the last years of elementary school by an older friend who enjoyed reciting ancient Greek poetry and reading sections from Plato’s Symposion at family gatherings. She taught me their dialects during three long summers in Greece. The work of both of those ancient composers of prose and song became scholarly pre-occupations of mine later… Read more
Acknowledgments This book began taking shape in 2000 and was completed in June 2003. During the academic year 2003–2004 it was further revised, and I made some final bibliographical additions in January 2005. [1] The original 2003 manuscript was almost twice as large as the present book. This was partly due to the fact that in that manuscript there was a special… Read more
Note on Transliteration Transliterating ancient Greek words of different periods—with all the phonetic and other changes that took place from the archaic to the Roman period and later—raises issues about consistency. Our knowledge of the precise pronunciation of ancient Greek consonants, vowels, and diphthongs in different dialects is limited. It is, therefore, problematic to adopt a transliteration system that assumes that archaic Greek dialects were pronounced in… Read more
Chapter 1. An Anthropology of Reception Δεινὸν γάρ που, ὦ Φαῖδρε, τοῦτ’ ἔχει γραφή, καὶ ὡς ἀληθῶς ὅμοιον ζωγραφίᾳ. καὶ γὰρ τὰ ἐκείνης ἔκγονα ἕστηκε μὲν ὡς ζῶντα, ἐὰν δ᾽ ἀνέρῃ τι, σεμνῶς πάνυ σιγᾷ. ταὐτὸν δὲ καὶ οἱ λόγοι. I think, Phaidros, that writing shares a strange feature with painting. The offspring of painting stand there as if they were alive, but if you ask… Read more
