Chapter 8. Ecphrastic Space By the term ecphrastic space, I refer to: (1) the “external” or “physical” space or material on which the depiction is placed; and (2) the “internal” space or spaces mentioned in the various narrative snapshots of the ecphrasis, which consists of the individual locations of an imagined story-world (e.g. a city at peace or a dancing-floor) employed as spatial cues for information processing… Read more
Chapter 5. “Back Again,” “(Right) There/Then,” “(Right) Here/Now,” and “In Vain”: The Uses of αὖτις, αὐτίκα, αὐτοῦ, and αὔτως Αὖ Αὖτε (+ αὖτ’, αὖθ’) and δηὖτε Αὐτάρ Iliad 76 205 361 Odyssey 92 158 409 Homeric Hymns 7 14 … Read more
Conclusion. Homer’s Versicolored Fabric Αὖτις (+ ἐξαῦτις, αὖθις) αὐτίκα (+αὐτίκ’, αὐτιχ’) αὐτοῦ (+αὐτεῖ) αὖθι (+αὖθ’) αὐτόθι αὔτως Iliad 91 93 32 42 19 36 Odyssey 52 98 54 18 16 21 Homeric Hymns… Read more
Appendix. Loci Odysseus as κεῖνος and αὐτός in the Odyssey Loci Odysseus as κεῖνος in the Odyssey 59 instances out of 103 masculine, singular forms 1.163, 177, 199, 209, 212, 233, 235, 243 2.171, 183, 272, 274, 351 3.88, 93, 123, 222, 241 4.109, 145, 149, 152, 157, 182, 323, 693, 819, 832, 836 9.457 14.42, 70, 90, 122, 150, 153, 156, 163, 491… Read more
Bibliography Adema, S. M. 2008. Discourse Modes and Bases: A Study of the Use of Tenses in Vergil’s Aeneid. Amsterdam. Adrados, F. R. 1975. Lingüística indoeuropea. Madrid. ———. 1992. Nueva sintaxis del griego antiguo. Madrid. Ahl, F., and Roisman, H. 1996. The Odyssey Re-Formed. Ithaca. Aijmer, K. 2002. English Discourse… Read more
Preface In transcribing Greek names from Homer, I have generally followed modern principles of strict transliteration, for example rendering υ as u, ου as ou, and χ as kh: thus Antilokhos, Ekhemmon, Othruoneus, Thumbraios, and Lukourgos. In the case of some well-known names, however, I have opted to retain more familiar traditional spellings such as Achilles, Cilicia, Circe, Lycia, Myrmidons, Typhoeus, and Pylos. In researching this… Read more
Acknowledgments As with many things in life, so with books, ends and beginnings come strangely close. The completion of what started as a research project four years ago makes me think of all those who have helped me bring this book to its present form. Different people have offered different kinds of assistance, but they are all to be dearly thanked for having graciously given so much… Read more
Introduction The aim of this book is to offer a comprehensive study of space in the Iliad. Space constitutes a wide-ranging area of research, well beyond the limited concepts of landscape or setting. [1] Space in narrative is of prime importance for understanding the inner mechanics of the plot, and covers a wide spectrum of roles that have not been adequately studied… Read more
Part I: Viewing Simple Story Space in the Iliad In this part, I will explore how the narrator organizes and “views” simple story space in the Iliad. The tripartite mapping of mortal space (the plain, the Achaean camp, the city of Troy) and the twofold division between the areas of mortal and immortal activity intersect with a bipartite distinction between the base-level setting—the battlefield—and other framing spaces… Read more
Chapter 1. The Base-Level Setting: The Battlefield Reflecting the tripartite structure of Iliadic story space, the plain of Troy represents an extended area lying between the Achaean camp and the city of Troy. [1] Despite the lack of description, it can be further divided into the following subsettings: (1) the battlefield, (2) microsettings (oath-taking, friendly meetings, assemblies), and (3) locus-images (the oak… Read more
