Conclusion. Homer’s Versicolored Fabric
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
Archive
Appendix. Loci Odysseus as κεῖνος and αὐτός in the Odyssey
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
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
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
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
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
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
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
Chapter 2. Framing Spaces
Chapter 2. Framing Spaces The Achaean Camp, Troy, and the World of the Immortals As we saw in chapter 1, the base-level space of the battlefield is part of a set of framing spaces that are deployed around and above it. The Achaean camp and the city of Troy encircle the Trojan plain on a horizontal level, while the various places where the immortals live and… Read more
Conclusion
Conclusion The Education of Cyrus is a simple narrative, but the Theory of Leadership that informs it is complex and often difficult to untangle. In the course this study I have been exploring a number of claims about it. For one, we should not think of the Theory as a recitation of moral and political commonplaces from a traditional or conservative Greek intellectual. The increasing scholarship on… Read more