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 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 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
Bibliography Ambler, W., trans. 2001. The Education of Cyrus. Ithaca. Anderson, J. K. 1974. Xenophon. London. Azoulay, V. 2004a. “The Medo-Persian Ceremonial: Xenophon, Cyrus and the King’s Body.” In Tuplin 2004:147–17. ———. 2004b. Xénophon et les grâces du pouvoir. Paris. ———. 2004c. “Xénophon, la Cyropédie et les eunuques.” Revue française… Read more
Acknowledgments The research related to this monograph was funded by the European Commission through a Marie Curie Outgoing International Fellowship (MOIF-CT 8030 “Pragmatics of Archaic Greek Literature,” 2005–2008). This grant gave me the wonderful opportunity to work at the Widener Library of Harvard University, and at the Center for Cognitive Science of the University of Turin. I am enormously indebted to the Professors of the two institutions… Read more
Introduction. The Evocative Power of Word-Making [In this on-line version, the page-numbers of the printed version are indicated within braces (“{” and “}”). For example, “{69|70}” indicates where p. 69 of the printed version ends and p. 70 begins. These indications will be useful to readers who need to look up references made elsewhere to the printed version of this book.] versicolored, adj. archaic… Read more
Chapter 1. The Cognitive Presence of the Absent Hero (Odyssey 1–4) The common thread of the first three chapters of this monograph is Odysseus and anaphoric references to him, in particular, (ἐ)κεῖνος and αὐτός. Rather than being merely technical and necessary linguistic devices that recall his person, such references offer a remarkable contribution to the poetic account of the Ithacan hero in his literary substance. By “literary… Read more
Chapter 2. Encounter, Visit, and Celebration: Homeric Layering (Odyssey 14) Table 1. Distribution of the occurrences of kenos with Odysseus as the referent in books 1 to 13 of the Odyssey. The following study of linguistic communication in Odyssey 14 started from an analysis of occurrences of κεῖνος referring to Odysseus (see Table 1). Book fourteen includes nine such instances, which is a relatively high… Read more
Chapter 3. Odysseus Who?: Polyphonic Marks of Identity (Odyssey 15–24) The interlacing of Odysseus κεῖνος and Odysseus αὐτός in book fourteen can be seen as the result of different and overlapping perceptions of the Ithacan hero. The sense of his physical absence and of his desired presence—which is cognitively marked in the words of various characters throughout the first four books of the poem—coexists with expressions of… Read more
Chapter 4. Visual and Narrative Functions of αὐ-Discourse Markers An epigram assigned to Pollianus (first or second century AD) in the Greek Anthology begins as follows: Τοὺς κυκλίους τούτους τοὺς “αὐτὰρ ἔπειτα” λέγονταςμισῶ, λωποδύτας ἀλλοτρίων ἐπέων. Greek Anthology 11.130.1–2 These cyclic poets who say “αὐτὰρ ἔπειτα,”I hate them; they are thieves of the poetic utterances of others. These lines… Read more
