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"Adam Nicolson writes popular books as popular books used to be, a breeze rather than a scholarly sweat, but humanely erudite, elegantly written, passionately felt...and his excitement is contagious."—James Wood, The New Yorker Adam Nicolson sees the Iliad and the Odyssey as the foundation myths of Greek—and our—consciousness, collapsing the passage of 4,000 years and making the distant past of the Mediterranean world as immediate to us as the events of our own time. Why Homer Matters is a magical journey of discovery across wide stretches of the past, sewn together by the poems themselves and their metaphors of life and trouble. Homer's poems occupy, as Adam Nicolson writes "a third space" in the way we relate to the past: not as memory, which lasts no more than three generations, nor as the objective accounts of history, but as epic, invented after memory but before history, poetry which aims "to bind the wounds that time inflicts." The Homeric poems are among the oldest stories we have, drawing on deep roots in the Eurasian steppes beyond the Black Sea, but emerging at a time around 2000 B.C. when the people who would become the Greeks came south and both clashed and fused with the more sophisticated inhabitants of the Eastern Mediterranean. The poems, which ask the eternal questions about the individual and the community, honor and service, love and war, tell us how we became who we are.
The writings of the Greeks and Romans form the bedrock of Western culture. Inventing the molds for histories, tragedies, and philosophies, while pioneering radical new forms of epic and poetry, the Greeks and Romans created the literary world we still inhabit today. Writing with verve and insight, distinguished classicist Richard Jenkyns explores a thousand years of classical civilization, carrying readers from the depths of the Greek dark ages through the glittering heights of Rome's empire. Jenkyns begins with Homer and the birth of epic poetry before exploring the hypnotic poetry of Pindar, Sappho, and others from the Greek dark ages. Later, in Athens's classical age, Jenkyns shows the radical nature of Sophocles's choice to portray Ajax as a psychologically wounded warrior, how Aeschylus developed tragedy, and how Herodotus, in "inventing history," brought to narrative an epic and tragic quality. We meet the strikingly modern figure of Virgil, struggling to mirror epic art in an age of empire, and experience the love poems of Catullus, who imbued verse with obsessive passion as never before. Even St. Paul and other early Christian writers are artfully grounded here in their classical literary context. A dynamic and comprehensive introduction to Greek and Roman literature, Jenkyns's Classical Literature is essential reading for anyone seeking a deeper understanding of the classics -- and the extraordinary origins of Western culture. "There is scarcely anything on which he does not offer an original aperç sometimes illuminating, sometimes simply provocative, but always worth reading... Jenkyns's view of ancient literature is Olympian." -- G.W. Bowersock, The New York Review of Books
What does it mean to be a hero? The ancient Greeks who gave us Achilles and Odysseus had a very different understanding of the term than we do today. Based on the legendary Harvard course that Gregory Nagy has taught for well over thirty years, The Ancient Greek Hero in 24 Hours explores the roots of Western civilization and offers a masterclass in classical Greek literature. We meet the epic heroes of Homer’s Iliad and Odyssey, but Nagy also considers the tragedies of Aeschylus, Sophocles, and Euripides, the songs of Sappho and Pindar, and the dialogues of Plato. Herodotus once said that to read Homer was to be a civilized person. To discover Nagy’s Homer is to be twice civilized. “Fascinating, often ingenious... A valuable synthesis of research finessed over thirty years.” —Times Literary Supplement “Nagy exuberantly reminds his readers that heroes—mortal strivers against fate, against monsters, and...against death itself—form the heart of Greek literature... [He brings] in every variation on the Greek hero, from the wily Theseus to the brawny Hercules to the ‘monolithic’ Achilles to the valiantly conflicted Oedipus.” —Steve Donoghue, Open Letters Monthly
This book demonstrates how Homeric poetry manages to confer significance on persons and actions, interpreting the world and the lives of the people who inhabit it. Taking central themes like characterization, death, and the gods, the author argues that current ideas of the limitations of "oral poetry" are unreal, and that Homer embodies a view of the world both unique and profound.
Offers interpretations of the main aspects of Homeric epic: the gods and fate, gender and society, death, fame, and poetry
He then proposes two levels of analysis: a "deep-structure" level, which describes the associations of words and ideas before they take metrical form, and a "surface-structure" level, which describes the words as they are employed on any particular occasion. Out of Line combines formulaic and metrical analysis, expanding the study of Homeric meter both in practice, by taking into account larger compositional structures such as entire scenes, and in theory, by using the result to test models of formulaic composition.
As distinct from the extant studies of ancient canonical texts, which focus either on literary (Greco-Roman) or religious (Judeo-Christian) canons, the present volume aims at bridging between these two fields by proposing the first comparative study of canon. An international team of experts discusses the processes of canon-formation in societies of the ancient world, addressing such issues as canon and the articulation of identity; the hermeneutical attitude toward canonical texts; textual fixity and openness; oral and written canons; methods of transmission, and more. Among the topics discussed are Mesopotamian canons; Zoroastrianism; the Bible; Homer; literary and philosophical canons in ancient Greece and Rome; the New Testament; the Roman law; Rabbinic Judaism and Kabbalistic literature. The future of the so-called Western Canon is one of the most hotly debated issues of the day. There is reason to believe that what is perceived today as a unique crisis, can be put into perspective by students of ancient societies, for the simple reason that the ancient world offers us the historical perspective of civilizations as a whole and allows us to study cultural phenomena in the longue durée.
Contemporary preoccupation with the self and the rise of comparative anthropology have renewed scholarly interest in the forms of personhood current in Ancient Greece. However the word which translates “self” most literally, the intensive adjective and reflexive morpheme αὐτός, and its critical role in the construction of human being have for the most part been neglected. This monograph rights the imbalance by redirecting attention to the diachronic development of the heavily marked reflexive system and its exploitation by thinkers to articulate an increasingly reflexive and non-dialogical understanding of the human subject and its world. It argues that these two developmental trajectories are connected and provides new insight into the intellectual history of subjectivity in the West.
Widely revered as the father of Western literature, Homer was the author of the Iliad and the Odyssey, the epic poems which immortalised such names as Achilles, Cyclops, Menelaus, and Helen of Troy. In this vivid introduction, Elton Barker and Joel Christensen celebrate the complexity, innovation, and sheer excitement of Homer’s two great works. Investigating the controversy surrounding the man behind the myths, they ask who Homer was and whether he even existed. Making parallels between Homeric hexameter and rap, and between his battle scenes and The Lord of the Rings, the authors highlight how his hugely influential epics deal with ageless questions that still confront us today. Perfect for new readers of the great poet and full of insights that will delight Homeric experts, this book will inspire you to discover – or rediscover – his masterpieces first-hand.