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This book takes a fresh look at a familiar element of the Homeric epics - the poetic catalogue. It shows that in a variety of contexts, Homer uses catalogue poetry not only to develop his themes, but to comment on the ideals and limitations of the epic genre itself.
This book takes a fresh look at a familiar element of the Homeric epics - the poetic catalogue. It shows that in a variety of contexts, Homer uses catalogue poetry not only to develop his themes, but to comment on the ideals and limitations of the epic genre itself.
What kind of allusion is possible in a poetry derived from a centuries-long oral tradition, and what kind of oral-derived poetry are the Homeric epics? Comparison of Homeric epic with South Slavic heroic song has suggested certain types of answers to these questions, yet the South Slavic paradigm is neither straightforward in itself nor necessarily the only pertinent paradigm: Augustan Latin poetry uses many sophisticated and highly self-conscious techniques of allusion which can, this book contends, be suggestively paralleled in Homeric epic, and some of the same techniques of allusion can be found in Near Eastern poetry of the third and second millennia BC. By attending to these various paradigms, this challenging study argues for a new understanding of Homeric allusion and its place in literary history, broaching the question of whether there can have been historical continuity in a poetics of allusion stretching from the Mesopotamian epic of Gilgamesh, via the Iliad and Odyssey, to the Aeneid and Metamorphoses, despite the enormous disparities of time and place and of language and culture, including those represented by the cuneiform tablet, the papyrus roll, and by an oral performance culture. The fundamental methodological problems are explored through a series of interlocking case studies, treating of how the Odyssey conceivably alludes to the Iliad and also to earlier poetry on Odysseus' homecoming, the Iliad to earlier poetry on the Ethiopian hero Memnon, the Homeric Hymn to Demeter to earlier poetry on Hades' abduction of Persephone, and early Greek epic to Mesopotamian mythological poetry, pre-eminently the Babylonian epic of Gilgamesh.
Lists and catalogues have been en vogue in philosophy, cultural, media and literary studies for more than a decade. These explorations of enumerative modes, however, have not yet had the impact on classical scholarship that they deserve. While they routinely take (a limited set of) ancient models as their starting point, there is no comparably comprehensive study that focuses on antiquity; conversely, studies on lists and catalogues in Classics remain largely limited to individual texts, and – with some notable exceptions – offer little in terms of explicit theorising. The present volume is an attempt to close this gap and foster the dialogue between the recent theoretical re-appraisal of enumerative modes and scholarship on ancient cultures. The 16 contributions to the volume juxtapose literary forms of enumeration with an abundance of ancient non-, sub- or para-literary practices of listing and cataloguing. In their different approaches to this vast and heterogenous corpus, they offer a sense of the hermeneutic, epistemic and methodological challenges with which the study of enumeration is faced, and elucidate how pragmatics, materiality, performativity and aesthetics are mediated in lists and catalogues.
Homer the Rhetorician is the first monograph study devoted to the monumental Commentary on the Iliad by Eustathios of Thessalonike, one of the most renowned orators and teachers of the Byzantine twelfth century. Homeric poetry was a fixture in the Byzantine educational curriculum and enjoyed special popularity under the Komnenian emperors. For Eustathios, Homer was the supreme paradigm of eloquence and wisdom. Writing for an audience of aspiring or practising prose writers, he explains in his commentary what it is that makes Homer's composition so successful in rhetorical terms. This study explores the exemplary qualities that Eustathios recognizes in the poet as author and the Iliad as rhetorical masterpiece. In this way, it advances our understanding of the rhetorical thought of a leading intellectual and the role of a cultural authority as respected as Homer in one of the most fertile periods in Byzantine literary history.
Presenting a new take on what made the Homeric epics such successful examples of verbal artistry, this volume explores the construction of the Homeric simile and the performance of Homeric poetry from the neglected comparative perspectives offered by the study of modern-day oral traditions.
An examination of two seemingly incongruous areas of study: ancient rhetoric and digitally networked communication
A germinal examination of rhetoric's beginnings through pre-fourth-century Greek texts How did rhetoric begin and what was it before it was called "rhetoric"? Must art have a name to be considered art? What is the difference between eloquence and rhetoric? And what were the differences, if any, among poets, philosophers, sophists, and rhetoricians before Plato emphasized—or perhaps invented—their differences? In Logos without Rhetoric: The Arts of Language before Plato, Robin Reames attempts to intervene in these and other questions by examining the status of rhetorical theory in texts that predate Plato's coining of the term rhetoric (c. 380 B.C.E.). From Homer and Hesiod to Parmenides and Heraclitus to Gorgias, Theodorus, and Isocrates, the case studies contained here examine the status of the discipline of rhetoric prior to and therefore in the absence of the influence of Plato and Aristotle's full-fledged development of rhetorical theory in the fourth century B.C.E. The essays in this volume make a case for a porous boundary between theory and practice and promote skepticism about anachronistic distinctions between myth and reason and between philosophy and rhetoric in the historiography of rhetoric's beginning. The result is an enlarged understanding of the rhetorical content of pre-fourth-century Greek texts. Edward Schiappa, head of Comparative Media Studies/Writing and the John E. Burchard Professor of Humanities at the Massachusetts Institute of Technology, provides an afterword.
How can the ancient relationship between Homer and the Epic Cycle be recovered? Using the most significant research in the field, Andrew Porter questions many ancient and modern assumptions and offers alternative perspectives better aligned with ancient epic performance realities and modern epic studies.
Book 18 of the Iliad is an outstanding example of the range and power of Homeric epic. It describes the reaction of the hero Achilles to the death of his closest friend, and his decision to re-enter the conflict even though it means he will lose his own life. The book also includes the forging of the marvellous shield for the hero by the smith-god Hephaestus: the images on the shield are described by the poet in detail, and this description forms the archetypal ecphrasis, influential on many later writers. In an extensive introduction, R. B. Rutherford discusses the themes, style and legacy of the book. The commentary provides line-by-line guidance for readers at all levels, addressing linguistic detail and larger questions of interpretation. A substantial appendix considers the relation between Iliad 18 and the Babylonian Epic of Gilgamesh, which has been prominent in much recent discussion.