Plato's Rhapsody and Homer's Music: the Poetics of the Panathenaic Festival in Classical Athens

Total Page:16

File Type:pdf, Size:1020Kb

Plato's Rhapsody and Homer's Music: the Poetics of the Panathenaic Festival in Classical Athens Plato’s Rhapsody and Homer’s Music: The Poetics of the Panathenaic Festival in Classical Athens The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2020. Plato's Rhapsody and Homer's Music: The Poetics of the Panathenaic Festival in Classical Athens. 2nd Edition (online). Cambridge, Mass.: Center for Hellenic Studies. Trustees for Harvard University, Foundation of the Hellenic World: Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.ebook:CHS_Nagy.Platos_Rhapsody_and_Homers_Music.2020 Published Version https://classical-inquiries.chs.harvard.edu/platos-rhapsody- and-homers-music-the-poetics-of-the-panathenaic-festival-in- classical-athens/ Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37366728 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:CHS.Online_Publishing for a complete and continually expanding list of open access publications by CHS. Classical Inquiries is published under a Creative Commons Attribution-NonCommercial 4.0 In- ternational License. Every efort is made to use images that are in the public domain or shared under Creative Commons licenses. Copyright on some images may be owned by the Center for Hellenic Studies. Please refer to captions for information about copyright of individual images. Citing Articles from Classical Inquiries To cite an article from Classical Inquiries, use the author’s name, the date, the title of the article, and the following persistent identifer: http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries. For example: Nagy, G. 2019.01.31. “Homo Ludens at Play with the Songs of Sappho: Experiments in Comparative Reception Teory, Part Four.” Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Classical Inquiries Studies on the Ancient World from the Center for Hellenic Studies Home About People References The CI Poetry Project Home » By Gregory Nagy » Plato’s Rhapsody and Homer’s Music: The Poetics of the Panathenaic Festival in Classical Athens Share This Plato’s Rhapsody and Homer’s Music: The Poetics of the Panathenaic Festival in Classical Athens July 3, 2020 Posted By Gregory Nagy listed under By Gregory Nagy Comments off Second Edition online 2020, launched July 3, as a special issue in Classical Inquiries By Gregory Nagy A note, by the author, about the Second Edition The first edition of this book, a printed version, was published in 2002 by the Center for Hellenic Studies; that printed version has been replaced by a corrected online version, http://nrs.harvard.edu/urn- 3:hul.ebook:CHS_Nagy.Platos_Rhapsody_and_Homers_Music.2002. And that online version is now replaced here by this new online version, which is in effect a second edition, to be listed as Nagy 2020 in Classical Inquiries (CI) is an online, bibliographies: http://nrs.harvard.edu/urn- rapid-publication project of Harvard’s 3:hul.ebook:CHS_Nagy.Platos_Rhapsody_and_Homers_Music.2020. This second edition, launched Center for Hellenic Studies, devoted to 2020.07.03 in Classical Inquiries, makes it possible to add annotations to my online text—annotations that sharing some of the latest thinking on can be viewed as a form of open peer review. That is to say, the text of this second edition of Plato’s the ancient world with researchers and Rhapsody can be annotated by contributors who are invited to make comments on my argumentation. The the general public. procedures of annotating, in which I too hope to participate by occasionally making my own additional annotations to my text, can be set by the editorial team of Classical Inquiries. In this second edition, the Editor page-numbers of the first edition are indicated within braces (for example, “{3|4}” indicates the break between pages 3 and 4). This way, the numbering of the pages and footnotes as found in-the original Keith DeStone printed text can be retained. Also retained in this new online version is the old bibliography of the first kdestone at chs.harvard.edu edition, supplemented by new entries arising from new bibliography as noted in the annotations.[0] Editor: Poetry Project Natasha Bershadsky nbershadsky at chs.harvard.edu Assistant Editor Angelia Hanhardt Web Producer Noel Spencer Consultant for Images Jill Curry Robbins Search Subscribe Now! Subscribe to this site to receive email updates about the latest research—just one or two notices per week. EU/EEA Privacy Disclosures Homer and his Muse (1814). Engraving by Thomas Baxter (1782– Email Address 1821), from An illustration of the Egyptian, Grecian, and Roman costume: in forty outlines with descriptions. Image via Flickr, under a CC BY 2.0 license. Subscribe Now Online Introduction 0§1. There is a pervasive historical connection, I argue in this book, between two evolving institutions— Homeric poetry and the festival of the Panathenaia in the city of Athens. The testimony of Plato will be crucial to the argumentation. 0§2. Two premises are involved. The first is this: synchronic approaches to Homer cannot succeed without the integration of diachronic approaches, just as diachronic approaches cannot succeed without the integration of the synchronic. The second premise is this: synchronic analysis of Homeric poetry can be successful only when that poetry is viewed as a system rather than a text. Short-hand, I refer to the system in question simply as “Homeric poetry.” Testing these premises, I argue against the assumption that the Homeric text of the Iliad and Odyssey, as reconstituted in various editions both ancient and modern, is a single synchronic reality. In other words, I hold that the Homeric text (or texts) is not the same thing as Homeric poetry.[1] 0§3. In using the terms synchronic and diachronic, I follow a linguistic distinction made by Ferdinand de Saussure.[2]For Saussure, synchrony and diachrony designate respectively a current state of a language and a phase in its evolution.[3] I draw attention to Saussure’s linking of diachrony and evolution, a link that proves to be crucial for understanding the medium that is central to this study, Homeric poetry. In my publications, I have worked out a general “evolutionary model” for the oral traditions that shaped Homeric poetry.[4] This {3|4} theory differs from various specific “dictation theories,”[5] not to mention various general assumptions about a “writing Homer.”[6] In terms of my evolutionary model, the “making” of Homeric poetry needs to be seen diachronically as well as synchronically, if we follow Saussure’s sense of diachrony. 0§4. Here I propose to add two restrictions to my use of synchronic and diachronic. First, I apply these terms consistently from the standpoint of an outsider who is thinking about a given system, not from the standpoint of an insider who is thinking within that system.[7] Second, I use diachronic and synchronic not as synonyms for historical and current respectively. Diachrony refers to the potential for evolution in a structure. History is not restricted to phenomena that are structurally predictable.[8] 0§5. With these working definitions in place, I return to my point: a purely synchronic perspective is insufficient for reading Homer. The transmitted texts of the Homeric Iliad and Odyssey cannot be reduced Top Posts & Pages to single speech-events, self-contained in one time and one place, as if we had direct access to actual recordings of the language of Homer.[9] Not just the text but even the language of Homeric poetry resists a purely synchronic approach. The Homeric grammar and lexicon do not and cannot belong to any one time, any one place: in a word, they defy synchronic analysis.[10] In this connection, we need to confront Seven Greek tragedies, seven the general phenomenon of meaning in the media of oral poetics. On {4|5} the basis of my own cumulative simple overviews work, I am convinced that meaning by way of reference in oral poetics needs to be seen diachronically as well as synchronically: each occurrence of a theme (on the level of content) or of a formula (on the level of The Last Words of Socrates at form) in a given composition-in-performance refers not only to its immediate context but also to all other the Place where he Died analogous contexts remembered by the performer or by any member of the audience.[11] A variation on the theme of 0§6. From a purely synchronic point of view, then, where can we find a sample of Homeric poetry, if not in Athena: The Palladium, as the text of any single edition? The ideal sample would be an attested transcript of a “live” performance, which would amount to the recording of a “live” recomposition-in-performance. Of course, such a sample is viewed by Pausanias on the for us an impossibility.
Recommended publications
  • Giovan Battista D'alessio Pindar's Prosodia and the Classification Of
    GIOVAN BATTISTA D’ALESSIO PINDAR’S PROSODIA AND THE CLASSIFICATION OF PINDARIC PAPYRUS FRAGMENTS aus: Zeitschrift für Papyrologie und Epigraphik 118 (1997) 23–60 © Dr. Rudolf Habelt GmbH, Bonn 23 PINDAR’S PROSODIA AND THE CLASSIFICATION OF PINDARIC PAPYRUS FRAGMENTS* I. The attribution of Pindaric papyrus fragments Judging from current editions, the two books of Pindar’s Prosodia seem to be by far the most scantily represented among the 17 books in which his work was divided by ancient editors.1 In the Teubner edition (the only critical edition taking account of the bulk of papyrus fragments published in 1961, and of the few scraps subsequently known) the Prosodia occupy less than two pages, which compares rather poorly with the second worst represented category, the Hyporchemata, where five pages are the remains of one or two books,2 not to say of the Dithyrambs (14 pages from two books), the Threnoi (9 pages from a single book) or of the apparently massively represented Paeans (57 pages from a single book!). Together with the single book of the Encomia (whose indirect tradition is better represented) the Prosodia are the only category to which Snell and Maehler attribute no papyrus fragment.3 The distribution of the fragments among the different books of Pindar’s works, apart from the few cases where we have explicit evidence that a quotation or a poem came from one or other book, rests, unavoidably, on a certain degree of speculation. Since the 18th century (and in some cases earlier) many fragments, known thanks to indirect tradition, have been conjecturally attributed to different genres on different grounds: in the recent Teubner edition this fact is signalled by an asterisk, preceding the con- jecturally assigned fragment, while two asterisks indicate a fragment whose attribution to Pindar is conjectural too.
    [Show full text]
  • The Dawn in Erewhon"
    University of Pennsylvania ScholarlyCommons CUREJ - College Undergraduate Research Electronic Journal College of Arts and Sciences December 2007 Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Patrick Dillon [email protected] Follow this and additional works at: https://repository.upenn.edu/curej Recommended Citation Dillon, Patrick, "Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon"" 10 December 2007. CUREJ: College Undergraduate Research Electronic Journal, University of Pennsylvania, https://repository.upenn.edu/curej/23. Revised version, posted 10 December 2007. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/curej/23 For more information, please contact [email protected]. Dimensions of Erewhon: The Modern Orpheus in Guy Davenport's "The Dawn in Erewhon" Abstract In "The Dawn in Erewhon", the concluding novella of Tatlin!, Guy Davenport explores the myth of Orpheus in the context of two storylines: Adriaan van Hovendaal, a thinly veiled version of Ludwig Wittgenstein, and an updated retelling of Samuel Butler's utopian novel Erewhon. Davenport tells the story in a disjunctive style and uses the Orpheus myth as a symbol to refer to a creative sensibility that has been lost in modern technological civilization but is recoverable through art. Keywords Charles Bernstein, Bernstein, Charles, English, Guy Davenport, Davenport, Orpheus, Tatlin, Dawn in Erewhon, Erewhon, ludite, luditism Comments Revised version, posted 10 December 2007. This article is available at ScholarlyCommons: https://repository.upenn.edu/curej/23 Dimensions of Erewhon The Modern Orpheus in Guy Davenport’s “The Dawn in Erewhon” Patrick Dillon Introduction: The Assemblage Style Although Tatlin! is Guy Davenport’s first collection of fiction, it is the work of a fully mature artist.
    [Show full text]
  • Thinking Comparatively About Greek Mythology IV, Reconstructing He#Rakle#S Backward in Time
    Thinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2019.08.15. "hinking comparatively about Greek mythology IV, Reconstructing He#rakle#s backward in time." Classical Inquiries. http://nrs.harvard.edu/ urn-3:hul.eresource:Classical_Inquiries. Published Version https://classical-inquiries.chs.harvard.edu/thinking-comparatively- about-greek-mythology-iv-reconstructing-herakles-backward-in- time/ Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42179409 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Classical Inquiries Editors: Angelia Hanhardt and Keith Stone Consultant for Images: Jill Curry Robbins Online Consultant: Noel Spencer About Classical Inquiries (CI ) is an online, rapid-publication project of Harvard’s Center for Hellenic Studies, devoted to sharing some of the latest thinking on the ancient world with researchers and the general public. While articles archived in DASH represent the original Classical Inquiries posts, CI is intended to be an evolving project, providing a platform for public dialogue between authors and readers. Please visit http://nrs.harvard.edu/urn-3:hul.eresource:Classical_Inquiries for the latest version of this article, which may include corrections, updates, or comments and author responses. Additionally, many of the studies published in CI will be incorporated into future CHS pub- lications.
    [Show full text]
  • Flowers in Greek Mythology
    Flowers in Greek Mythology Everybody knows how rich and exciting Greek Mythology is. Everybody also knows how rich and exciting Greek Flora is. Find out some of the famous Greek myths flower inspired. Find out how feelings and passions were mixed together with flowers to make wonderful stories still famous in nowadays. Anemone:The name of the plant is directly linked to the well known ancient erotic myth of Adonis and Aphrodite (Venus). It has been inspired great poets like Ovidius or, much later, Shakespeare, to compose hymns dedicated to love. According to this myth, while Adonis was hunting in the forest, the ex- lover of Aphrodite, Ares, disguised himself as a wild boar and attacked Adonis causing him lethal injuries. Aphrodite heard the groans of Adonis and rushed to him, but it was too late. Aphrodite got in her arms the lifeless body of her beloved Adonis and it is said the she used nectar in order to spray the wood. The mixture of the nectar and blood sprang a beautiful flower. However, the life of this 1 beautiful flower doesn’t not last. When the wind blows, makes the buds of the plant to bloom and then drifted away. This flower is called Anemone because the wind helps the flowering and its decline. Adonis:It would be an omission if we do not mention that there is a flower named Adonis, which has medicinal properties. According to the myth, this flower is familiar to us as poppy meadows with the beautiful red colour. (Adonis blood). Iris: The flower got its name from the Greek goddess Iris, goddess of the rainbow.
    [Show full text]
  • Archons (Commanders) [NOTICE: They Are NOT Anlien Parasites], and Then, in a Mirror Image of the Great Emanations of the Pleroma, Hundreds of Lesser Angels
    A R C H O N S HIDDEN RULERS THROUGH THE AGES A R C H O N S HIDDEN RULERS THROUGH THE AGES WATCH THIS IMPORTANT VIDEO UFOs, Aliens, and the Question of Contact MUST-SEE THE OCCULT REASON FOR PSYCHOPATHY Organic Portals: Aliens and Psychopaths KNOWLEDGE THROUGH GNOSIS Boris Mouravieff - GNOSIS IN THE BEGINNING ...1 The Gnostic core belief was a strong dualism: that the world of matter was deadening and inferior to a remote nonphysical home, to which an interior divine spark in most humans aspired to return after death. This led them to an absorption with the Jewish creation myths in Genesis, which they obsessively reinterpreted to formulate allegorical explanations of how humans ended up trapped in the world of matter. The basic Gnostic story, which varied in details from teacher to teacher, was this: In the beginning there was an unknowable, immaterial, and invisible God, sometimes called the Father of All and sometimes by other names. “He” was neither male nor female, and was composed of an implicitly finite amount of a living nonphysical substance. Surrounding this God was a great empty region called the Pleroma (the fullness). Beyond the Pleroma lay empty space. The God acted to fill the Pleroma through a series of emanations, a squeezing off of small portions of his/its nonphysical energetic divine material. In most accounts there are thirty emanations in fifteen complementary pairs, each getting slightly less of the divine material and therefore being slightly weaker. The emanations are called Aeons (eternities) and are mostly named personifications in Greek of abstract ideas.
    [Show full text]
  • Names of Botanical Genera Inspired by Mythology
    Names of botanical genera inspired by mythology Iliana Ilieva * University of Forestry, Sofia, Bulgaria. GSC Biological and Pharmaceutical Sciences, 2021, 14(03), 008–018 Publication history: Received on 16 January 2021; revised on 15 February 2021; accepted on 17 February 2021 Article DOI: https://doi.org/10.30574/gscbps.2021.14.3.0050 Abstract The present article is a part of the project "Linguistic structure of binomial botanical denominations". It explores the denominations of botanical genera that originate from the names of different mythological characters – deities, heroes as well as some gods’ attributes. The examined names are picked based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012. The names of the plants are arranged in alphabetical order. Beside each Latin name is indicated its English common name and the family that the particular genus belongs to. The article examines the etymology of each name, adding a short account of the myth based on which the name itself is created. An index of ancient authors at the end of the article includes the writers whose works have been used to clarify the etymology of botanical genera names. Keywords: Botanical genera names; Etymology; Mythology 1. Introduction The present research is a part of the larger project "Linguistic structure of binomial botanical denominations", based on “Conspectus of the Bulgarian vascular flora”, Sofia, 2012 [1]. The article deals with the botanical genera appellations that originate from the names of different mythological figures – deities, heroes as well as some gods’ attributes. According to ICBN (International Code of Botanical Nomenclature), "The name of a genus is a noun in the nominative singular, or a word treated as such, and is written with an initial capital letter (see Art.
    [Show full text]
  • Hermeneutics: a Literary Interpretive Art
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Hermeneutics: A Literary Interpretive Art David A. Reitman The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3403 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] HERMENEUTICS: A LITERARY INTERPRETATIVE ART by DAVID A. REITMAN A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 DAVID A. REITMAN All Rights Reserved ii Hermeneutics: A Literary Interpretative Art by David A. Reitman This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date George Fragopoulos Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Hermeneutics: A Literary Interpretative Art by David A. Reitman Advisor: George Fragopoulos This thesis examines the historical traditions of hermeneutics and its potential to enhance the process of literary interpretation and understanding. The discussion draws from the historical emplotment of hermeneutics as literary theory and method presented in the Norton Anthology of Theory and Criticism with further elaboration from several other texts. The central aim of the thesis is to illuminate the challenges inherent in the literary interpretive arts by investigating select philosophical and linguistic approaches to the study and practice of literary theory and criticism embodied within the canonical works of the Anthology.
    [Show full text]
  • The Shield of Heracles (Hes
    chapter 4 The Shield of Heracles (Hes. Sc. 139–320) 4.1 Introduction The next extant ekphrasis in ancient Greek Literature is found in the pseudo- Hesiodic Shield. The Shield is a small-scale epic poem of 480 hexameters, named after its central section which deals with Heracles’ shield. The poem is usually dated to the first third of the sixth century BC. It narrates an episode from the life of Heracles: the killing of Cycnus, a son of Ares. Heracles is por- trayed throughout the poem in a positive light: Zeus has fathered Heracles as a protector against ruin for gods and for men (ὥς ῥα θεοῖσιν / ἀνδράσι τ’ ἀλφηστῇσιν ἀρῆς ἀλκτῆρα φυτεύσαι, 28–29).1 By killing Cycnus, who robs travellers on their way to Delphi, Heracles lives up to this purpose. The poem is generally regarded as a product of an oral tradition.2 The fact that the Shield is oral poetry has consequences for its understanding. Thus, the idea that the Shield is a mere imitation of Achilles’ shield in Il. 18.478–608— a verdict that goes back to Aristophanes of Byzantium—must be rejected.3 It is doubtful whether in the sixth century BC fixed texts of the Iliad existed, to which another text, that of the Shield, could refer.4 This is very much a Hellenis- tic point of view. Rather, it is more plausible that both texts came into being in a still-fluid oral tradition, which contained certain stock formulae and themes.5 One common element in the tradition might well have been a shield ekphrasis, which could serve as a showpiece of the poet.6 The poet of the Shield has indeed composed his shield ekphrasis as a show- piece: Heracles’ shield is noisier, more sensational, more gruesome, but above all bigger than Achilles’ shield.
    [Show full text]
  • ION: Plato's Defense of Poetry Critical Introduction We
    ION: Plato's defense of poetry Critical Introduction We occasionally use a word as a position marker. For example, the word 'Plato' is most often used to mark an anti-poetic position in the "old quarrel" between philosophy and poetry. Occasionally that marker is shifted slightly, but even in those cases it does not shift much. So, W.K.C. Guthrie in his magisterial History of Greek Philosophy1 can conclude [Plato] never flinched from the thesis that poets, unlike philosophers, wrote without knowledge and without regard to the moral effect of their poems, and that therefore they must either be banned or censored (Vol IV, 211). Generally, studies of individual dialogues take such markers as their interpretative horizon. So, Kenneth Dorter,2 who sees the importance of the Ion as "the only dialogue which discusses art in its own terms at all" (65) begins his article with the statement There is no question that Plato regarded art as a serious and dangerous rival to philosophy—this is a theme that remains constant from the very early Ion to the very late Laws (65). Even in those very rare instances where the marker is itself brought into question, as Julius Elias' Plato's Defence of Poetry3 attempts to do, the one dialogue in which Plato picks up poetry (rather than rhetoric) on its own account and not in an explicitly political or educational setting—the Ion—is overlooked entirely or given quite short shrift. Elias, after a two paragraph summary of the dialogue says "almost anybody could defend poetry better than Ion; we must look elsewhere for weightier arguments and worthier opponents" (6) and does not refer to the dialogue again in his book.
    [Show full text]
  • 1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
    Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience.
    [Show full text]
  • The Rhetoric of Poetry Contests and Competition Marc Pietrzykowski
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Georgia State University Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 8-7-2007 Winning, Losing, and Changing the Rules: The Rhetoric of Poetry Contests and Competition Marc Pietrzykowski Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Part of the English Language and Literature Commons Recommended Citation Pietrzykowski, Marc, "Winning, Losing, and Changing the Rules: The Rhetoric of Poetry Contests and Competition." Dissertation, Georgia State University, 2007. https://scholarworks.gsu.edu/english_diss/21 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. 1 Winning, Losing, and Changing the Rules: The Rhetoric of Poetry Contest and Competition by Marc Pietrzykowski Under the Direction of Dr. George Pullman ABSTRACT This dissertation attempts to trace the shifting relationship between the fields of Rhetoric and Poetry in Western culture by focusing on poetry contests and competitions during several different historical eras. In order to examine how the distinction between the two fields is contingent on a variety of local factors, this study makes use of research in contemporary cognitive neuroscience,
    [Show full text]
  • Exegesis and Expositoin of First John 1:3-4
    EXEGESIS AND EXPOSITION OF FIRST JOHN 1:5-6 Pastor William E. Wenstrom Jr. WENSTROM BIBLE MINISTRIES Marion, Iowa 2016 William E. Wenstrom, Jr. Bible Ministries Exegesis and Exposition of First John 1:5-6 First John 1:5 The Message from the Lord 1 John 1:5 This is the message we have heard from Him and announce to you, that God is Light, and in Him there is no darkness at all. (NASB95) “This is the message we have heard from Him” is composed of the following: (1) conjunction kai (καί), which is not translated (2) third person singular present active indicative form of the verb eimi (εἰμί), “is” (3) nominative feminine singular form of the demonstrative pronoun houtos (οὗτος), “this” (4) articular feminine singular form of the noun angelia (ἀγγελία), “the message” (5) accusative feminine singular form of the relative pronoun hos (ὅς), which is not translated (6) first person plural perfect active indicative form of the verb akouō (ἀκούω), “we have heard” (7) preposition apo (ἀπό), “from” (8) genitive third person masculine singular form of the intensive personal pronoun autos (αὐτός), “Him.” The conjunction kai is marking a transition from the prologue to John’s first new major topic of discussion, which deals with the requirements or conditions that the believer must meet in order to experience and enjoy fellowship with a God who is perfect in character. The demonstrative pronoun houtos means “this” and is kataphoric meaning that it is pointing to the declarative statement which follows it, namely, hoti ho theos phōs estin (ὅτι ὁ θεὸς φῶς ἐστιν), “God is light.” This word functions as the nominative subject here in 1 John 1:5 even though the noun angelia, “the message,” has the definite article which would mark this word as the subject.
    [Show full text]