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DETECTIVE NARRATIVES in HELIODORUS' AITHIOPIKA By READING FOR CLUES: DETECTIVE NARRATIVES IN HELIODORUS’ AITHIOPIKA by Zacharias Andreadakis A dissertation submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2016 Doctoral Committee: Professor Richard Janko, Chair Professor Silvio Bär, University of Oslo Professor Ruth S. Scodel Professor Raymond H. Van Dam Professor Timothy J. G. Whitmarsh, University of Cambridge Copyright ©zachariasandreadakis2016 ACKNOWLEDGEMENTS A task like this leaves you with a great debt. My academic journey started at University of Athens. There, two people took me by the hand and threw me into the sea of ideas. I had no option but to swim. First, Sophia Papaioannou with her unparalleled research skill and endless devotion to teaching encouraged me to reach my limits and devote myself to Classics. Among many fond memories, I will never forget how, while I was still paying my army duties at freezing Kavyli, Evros, she would speak with on the phone at the most late and inconvenient hours to help me prepare for my graduate application, my interviews, and my innate anxiety. To this day, Sophia is still an exemplum of all the things a bright Greek scholar with an American education can achieve. Second in line is Angelos Chaniotis, first in Oxford, then in Athens. Angelos inspired me in many ways. However, I will keep with me two things: one, his metaphor of the talented Classics scholar as the talented cook: doing fresh, new things with old, common ingredients; two, his passionate, youthful competitiveness: even at almost thirty years older than me, he would still instinctively try to ride his bicycle uphill faster than me. A lot of other scholars shaped me in Athens: Costas Burazelis, Polymnia Athanassiadi, Ioannis Konstantakos, Amphilochios Papathomas. To all of them, I am grateful. In spite of my youthful devotion to Classics, not a single line of this dissertation could have been written before I arrived at the University of Michigan. This dissertation is a product of the intellectual influences I received in the various circles in which I participated. First, I would like to thank Professor Richard Janko. My respect and intellectual admiration for him was so great (and intimidating) that I could never switch to “dutzen” with him. ii Professor Janko believed in me at times when I felt lost and disheartened. As a Doktorvater should be, he was strict with me, both regarding my prose and deadlines. He was also so generous, both with his time and with his astounding intelligence. To this day, nobody could ever ask for a better mentor. Then, Ruth Scodel. I learned so much, not only from talking to her, but also just by watching her. Her views and praxis of pragmatism and generosity changed me forever. So did her sense of story-telling. Sara Ahbel-Rappe graced me with her philosophical insights throughout my academic development and helped me understand some of the most difficult thinkers I have encountered: Plotinus and Damascius will always have a special place in my library and in my thought. Ray van Dam, with whom I have had many an engaging discussions about Diktys of Crete, the virtues and struggles of good literary writing, and, perhaps most importantly, Frank Miller’s Batman. His eye for detail will never stop surprising me. Finally, Tim Whitmarsh and Silvio Bär read multiple drafts of this dissertation under no obligation and both saved me from a certain embarrassment. They both deserve my gratitude for serving on this committee and making my argument much better. In Ann Arbor, I met my closest friend, Nick Geller. Nick selflessly taught me almost everything he knew, or at least as much as I could take in. From him, I learned to write like an academic, think like a New Yorker, and exert myself to the limit and beyond. Without him, this project would have been impossible. Besides Nick, I am grateful to many of my friends in the Classical Studies department at Michigan. Clara Bosak-Schroeder, Tim Hart, Jan Dewitt, Allie Kemmerle, Emily Lamond, Anna Cornel, Tynan Graniez, Justin Barney, and Jill Simmons have shared my passion for reading (Paul Auster, D.F. Wallace, and Haruki Murakami), writing, and watching Larry David’s Curb Your Enthusiasm. Outside of Classics, I was fortunate to make three great friends. Mark and Lisa Davis-Craig were always there for iii me and gave me their unconditional love. Dan Schultz was incredibly generous to let me stay with him and become part of his family. I will never forget the kindness of all three of them. This dissertation project was generously funded by Rackham Graduate School, the Swedish Institute at Athens, a Rackham One-Term Dissertation Fellowship, a Rackham stipend for Cornell’s School of Criticism and Theory, and, of course, my department at Michigan with its many support packages. A special thanks to Ben Fortson and Arthur Verhoogt, my graduate advisors, Sara Forsdyke, our department chair, and our departmental administrators: Michelle Biggs, Anna Moyer, Sandra Andreade, and Molly Cravens, who were very helpful throughout my studies and made my every wish possible. I wish I would not spoil anyone the way they spoiled me. Thank you. In conclusion of this long acknowledgments section, I would like to refer to my Greek and Norwegian family and friends. All these years living as a nomad, I was bestowed with the exceptional luxury of feeling that there is always some sense of πατρίς, every time I made each νόστος. On the Norwegian side, Ellen Sagen and Sigurd Jorem were always there. Watching baby Astrid grow up with them was a rare privilege. On the Greek side, I owe deep gratitude to my dear friend Alkis Evangelatos, whose sense of music and mastery of piano (and law) would make my days in Athens so much more interesting. This goes also for Nikos Kartsonis and Yannis Kalogeris, my oldest friends and best interlocutors of astrophysics, motorbikes, basketball, and table tennis. From my blood relatives, my brother, Thanasis Andreadakis, was always ready to encourage me with a small inside joke and a laugh to keep me going the distance. My father, Efstratios Andreadakis, who, after the second year of my studies, when I very seriously considered quitting and becoming a goatherd in Crete, like my grandfather, talked sense into me, reminding me to stay true to my dreams and never surrender. Without his words, I would not have lasted. Then, my mother, Fani Chrysikou, iv who always asked me if I ate and if I slept, knowing very well that I never fully did either. Her motherly care, however Mediterranean, was a ballast and an anchor. Finally, and definitely most importantly, I owe a special thanks to my own family and the love of my life, my muse Linn Trude. Standing by me in very challenging times, she is always putting things into perspective with her incredible intelligence and her disarming smile. I am so lucky to have her with me at the next page of our journey. This dissertation is devoted to you. In other words, jeg elsker deg. v TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................................... ii ABSTRACT ................................................................................................................................... viii CHAPTER 1 ..................................................................................................................................... 1 THE STRATEGY OF DETECTIVE NARRATIVE ..................................................................................... 1 1.1 INTRODUCTION ................................................................................................................................ 1 1.2 PROLEGOMENA TO THE DEFINITION AND ORIGIN OF DETECTIVE NARRATIVE ............................................. 10 1.3 GLIMPSES OF A PREHISTORY: CLUES, INFERENCE, AND DETECTION IN ANCIENT NARRATIVE ......................... 15 1.4 THE PRESENT STUDY ....................................................................................................................... 20 CHAPTER 2 ................................................................................................................................... 24 HELIODORUS’ INTRODUCTION: A PUZZLING CRIME SCENE ........................................................... 24 2.1 INTRODUCTION .............................................................................................................................. 24 2.2 THE OPENING SCENE ....................................................................................................................... 24 2.3 CONCLUSION ................................................................................................................................. 38 CHAPTER 3 ................................................................................................................................... 41 THE HERMENEUTICS OF ὙΠΌΝΟΙΑ IN THE NOVELLA OF KNEMON ................................................. 41 3.1 INTRODUCTION .............................................................................................................................. 41 3.2 THE EPIC FRAME OF KNEMON’S NOVELLA ........................................................................................... 45 3.3 THE NOVELLA OF KNEMON ............................................................................................................... 49 3.4 CONCLUSION ................................................................................................................................
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