The Homeridae
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The Roles of Solon in Plato's Dialogues
The Roles of Solon in Plato’s Dialogues Dissertation Presented in partial fulfillment of the requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Samuel Ortencio Flores, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Bruce Heiden, Advisor Anthony Kaldellis Richard Fletcher Greg Anderson Copyrighy by Samuel Ortencio Flores 2013 Abstract This dissertation is a study of Plato’s use and adaptation of an earlier model and tradition of wisdom based on the thought and legacy of the sixth-century archon, legislator, and poet Solon. Solon is cited and/or quoted thirty-four times in Plato’s dialogues, and alluded to many more times. My study shows that these references and allusions have deeper meaning when contextualized within the reception of Solon in the classical period. For Plato, Solon is a rhetorically powerful figure in advancing the relatively new practice of philosophy in Athens. While Solon himself did not adequately establish justice in the city, his legacy provided a model upon which Platonic philosophy could improve. Chapter One surveys the passing references to Solon in the dialogues as an introduction to my chapters on the dialogues in which Solon is a very prominent figure, Timaeus- Critias, Republic, and Laws. Chapter Two examines Critias’ use of his ancestor Solon to establish his own philosophic credentials. Chapter Three suggests that Socrates re- appropriates the aims and themes of Solon’s political poetry for Socratic philosophy. Chapter Four suggests that Solon provides a legislative model which Plato reconstructs in the Laws for the philosopher to supplant the role of legislator in Greek thought. -
The Limits of Communication Between Mortals and Immortals in the Homeric Hymns
Body Language: The Limits of Communication between Mortals and Immortals in the Homeric Hymns. Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Bridget Susan Buchholz, M.A. Graduate Program in Greek and Latin The Ohio State University 2009 Dissertation Committee: Sarah Iles Johnston Fritz Graf Carolina López-Ruiz Copyright by Bridget Susan Buchholz 2009 Abstract This project explores issues of communication as represented in the Homeric Hymns. Drawing on a cognitive model, which provides certain parameters and expectations for the representations of the gods, in particular, for the physical representations their bodies, I examine the anthropomorphic representation of the gods. I show how the narratives of the Homeric Hymns represent communication as based upon false assumptions between the mortals and immortals about the body. I argue that two methods are used to create and maintain the commonality between mortal bodies and immortal bodies; the allocation of skills among many gods and the transference of displays of power to tools used by the gods. However, despite these techniques, the texts represent communication based upon assumptions about the body as unsuccessful. Next, I analyze the instances in which the assumed body of the god is recognized by mortals, within a narrative. This recognition is not based upon physical attributes, but upon the spoken self identification by the god. Finally, I demonstrate how successful communication occurs, within the text, after the god has been recognized. Successful communication is represented as occurring in the presence of ritual references. -
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. -
Conflict in the Peloponnese
CONFLICT IN THE PELOPONNESE Social, Military and Intellectual Proceedings of the 2nd CSPS PG and Early Career Conference, University of Nottingham 22-24 March 2013 edited by Vasiliki BROUMA Kendell HEYDON CSPS Online Publications 4 2018 Published by the Centre for Spartan and Peloponnesian Studies (CSPS), School of Humanities, University of Nottingham, Nottingham, NG7 2RD, UK. © Centre for Spartan and Peloponnesian Studies and individual authors ISBN 978-0-9576620-2-5 This work is ‘Open Access’, published under a creative commons license which means that you are free to copy, distribute, display, and perform the work as long as you clearly attribute the work to the authors, that you do not use this work for any commercial gain in any form and that you in no way alter, transform or build on the work outside of its use in normal academic scholarship without express permission of the authors and the publisher of this volume. Furthermore, for any reuse or distribution, you must make clear to others the license terms of this work. https://www.nottingham.ac.uk/csps TABLE OF CONTENTS FOREWORD .................................................................................................................................. i THE FAMILY AS THE INTERNAL ENEMY OF THE SPARTAN STATE ........................................ 1-23 Maciej Daszuta COMMEMORATING THE WAR DEAD IN ANCIENT SPARTA THE GYMNOPAIDIAI AND THE BATTLE OF HYSIAI .............................................................. 24-39 Elena Franchi PHILOTIMIA AND PHILONIKIA AT SPARTA ......................................................................... 40-69 Michele Lucchesi SLAVERY AS A POLITICAL PROBLEM DURING THE PELOPONESSIAN WARS ..................... 70-85 Bernat Montoya Rubio TYRTAEUS: THE SPARTAN POET FROM ATHENS SHIFTING IDENTITIES AS RHETORICAL STRATEGY IN LYCURGUS’ AGAINST LEOCRATES ................................................................................ 86-102 Eveline van Hilten-Rutten THE INFLUENCE OF THE KARNEIA ON WARFARE .......................................................... -
01. Pelling, Homer and Question
Histos Supplement ( ) – HOMER AND THE QUESTION WHY * Christopher Pelling Abstract : Historiography’s debt to Homer is immense, especially in exploring matters of cause and effect. The epics trace things back to beginnings, even if those are only ‘hinges’ in a still longer story; they use speech-exchanges not merely to characterise individuals but also to explore features of their society; the interaction of human and divine is complex, but the narrative focus characteristically rests more on the human level; allusiveness to narratives of earlier and later events also carries explanatory value. Epic and historiography alike also cast light on why readers find such aesthetic pleasure in stories of suffering, brutality, and death. Keywords: Homer, historiography, causation, explanation, intertextuality. t is no secret, and no surprise, that Greek historiography is steeped in Homer: how could it not be so? Epic was the great genre for the sweep Iof human experience, especially but not only in war; Homer was the narrator supreme. There have been many studies of the ways that individual historians exploit Homer to add depth to their work. I have contributed one myself on Herodotus, 1 Maria Fragoulaki writes in this volume on Thucydides, and others have covered writers down to and including the Second Sophistic. 2 Still, when completing a monograph on historical explanation in Herodotus,3 I was struck even more forcefully than before by how many of the characteristic interpretative techniques—not merely what they do, but how they do it—are already there in the Iliad and Odyssey. As the similarity of title shows, this paper is a companion piece to that book, though a full treatment would itself have swollen to monograph proportions, and the points have relevance to many other historical writers as well as Herodotus. -
Pisistratus and Homer
The Classical Quarterly http://journals.cambridge.org/CAQ Additional services for The Classical Quarterly: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here Pisistratus and Homer. T. W. Allen The Classical Quarterly / Volume 7 / Issue 01 / January 1913, pp 33 - 51 DOI: 10.1017/S0009838800016736, Published online: 11 February 2009 Link to this article: http://journals.cambridge.org/abstract_S0009838800016736 How to cite this article: T. W. Allen (1913). Pisistratus and Homer.. The Classical Quarterly, 7, pp 33-51 doi:10.1017/ S0009838800016736 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAQ, IP address: 128.122.253.212 on 28 Apr 2015 PISISTRATUS AND HOMER. AN aspect of Pisistratus, which has not hitherto been utilized in this question (see p. 50), appears to justify another presentment of the evidence which connects him with the Homeric tradition. I shall endeavour to be brief and not to repeat what is common property or irrelevant. The literature and the bearing of the controversy are given with his usual clearness by P. Cauer, Grundfragen der Homerkritik,2 pp. 125 sqq. Cauer's private doctrine, that Homer was for the first time written down by Pisistratus, I consider sufficiently refuted by C. Rothe, Die Was als Dichtung, pp. 5-13. Fantastic views lately promulgated in England are1 dealt with conclusively to my mind by Mr. A. Lang, The World of Homer, pp. 281 sqq., to whose account nothing for con- troversial purposes need be added. On looking back over the literature I find myself most in agreement with Hans Flach, whose treatise, Die litterarische Thdtigkeit des Peisistratos, 1885, has been unduly depreciated. -
Collection of Hesiod Homer and Homerica
COLLECTION OF HESIOD HOMER AND HOMERICA Hesiod, The Homeric Hymns, and Homerica This file contains translations of the following works: Hesiod: "Works and Days", "The Theogony", fragments of "The Catalogues of Women and the Eoiae", "The Shield of Heracles" (attributed to Hesiod), and fragments of various works attributed to Hesiod. Homer: "The Homeric Hymns", "The Epigrams of Homer" (both attributed to Homer). Various: Fragments of the Epic Cycle (parts of which are sometimes attributed to Homer), fragments of other epic poems attributed to Homer, "The Battle of Frogs and Mice", and "The Contest of Homer and Hesiod". This file contains only that portion of the book in English; Greek texts are excluded. Where Greek characters appear in the original English text, transcription in CAPITALS is substituted. PREPARER'S NOTE: In order to make this file more accessable to the average computer user, the preparer has found it necessary to re-arrange some of the material. The preparer takes full responsibility for his choice of arrangement. A few endnotes have been added by the preparer, and some additions have been supplied to the original endnotes of Mr. Evelyn-White's. Where this occurs I have noted the addition with my initials "DBK". Some endnotes, particularly those concerning textual variations in the ancient Greek text, are here ommitted. PREFACE This volume contains practically all that remains of the post- Homeric and pre-academic epic poetry. I have for the most part formed my own text. In the case of Hesiod I have been able to use independent collations of several MSS. by Dr. -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-45774-3 - Three Homeric Hymns: To Apollo, Hermes, and Aphrodite Edited by Nicholas Richardson Excerpt More information INTRODUCTION 1 THE HOMERIC HYMNS (a) Nature and purpose The three poems studied in this book belong to a collection of thirty-three hymns in hexameter verse, composed in honour of ancient Greek gods and goddesses. Their title in the manuscripts is ëOmrou Ìmnoi. They vary considerably in length. Inthecollectionaswehaveit,thefourlongesthymns,toDemeter(495 lines), Apollo (546 lines), Hermes (580 lines), and Aphrodite (293 lines), are preceded by the last section of a hymn to Dionysus, which originally must also have been a longer one. (For a possible reconstruction of this hymn see West (2001b); cf. also Dihle (2002) for a contrary view.)Of the others, the longest (H. 7,alsotoDionysus) is fifty-nine lines, the shortest (H. 13, to Demeter) only three. Several deities are the subject of more than one hymn, and a few are short pieces composed of extracts from longer poems (13, 17,and18 from the longer hymns to Demeter, the Dioscuri, and Hermes, and 25 from Hesiod’s Theogony). Most of these poems probably belong to the ‘Archaic’ period, i.e. between c. 700 and 500 bc, but some appear to be later in date. An Attic vase painting of c. 470 bc shows a boy holding a papyrus-roll, on which are written what appear to be the opening two words of Hymn 18. It has been inferred that some at least of the hymns could have already been used as school texts at this time (cf. -
Studia in Honorem Iiro Kajanto
ARCTOS ACTA FHILOLOGICA FENNICA SUFFLEMENTUM II STUDIA IN HONOREM IIRO KAJANTO HELSINKI 1985 HELSINGFORS INDEX Geza Alföldy Ein neues Zeugnis für "suprafamiliare organisationen" im antiken Hispanien ............................... 9 E. Badian Apollonius at Tarsus 15 Patrick Bruun Gloria Rarnanorum . 2 3 Pierre Grimal Le Dialogue des Ü'rateurs - temoin de son temps . 3 3 Anne Helttula Post depositum militiae munus. Official Phraseology in Am- mianus Marcellinus ................................ 41 G. L. Huxley Kastor on the Foundation of Eleusis 57 Iosephus I]sewijn D'e huius nympha loci {CIL VI/5, 3 + e) eiusque fortuna poetica syntagmation 61 Siegfried Jäkel Tt -ro croc:p6v; Einige Überlegungen zu Euripides, Bakeben 8 7 7' 8 97 . ~ . 69 Maarit Kaimio The Theme of Victory in Aeschylus' Oresteia and Ag. 314 -316 . 79 Bengt Löfstedt Lexikalisches zur Vulgata 99 01ivier Masson Sur le nom de Bilistiche, favorite de Ptolemee II . 109 Dag Norberg Original ou fautes de copie? . 113 Ulla Nyberg Zu den inschriftlichen Kontraktionen von dominus in der sakralen und in der profanen Bedeutung . 12 5 Martti Nyman The Meaning of micarius . 143 Teivas Oksala Carmen Vergili? abituri (Catal. 5) 147 Sil vio Panciera Qualehe n uova iscrizione ur bana d 'in teresse onomastico . 15 3 Fran~ois Paschoud Le debut de l'ouvrage historique d'Olympiodore . 185 Tuomo Pekkanen Notes on Tac. Germ. 46,3 . 197 Reijo Pitkäranta Zur wissenschaftlichen Terminologie e1ner mathematischen Dissertation in Turku 1645 . 215 Heikki Solin Namenpaare 229 Giancarlo Susini Una memoria fotografica della tradizione bolognese di C. Mario .......................................... 26·1 Ronald Syme Praesens the F riend of Hadrian . 2 7 3 Holger Thesleff Notes on the Name of Homer and the Homeric Question . -
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its ‘export’ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet’s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved. -
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth
Wandering Poets and the Dissemination of Greek Tragedy in the Fifth and Fourth Centuries BC Edmund Stewart Abstract This work is the first full-length study of the dissemination of Greek tragedy in the earliest period of the history of drama. In recent years, especially with the growth of reception studies, scholars have become increasingly interested in studying drama outside its fifth century Athenian performance context. As a result, it has become all the more important to establish both when and how tragedy first became popular across the Greek world. This study aims to provide detailed answers to these questions. In doing so, the thesis challenges the prevailing assumption that tragedy was, in its origins, an exclusively Athenian cultural product, and that its „export‟ outside Attica only occurred at a later period. Instead, I argue that the dissemination of tragedy took place simultaneously with its development and growth at Athens. We will see, through an examination of both the material and literary evidence, that non-Athenian Greeks were aware of the works of Athenian tragedians from at least the first half of the fifth century. In order to explain how this came about, I suggest that tragic playwrights should be seen in the context of the ancient tradition of wandering poets, and that travel was a usual and even necessary part of a poet‟s work. I consider the evidence for the travels of Athenian and non-Athenian poets, as well as actors, and examine their motives for travelling and their activities on the road. In doing so, I attempt to reconstruct, as far as possible, the circuit of festivals and patrons, on which both tragedians and other poetic professionals moved. -
Homeric Constructions: the Reception of Homeric Authority
Homeric Constructions: The Reception of Homeric Authority _______________________________________ A Dissertation Presented to The Faculty of the Graduate School At the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by Andrew M Smith Professor David Schenker, Dissertation Advisor December 2014 © Copyright by Andrew M Smith 2014 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled Homeric Constructions: The Reception of Homeric Authority Presented by Andrew Smith, A candidate for the degree of doctor of philosophy, And hereby certify that, in their opinion, it is worthy of acceptance. Professor David Schenker Professor Raymond Marks Professor Daniel Hooley Professor Susan Langdon Acknowledgments I would like to thank those faculty members who have assisted me in this project. Without the inspiration of Professor John Miles Foley, I would not have been pressed to imagine the parameters of this project, nor have the apparatus with which to begin it. I sincerely appreciate the organizational assistance of Professor Raymond Marks, whose guidance in the academic craft provided me with the order and schema of this project. I also would like to acknowledge Professor Daniel Hooley, who introduced me to reception theory, and Professor Susan Langdon, who gave me a non-literary perspective on Greek culture which