Search results for ""harvard university, center for hellenic studies""

First published in 1960, Albert B. Lord’s The Singer of Tales remains the fundamental study of the distinctive techniques and aesthetics of oral epic poetry. Based upon pathbreaking fieldwork conducted in the 1930s and 1950s among oral epic singers of Bosnia, Croatia, and Serbia, Lord analyzes in impressive detail the techniques of oral composition in performance. He explores the consequences of this analysis for the interpretation of numerous works of traditional verbal art, including—in addition to South Slavic epic songs—the Homeric Iliad and Odyssey, Beowulf, the Chanson de Roland, and the Byzantine epic Digenis Akritas. A cardinal text for the study of oral traditions, The Singer of Tales also represents an exemplary use of the comparative method in literary criticism.This third edition offers a corrected text of the second edition and is supplemented by an open-access website (in lieu of the second edition’s CD-ROM), providing all the recordings discussed by Lord, as well as a variety of other multimedia materials.

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Old Norse mythology is elusive: it is the label used to describe the religious stories of the pre-Christian North, featuring such well-known gods as Odin and Thor, yet most of the narratives have come down to us in manuscripts from the Middle Ages mainly written by Christians. Our view of the stories as they were transmitted in oral form in the pre-Christian era is obscured.To overcome these limitations, this book assembles comparisons from a range of theoretical and analytical perspectives—across media, cultures, and disciplines. Fifteen scholars from a wide range of fields examine the similarities of and differences of the Old Norse mythologies with the myths of other cultures. The differences and similarities within the Old Norse corpus itself are examined to tease out the hidden clues to the original stories.

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Mirror of Dew introduces one of Iran's outstanding female poets, whose work has not previously been available in English. Zhāle Qā'em-Maqāmi (1883-1946) was a witness to pivotal social and political developments in Iran during its transition to modernity. Persian poetry at that time was often used polemically and didactically, for a mass audience, but Zhāle did not write to be published. The poems, like the mirror, samovar, and other familiar objects we find in them, appear to be the author's intimate companions.Her poetry is deeply personal but includes social critique and offers a rare window into the impact of a modern awareness on private lives. Zhāle is biting in her condemnation of traditional Persian culture, and even of aspects of Islamic law and custom. She might be called the Emily Dickinson of Persian poetry, although Zhāle was married, against her will. Zhāle is far from the first female poet in Persian literature but is the first we know of to write with an interior, intimate voice about private life, her anxieties, her frustrated love, her feelings about her husband, and many topical issues. This volume presents the Persian text of Zhāle's poems on pages facing the English translations.

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In the 1930s, Milman Parry and Albert B. Lord, two pioneering scholars of oral poetry, conducted adventurous fieldwork in the Kingdom of Yugoslavia and northern Albania, collecting singularly important examples of Albanian epic song. Wild Songs, Sweet Songs presents these materials, which have not previously been published, for the first time.Nicola Scaldaferri and his collaborators provide a complete catalogue of the Albanian texts and recordings collected by Parry and Lord; a selection of twelve of the most significant texts, including the longest Albanian epic ever collected, in Albanian with accompanying English translations; four essays contextualizing the materials and outlining their significance; and an assortment of related photographs and documents. The book is an authoritative guide to one of the most significant collections of Balkan folk epic in existence.

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Global Medieval: Mirrors for Princes Reconsidered begins with a question: Is a genuine history of political thought in the premodern period possible? The volume brings together mirrors for princes from a variety of historical contexts and lineages of political thought, each with its own international cast of characters and varied modes of advice, sanctified by claims of distant and often alien origins. Placed in a comparative structure, these texts become a powerful lens for exploring ideals and manners of good rule across political, religious, and cultural divides. The temporal frame, focused on the eras preceding the rise of Europe, the advent of modern technologies of communications, and the rule of nation-states, challenges the modern commonplace that insists on an increased velocity of exchange as well as a linear dissemination of ideas as normative of global thought. The global reach, which points to similarities in political thought amid incongruous historical contexts, questions the modern practice of reading the history of political thought as a genealogy of modern political concepts, confined in multivalent demarcations of context, which ultimately and collectively reduce political thought to a prescriptive norm and a universal gospel of liberal values.

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On the Wonders of Land and Sea: Persianate Travel Writing initiates a comparative study of non-European travel writers in the eastern Islamic or Persianate world from the eighteenth to early twentieth centuries. The essays in this volume discuss travel narratives by male and female Muslim and Parsi/Zoroastrian travelers in the Hijaz, Iraq, Egypt, Turkey, Iran, Afghanistan, India, and Europe. Focusing on the literary and linguistic aspects of the travelogues, the essays reveal links to traditional forms of narrating travel and the introduction of hybrid forms of discourse. The authors’ methodological approach situates the texts in their socio-historical contexts and the travelers in their geographical locations, taking into account their gender and national identity. Each essay investigates a Muslim or Persianate traveler, whether sojourning in Europe or another part of the eastern world, and explores how the narrator represents what she or he sees while questioning the social and historical transformations accompanying modernity. The aim of this collection is to take a step toward a more sustained critical discussion of travelogues by Muslim travelers in dialogue with other Muslim, Persianate, and European travelers.

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The Iliad defines its poetic goal as preserving the kleos aphthiton, “fame unwithered,” (IX.413) of its hero, Achilles. But how are we to understand the status of the “unwithered” in the Iliad?In Homeric Durability, Lorenzo F. Garcia, Jr., investigates the concept of time and temporality in Homeric epic by studying the semantics of “durability” and “decay”: namely, the ability of an entity to withstand the effects of time, and its eventual disintegration. Such objects—the ships of the Achaeans, the bodies of the dead, the walls of the Greeks and Trojans, and the tombs of the dead—all exist within time and possess a demonstrable “durability.” Even the gods themselves are temporal beings. Through a framework informed by phenomenology, psychology, and psychopathology, Garcia examines the temporal experience of Homer’s gods and argues that in moments of pain, sorrow, and shame, Homeric gods come to experience human temporality. If the gods themselves are defined by human temporal experience, Garcia argues, the epic tradition cannot but imagine its own temporal durability as limited: hence, one should understand kleos aphthiton as fame which has not yet decayed, rather than fame which will not decay.

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Abu'l-Fażl Beyhaqi, a secretary at the court of a number of Ghaznavid rulers in eastern Iran and Afghanistan in the early Middle Ages, is a most perceptive, as well as intriguing, commentator on the history of the Islamic Near East. The surviving volumes of his massive project, dealing in depth with the years 1030–1041, combine astute criticism and wry humor with an unobtrusive display of mastery of the learned literature of the time, both in Arabic and Persian. Through a skillful manipulation of different styles, and timely introduction of the authorial voice as a framing device to bring a sense of heightened drama, the historian comments on mankind's individual frailties and the many lost opportunities that hasten a mighty dynasty’s decline. Although there are already a number of articles and monographs in English and other Western languages on aspects of his style and historical approach, this is the first complete translation of the extant volumes with a detailed commentary.

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This book—the first full-length study of the “last and most beautiful” apology against paganism, Theodoret’s Therapeutic for Hellenic Maladies—combines close readings of the text with detailed analysis of Theodoret’s arguments against Greek religion, philosophy, and culture and the ways in which that Greek influence interacts with other diverse ideas, practices, and developments in the fifth-century Roman empire.The book’s larger underlying themes—the continuing debate between Christianity and Hellenism, and the relationship between classical and Christian literature—offer insights into more general late Roman and early Byzantine religious and cultural attitudes and issues, including the relations between pagan and Christian paideia, the cult of the martyrs, and the role of Christianity in the Roman empire.

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The Epic Rhapsode and His Craft studies Homeric performance from archaic to Roman imperial times. It argues that oracular utterance, dramatic acting, and rhetorical delivery powerfully elucidate the practice of epic rhapsodes. Attention to the ways in which these performance domains informed each other over time reveals a shifting dynamic of competition and emulation among rhapsodes, actors, and orators that shaped their texts and their crafts. A diachronic analysis of this web of influences illuminates fundamental aspects of Homeric poetry: its inspiration and composition, the notional fixity of its poetic tradition, and the performance-driven textual fixation and writing of the Homeric poems. It also shows that rhapsodic practice is best understood as an evolving combination of revelation, interpretation, recitation, and dramatic delivery.

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Eve of the Festival is a study of Homeric myth-making in the first and longest dialogue of Penelope and Odysseus (Odyssey 19). This study makes a case for seeing virtuoso myth-making as an essential part of this conversation, a register of communication important for the interaction between the two speakers. At the core of the book is a detailed examination of several myths in the dialogue in an attempt to understand what is being said and how. The dialogue as a whole is interpreted as an exchange of performances that have the eve of Apollo’s festival as their occasion and that amount to activating, and even enacting, the myth corresponding within the Odyssey to the ritual event of the festival.

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Philosophers have often reflected on the Ancient Greeks' concepts of time, but an anthropological approach is necessary to understand their practical concept of time as tied to space. The Greeks not only spoke of time unfolding in a specific space, but also projected the past upon the future in order to make it active in the social practice of the present. Hesiod's history of humanity was intended to establish justice in the modern city; Bacchylides sang the celebration of the Athenian hero Theseus in a present-day cultic and ideological framework; the city of Cyrene used the heroic act of its founding to reaffirm its civic identity; and the Greeks embossed poetic texts on leaves of gold to ensure the ritual passage of the dead to a blessed afterlife. Explicating these examples, Poetic and Performative Memory in Ancient Greece shows how the Ancient Greeks' collective memory was based on a remarkable faculty for the creation of ritual and narrative symbols.

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Though Achilles the character is bound by fate and by narrative tradition, Achilles’s poem, the Iliad, was never fixed and monolithic in antiquity—it was multiform. And the wider epic tradition, from which the Iliad emerged, was yet more multiform. In Achilles Unbound, Casey Dué, building on nearly twenty years of work as coeditor of the Homer Multitext (www.homermultitext.org), explores both the traditionality and multiformity of the Iliad in a way that gives us a greater appreciation of the epic that has been handed down to us.Dué argues that the attested multiforms of the Iliad—in ancient quotations, on papyrus, and in the scholia of medieval manuscripts—give us glimpses of the very long history of the text, access to even earlier Iliads, and a greater awareness of the mechanisms by which such a remarkable poem could be composed in performance. Using methodologies grounded in an understanding of Homeric poetry as a system, Achilles Unbound argues for nothing short of a paradigm shift in our approach to the Homeric epics, one that embraces their long evolution and the totality of the world of epic song, in which each performance was newly composed and received by its audience.

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Equine Poetics is a literary analysis of horses and horsemanship in early Greek epic and lyric poetry, especially those facets that reflect the prehistory of Greek language and culture.The book begins with Ryan Platte’s analysis of Homeric formulas for horses, proposing a model by which most such formulas may be understood as members of a single verbal network, with roots in preliterate antiquity. He then considers the poetic relationship between horses and humans, leading to an analysis of the figure of the metapoetic charioteer. Finally, the work compares myths featuring chariot races and bridal contests, focusing on the supposed mythological inventiveness of Pindar’s Olympian 1.Platte develops a methodology rooted in oral verse mechanics to understand contest-based mythical parallels that have defied easy historical explanations—in Greece and beyond. Drawing from the fields of comparative poetics and historical linguistics, Equine Poetics sheds new light on fascinating and puzzling aspects of these central figures in early Greek verbal art.

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The Art of Reading is the first—long overdue—collection of essays by the French classical philologist and humanist Jean Bollack to be published in English. As the scope of the collection demonstrates, Bollack felt at home thinking in depth about two things that seem starkly different to most other thinkers. We see on the one hand the classics of Greek poetry and philosophy, including the relatively obscure but in his hands illuminating re-readings of Greek philosophy by the doxographers. Then, on the other hand, there is modern, including contemporary, poetry. The author of monumental commentaries on the Oedipus Tyrannos of Sophocles and on the fragments of Empedocles, Bollack cultivated in himself and in a generation of students (academics and others) a way to read both sets of texts closely that is as uncompromising and demanding of the interpreter as it is of the reader of the interpretation. The results, which this wide-ranging but compact collection brings to mind, are designed to get beyond flat and clichéd approaches to familiar works and to awaken the reader anew to the aesthetics, the complexity, and the intelligence that careful reconstruction of the text can bring to light.

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Historians like Ephorus, Theopompus, or Aristotle’s great-nephew Callisthenes, to say nothing of Xenophon, counted among the most acclaimed in antiquity. But with the exception of Xenophon, their complete works have not survived, and thus they are accessible to the modern reader only in the form of fragments, usually quoted by later authors.The present collection of essays by an international team of scholars focuses on the contribution of these and other fourth-century authors to the development of Greek historiography in terms of form, scope, and methods. Between Thucydides and Polybius sheds light on the interface between historiography and rhetoric, while undermining the claim that historians after Thucydides allowed rhetoric to prevail over research in their reconstructions of the past.Topics discussed in the essays include the use of documents and inscriptions by fourth-century historians, the emergence of the individual as a subject of history, ethnography, and the role of the Persian Empire in the cultural world of the fourth century BCE. Overall, the book offers a reassessment of a crucial phase in Greek historiography that has long lain in the shadow of Thucydides and Polybius.

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Inscribed some time after 264 BCE, the Parian Marble offers a chronological list of events with an exceptional emphasis on literary matters. Literary History in the Parian Marble explores the literary and historiographical qualities of the inscription, the genre to which it belongs, and the emerging patterns of time. Endorsing the hypothesis that the inscription was originally displayed at a Parian shrine honoring Archilochus, Andrea Rotstein argues that literary history was one of its main concerns. Though it may be conventional in its focus on the chronology of poets, their inventions and victories, the Parian Marble is nonetheless idiosyncratic in the range of authors displayed. By reconstructing the methods by which information might have been obtained, Rotstein contributes to an understanding of the way literary history was practiced within the local communities of ancient Greece, away from the major Hellenistic centers of scholarship.The Parian chronicle has not been the subject of a comprehensive study for almost a century. Literary History in the Parian Marble brings to the English-speaking audience up-to-date information about the inscription, including a revision of Felix Jacoby’s Greek text and a complete translation.

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Since Friedrich Schleiermacher’s work in the 1800s, scholars interested in the literary dimension of Plato’s writings have sought to reconcile the dialogue form with the expository imperative of philosophical argument. It is now common for mainstream classicists and philosophers to attribute vital importance to literary form in Plato, which they often explain in terms of rhetorical devices serving didactic goals. This study brings the disciplines of literary and classical studies into methodological debate, questioning modern views of Plato’s dialogue form.In the first part of this book, David Schur argues that the literary features of Plato’s dialogues—when treated as literary—cannot be limited to a single argumentative agenda. In the second part, he demonstrates the validity of this point by considering a rhetorical pattern of self-reflection that is prominent in the Republic. He emphasizes that Plato’s book consistently undermines the goal-driven conversation that it portrays. Offering a thought-provoking blend of methodological investigation and methodical close reading, Schur suggests that the Republic qualifies the authority of its conclusions by displaying a strong countercurrent of ongoing movement.

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Spanish Arabism was a touchstone of the major intellectual and political issues facing Spain as it emerged from its imperial past into its current form as a modern nation-state. James T. Monroe’s survey of four centuries of Spanish scholarship on the cultural history of al-Andalus (Muslim Spain) establishes Spanish scholars on the forefront of European scholars confronting the Orientalism and colonialism at the heart of their national projects.This reissue of James T. Monroe’s classic study of Spanish Arabism features a new foreword by Michelle M. Hamilton and David A. Wacks that offers an overview of its impact and of how the investigation of Spanish Arabism has blossomed since the publication of Monroe’s pathbreaking study.

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In The Web of Athenaeus, Christian Jacob produces a completely fresh and unique reading of Athenaeus’s Sophists at Dinner (ca. 200 CE). Jacob provides the reader with a map and a compass to navigate the unfathomable number of intersecting paths in this enormous work: the books, the quotations, the diners, the dishes served, and—above all—the wordplay, all within the simulacrum of an ancient Greek library. A text long mined merely for its testimonies to lost classical poets, the Sophists at Dinner has now received a full literary re-imagining by Jacob, who connects the world of Hellenistic erudition with its legacy among Hellenized Romans. The Web of Athenaeus simultaneously offers a literary history of the rarest and finest of Greek culture along with a creative anthropology of a Roman imperial world obsessed with the Greek past.

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Much as an ancient hymnist carries a familiar subject into new directions of song, the contributors to A Californian Hymn to Homer draw upon Homeric scholarship as inspiration for pursuing new ways of looking at texts, both within the Homeric tradition and outside it. This set of seven original essays, accompanied by a new translation of the Homeric “Hymn to Apollo,” considers topics that transcend traditional generic distinctions between epic and lyric, choral and individual, performed and literary. Treating subjects ranging from Aeschylus’ reception of Homeric anger to the representation of mantic performance within Early Islamic texts, the collection presents a selection of imaginative critical work done on the West Coast by scholars of antiquity.

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Homer the Classic is about the reception of Homeric poetry from the fifth through the first century BCE. The study of this reception is important for understanding not only the all-pervasive literary influence of ancient Greek epic traditions but also the various ways in which these traditions were used by individuals and states to promote their own cultural and political agenda. The aim of this book, which centers on ancient concepts of Homer as the author of a body of poetry that we know as the Iliad and the Odyssey, is not to reassess the oral poetic heritage of Homeric poetry but to show how it became a classic in the days of the Athenian empire and later.This volume is one of two books stemming from six Sather Classical Lectures given in the spring semester of 2002 at the University of California at Berkeley while the author was teaching there as the Sather Professor.

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This book is about the Homeric figure Nestor. This study is important because it reveals a level of deliberate irony in the Homeric poems that has hitherto not been suspected, and because Nestor’s role in the poems, which is built on this irony, is a key to the circumstances of the poems’ composition.Nestor’s stories about the past, especially his own youth, often lack purpose on the surface of the poems, but with a slight shift of focus they provide a deep commentary on the present action of both poems. Nestor’s Homeric epithet, hippota, “the horseman,” permits the necessary refocus. The combination of epithet and name, hippota Nestor, has Indo-European roots, as a comparison with Vedic Sanskrit shows. Interpreted in the context of the Indo-European twin myth, Nestor’s role clearly points beyond itself to the key question in Homeric studies: the circumstances of the poems’ composition.Nestor has a special relation to Ionia, where the Homeric poems were composed, and through Ionia to early Athens. The relationship between the Ionian city of Miletus and early Athens is particularly important. In addition to the role of these cities, the location of Nestor’s city Pylos, an ancient conundrum, is sharply illuminated by this new interpretation of Nestor’s Homeric role.

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Writing to a friend, Horace describes the man as fascinated by "the discordant harmony of the cosmos, its purpose and power." Andrew Scholtz takes this notion of "discordant harmony" and argues for it as an aesthetic principle where classical Athenian literature addresses politics in the idiom of sexual desire. His approach is an untried one for this kind of topic. Drawing on theorists of the sociality of language, Scholtz shows how eros, consuming, destabilizing desire, became a vehicle for exploring and exploiting dissonance within the songs Athenians sang about themselves. Thus he shows how societal tension and instability could register as an ideologically charged polyphony in works like the Periclean Funeral Oration, Aristophanes' Knights, and Xenophon's Symposium.

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Descriptions of animal sacrifice in Homer offer us some of the most detailed accounts of this attempt at communication between man and gods. What is the significance of these scenes within the framework of the Iliad? This book explores the structural and thematic importance of animal sacrifice as an expression of the quarrel between Akhilleus and Agamemnon through the differing perspectives of the primary narrative and character speech. In the Iliad, animal sacrifice is incorporated into the primary narrative to bolster the royal authority of Agamemnon and further emphasize Akhilleus' isolation. The sacrifices embedded in character speech express frustration with the failure of reciprocity and the inability of sacrifice to influence the course of human events.

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Kitharoidia was arguably the most popular, most geographically widespread, and longest-running performance genre in antiquity. From the archaic period to the late Roman imperial era, citharodes enjoyed star status, playing their songs to vast crowds at festival competitions and concerts throughout the Mediterranean world. The Culture of Kitharoidia is the first study dedicated exclusively to the art, practice, and charismatic persona of the citharode. Traversing a wide range of discourse and imagery about kitharoidia—poetic and prose texts, iconography, inscriptions—the book offers a nuanced account of the aesthetic and sociocultural complexities of citharodic song and examines the iconic role of the songmakers in the popular imagination, from mythical citharodes such as Orpheus to the controversial innovator Timotheus, to that most notorious of musical dilettantes, Nero.

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Investigating ritual in Greece from cross-disciplinary and transhistorical perspectives, Greek Ritual Poetics offers novel readings of the pivotal role of ritual in Greek traditions by exploring a broad spectrum of texts, art, and social practices. This collection of essays written by an international group of leading scholars in a number of disciplines presents a variety of methodological approaches to secular and religious rituals, and to the narrative and conceptual strategies of their reenactment and manipulation in literary, pictorial, and social discourses. Addressing understudied aspects of Greek ritual and societies, this book will prove significant for classicists, anthropologists, Byzantinists, art historians, neohellenists, and comparatists interested in the interaction between ritual, aesthetics, and cultural communicative systems.

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In Greek thought, barbaroi are utterers of unintelligible or inarticulate sounds. What importance does the text of Herodotus's Histories attribute to language as a criterion of ethnic identity? The answer to this question illuminates the empirical foundations of Herodotus's pluralistic worldview. The first translator of cultures also translates, describes, and evaluates foreign speech to a degree unparalleled by other Greek ancient authors. For Herodotus, language is an area of interesting but surprisingly unproblematic difference, which he offers to his audience as a model for coming to terms in a neutral way with other, more emotionally charged, cultural differences.

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This colloquium volume celebrates a new Hellenistic epigram collection attributed to the third-century B.C.E. poet Posidippus, one of the most significant literary finds in recent memory. Included in this collection are an unusual variety of voices and perspectives: papyrological, art historical, archaeological, historical, literary, and aesthetic. These texts are considered as individual poems and as collective artifact, an early poetry book. The volume will be of interest to readers of Greek and Latin epigram, students of the Hellenistic period, and all readers interested in the aesthetics of poetry collection and the evolution of the poetry book in antiquity.

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This book plumbs the virtues of the Homeric poems as scripts for solo performance. Despite academic focus on orality and on composition in performance, we have yet to fully appreciate the Iliad and Odyssey as the sophisticated scripts that they are. What is lost in the journey from the stage to the page?Readers may be readily impressed by the vividness of the poems, but they may miss out on the strange presence or uncanniness that the performer evoked in ancient audience members such as Plato and Aristotle. This book focuses on the performer not simply as transparent mediator, but as one haunted by multiple stories and presences, who brings suppressed voices to the surface.Performance is inextricable from all aspects of the poems, from image to structure to background story. Background stories previously neglected, even in some of the most familiar passages (such as Phoenix’s speech in Iliad 9) are brought to the surface, and passages readers tend to rush through (such as Odysseus’s encounter with Eumaeus) are shown to have some of the richest dramatic potential. Attending to performance enlivens isolated features in a given passage by showing how they work together.

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