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Homer. --- Athena (Greek deity) in literature --- Epic poetry, Greek --- -Gods, Greek, in literature --- Greek epic poetry --- Epic poetry, Classical --- Greek poetry --- History and criticism --- Homer --- Odysseus (Greek mythology) in literature --- Odysseus (Greek mythology) in literature. --- Athena (Greek deity) in literature. --- Gods, Greek, in literature. --- History and criticism. --- Hóiméar --- Hūmīrūs --- Homeros --- Homerus --- Gomer --- Omir --- Omer --- Omero --- Ho-ma --- Homa --- Homérosz --- האמער --- הומירוס --- הומר --- הומרוס --- هومر --- هوميروس --- 荷马 --- Ὅμηρος --- Гамэр --- Hamėr --- Омир --- Homero --- 호메로스 --- Homerosŭ --- Homērs --- Homeras --- Хомер --- ホメーロス --- ホメロス --- Гомер --- Homeri --- Hema --- Pseudo-Homer --- Pseudo Omero --- Homère --- Gods, Greek, in literature --- Homerus.

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"Moving away from the verbal and thematic repetitions that have dominated Homeric studies and exploiting the insights of cognitive psychology, this highly innovative and accessible study focuses on the visual poetics of the Iliad as the narrative is envisioned by the poet and rendered visible. It does so through a close analysis of the often-neglected 'Battle Books'. They here emerge as a coherently visualized narrative sequence rather than as a random series of combats, and this approach reveals, for instance, the significance of Sarpedon's attack on the Achaean Wall and Patroclus' path to destruction. In addition, Professor Strauss Clay suggests new ways of approaching ancient narratives: not only with one's ear, but also with one's eyes. She further argues that the loci system of mnemonics, usually attributed to Simonides, is already fully exploited by the Iliad poet to keep track of his cast of characters and to organize his narrative"-- "How can Homer turn his listeners into spectators? His characters and the events he describes belong to a remote past, and he emphasizes that temporal distance by insisting on the gulf between his heroes and "men who are now."1 Our analysis of Homeric battle sequences has its basis in Homeric poetics, particularly those aspects that involve vision and emphasize sight as the ultimate source of the poet's knowledge of the distant events on the plains of Troy. But since the work of Milman Parry, the study of the Homeric poems has focused on verbal repetitions of formulaic expressions on the level of the individual hexameter lines, on type scenes in sequences of verses, and finally on typical motifs and themes that form the larger building blocks of the narrative.2 Through extensive training, the poet acquires a mastery of all these forms of repetition from the micro level of the formulaic phrase to the macro level of thematic sequence that ultimately allows him to combine and recombine these traditional components to structure his narrative. Despite its insights, Parry's work and that of his followers nevertheless did not fundamentally alter the coordinates of the Homeric Question that had dominated discussion since the end of the eighteenth century. The focus remained on the composition and the mechanics of the production, whether oral or written, of the Homeric poems"--

Poetics --- Epic poetry, Greek --- History --- History and criticism --- Theory, etc. --- Homer --- Hóiméar --- Hūmīrūs --- Homeros --- Gomer --- Omir --- Omer --- Omero --- Ho-ma --- Homa --- Homérosz --- האמער --- הומירוס --- הומר --- הומרוס --- هومر --- هوميروس --- 荷马 --- Ὅμηρος --- Гамэр --- Hamėr --- Омир --- Homère --- Homero --- 호메로스 --- Homerosŭ --- Homērs --- Homeras --- Хомер --- ホメーロス --- ホメロス --- Гомер --- Homeri --- Hema --- Pseudo-Homer --- Pseudo Omero --- Technique. --- Arts and Humanities --- Homerus

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"In ancient didactic poetry, poets frequently make use of imagery - similes, metaphors, acoustic images, models, exempla, fables, allegory, personifications, and other tropes - as a means to elucidate and convey their didactic message. In this volume, which arose from an international conference held at the University of Heidelberg in 2016, we investigate such phenomena and explore how they make the unseen visible, the unheard audible, and the unknown comprehensible. By exploring didactic poets from Hesiod to pseudo-Oppian and from Vergil and Lucretius to Grattius and Ovid, the authors in this collective volume show how imagery can clarify and illuminate, but also complicate and even undermine or obfuscate the overt didactic message. The presence of a real or implied addressee invites our engagement and ultimately our scrutiny of language and meaning"--

Didactic poetry, Classical --- Figures of speech in literature --- Didactic poetry, Classical. --- Figures of speech in literature. --- History and criticism --- Guitar --- Construction

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This book addresses the many interlocking problems in understanding the modes of performance, dissemination, and transmission of Greek poetry of the seventh to the fifth centuries BC whose first performers were a choral group, sometimes singing in a ritual context, sometimes in more secular celebrations of victories in competitive games. It explores the different ways such a group presented itself and was perceived by its audiences; the place of tyrants, of other prominent individuals and of communities in commissioning and funding choral performances and in securing the further circulation of the songs' texts and music; the social and political role of choral songs and the extent to which such songs continued to be performed both inside and outside the immediate family and polis-community, whether chorally or in archaic Greece's important cultural engine, the elite male symposium, with the consequence that Athenian theatre audiences could be expected to appreciate allusion to or reworking of such poetic forms in tragedy and comedy; and how various types of performance contributed to transmission of written texts of the poems until they were collected and edited by Alexandrian scholars in the third and second centuries BC.

Drama - Chorus (Greek drama). --- Drama -- Chorus (Greek drama). --- Greek drama (Tragedy) - History and criticism. --- Greek drama (Tragedy) -- History and criticism. --- Greek language - Accents and accentuation. --- Greek language -- Accents and accentuation. --- Greek language - Metrics and rhythmics. --- Greek language -- Metrics and rhythmics. --- Greek poetry - History and criticism - Theory, etc. --- Greek poetry -- History and criticism -- Theory, etc. --- Greek poetry --- Greek language --- Drama --- Greek drama (Tragedy) --- Languages & Literatures --- Greek & Latin Languages & Literatures --- Theory, etc --- History and criticism --- Metrics and rhythmics --- Accents and accentuation --- Chorus (Greek drama) --- Chorus (Drama) --- Greek drama --- Greek literature --- Chorus --- E-books --- Theory, etc. --- Metrics and rhythmics. --- Accents and accentuation. --- History and criticism. --- Drama - Chorus (Greek drama) --- Drama -- Chorus (Greek drama) --- Greek drama (Tragedy) - History and criticism --- Greek drama (Tragedy) -- History and criticism --- Greek language - Accents and accentuation --- Greek language -- Accents and accentuation --- Greek language - Metrics and rhythmics --- Greek language -- Metrics and rhythmics --- Greek poetry - History and criticism - Theory, etc --- Greek poetry -- History and criticism -- Theory, etc --- Archaic Greece. --- Choruses. --- Pan-Hellenism. --- Song Performance. --- Transmission.