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The Homeric Iliad and Odyssey are among the world's foremost epics. Yet, millennia after their composition, basic questions remain about them. Who was Homer—a real or an ideal poet? When were the poems composed—at a single point in time, or over centuries of composition and performance? And how were the poems committed to writing? These uncertainties have been known as The Homeric Question, and many scholars, including Gregory Nagy, have sought to solve it. In Homeric Responses, Nagy presents a series of essays that further elaborate his theories regarding the oral composition and evolution of the Homeric epics. Building on his previous work in Homeric Questions and Poetry as Performance: Homer and Beyond and responding to some of his critics, he examines such issues as the importance of performance and the interaction between audience and poet in shaping the poetry; the role of the rhapsode (the performer of the poems) in the composition and transmission of the poetry; the "irreversible mistakes" and cross-references in the Iliad and Odyssey as evidences of artistic creativity; and the Iliadic description of the shield of Achilles as a pointer to the world outside the poem, the polis of the audience.

Epic poetry, Greek --- Oral tradition --- Oral-formulaic analysis --- History and criticism --- Theory, etc. --- Homer --- Technique --- Oral-formulaic analysis. --- Technique. --- Formulaic analysis, Oral --- Folk literature --- Folklore --- Greek epic poetry --- Epic poetry, Classical --- Greek poetry --- History and criticism&delete& --- Theory, etc --- Methodology --- Homeros --- Homère --- Homerus --- Hóiméar --- Hūmīrūs --- 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 --- Epic poetry, Greek - History and criticism - Theory, etc. --- Oral tradition - Greece --- Homer - Technique

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Homer --- Criticism and interpretation --- History --- Critique et interprétation --- Histoire --- -Greek epic poetry --- Epic poetry, Classical --- -Hóiméar --- Hūmīrūs --- Homeros --- 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 --- -Homer --- Epic poetry, Greek --- Greek epic poetry --- Greek poetry --- History and criticism&delete& --- Theory, etc --- Homère --- History. --- Homerus --- History and criticism --- Theory, etc. --- Hóiméar --- Epic poetry, Greek - History and criticism - Theory, etc --- Homer - Criticism and interpretation - History

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Poets, Greek --- Poètes grecs --- Poètes grecs --- Epic poetry, Greek --- Greek poets --- Greek epic poetry --- Epic poetry, Classical --- Greek poetry --- Appreciation --- History and criticism&delete& --- Theory, etc --- Biography&delete& --- History and criticism --- Homer. --- Homer --- Homeros --- Homère --- Homerus. --- Theory, etc. --- Biography --- History and criticism. --- Poésie épique grecque --- Histoire et critique --- Théorie, etc --- Biographie --- Appréciation --- Epic poetry [Greek ] --- Poets [Greek ] --- Greece --- Hóiméar --- Hūmīrūs --- 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 --- Homerus --- Epic poetry, Greek - History and criticism - Theory, etc. --- Poets, Greek - Biography - History and criticism. --- Epic poetry, Greek - Appreciation - Greece.

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Written Voices, Spoken Signs is a stimulating introduction to new perspectives on Homer and other traditional epics. Taking advantage of recent research on language and social exchange, the nine essays in this volume focus on performance and audience reception of oral poetry. These innovative essays by leading scholars of Homer, oral poetics, and epic invite us to rethink some key concepts for an understanding of traditional epic poetry. Egbert Bakker examines the epic performer's use of time and tense in recounting a past that is alive. Tackling the question of full-length performance of the monumental Iliad, Andrew Ford considers the extent to which the work was perceived as a coherent whole in the archaic age. John Miles Foley addresses questions about spoken signs and the process of reference in epic discourse, and Ahuvia Kahane studies rhythm as a semantic factor in the Homeric performance. Richard Martin suggests a new range of performance functions for the Homeric simile. And Gregory Nagy establishes the importance of one feature of epic language, the ellipsis. These six essays centered on Homer engage with fundamental issues that are addressed by three essays primarily concerned with medieval epic: those by Franz Bäuml on the concept of fact; by Wulf Oesterreicher on types of orality; and by Ursula Schaefer on written and spoken media. In their Introduction the editors highlight the underlying approach and viewpoints of this collaborative volume.Reviews of this book: "Despite its wide range of topics and approaches, the volume has a clear thematic focus. All contributors seek to leave behind the more formal concerns of past generations of scholars and aim instead at an understanding of orality as that which is (conceptually or actually) close, immediate, or performed. In their joint search for the new picture, classicists, linguists, and medievalists discover a range of different 'oralities'." --J. Haubold, Classical Review

Epic poetry --- Literature, Comparative --- Mythology, Greek, in literature --- Written communication --- Oral interpretation of poetry --- Oral-formulaic analysis --- Oral tradition --- History and criticism --- Theory, etc. --- Congresses. --- Greek and medieval --- Medieval and Greek --- Comparative literature --- Theory, etc --- Poésie épique --- Littérature comparée --- Poésie --- Communication écrite --- Analyse des formules orales --- Tradition orale --- Congresses --- Histoire et critique --- Théorie, etc. --- Congrès --- Grecque et médiévale --- Lecture publique --- Homer --- Criticism and interpretation --- Greek and Medieval --- Formulaic analysis, Oral --- Poetry reading --- Reading poetry aloud --- Heroic poetry --- Tradition, Oral --- Oral communication --- Folklore --- Oral history --- Folk literature --- Poetry --- Written discourse --- Written language --- Communication --- Discourse analysis --- Language and languages --- Visual communication --- Philology --- Methodology --- Oral interpretation --- Homeros --- Homère --- History and criticism&delete& --- Homerus --- Europe --- Epic poetry [Greek ] --- Epic poetry [Medieval ] --- Literature [Comparative ] --- Greece --- Oral tradition - Europe - Congresses. --- Epic poetry, Greek - History and criticism - Theory, etc. - Congresses. --- Epic poetry, Medieval - History and criticism - Theory, etc. - Congresses. --- Literature, Comparative - Greek and medieval - Congresses. --- Literature, Comparative - Medieval and Greek - Congresses. --- Oral interpretation of poetry - Congresses. --- Written communication - Greece - Congresses. --- Oral-formulaic analysis - Congresses. --- Oral tradition - Greece - Congresses. --- Hóiméar --- Hūmīrūs --- 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 --- Epic poetry - History and criticism - Theory, etc. - Congresses. --- Mythology, Greek, in literature - Congresses.