The gods of the Iliad have long troubled readers, with many features of their presentation defying satisfactory explanation. This volume presents a new 'metaperformative' approach to the poem's scenes of divine viewing, arguing that the poet uses the gods to model and thereby manipulate the ongoing dynamics of performance and live reception.
The gods of the Iliad have long troubled readers, with many features of their presentation defying satisfactory explanation. This volume presents a new 'metaperformative' approach to the poem's scenes of divine viewing, arguing that the poet uses the gods to model and thereby manipulate the ongoing dynamics of performance and live reception.
Tobias Myers is Assistant Professor of Classics at Connecticut College and holds degrees from the University of Colorado at Boulder and Columbia University. His research focuses primarily on Homer, with additional interests in Greco-Roman literature more broadly, magic and religion, and the history of ideas. Among other topics, he has written on addresses in Theocritus' bucolica, the 'literary cosmology' of Theocritus 2, and the spatio-temporal paradoxes of Iliadic battle scenes. His current projects include a study of Odyssean conceptions of self-knowledge and an attempt to situate Homeric conceptions of time within the larger history of the idea of eternity in the Western tradition.
Inhaltsangabe
* Frontmatter * List of Figures * 0: Introduction: 'With What Eyes...?' * 0.1: Divine Perspectives * 0.2: The 'Divine Audience' * 0.3: Homer's Audience' * 1: Zeus, the Poet and Vision * 1.1: The Proem's Promise * 1.1.a: The Poet and Audience Involvement * 1.1.b: Dios d'eteleieto boul? * 1.2: Realizing the Proem's Promise: An Illustrative Example from Book 16 * 1.3: The Gods and Metapoetics * 2: The Duel and the Dais: Iliadic Warfare as Spectacle * 2.1: Defining the Gods' Role as Audience * 2.1.a: Divine Viewing Linked to Battle and Corpses (Book 1) * 2.1.b: Staging the Spectacle of War (Book 2) * 2.1.c: The Duel as a Paradigm of Military Spectacle (Book 3) * 2.1.d: The Significance of Duel and Dais for the Gods' Viewing Role (Book 4) * 2.2: Implications for Homer's Audience * 2.2.a: Textual Cues Pointing to a Mise en Abyme * 2.2.b: The Effect of the Mise en Abyme * 2.2.c: Homer's Audience as Viewers of the Warfare * 3: 'Let Us Cease': Early Reflections on the Spectacle's End * 3.1: The Divine Audience and the Duel between Hector and Aias * 3.1.a: Textual Cues Suggesting a Mise en Abyme * 3.1.b: Athena and Apollo Dramatise Tensions in Audience Response * 3.1.c: A New Narrative About the Warfare * 3.2: The Achaean Wall and the End of the Iliad * 4: 'Many Contests of the Trojans and Achaeans': The Iliad's Battle Books * 4.1: Staging the Iliad's Battle Books * 4.1.a: Staging Day 2: Continued Use of the Duel as a Paradigm * 4.1.b: Staging Day 3: A Hint of Funerary Spectacle * 4.1.c: Staging Day 4: Variations on the Duel Paradigm with Funerary Spectacle * 4.2: Audience Involvement and Response * 4.2.a: Audience 'Involvement' in the Warfare Itself * 4.2.b: Audience Response to the Staging and Direction of the Warfare * 4.3: Zeus' Gaze and the Contests as Funeral Rites * 4.4: A Metaperformative Reading of the Theomachia * 5: 'A Man Having Died': Watching Achilles and Hector * 5.1: A Hybrid Spectacle * 5.2: Textual Cues Pointing to a Mise en Abyme * 5.3: The Divine Gaze and the Imperfect Moment * 6: Conclusion: The Iliad and the Odyssey * Endmatter * Appendix: Explicit Statements of Divine Viewing * Bibliography * Index
* Frontmatter * List of Figures * 0: Introduction: 'With What Eyes...?' * 0.1: Divine Perspectives * 0.2: The 'Divine Audience' * 0.3: Homer's Audience' * 1: Zeus, the Poet and Vision * 1.1: The Proem's Promise * 1.1.a: The Poet and Audience Involvement * 1.1.b: Dios d'eteleieto boul? * 1.2: Realizing the Proem's Promise: An Illustrative Example from Book 16 * 1.3: The Gods and Metapoetics * 2: The Duel and the Dais: Iliadic Warfare as Spectacle * 2.1: Defining the Gods' Role as Audience * 2.1.a: Divine Viewing Linked to Battle and Corpses (Book 1) * 2.1.b: Staging the Spectacle of War (Book 2) * 2.1.c: The Duel as a Paradigm of Military Spectacle (Book 3) * 2.1.d: The Significance of Duel and Dais for the Gods' Viewing Role (Book 4) * 2.2: Implications for Homer's Audience * 2.2.a: Textual Cues Pointing to a Mise en Abyme * 2.2.b: The Effect of the Mise en Abyme * 2.2.c: Homer's Audience as Viewers of the Warfare * 3: 'Let Us Cease': Early Reflections on the Spectacle's End * 3.1: The Divine Audience and the Duel between Hector and Aias * 3.1.a: Textual Cues Suggesting a Mise en Abyme * 3.1.b: Athena and Apollo Dramatise Tensions in Audience Response * 3.1.c: A New Narrative About the Warfare * 3.2: The Achaean Wall and the End of the Iliad * 4: 'Many Contests of the Trojans and Achaeans': The Iliad's Battle Books * 4.1: Staging the Iliad's Battle Books * 4.1.a: Staging Day 2: Continued Use of the Duel as a Paradigm * 4.1.b: Staging Day 3: A Hint of Funerary Spectacle * 4.1.c: Staging Day 4: Variations on the Duel Paradigm with Funerary Spectacle * 4.2: Audience Involvement and Response * 4.2.a: Audience 'Involvement' in the Warfare Itself * 4.2.b: Audience Response to the Staging and Direction of the Warfare * 4.3: Zeus' Gaze and the Contests as Funeral Rites * 4.4: A Metaperformative Reading of the Theomachia * 5: 'A Man Having Died': Watching Achilles and Hector * 5.1: A Hybrid Spectacle * 5.2: Textual Cues Pointing to a Mise en Abyme * 5.3: The Divine Gaze and the Imperfect Moment * 6: Conclusion: The Iliad and the Odyssey * Endmatter * Appendix: Explicit Statements of Divine Viewing * Bibliography * Index
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