Presenting a new take on what made the Homeric epics such successful examples of verbal artistry, this volume explores the construction of the Homeric simile and the performance of Homeric poetry from the neglected comparative perspectives offered by the study of modern-day oral traditions.
Presenting a new take on what made the Homeric epics such successful examples of verbal artistry, this volume explores the construction of the Homeric simile and the performance of Homeric poetry from the neglected comparative perspectives offered by the study of modern-day oral traditions.
Jonathan L. Ready is Associate Professor of Classical Studies at Indiana University. He is the author of Character, Narrator, and Simile in the Iliad (Cambridge University Press, 2011) and of numerous articles on Homeric epic, as well as the co-editor of the forthcoming Homer in Performance: Rhapsodes, Narrators, and Characters (University of Texas Press, 2018) and the annual Yearbook of Ancient Greek Epic (Brill).
Inhaltsangabe
Frontmatter List of Charts and Tables 0: Introduction 0.1. Precedents and Goals 0.2. Homer 0.3. Methods of Comparison 0.4. Sources of Modern-Day Material 0.4.1. Central Asia (Modern-Day Kyrgyzstan) 0.4.2. Rajasthan, India 0.4.3. South Sumatra, Indonesia 0.4.4. Former Yugoslavia 0.4.5. Najd Desert, Saudi Arabia 0.5. A Definition of a Simile 0.6. Summary of Chapters Part I: The Modern-Day Material 1: Formal Points of Contact with Homeric Similes 1.1. Length 1.2. Duration 1.3. Arrangement 1.3.1. Bosniac Epic 1.3.2. Kyrgyz Epic 1.3.3. South Sumatran Epic: Cik Ait's The Guritan of Radin Suane 1.3.4. Najdi Poetry 1.3.5. The Homeric Epics 1.4. Position Conclusion 2: The Spectrum of Distribution 2.1. Competence in Performance 2.2. Problems with the Terms Tradition and Innovation 2.3. The Spectrum of Distribution Defined 2.4. Ranging Across the Spectrum of Distribution 2.5. The Importance of Shared Elements 2.6. Similes and Competence Conclusion 3: Similes in Five Modern-Day Oral Poetries 3.1. The Epic of Pab?j? and The Guritan of Radin Suane 3.2. The Figurative Spectrum of Distribution 3.2.1. Kyrgyz Epic 3.2.2. Bosniac Epic 3.2.3. Najdi Poetry 3.3. Shared Vehicles and Their Tenors 3.3.1. Shared Vehicle, Customary Tenor (Shared Similes) 3.3.1.1. Bosniac Epic 3.3.1.2. Najdi Poetry 3.3.2. Shared Vehicle, Uncustomary Tenor 3.4. Idiolectal Similes and Their Tenors Conclusion Part II: Application to the Homeric Epics 4: Two Preliminary Points 4.1. The Vision of Poetic Competence in Archaic Greek Hexameter Poems 4.2. The Spectrum of Distribution and Previous Scholarship in Homeric Studies Conclusion 5: Shared Similes in the Homeric Epics 5.1. Verbatim Repetitions and Similar Long Vehicle Portions 5.2. The Scenario 5.2.1. Birds 5.2.2. Wild Fire 5.2.3. Celestial Phenomena (Stars, Lightning, and Rainbows) 5.2.4. Insects 5.2.5. Rivers 5.2.6. Trees 5.2.7. Wind 5.2.8. Waves 5.2.9. Lions 5.3. The Scenario and Frame Semantics 5.4. Shared Vehicle Portions and Their Tenors 5.4.1. Shared Vehicle Portion, Customary Tenor (Shared Similes) 5.4.2. Shared Vehicle Portion, Uncustomary Tenor Conclusion 6: Idiolectal Similes in the Homeric Epics 6.1. Unparalleled Vehicle, Unparalleled Tenor 6.2. Unparalleled Vehicle, Paralleled Tenor 6.2.1. The Iliad and the Odyssey Offer Parallels 6.2.2. The Iliad Only or the Odyssey Only Offer Parallels Conclusion 7: Conclusion Endmatter Works Cited Index
Frontmatter List of Charts and Tables 0: Introduction 0.1. Precedents and Goals 0.2. Homer 0.3. Methods of Comparison 0.4. Sources of Modern-Day Material 0.4.1. Central Asia (Modern-Day Kyrgyzstan) 0.4.2. Rajasthan, India 0.4.3. South Sumatra, Indonesia 0.4.4. Former Yugoslavia 0.4.5. Najd Desert, Saudi Arabia 0.5. A Definition of a Simile 0.6. Summary of Chapters Part I: The Modern-Day Material 1: Formal Points of Contact with Homeric Similes 1.1. Length 1.2. Duration 1.3. Arrangement 1.3.1. Bosniac Epic 1.3.2. Kyrgyz Epic 1.3.3. South Sumatran Epic: Cik Ait's The Guritan of Radin Suane 1.3.4. Najdi Poetry 1.3.5. The Homeric Epics 1.4. Position Conclusion 2: The Spectrum of Distribution 2.1. Competence in Performance 2.2. Problems with the Terms Tradition and Innovation 2.3. The Spectrum of Distribution Defined 2.4. Ranging Across the Spectrum of Distribution 2.5. The Importance of Shared Elements 2.6. Similes and Competence Conclusion 3: Similes in Five Modern-Day Oral Poetries 3.1. The Epic of Pab?j? and The Guritan of Radin Suane 3.2. The Figurative Spectrum of Distribution 3.2.1. Kyrgyz Epic 3.2.2. Bosniac Epic 3.2.3. Najdi Poetry 3.3. Shared Vehicles and Their Tenors 3.3.1. Shared Vehicle, Customary Tenor (Shared Similes) 3.3.1.1. Bosniac Epic 3.3.1.2. Najdi Poetry 3.3.2. Shared Vehicle, Uncustomary Tenor 3.4. Idiolectal Similes and Their Tenors Conclusion Part II: Application to the Homeric Epics 4: Two Preliminary Points 4.1. The Vision of Poetic Competence in Archaic Greek Hexameter Poems 4.2. The Spectrum of Distribution and Previous Scholarship in Homeric Studies Conclusion 5: Shared Similes in the Homeric Epics 5.1. Verbatim Repetitions and Similar Long Vehicle Portions 5.2. The Scenario 5.2.1. Birds 5.2.2. Wild Fire 5.2.3. Celestial Phenomena (Stars, Lightning, and Rainbows) 5.2.4. Insects 5.2.5. Rivers 5.2.6. Trees 5.2.7. Wind 5.2.8. Waves 5.2.9. Lions 5.3. The Scenario and Frame Semantics 5.4. Shared Vehicle Portions and Their Tenors 5.4.1. Shared Vehicle Portion, Customary Tenor (Shared Similes) 5.4.2. Shared Vehicle Portion, Uncustomary Tenor Conclusion 6: Idiolectal Similes in the Homeric Epics 6.1. Unparalleled Vehicle, Unparalleled Tenor 6.2. Unparalleled Vehicle, Paralleled Tenor 6.2.1. The Iliad and the Odyssey Offer Parallels 6.2.2. The Iliad Only or the Odyssey Only Offer Parallels Conclusion 7: Conclusion Endmatter Works Cited Index
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