Formal analysis of recognition scenes in theOdyssey

Abstract

Type-scenes have been studied and analysed for over seventy years. This paper presents a more detailed analysis of one type-scene, the 'recognition scene', than has previously been attempted, with the aim of moving towards a better-structured understanding of the 'syntax' of type-scenes generally. The structure of the recognition scene is dissected into motifs and 'moves', all of which are tabulated; this is the core of the analysis. The ensuing points of clarification elaborate on the definitions and assumptions built into the analysis. Following this is an assessment of the 'syntax' and quantifiable elements of the recognition scene. The discussion closes with a general assessment of the more literary face of recognition scenes, discussing them in the context of the plan of the second half of the Odyssey.

The Sudden Devotion Emotion: Kama Muta and the Cultural Practices Whose Function Is to Evoke It

“…In cultures around the world, reunions afford kama muta, especially when there have been obstacles or dangers to overcome, or if the CSR has been jeopardized directly. We see this in the many popular YouTube videos of soldiers’ homecomings, and in the recognition reunion theme in ancient and classical Greek literature (such as Odysseus’s homecoming) and the Old Testament (Bosworth, 2015; Gainsford, 2003; Montiglio, 2013). A person’s dedicated and courageous efforts to overcome obstacles in order to return to loved ones are constitutive signs of CS intensification.…”

How to End an Orally-Derived Epic Poem

“…As part of this process, the much-maligned recognition scene with Laertes (220-362) resumes and concludes the poem's constant exploration of the themes of disguise and testing (cf. Murnaghan 1986;Gainsford 2003), and picks up on the several earlier indications that the father is of some interest to the poet (cf. 1.…”

FROM ΚΕΙΝΟΣ TO ΟΔΕ: DEIXIS AND IDENTITY IN THEODYSSEY

“…1;Pucci (1987) 76-109;Most (1989); Katz (1994), esp. 63;Gainsford (2001Gainsford ( ), (2003. 54 23.296 was considered by Homer's ancient commentators to be the true ending of the poem; for discussion see Bury (1922); Kay (1957); Rossi (1968); Wender (1978) 12-15; Goldhill (1988) 1-9.…”