Homer and the Early Epic Tradition

Currie, Bruno

doi:10.1093/acprof:oso/9780199276301.003.0001

Cited by 77 publications

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“…Para uma abordagem neoanalítica e neoanalítico-orientalista, cf. Currie 2006Currie e 2012 Cf. Kelly 2008, 260-2.…”

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Tradição na épica grega arcaica

Kelly

2010

Let. Cláss.

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Resumo. O que foi legado a Homero é fonte de um desacordo sempre crescente entre os estudiosos modernos, não apenas referente ao "o que" de sua herança mas até mesmo ao "como". Dicotomias mais antigas estabeleceram uma forte distinção entre os elementos recorrentes na poesia Homérica e os toques individuais, rotulando o primeiro de "tradição" e o segundo de "inovação". Estudos mais recentes, entretanto, têm mostrado a inter-relação essencial e constante desses dois conceitos: há uma individualidade constante na formação e no desenvolvimento mesmo das características mais comuns, ao passo que os elementos aparentemente mais inovadores da poesia homérica mostram a influência da padronização e tipicidade que viemos a esperar. Em outras palavras, a tradição é sempre inovadora, e a inovação é sempre tradicional. Ainda assim, essa reciprocidade parece ter sido ignorada em dois ramos importantes da pesquisa homérica moderna, os quais podemos chamar de Neoanálise e de Orientalismo: ambas essas escolas de pensamento compartilham pressuposições sobre o contexto textual e tradicional de Homero que são insustentáveis. Esse artigo remeterá a alguns exemplos famosos dessas duas abordagens, e sugere um contra-argumento "tradicional" a ambos. Palavras-chave. Oralismo, Homero, Neoanálise, Orientalismo, Antigo Oriente Próximo, lamento prospectivo.

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“…Para uma abordagem neoanalítica e neoanalítico-orientalista, cf. Currie 2006Currie e 2012 Cf. Kelly 2008, 260-2.…”

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Tradição na épica grega arcaica

Kelly

2010

Let. Cláss.

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“…Much work has been done on intertextuality, for example, in Archaic epic, where a narrative is performed, rather than written, and therefore the idea of a fixed written text is destabilised. Currie (2006) suggests that allusion is not strictly a written phenomenon, and thus should not be excluded from consideration in oral traditions. 45 Burgess (2012) similarly 40 Hinds, 1998: 1.…”

Section: Intertextuality In Tragedymentioning

confidence: 99%

Dangerous Women in Attic Tragedy: A State of Affairs

Everitt¹

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Dangerous Women in Attic Tragedy: A State of Affairs (2022) considers the central role of the dangerous woman in fifth-century (BCE) Attic tragedy. This study examines intertextuality and allusion to compare the wronged-wife across three tragedies by three different Athenian playwrights. By analysing the depiction of these women as a result of active engagement with previous playwrights we are able to identify the emergence of a ‘dangerous-woman’ topos on the tragic stage. Not only does this offer a renewed assessment of the depiction of women in tragedy but elucidates further aspects of the play’s overall construction, themes, and place within Attic tragedy and the Athenian polis. This thesis is divided into two main parts: the first part concerns instances of intertextuality inSophocles’ Trachiniae that recall Aeschylus’ Agamemnon; and the second part concerns instances ofintertextuality in Euripides’ Medea that recall either (or both) Trachiniae and Agamemnon. Thisintertextual relationship centres around the dangerous women who helm these tragedies. Chapter One positions this thesis in relation to three fundamental approaches: the date of Trachiniae; intertextuality as it functions in Attic tragedy; and the enormous influence the Oresteia had over fifth-century tragedy. Chapter Two identifies and analyses the numerous allusions that exist in Sophocles’ Trachiniae; the result of which is a comprehensive intertextual relationship that casts Deianira’s crimes as synonymous with Clytemnestra. Chapter Three, similarly, considers the allusions and subsequent intertextual relationship in Euripides’ Medea. By 431 BCE, the topos of the dangerous woman – one who kills a member of their oikos – is fully realised, and has come to assimilate Medea, Deianira, and Clytemnestra. The final chapter explores the conclusions and considers some of the wider implications.

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Entering the Agon

Barker

2009

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This book investigates one of the most characteristic and prominent features of ancient Greek literature—the scene of debate or agon, in which with varying degrees of formality characters square up to each other and engage in a contest of words—and sets out for the first time to trace its changing representations through Homeric epic, historiography and tragedy. Combining literary dialogic theory with sociological approaches towards structure, it makes the claim that debate is best understood in relation to an institutional framework, in which issues of authority and dissent are variously set out and worked through. Intersecting with key recent scholarship, it shows that the Homeric poems establish, and scrutinize, the assembly as an institution which accommodates dissent, in line with an understanding of epic narrative as foundational; that the historians' marginal status as writers in an oral culture manifests itself in their representing debate as a challenge to the utility of public institutions; and that tragedy marks the formal institutionalization of dissent in its adversarial structure with an onus on speaking back, which offers a new way of thinking about tragic politics in terms of the process by which dissent is enacted and managed. This book demonstrates not only the fundamental importance of debate to these genres, but also the ways representations of debate construct an agonistic mentality which intersects with and informs the broader cultural construction of a citizen community.

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Homer and the Early Epic Tradition

Cited by 77 publications

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Tradição na épica grega arcaica

Tradição na épica grega arcaica

Dangerous Women in Attic Tragedy: A State of Affairs

Entering the Agon

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