The Homeric Narrator and His Own kleos

“…62 Horsfall 1976.63 Conte 1986, 157. 64 Bakhtin 1981.65 De Jong 2006, 188.66 De Jong finds a similar authorial self-consciousness in Homer (de Jong 2006). For more on Fama in the Aeneid, seeHardie 2012, 48-149.…”

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‘Sideshadowing’ in Virgil’s ‘Aeneid’

Bottone

2015

ERGA-LOGOI

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Unlike the Homeric epos, which is enclosed in an absolute past, the Aeneid forges a continuity between myth and the historical present and its plot is the fulfillment of a future which is preordained by Fate. As a result, Virgil's epic has often been regarded as the expression of the immobilization of history rather than its open-endedness. Contrary to the idea of the Aeneid as a mere narrative teleology, the numerous untimely deaths of young heroes and their un-enacted futures bring about elements of temporal condensation that not only add uncertainty to the narrative, but undermine the idea of the present as the only inevitable realization of the past. The sideshadowing created by mors immatura opens loopholes in the poem and stands as a counterpoint to epic as the genre of absolute truths and historical determinism.

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“… 27 There has been a significant shift in the theories of Homeric (and Hesiodic) poetics from the poet-as-a-passive-mouthpiece view (espoused by Falter [1934] 3-4; Otto [1955] 31; Lenz [1980] 200; mostly based on ancient theories of poetics formulated by Democritus and Plato) to a more ‘collaborative’ enterprise between the Muse and the poet (see Marg [1957] 8; Pedrick [1992]; Podbielski [1994] 176; De Jong [2006] 191; Murray [2008] 207; Halliwell [2011] 55-77). The applicability of Democritus’ and Plato’s theory of poetics to ‘Homer’ or Hesiod has been met with serious criticism, among others by Tigerstedt (1970); Verdenius (1983) 38; Murray (1981) 87; Wheeler (2002) 34.…”

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confidence: 99%

“… 37 Finkelberg (1990) 296. For a connection of the invocations with epistemic justification of the singer, see further Sperduti (1950) 230; Murray (1981) 91; Minton (1960) 293; Ford (1997) 406; Kahane (2005) 17; De Jong (2001) 6; De Jong (2006) 192; Graziosi and Haubold (2010) 8.…”

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Invocations of the Muse in Homer and Hesiod: A Cognitive Approach

Franek

2018

Antichthon

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In this paper, I offer a cognitive analysis of the invocations of the Muse in earliest Greek epic poetry that is based on recent advances in cognitive science in general and the cognitive science of religion in particular. I argue that the Muse-concept most likely originated in a feeling of dependence on an external source of information to provide the singer with the subject matter of their song. This source of information is conceptualised as an ontological type (or template) ‘person’ by means of the hyperactive agency detection, and the Muse’s full access to strategic information, along with other characteristics, establishes her as a minimally counter-intuitive concept (that is to say a concept that conforms to most of our intuitive expectations and runs counter to a few of them), which, in turn, significantly increases the probability of the acquisition and transmission of the Muse-concept within the culture.

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The Homeric Narrator and His Own kleos

Cited by 38 publications

References 1 publication

Chapter Four. “Someone, I Say, Will Remember Us”: Oral Memory In Sappho’s Poetry

Chapter Four. “Someone, I Say, Will Remember Us”: Oral Memory In Sappho’s Poetry

‘Sideshadowing’ in Virgil’s ‘Aeneid’

Invocations of the Muse in Homer and Hesiod: A Cognitive Approach

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