scholarly journals Epic on an American Scale: Sherwood Anderson's Winesburg, Ohio

2020 ◽  
Vol 1 ◽  
Author(s):  
Tiffany Messick
Keyword(s):  
Ancient Greek ◽  
Greek Epic ◽  
Roman Epic

In this article I examine the link between ancient Greek epic and American Midwestern Agrarianism. Specifically, I examine how Greek and Roman epic influenced Modernism as evidenced in one of the earliest Modernist works, Anderson’s Winesburg, Ohio. I find that Anderson employs many epic elements to convey the link between the two empires and emphasize the epic nature of the collapse of American Agrarianism.

scholarly journals The Training of Virtue and the Role of Adversity in Ancient Greek Epic

2017 ◽  
Vol null (83) ◽  
pp. 381-408
Author(s):  
Young Ran Chang
Keyword(s):  
Ancient Greek ◽  
Greek Epic

Nonnus, of Panopolis, Greek epic poet, mid-5th c. CE

2016 ◽  
Author(s):  
Berenice Verhelst
Keyword(s):  
Gospel Of John ◽  
Ancient Greek ◽  
Upper Egypt ◽  
Greek Epic

The 5th-century ce Greek poet Nonnus of Panopolis (the modern Akhmim, Upper-Egypt) is known as the author of two poems. The Dionysiaca is the longest extant ancient Greek poem, a mythological epic (48 books, 21,286 lines) about the young god Dionysus. The much shorter Paraphrase of the Gospel of John (3,640 lines) closely follows the structure of its gospel model, but renders its story in Nonnus’ impeccable hexameters and florid language.

scholarly journals THE DIPYLON OINOCHOĒ AND ANCIENT GREEK DANCE AESTHETICS

2021 ◽  
pp. 1-12
Author(s):  
Eric Cullhed
Keyword(s):  
Positive Emotion ◽  
Young Animal ◽  
Well Being ◽  
Eighth Century ◽  
Ancient Greek ◽  
Aesthetic Property ◽  
Systematic Analysis ◽  
Greek Epic ◽  
Positive Evaluation

Abstract This article asks what the graffito incised on the Dipylon oinochoē (IG I2 919, eighth century b.c.e.) reveals about the nature of the dance competition that it commemorates. Through a systematic analysis of the evaluative and descriptive meaning of the adjective ἀταλός and its cognates in early Greek epic, it is argued that a narrower definition compared to previous suggestions can be established. The word refers to the carefreeness that is specific to a child or young animal, and its uses typically imply a positive evaluation which is connected not only to the well-being that this carefreeness entails but also to the positive emotion of tenderness and the sentiment of care that it engenders in a perceiver. It is concluded that, when used to specify the criterion by which a dance contest will be adjudicated, the term refers to an aesthetic property that is repeatedly praised in archaic Greek texts in other words: that of dancing with the adorable but short-lived carefree abandon of a child.

scholarly journals The Mind as Container

Mnemosyne ◽  
2021 ◽  
pp. 1-25
Author(s):  
Maria Marcinkowska-Rosół ◽  
Sven Sellmer
Keyword(s):  
Human Mind ◽  
Ancient Greek ◽  
European Culture ◽  
Greek Epic ◽  
The Mind ◽  
Epic Poems

Abstract One of the most widespread and natural ways of conceiving of the human mind in European culture is the image of the mind as a container for thoughts, images, memories, reasonings, etc. In this article, we explore the evidence of this metaphor in the Ancient Greek epic poems, Homer’s Iliad and Odyssey as well as Hesiod’s Theogony and Works and Days, and, for comparative purposes, the evidence of the analogous metaphor in the Ancient Indian epics, the Mahābhārata and the Rāmāyaṇa. We examine how the metaphor is used, what its functions are and what it implies for the conception of mind in both ancient traditions. Additionally, we offer a brief comparison with the image of the mind-container that emerges from the use of this metaphor in modern English.

scholarly journals A GRAFFITO OF CA. 520S BC FROM PHANAGORIA

2020 ◽  
Author(s):  
Н.В. Завойкина
Keyword(s):  
Late Archaic ◽  
Ancient Greek ◽  
Greek Epic ◽  
Archaeological Excavations

Статья представляет публикацию позднеархаического граффито с упоминанием Фанагора из раскопок Фанагории с ревизией реконструкций, предложенных Ф. В. Шеловым-Коведяевым и С. Ю. Сапрыкиным. С прочтением в 1 стк. имени Фанагора согласны все исследователи. Далее мнения расходятся. Н. В. Завойкина и Ф. В. Шелов-Коведяев независимо друг от друга предлагают структуру граффито «знаки + священные имена», в 1 стк. вычитывают имя Фанагора, а в 3 стк. – богини Геры. Завойкина интерпретирует знаки перед именами богов как денежные суммы, так же как и Сапрыкин, а Шелов-Коведяев – как цифры в алфавитной системе счета. Чтение Сапрыкина имеет фактические неточности, связанные с тем, что исследователь не проводил аутопсию граффито, и его сложно принять. Автор статьи полагает, что граффито процарапано на стенке хиосской амфоры и датируется ок. 520-х гг. до н. э. Оно содержит три строчки и представляет запись частных расходов, возможно, на приношения в святилища Фанагора, Эйя (Аполлона Феба), Геры. Время написания граффито и основания Фанагории ок. 540 г. до н.э. колонистами с Теоса под предводительством Фанагора, как сообщают античные авторы, позволило предположить, что в граффито упомянут именно ойкист Фанагор. В граффито содержится редкий эпитет Аполлона Ἤϊος, который встречается в сочетании с эпиклезой Феб только в древнегреческом эпосе и гимнах Аполлону. Также в граффито сохранилось одно из самых ранних упоминаний богини Геры, покровительницы всех ионийцев, в надписях Северного Причерноморья. The article presents a republication of the Late Archaic graffito. It was found in the course of archaeological excavations in Phanagoria and the three lines has survived in it. The article has taken into account the readings of the graffito proposed by F. V. Shelov-Kovedyaev and S. Yu. Saprykin. All researchers has agreed that the name Phanagores is incised in the 1st line. N. V. Zavoykina and F. V. Shelov-Kovedyaev has offered independently of each other that the graffito structure is “signs + sacred names”, the name of the goddess Hera is cut down in the 3 line. Zavoykina interprets the signs in front of the names of the gods as sums of money, as well as Saprykin, but Shelov-Kovedyaev believes they are numbers in the alphabetical system of numeration. The translation offered by Saprykin’s includes some factual inaccuracies because he did not study the graffito de visu. That is why it is difficult to accept his reading of it. The author believes that graffito is scratched on the wall of the Chios amphora and dates from ca. 520s BC. It represents a record of private expenses, possibly, for offerings to the sanctuaries of Phanagores, Eios (Apollo Phoebus), Hera. The graffito reading: 1. I Φαναγ<ό>ρ<ης> (or Φαναγ<ό>ρ(εω)) | 2. ΕΙ < Ἤϊος | 3. Iс Ἥρης, – Obolos Phanagores (Phanagoreo?), | 6,5 oboloi Eios, | 1¼ oboloi (?) Heres. The date of graffito circ. 520s and the foundation of Phanagoria circ. 540 BC put the author an idea that Phanagores, the leader of colonists, was mentioned in the graffito. Also it contains the rare epithet of Apollo Ἤϊος, which is found in a combination with the epiclesis of Phoebus only in the ancient Greek epic and hymns to Apollo. Also one of the earliest mentions of the goddess Hera, the patroness of all Ionians, in the Northern Black Searegion is preserved in the graffito.

Epic Poetry

2009 ◽  
pp. 441-453
Author(s):  
Johannes Haubold
Keyword(s):  
Historical Context ◽  
Epic Poetry ◽  
Oral Traditions ◽  
Greek Literature ◽  
Ancient Greek ◽  
Narrative Poetry ◽  
Near Eastern ◽  
Greek Epic ◽  
Ancient Greek Literature

The term ‘epic’, when applied to ancient Greek literature, refers to a set of texts that may be loosely defined as narrative poetry about the deeds of gods and heroes. To a very large extent, this is a reflection of Homer's authority as the most famous epic poet. This article argues that recent comparisons between early Greek epic and modern oral traditions, as well as the discovery and investigation of ancient Hittite and Near Eastern texts, place Greek epic in a much wider literary and historical context.

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