Search

Your search keyword '"early Hellenistic poetry"' showing total 4 results
Start Over "early Hellenistic poetry" Search Limiters Full Text
4 results on '"early Hellenistic poetry"'

1. The bookish turn : assessing the impact of the book-roll on authorial self-representation in early Hellenistic poetry

Author

Chesterton, Barnaby

Subjects
881
Abstract

My thesis takes its start from the oft-used description of Hellenistic poetry as ‘bookish’, but looks beyond the connotations of this label as denoting a milieu which was self-consciously intellectual, and instead considers the more fundamental ramifications of the designation: that Hellenistic poetry was bookish in its form, as much as in outlook. To consider the implications of this, I focus upon a period, and a significant poetic topos, wherein the effects of the book-roll can be most keenly discerned, assessing the impact of the medium upon authorial self- representations - particularly in the construction of authorial personae - undertaken in early Hellenistic poetry (c.323-246 BC). In Part I of the thesis, I assess the evolution of authorial self-representation in epigram, charting developments from the inscribed form of the genre through to the book-epigram collections of the Hellenistic period: I argue that the author acquired a newfound prominence in this medial transition, asserting their presence as a voice within the text as opposed to a figure situated strictly in antecedence to it. I demonstrate this through analyses of Posidippus, Callimachus, Nossis, Asclepiades, and the epigrams ascribed to Erinna, and suggest that we repeatedly observe authors undertaking composite processes of self-representation, as a direct result of the composite context of the book-roll. In Part II of the thesis, I examine the Mimiambs of Herodas. Through the analysis of Mimiamb 8 (in which Herodas constructs an authorial persona, and defines his poetic programme) in conjunction with an appraisal of the metapoetic dimension of the other Mimiambs, I assess the manner in which Herodas undertakes a complex, intertextual process of self-representation. Arguing that the author reflects upon the generic and medial innovations of his poetic practice across his corpus, I demonstrate that this process of reflection complements Herodas’ overt authorial self-representation in Mimiamb 8. In summary, I argue that the impact of the book-roll on authorial self-representation was wide- ranging, but that the most significant consequence of the medium was the evolution of authorial self-representation as a composite, roll-spanning activity.

Published
2016

2. The Three Preoccupations of Simias of Rhodes

Author

Jan Kwapisz

Subjects
Simias, early Hellenistic poetry, grammatical fragments, epigrams, lyric, polymetry, History of Greece, DF10-951
Abstract

The present discussion reconsiders the extant poetic and grammatical fragments of Simias of Rhodes in an attempt to point out his main preoccupations and, as a consequence, to sketch his intellectual profile. His interest in philology manifests itself not only in his grammatical fragments—which suggest that his lexicographical technique, albeit rather rudimentary, was of distinct character—but also, on a more sophisticated level and in accord with the practice of later poets, in his poetic works. Further attention is devoted to his well-known penchant for formal experimentalism, both in the field of metre and wordplay. Finally, it is argued that the marked presence of the fantastic element was a defining trait of his poetry. One of the most notable manifestations of his predilection for the eerie and the uncanny is his obsession with the paradoxes of the voice, speech and communication of humans, animals and fantastic creatures.

Published
2018
Full Text
View/download PDF

3. 'Modernism', 'postmodernism', and the death of the stanza

Author

G. O. Hutchinson

Subjects
late-classical lyric, defining lyric, paragraphoi, books, lettura, Alcman, canon, chanson, Simmias, Iambes de Callimaque, lcsh:History of Greece, lirica ellenistica, Hellenistic lyric, Callimaco, movimento misto, Alessandria, media_common, Literature, lyrique dramatique, lyrique tardo-classique, early Hellenistic poetry, triadi, poesia lirica, General Medicine, Art, définition de la lyrique, Stesicoro, triads, definizione di genere, lyrici, lyric metre, epodes, discours, super-genre, performance, Familienähnlichkeiten, Stesichorus, aeolic, media_common.quotation_subject, P. Oxy. XVIII 2171 and 2172, Filico, lirica tardo-classica, elegy, Philicus, anagnostes, postmodernism, modernism, Timoteo, Sculpture, lecture, Callimachus’ Iambi, prima poesia ellenistica, Théocrite, éolien, astrophic song, élégie, Postmodernism, canto, Callimachus, sopra-genere, mixed movement, metro lirico, Stésichore, nomos, Héphestion, complaintes, chant astrophique, Giambi di Callimaco, épodes, lirica drammatica, canto astrofico, Timothée, Horace, poésie lyrique, poètes lyriques, début de la poésie hellénistique, postmodernismo, dialect, modernismo, strophe, double-short, mouvement mixte, defining genre, genre, modernisme, postmodernisme, dattilo-epitriti, dactylo-epitrite, Alexandrie, Teocrito, Efestione, Alexandria, dialetto, Poetry, Philicos, lamenti, innovation, speeches, mètre lyrique, dialecte, Saffo, lyrique hellénistique, Callimaque, dactylo-épitrite, Sappho, laments, libri, Simmia, Stanza, Timotheus, Diegeseis, Hephaestion, Modernism, Theocritus, canone, livres, reading, innovazione, song, stanza, Alcmane, eolico, business.industry, single-short, définition du genre, lcsh:DF10-951, discorsi, triades, Orazio, dramatic lyric, epodi, lyric poetry, definizione della lirica, business
Abstract

Lyric after Pindar should be seen not as declining and petering out, but as developing in ways which radically question or play with the fundamentals of the genre (or “super-genre”). The stanza is a crucial feature of lyric up to Pindar, especially when seen textually; “modernist” expansion into huge astrophic entities (Timotheus, etc.) and “postmodern” reduction into stichic lines (Callimachus, etc.) both involve radical rethinking of the super-genre, and one is a reaction to the other. However, the most innovative postmodernists are the poets somewhat earlier than Callimachus and Theocritus (Simmias, Philicus, etc.); Callimachus and Theocritus continue their ideas with new twists and new point. And the stanza is not really dead: within Timotheus’ and Callimachus’ poems stanza-like structures are built up. The late-classical and Hellenistic development of lyric is as dynamic and thought-provoking as that of sculpture. On ne devrait pas considérer que la lyrique après Pindare décline et s’épuise, mais plutôt qu’elle se développe selon des voies qui questionnent radicalement ou jouent avec les fondements du genre (ou « super-genre »). La strophe est une caractéristique cruciale de la lyrique jusqu’à Pindare, surtout d’un point de vue textuel ; l’expansion « moderniste » en grandes entités astrophiques (Timothée entre autres) et la réduction « postmoderne » à des vers stichiques (Callimaque entre autres) impliquent toutes deux une remise en cause radicale du super-genre, et l’une est une réaction à l’autre. Cependant, les postmodernistes les plus novateurs sont les poètes un peu antérieurs à Callimaque et Théocrite (Simmias, Philicos entre autres) ; Callimaque et Théocrite prolongent leurs idées avec de nouveaux ajustements et de nouveaux objectifs. Mais la strophe n’est pas réellement morte : dans les poèmes de Timothée et de Callimaque se construisent des structures d’apparence strophique. Le développement tardif et hellénistique de la lyrique est aussi dynamique et stimulant que celui de la sculpture. Dopo Pindaro la poesia lirica non declina e non si esaurisce, ma si sviluppa in modi che mettono in discussione o giocano con i fondamenti del genere (o sopra-genere). La stanza è un aspetto cruciale della lirica fino a Pindaro, specialmente se considerata da un punto di vista testuale; un’espansione “modernista” in enormi entità astrofiche (Timoteo, ecc.) e una riduzione “postmoderna” in versi stichici (Callimaco, ecc.) implicano entrambe un totale ripensamento del sopra-genere e l’una è una reazione all’altra. Tuttavia, i postmodernisti più innovativi sono i poeti che collochiamo un po’ prima di Callimaco e Teocrito (Simmia, Filico, ecc.). Callimaco e Teocrico riprendono il loro pensiero con nuovi sviluppi e una nuova prospettiva critica. La stanza non è davvero morta. Con i poemi di Timoteo e Callimaco vengono costruite strutture simili alla stanza. Lo sviluppo tardo-classico e ellenistico della lirica è dinamico e stimolante come quello della scultura.

Published
2018

Catalog

Books, media, physical & digital resources
See catalog results