Abstract This article seeks to investigate the cultural and ideological processes conditioning the reception of Prometheus Bound ascribed to Aeschylus in the so far unexplored poetic drama Prometheus or The Play of a Day (1978) by the renowned Modern Greek poet Nikiforos Vrettakos. It is argued that his rewriting of the tragic myth bears the features of a palimpsest, whose layers include archetypal features of Prometheus Bound, such as the Titan’s dignified struggle, his philanthropy, and the concept of human progress, filtered in varying ways through the mediating receptions (Goethe, Camus, Kazantzakis, Sikelianos, Varnalis, Michalakeas) of the ancient exemplum. At the same time, Vrettakos chooses to deploy Prometheus as his self-image and grafts the poetic ego onto the title-character to raise critical awareness and convey his ideological and ethical stance. These elements contribute to the play’s distinctiveness, as well as its power to move beyond the immediate socio-political circumstances of the military dictatorship in Greece (1967–1974) and offer a diachronic perspective on intrinsic aspects of the human condition: the dignified resistance to oppression, the limits of human intellect and the sense of humanism emerging from the perception of mankind and nature as an inseparable entity – a feature of Vrettakos’ poetics par excellence.
{"title":"Prometheus Bound Reappropriated: A Modern Greek Promethean ‘Palimpsest’ by Νikiforos Vrettakos","authors":"I. Karamanou","doi":"10.1515/tc-2022-0007","DOIUrl":"https://doi.org/10.1515/tc-2022-0007","url":null,"abstract":"Abstract This article seeks to investigate the cultural and ideological processes conditioning the reception of Prometheus Bound ascribed to Aeschylus in the so far unexplored poetic drama Prometheus or The Play of a Day (1978) by the renowned Modern Greek poet Nikiforos Vrettakos. It is argued that his rewriting of the tragic myth bears the features of a palimpsest, whose layers include archetypal features of Prometheus Bound, such as the Titan’s dignified struggle, his philanthropy, and the concept of human progress, filtered in varying ways through the mediating receptions (Goethe, Camus, Kazantzakis, Sikelianos, Varnalis, Michalakeas) of the ancient exemplum. At the same time, Vrettakos chooses to deploy Prometheus as his self-image and grafts the poetic ego onto the title-character to raise critical awareness and convey his ideological and ethical stance. These elements contribute to the play’s distinctiveness, as well as its power to move beyond the immediate socio-political circumstances of the military dictatorship in Greece (1967–1974) and offer a diachronic perspective on intrinsic aspects of the human condition: the dignified resistance to oppression, the limits of human intellect and the sense of humanism emerging from the perception of mankind and nature as an inseparable entity – a feature of Vrettakos’ poetics par excellence.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43567518","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This is the second and last part of a study on Timocreon of Ialysos. In the first part I offered an up-to-date presentation of and running commentary on fragments 1–4 of his poetry. In this second part, I discuss and comment on the rest of his extant fragments. The numeration is continuous: frr. 1–4 PMG were presented in Tsagalis 2020, 228–266; frr. 5–8 PMG and 9–11 (= 7, 9, and 10 IEG) are analyzed in this study.
{"title":"Timocreon of Ialysos, frr. 5–8 PMG and 7, 9, and 10 IEG","authors":"Christos C. Tsagalis","doi":"10.1515/tc-2022-0003","DOIUrl":"https://doi.org/10.1515/tc-2022-0003","url":null,"abstract":"Abstract This is the second and last part of a study on Timocreon of Ialysos. In the first part I offered an up-to-date presentation of and running commentary on fragments 1–4 of his poetry. In this second part, I discuss and comment on the rest of his extant fragments. The numeration is continuous: frr. 1–4 PMG were presented in Tsagalis 2020, 228–266; frr. 5–8 PMG and 9–11 (= 7, 9, and 10 IEG) are analyzed in this study.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48551634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this paper, I examine the formulaic system of the catalogue of men in Odyssey 11. The discursive means at work whenever a catalogue entry is introduced, rest on vision and kinetics. These are two cardinal notions that establish themselves in narrative contexts of male catalogue poetry in the Iliad. Scrutinising the formula-based linguistic register pertaining to visual perception and movement/stasis shows that entry introductory formulas serve as mechanisms of meticulous inner structuring and co-ordination of the narrative material and of outer framing with regard to the preceding free-floating entries and the catalogue of women.
{"title":"Introductory Formulas in the Catalogue of Men of Odyssey 11","authors":"M. Skempis","doi":"10.1515/tc-2022-0002","DOIUrl":"https://doi.org/10.1515/tc-2022-0002","url":null,"abstract":"Abstract In this paper, I examine the formulaic system of the catalogue of men in Odyssey 11. The discursive means at work whenever a catalogue entry is introduced, rest on vision and kinetics. These are two cardinal notions that establish themselves in narrative contexts of male catalogue poetry in the Iliad. Scrutinising the formula-based linguistic register pertaining to visual perception and movement/stasis shows that entry introductory formulas serve as mechanisms of meticulous inner structuring and co-ordination of the narrative material and of outer framing with regard to the preceding free-floating entries and the catalogue of women.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42053416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Publication of a new gold epistomion unearthed during rescue excavations in the property of IRIS Hotel Inc. in the Sfakaki region near Rethymno. The new epistomion from Grave 7 belongs to category E, the so-called chaire-texts, and is identical to that incised on E4, bringing the total number of epistomia from Crete to sixteen (see Appendix).
{"title":"A New Epistomion from Sfakaki, near Rethymno","authors":"Niki Tsatsaki, Yannis Z. Tzifopoulos","doi":"10.1515/tc-2022-0005","DOIUrl":"https://doi.org/10.1515/tc-2022-0005","url":null,"abstract":"Abstract Publication of a new gold epistomion unearthed during rescue excavations in the property of IRIS Hotel Inc. in the Sfakaki region near Rethymno. The new epistomion from Grave 7 belongs to category E, the so-called chaire-texts, and is identical to that incised on E4, bringing the total number of epistomia from Crete to sixteen (see Appendix).","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48833709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In this article I explore a selection of texts from Greece and Mesopotamia that either recount or comment on the succession myth. I argue that representations of violence in those texts differ considerably within the same culture and time period. I explain these variations as social deixis, positing that ancient authors and interpreters of the succession myth used different representations of violence to present themselves as innovative figures. I argue that both mythmakers and myth-interpreters increased and decreased the intensity and number of violent features to mark a position in the competitive field of cosmological knowledge. Through the comparison of the sources, I show that there was as much competition and innovation in Greece as in Mesopotamia within the field of cosmology. The similarity of social contexts and practices may explain the cross-cultural transfer of knowledge between specialists of these two regions.
{"title":"Variations on Violence in Greek and Akkadian Succession Myths","authors":"Jacobo Myerston","doi":"10.1515/tc-2022-0001","DOIUrl":"https://doi.org/10.1515/tc-2022-0001","url":null,"abstract":"Abstract In this article I explore a selection of texts from Greece and Mesopotamia that either recount or comment on the succession myth. I argue that representations of violence in those texts differ considerably within the same culture and time period. I explain these variations as social deixis, positing that ancient authors and interpreters of the succession myth used different representations of violence to present themselves as innovative figures. I argue that both mythmakers and myth-interpreters increased and decreased the intensity and number of violent features to mark a position in the competitive field of cosmological knowledge. Through the comparison of the sources, I show that there was as much competition and innovation in Greece as in Mesopotamia within the field of cosmology. The similarity of social contexts and practices may explain the cross-cultural transfer of knowledge between specialists of these two regions.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49360684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract Among the astronomical texts devoted (in various ways) to the description/explanation of the stars and their phenomena, the sources allow us to identify a somehow ‘specific textual current’ that consists in those texts which were variously used or conceived as tools to convey knowledge of the ‘star map’ to a non-specialist public, even if they are different from each other in terms of structure and ‘technical-scientific’ level (especially in relation to the presence or not of the specific coordinates of the stars). The success of these texts over the course of the tradition is one of the main signs that suggest the diffusion of this subject matter in non-specialist contexts. According to the sources, the practical-applied benefit of such knowledge, above all in terms of ‘time reckoning’, seems to be at least one of the – certainly multiple and varied – reasons for this diffusion, and perhaps not the least significant one.
{"title":"Mapping the stars on the revolving sphere and reckoning time: star catalogues, astronomical popularization, and practical functions","authors":"M. Savio","doi":"10.1515/tc-2022-0006","DOIUrl":"https://doi.org/10.1515/tc-2022-0006","url":null,"abstract":"Abstract Among the astronomical texts devoted (in various ways) to the description/explanation of the stars and their phenomena, the sources allow us to identify a somehow ‘specific textual current’ that consists in those texts which were variously used or conceived as tools to convey knowledge of the ‘star map’ to a non-specialist public, even if they are different from each other in terms of structure and ‘technical-scientific’ level (especially in relation to the presence or not of the specific coordinates of the stars). The success of these texts over the course of the tradition is one of the main signs that suggest the diffusion of this subject matter in non-specialist contexts. According to the sources, the practical-applied benefit of such knowledge, above all in terms of ‘time reckoning’, seems to be at least one of the – certainly multiple and varied – reasons for this diffusion, and perhaps not the least significant one.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43902445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper examines the use of prayers that are denoted by the verb euchomai, and their function as a means of affecting the cognitive/emotional disposition of people in forensic, symbouleutic and epideictic orations. It is argued that (references to) prayers may be of explicit or implicit character, and that they serve a variety of purposes: to secure the goodwill of the audience for the speaker; to present his character and civic/political qualities positively, while attacking, undermining and incriminating opponents for religious and political misconducts; to invite people in court or in the Assembly to think they are inspected by an invisible yet omnipresent divine audience; to refer to patriotism; and to triangulate relations between the speaker, his opponents and the audience.
{"title":"Religion on the Rostrum: Euchomai Prayers in the Texts of Attic Oratory","authors":"Andreas Af Serafim","doi":"10.1515/tc-2022-0004","DOIUrl":"https://doi.org/10.1515/tc-2022-0004","url":null,"abstract":"Abstract This paper examines the use of prayers that are denoted by the verb euchomai, and their function as a means of affecting the cognitive/emotional disposition of people in forensic, symbouleutic and epideictic orations. It is argued that (references to) prayers may be of explicit or implicit character, and that they serve a variety of purposes: to secure the goodwill of the audience for the speaker; to present his character and civic/political qualities positively, while attacking, undermining and incriminating opponents for religious and political misconducts; to invite people in court or in the Assembly to think they are inspected by an invisible yet omnipresent divine audience; to refer to patriotism; and to triangulate relations between the speaker, his opponents and the audience.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48462060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This essay examines the earliest quotations of Pindar in order to shed light on the social and historical dynamics through which he first emerged as a classic author. Pindaric quotations from the classical period point to his stratified and multi-faceted reception: as a figure within popular memory, as an emblem of elite culture and as an intellectual ancestor. Indeed, a capacity to appeal to different audiences for different but interconnected reasons was integral to his canonisation. The earliest Pindaric quotations already bespeak his culturally privileged status, which was expressed and perpetuated in different ways over the centuries but which was established as a social fact from remarkably early on. A search for the deepest roots of the classicisation of Pindar, it is argued, has to go all the way back to his poetry.
{"title":"Classicising ‘Pindar’: Quotation, Canonisation and Early Reception","authors":"Henry L. Spelman","doi":"10.1515/tc-2021-0012","DOIUrl":"https://doi.org/10.1515/tc-2021-0012","url":null,"abstract":"Abstract This essay examines the earliest quotations of Pindar in order to shed light on the social and historical dynamics through which he first emerged as a classic author. Pindaric quotations from the classical period point to his stratified and multi-faceted reception: as a figure within popular memory, as an emblem of elite culture and as an intellectual ancestor. Indeed, a capacity to appeal to different audiences for different but interconnected reasons was integral to his canonisation. The earliest Pindaric quotations already bespeak his culturally privileged status, which was expressed and perpetuated in different ways over the centuries but which was established as a social fact from remarkably early on. A search for the deepest roots of the classicisation of Pindar, it is argued, has to go all the way back to his poetry.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44397685","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract In Iliad 10, Odysseus claims that ‘more night has passed | than two parts, but still a third part remains’ (252–253). This gave rise to a Homeric problem, which received a great deal of attention from ancient scholars: If more than two parts of the night have passed, how can a third part remain? The main source for a variety of solutions to it is a lengthy discussion written along the perimeter of three pages of Venetus B, an important manuscript of the Iliad. The source of this text is almost certainly Porphyry’s Homeric Questions. Porphyry presents six different solutions, including those of Apion, Chrysippus and Aristotle (this last a fragment from his lost Homeric Problems), as well as a discussion of Odysseus as astronomer. The present paper includes: a critical edition of this text based on a fresh inspection of the manuscript, yielding new readings; an English translation; notes to the text; and an interpretive essay. The paper demonstrates the limitations of earlier editors of the text, and the hope is that it will serve as an example of how properly to approach and present the fragments of Porphyry’s Homeric Questions. It also turns out that, for quotations from the Iliad and Odyssey, Porphyry often does not provide the text attributed to him in the recent Homer editions of West.
{"title":"Porphyry and ancient scholarship on Iliad 10.252–253: Edition, translation and discussion","authors":"G. Verhasselt, R. Mayhew","doi":"10.1515/tc-2021-0015","DOIUrl":"https://doi.org/10.1515/tc-2021-0015","url":null,"abstract":"Abstract In Iliad 10, Odysseus claims that ‘more night has passed | than two parts, but still a third part remains’ (252–253). This gave rise to a Homeric problem, which received a great deal of attention from ancient scholars: If more than two parts of the night have passed, how can a third part remain? The main source for a variety of solutions to it is a lengthy discussion written along the perimeter of three pages of Venetus B, an important manuscript of the Iliad. The source of this text is almost certainly Porphyry’s Homeric Questions. Porphyry presents six different solutions, including those of Apion, Chrysippus and Aristotle (this last a fragment from his lost Homeric Problems), as well as a discussion of Odysseus as astronomer. The present paper includes: a critical edition of this text based on a fresh inspection of the manuscript, yielding new readings; an English translation; notes to the text; and an interpretive essay. The paper demonstrates the limitations of earlier editors of the text, and the hope is that it will serve as an example of how properly to approach and present the fragments of Porphyry’s Homeric Questions. It also turns out that, for quotations from the Iliad and Odyssey, Porphyry often does not provide the text attributed to him in the recent Homer editions of West.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48302514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract This paper offers a reappraisal of the role of intertextuality in fifth-century BCE epinician poetry by means of a comparison with the role of intertextuality in all of early Greek hexameter poetry, ‘lyric epic’, and fifth-century BCE tragedy and comedy. By considering the ways in which performance culture as well as the production of written texts affects the prospects for intertextuality, it challenges a scholarly view that would straightforwardly correlate intertextuality in early Greek poetry with an increasing use and dissemination of written texts. Rather, ‘performance rivalry’ (a term understood to encompass both intra- and intergeneric competition between poetic works that were performed either on the same occasion or on closely related occasions) is identified as a plausible catalyst of intertextuality in all of the poetic genres considered, from the eighth or seventh century to the fifth century BCE. It is argued that fifth-century epinician poetry displays frequent, fine-grained, and allusive intertextuality with a range of early hexameter poetry: the Iliad, the poems of the Epic Cycle, and various ‘Hesiodic’ poems – poetry that in all probability featured in the sixth-fifth century BCE rhapsodic repertoire. It is also argued that, contrary to what is maintained in some recent Pindaric scholarship, there is no comparable case to be made for a frequent, significant, and allusive intrageneric intertextuality between epinician poems: in this respect, the case of epinician makes a very striking contrast with epic, tragedy, and comedy – poetic genres to which intrageneric intertextuality was absolutely fundamental. It is suggested that the presence or absence of intrageneric intertextuality in the genres in question is likely to be associated with the presence or absence of performance rivalry. A further factor identified as having the potential to inhibit intrageneric intertextuality in epinician is the undesirability of having one poem appear to be ‘bettered’ by another in a genre were all poems were commissioned to exalt individual patrons. This, again, is a situation that did not arise for epic, tragedy, or comedy, where a kind of competitive or ‘zero-sum’ intertextuality could be (and was) unproblematically embraced. Intertextuality in epinician thus appears to present a special case vis-à-vis the other major poetic genres of early Greece, whose workings can both be illuminated by consideration of the workings of intertextuality in epic, tragedy, and comedy, and can in turn illuminate something of the workings of intertextuality in those genres.
{"title":"Intertextuality in Early Greek Poetry: The Special Case of Epinician","authors":"Bruno Currie","doi":"10.1515/tc-2021-0011","DOIUrl":"https://doi.org/10.1515/tc-2021-0011","url":null,"abstract":"Abstract This paper offers a reappraisal of the role of intertextuality in fifth-century BCE epinician poetry by means of a comparison with the role of intertextuality in all of early Greek hexameter poetry, ‘lyric epic’, and fifth-century BCE tragedy and comedy. By considering the ways in which performance culture as well as the production of written texts affects the prospects for intertextuality, it challenges a scholarly view that would straightforwardly correlate intertextuality in early Greek poetry with an increasing use and dissemination of written texts. Rather, ‘performance rivalry’ (a term understood to encompass both intra- and intergeneric competition between poetic works that were performed either on the same occasion or on closely related occasions) is identified as a plausible catalyst of intertextuality in all of the poetic genres considered, from the eighth or seventh century to the fifth century BCE. It is argued that fifth-century epinician poetry displays frequent, fine-grained, and allusive intertextuality with a range of early hexameter poetry: the Iliad, the poems of the Epic Cycle, and various ‘Hesiodic’ poems – poetry that in all probability featured in the sixth-fifth century BCE rhapsodic repertoire. It is also argued that, contrary to what is maintained in some recent Pindaric scholarship, there is no comparable case to be made for a frequent, significant, and allusive intrageneric intertextuality between epinician poems: in this respect, the case of epinician makes a very striking contrast with epic, tragedy, and comedy – poetic genres to which intrageneric intertextuality was absolutely fundamental. It is suggested that the presence or absence of intrageneric intertextuality in the genres in question is likely to be associated with the presence or absence of performance rivalry. A further factor identified as having the potential to inhibit intrageneric intertextuality in epinician is the undesirability of having one poem appear to be ‘bettered’ by another in a genre were all poems were commissioned to exalt individual patrons. This, again, is a situation that did not arise for epic, tragedy, or comedy, where a kind of competitive or ‘zero-sum’ intertextuality could be (and was) unproblematically embraced. Intertextuality in epinician thus appears to present a special case vis-à-vis the other major poetic genres of early Greece, whose workings can both be illuminated by consideration of the workings of intertextuality in epic, tragedy, and comedy, and can in turn illuminate something of the workings of intertextuality in those genres.","PeriodicalId":41704,"journal":{"name":"Trends in Classics","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43197677","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：