Pub Date : 2019-01-01DOI: 10.1080/00397679.2019.1648009
Laura Miguélez-Cavero
This study considers the voice of the narrator in the Paraphrase of the Gospel of John, written by Nonnus of Panopolis in the fifth century, focusing on his self-presentation as both Johannine and Homeric narrator. The Paraphrase of the Gospel of John lacks explicit statements of poetic intent similar to the prefaces of other poetic paraphrases, such as Juvencus’ Evangeliorum libri quattuor and the Metaphrasis Psalmorum, but a close reading of Nonnus’ poetic version of the so-called “Hymn to the Logos” and the gospel original (Jo. 1:1–18) reveals similar strategies at work. The paraphrastic narrator incorporates to his reading of the gospel later exegesis, reserves John's characteristic repetition of vocabulary for significant terms, and signals his ambivalence towards Homer through his avoidance of Homeric vocabulary in the first lines of his poem.
本研究考察了帕诺波利斯的诺努斯在五世纪创作的《约翰福音副歌》中叙述者的声音，重点考察了他作为约翰和荷马叙述者的自我呈现。约翰福音的Paraphrase缺乏与其他诗歌转述的序言类似的明确的诗歌意图陈述，如Juvencus的Evangeliorum libri quatuor和Metaphrasis Pseorum，但仔细阅读Nonnus的所谓“逻各斯赞美诗”的诗歌版本和福音原文（Jo.1:1-18），可以发现类似的策略在起作用。转述叙述者在阅读福音后期的注释时融入了这一点，保留了约翰对重要术语词汇的特征性重复，并通过在诗的第一行中回避荷马词汇来表明他对荷马的矛盾心理。
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Pub Date : 2019-01-01DOI: 10.1080/00397679.2019.1648021
M. Gilka
This paper examines the ways in which the relationship between Helen and Paris is represented at different stages of the myth by two different epic texts – and how these representations interact. The first representation is found in Book 3 of the Iliad where Helen voices shame and disappointment with Paris after he has been defeated in combat by Menelaus. The second is a scene from Colluthus’ Abduction of Helen which shows the very first meeting of the couple. The paper demonstrates how Colluthus’ passage clearly echoes the Homeric one, functioning as a prequel, but at the same time building on it as well. On the one hand, Colluthus answers questions which had been left open by Homer, while on the other hand he challenges his readers to read the scene through the lens of the Iliad. The perceptive reader will observe how the two texts can ultimately influence each other’s meanings.
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Pub Date : 2019-01-01DOI: 10.1080/00397679.2019.1648018
B. Verhelst
In the first line of the new Odyssey translation (2017) by Emily Wilson “Ἄνδρα […] πολύτροπον” is translated as “a complicated man”, and, for sure, Odysseus is one of the most fascinating, multifarious and complicated characters of Greek literature. This contribution traces different forms of engagement with the figure of Odysseus in the way the male protagonists of four late antique poems are characterized. As shorter narrative hexameter poems, Triphiodorus' Sack of Troy, Musaeus’ Hero and Leander and Colluthus’ Abduction of Helen are sometimes called “epyllia”. The (slightly longer) anonymous Orphic Argonautica is generally not. The engagement with the Homeric (and post-Homeric) character of Odysseus, as will be argued, can tell us more about these poems’ position within and vis-à-vis the epic tradition than any modern generic label ever could.
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Pub Date : 2019-01-01DOI: 10.1080/00397679.2019.1648002
Bruno Currie
This paper discusses four distinctive Homeric narrative features where an intertextual relationship between the Iliad and the Odyssey can be discerned: (1) the narrator's choice to begin the narration mid-fabula, pitching the narratee in medias res; (2) the narrator's initial declaration of a theme in the proem and the subsequent duplication of that theme in the course of the narrative; (3) the creation of a sense of narrative closure through scenes involving fathers, and a related use of fathers as unseen characters in the narrative; and (4) the use of interlaced storylines and of a related continuity of time principle. The poet of the Odyssey must be understood on several occasions to recur not to any quasi-transcendental repertory of narratological techniques, but to the narratological techniques that were specifically deployed in the Iliad.
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Pub Date : 2018-01-01DOI: 10.1080/00397679.2019.1586133
Filip de Decker
This article is part of an ongoing investigation into the meaning, origin and use of the augment in Early Greek prose and poetry and discusses the use and absence of the augment in the forms of the simplex ἔειπον/εἶπον in early epic Greek (Homer, Hesiod and the Homeric Hymns). I first explain why this verb was chosen and then proceed to determining the corpus. I start by listing the criteria to determine which forms are metrically guaranteed; when a form is not secured by the metre, I use the “Barrett–Taida” method, which analyses metrically insecure forms by comparing them to the metrically secure forms of the same paradigm and to the attestations and positions in the verse. The corpus that is thus established is then analysed by using previous scholarship on syntactic constraints (Drewitt–Beck’s clitic rule and Kiparsky’s “conjunction reduction” rule) and on the semantics (Koch–Basset’s distinction of narrative versus speech and Platt–Bakker–Mumm’s theory of recent past versus Hoffmann’s remote and timeless past); special attention is also paid to the exceptions. At the end, I investigate if the augment use in epic Greek can be explained as a visual evidential marker.
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Pub Date : 2018-01-01DOI: 10.1080/00397679.2019.1580479
B. Garstad
The Alexander Romance depicts Alexander going alone to the court of Darius disguised as his own messenger, dining with the Persians and advancing his own reputation as a munificent king. This episode substitutes a fictional scene for a number of dramatic banqueting incidents in the historical record that cast Alexander in a negative light, specifically, the burning of Persepolis, the proskynesis affair, and the wedding at Susa, which are all banqueting scenes concerned with Alexander’s generosity, reputation, and relations with the Persians. It is also an opportunity for intertextual allusion, especially to Homer and Herodotus. It is, further, only one of many occasions in the Romance when Alexander is said to go alone to visit his enemies in disguise; these episodes integrate the composition and evince a concern with the treatment of ambassadors. It is finally one of the only instances of the explicit characterization of Alexander in the Romance.
{"title":"Alexander the Great, the Disguised Dinner Guest","authors":"B. Garstad","doi":"10.1080/00397679.2019.1580479","DOIUrl":"https://doi.org/10.1080/00397679.2019.1580479","url":null,"abstract":"The Alexander Romance depicts Alexander going alone to the court of Darius disguised as his own messenger, dining with the Persians and advancing his own reputation as a munificent king. This episode substitutes a fictional scene for a number of dramatic banqueting incidents in the historical record that cast Alexander in a negative light, specifically, the burning of Persepolis, the proskynesis affair, and the wedding at Susa, which are all banqueting scenes concerned with Alexander’s generosity, reputation, and relations with the Persians. It is also an opportunity for intertextual allusion, especially to Homer and Herodotus. It is, further, only one of many occasions in the Romance when Alexander is said to go alone to visit his enemies in disguise; these episodes integrate the composition and evince a concern with the treatment of ambassadors. It is finally one of the only instances of the explicit characterization of Alexander in the Romance.","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00397679.2019.1580479","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49661662","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}
Pub Date : 2018-01-01DOI: 10.1080/00397679.2018.1613033
{"title":"Departments of Greek and Latin Studies in Norwegian Universities","authors":"","doi":"10.1080/00397679.2018.1613033","DOIUrl":"https://doi.org/10.1080/00397679.2018.1613033","url":null,"abstract":"","PeriodicalId":41733,"journal":{"name":"Symbolae Osloenses","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00397679.2018.1613033","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41856981","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}
Pub Date : 2018-01-01DOI: 10.1080/00397679.2019.1582748
E. Kraggerud, Eirik Welo
This article discusses some textual questions in Ajax leading to the following conclusions: I. 54 add ⟨τ᾽⟩ after λείας. – II. 208 the emendation ἠρεμίας (“rest”, “quietude”) suggested by Thiersch. – III. 405a–b the proposal κράτη / μοι to fill the lacuna. – IV. 476 defence of the line as transmitted. – V. 546 τοσόνδε to go with ϕόνον. – VI. 719 ἄνδρες, ϕίλον τι πρῶτον instead of ἄνδρες ϕίλοι, τὸ πρῶτον. – VII. 869 instead of με write γε. – VIII. 951 ⟨σὸν⟩ ἄχθος as a reference to Tecmessa’s heavy burden of woe.
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Pub Date : 2018-01-01DOI: 10.1080/00397679.2018.1443785
S. Aerts
This paper introduces the framework for a new project on the categories of tense, aspect and Aktionsart in Latin. In the first section, the relevant concepts are defined in terms of general linguistics. The second section provides an overview of the existing theories regarding the verb system and the categories of tense and aspect in Latin. Their shortcomings are listed while the strong points serve as the basis for the development of the current framework. In the third section, Bache’s [2008. English Tense and Aspect in Halliday’s Systemic Functional Grammar: A Critical Appraisal and an Alternative. Discussions in Functional Approaches to Language. London: Equinox.] SFL-inspired account of English tense and aspect is applied to the Latin verb system, conceptualizing tense and aspect in terms of three metafunctions or dimensions of meaning: ideational (representation of reality), textual (presentation of the text) and interpersonal (interaction with the audience). In the fourth section, the framework is illustrated with texts from Caesar, Livy and Sallust, showing that “perspective” (focalization) is essential to the linguistic analysis of narratives.
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