Homer in Performance: Rhapsodes, Narrators, and Characters

441 Pages·2018·14.35 MB·English

by  Jonathan Ready

Homer in Performance
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Ashley and Peter Larkin Series in Greek and Roman Culture
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Homer in Performance
Rhapsodes, Narrators,
and Characters
Edited by Jonathan L. Ready and Christos C. Tsagalis
University of Texas Press Austin
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Copyright © 2018 by the University of Texas Press
All rights reserved
Printed in the United States of America
First edition, 2018
Requests for permission to reproduce material from this work should be
sent to:
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University of Texas Press
P.O. Box 7819
Austin, TX 78713-7819
utpress.utexas.edu/rp-form
The paper used in this book meets the minimum requirements of
ANSI/NISO Z39.48-1992 (R1997) (Permanence of Paper).
Library of Congress Cataloging-in-Publication Data
Names: Ready, Jonathan L., 1976–, editor. | Tsagalis, Christos, editor.
Title: Homer in performance : rhapsodes, narrators, and characters /
edited by Jonathan L. Ready and Christos C. Tsagalis.
Description: First edition. | Austin : University of Texas Press, 2018. |
Includes bibliographical references and index.
Identifi ers: LCCN 2017051212
ISBN 978-1-4773-1603-0 (cloth : alk. paper)
ISBN 978-1-4773-1604-7 (library e-book)
ISBN 978-1-4773-1605-4 (nonlibrary e-book)
Subjects: LCSH: Homer—Criticism, Textual. | Epic poetry, Greek—
History and criticism—Theory, etc. | Performing arts—
Appreciation—Greece. | Oral interpretation of poetry. | Oral
tradition—Greece.
Classifi cation: LCC PA4037 .H77474 2018 | DDC 883/.01—dc23
LC record available at https://lccn.loc.gov/2017051212
doi:10.7560/316030
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Contents
A Note on Iota Adscript and the Transliteration of Proper Nouns vii
Acknowledgments ix
Introduction 1
Jonathan L. Ready and Christos C. Tsagalis
Part I. Rhapsodes 27
Chapter One. Performance Contexts for Rhapsodic Recitals in
the Archaic and Classical Periods 29
Christos C. Tsagalis
Chapter Two. Reading Rhapsodes on Athenian Vases 76
Sheramy D. Bundrick
Chapter Three. Performance Contexts for Rhapsodic Recitals in
the Hellenistic Period 98
Christos C. Tsagalis
Chapter Four. Rhapsodes and Rhapsodic Contests in the
Imperial Period 130
Anne Gangloff
Chapter Five. Formed on the Festival Stage:
Plot and Characterization in the Iliad as a Competitive
Collaborative Process 151
Mary R. Bachvarova
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|
vi Contents
Chapter Six. Did Sappho and Homer Ever Meet? Comparative
Perspectives on Homeric Singers 178
Olga Levaniouk
Part II. Narrators and Characters 203
Chapter Seven. Odysseus Polyonymous 205
Deborah Beck
Chapter Eight. Embedded Focalization and Free Indirect Speech
in Homer as Viewpoint Blending 230
Anna Bonifazi
Chapter Nine. Speech Training and the Mastery of Context:
Thoas the Aetolian and the Practice of Muthoi 255
Joel P. Christensen
Chapter Ten. Diomedes as Audience and Speaker in the Iliad 278
James O’Maley
Chapter Eleven. Hektor, the Marginal Hero: Performance
Theory and the Homeric Monologue 299
Lorenzo F. Garcia Jr.
Chapter Twelve. Performance, Oral Texts, and Entextualization
in Homeric Epic 320
Jonathan L. Ready
Chapter Thirteen. Homer’s Rivals? Internal Narrators in
the Iliad 351
Adrian Kelly
Works Cited 378
Notes on Contributors 419
Index of Terms 421
Index of Passages 425
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A Note on Iota Adscript and the
Transliteration of Proper Nouns
W
e use an iota adscript, not subscript, when
quoting Greek.
We follow Richmond Lattimore’s spellings of the names of Homeric
characters (kappa is k; chi is ch), but opt for Athena, not Athene. We
Latinize the names of (familiar) ancient authors (Herodotus) and an-
cient scholars (Aristarchus, Zenodotus). We transliterate the names of
historical fi gures (Megakles, Nikeratos, Perikles) and the names of ac-
tual places (Skepsis), although we retain the familiar spellings of certain
places (Cyprus, Syracuse). All of this is aspirational, and inconsistencies
likely remain.
vii
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Acknowledgments
W
e thank Jim Burr, Nancy Bryan, Lynne Chap-
man, and the other members of the team at the Univer-
sity of Texas Press for their guidance in bringing this project to fruition.
The two anonymous readers for the press provided excellent feedback
on the initial submission. Kerri Cox Sullivan skillfully copy edited. We
off er a special thanks to Noah Kaye for making the maps.
ix
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