GREEK LYRIC KUNSTSPRACHE BETWEEN PAN-HELLENISM AND EPICHORIC INFLUENCE (original) (raw)

The Cambridge companion to Greek lyric

Recherche, 2009

the cambridge companion to greek lyric Greek lyric poetry encompassed a wide range of types of poem, from elegy to iambos and dithyramb to epinikion. It particularly flourished in the archaic and classical periods, and some of its practitioners, such as Sappho and Pindar, had significant cultural influence in subsequent centuries down to the present day. This Companion provides an accessible introduction to this fascinating and diverse body of poetry and its later reception. It takes account of the exciting new papyrus finds and new critical approaches which have greatly advanced our understanding of both the corpus itself and of the socio-cultural contexts in which lyric pieces were produced, performed and transmitted. Each chapter is provided with a guide to further reading, and the volume includes a chronology, glossary and guide to editions and translations.

Greek Lyric of the Archaic and Classical Periods (Brill RPCP, 2020): first two sections

Greek Lyric of the Archaic and Classical Periods: From the Past to the Future of the Lyric Subject, 2020

Greek lyric, poetry, Sappho, Pindar, historicism, affect, form, subjectivity, Greek literature, literary criticism, critical theory

The styles and voices of non-dramatic Greek poetry in the fourth century BC

2011

This thesis is an investigation into the styles and voices of the non-dramatic Greek poetry of the fourth century BC. This has been a neglected area of study in Greek literary history, and the extant poems of the fourth century have either been largely ignored or regarded contemptuously by modern critics. I seek to redress this balance by providing close readings of surviving poems, and aim to show that contrary to widespread opinion, there are signs that this is a period of dynamic creativity. The first section looks more closely at the various factors that have led to a neglect of fourth-century poetry, including issues of periodization, the transmission of texts and the canonisation of poetry, the impact of musical and technological innovations and of social changes. Scholarship on late-classical Greek art is also discussed as a comparison. I then turn to discuss specific texts in depth, focussing on the way poems characterise themselves through speakers and addressees. I begin w...

Formalistic Markers of the ‘Modern’ in Greek Poetry.pdf

Formalistic Markers of the ‘Modern’ in Greek Poetry: a Retrospective from the Point of View of Literary History, 2018

Defining Greek Modernism proves to be a difficult task. It can be said that trying to outline its boundaries raises more questions than provides us with answers, because it somehow resists homogeneous and pure categorisations. Through analysis of verse building we shall try to give a formal answer to the question of what is ‘modern’ for Neo-Greek literature and how, in fact, poetry becomes ‘modern’. As far as the measured speech is concerned, this argument can be easily solved by opting to examine the verse building techniques (versification, rhythmic steps, rhymes, tropes, etc.) and especially the presence of the free verse as a marker of emancipation from the iambic verse of fifteen syllables, emblematic for the Greek folk-song tradition and known also as decapentasyllabic verse. The occurring changes in metric structures are both a complex and a long process that gave its most mature fruit in the works of the 1930s generation (G. Seferis, O. Elytis, I. Ritsos, etc.). However, it turns out that these changes could not possibly be considered as the only leading indicator of modernity, perhaps once again because Greek poetry remained firmly rooted in the local tradition of artistic conventions (which can be seen as a general projection of the spiritual impulses dominating the Balkan peninsula) and metamorphoses encompassed the literary body at a somewhat conservative pace.

Poets and Poetics in Greek Literary Epigram

2013

This dissertation offers a new analysis of the treatment of poets and poetics in Greek literary epigram from the early Hellenistic Period (3rd century BCE) down to the early Roman Imperial Period (1st century CE). In their authorial self-representations (the poetic ego or literary persona), their representation of other poets, and their thematization of poetry more generally, literary epigrammatists define, and successively redefine, the genre of epigram itself against the background of the literary tradition. This process of generic self-definition begins with the earliest literary epigrammatists’ fusion of inscriptional epigram with elements drawn from other genres, sympotic and erotic poetry and heroic epic, and their exploitation of the formal and conceptual repertoire of epigram to thematize poetic discourse. With the consolidation of the epigrammatic tradition in the 2nd and 1st centuries BCE, the distinctively epigrammatic poetic discourse that had evolved in the 3rd century BCE was subsumed into the persona of the poet himself, who is now figured as the very embodiment of the epigrammatic tradition and genre. In the first century BCE, as epigram was transplanted from Greece to the new cultural context of Roman Italy, the figure of the epigrammatist served to articulate the place of both poetry and the poet in this new world.

Greek Lyric Poetry and the Polis

This class explores the places and spaces of Greek lyric poetry from the seventh to fifth centuries BCE, using the polis as a shorthand for overlapping layers of geographic, sociopolitical, and religious context that define the genre's richness. Grouping the lyric poets by their main centers of performance and patronage (rather than meter or chronology), we will proceed from the early elegists and iambographers of Asia Minor to the wandering poets and Western Greece, and finally conclude with the panhellenic victory odes of Bacchylides and Pindar.