Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what of the earlier history of Homeric texts? This volume draws on scholarship from outside the discipline of classical studies to offer a comprehensive study of Homeric texts from the Archaic to the Hellenistic period.
Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what of the earlier history of Homeric texts? This volume draws on scholarship from outside the discipline of classical studies to offer a comprehensive study of Homeric texts from the Archaic to the Hellenistic period.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Jonathan L. Ready is a professor of classical studies at Indiana University. He is the author of Character, Narrator, and Simile in the Iliad (Cambridge University Press, 2011) and The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia (Oxford University Press, 2018), as well as numerous articles on Homeric poetry. He is also the co-editor of Homer in Performance: Rhapsodes, Narrators, and Characters (University of Texas Press, 2018) with Christos C. Tsagalis and serves as the co-editor of the annual Yearbook of Ancient Greek Epic (Brill).
Inhaltsangabe
* 0: Introduction * Part I: Oral Texts and Oral Intertextuality * 1: Oral Texts and Entextualization in the Homeric Epics * Introduction * 1.1: Performance, Oral Texts, and Entextualization * 1.2: Application to the Homeric Epics * 1.2.1: The Preexistence of Tales and Songs and the Object-Like Status of Utterances in the Homeric Epics * 1.2.2: Entextualization in the Character Text I * 1.2.3: Entextualization in the Character Text II * 1.2.4: The Poet and Entextualization * 1.3: Homerists on Texts * 2: Oral Intertextuality and Mediational Routines in the Homeric Epics * Introduction * 2.1: Oral Intertextuality and Mediational Routines * 2.2: Mediational Routines in the Homeric Epics * 2.2.1: The Source Text * 2.2.2: The Target Text * 2.3: Metapoetic Implications * Part II: The Emergence of Written Texts * 3: Textualization: Dictation and Written Versions of the Iliad and the Odyssey * Introduction * 3.1: The Dictation Model * 3.2: A Comparative Approach * 3.3: The Process of Recording by Hand * 3.3.1: The Challenges of Manual Transcription * 3.3.2: Steps to Work around These Challenges and Their Effects * 3.3.3: The Rare Exceptions * 3.3.4: Dictated Texts versus Sung Texts * 3.3.5: What Was Written Down * 3.3.5.1: The Collector as Gatekeeper * 3.3.5.2: The Scribal Process * 3.4: The Collector's Impact on the Oral Text * 3.4.1: Unwitting Interference (or the Collector's Presence) * 3.4.2: Purposeful Interference * 3.5: Editing * 3.5.1: Field Notes * 3.5.2: Editorial Work in the Nineteenth and Twentieth Centuries * 3.5.3: Editorial Work from the Second Half of the Twentieth Century until Today * 3.6: Best Practices * 3.7: The Collector's Text versus the Performer's Oral Performance * 3.8: The Formulations in Section 3.1 Reevaluated * 3.9: The Evolutionary Model's Transcript * Excursus: The Interventionist Textmaker and Herodotus's Histories * Part III: Copying Written Texts * 4: The Scribe as Performer and the Ptolemaic Wild Papyri of the Homeric Epics * Introduction * 4.1: The Ptolemaic Wild Papyri of the Homeric Epics * 4.2: The Nature of the Variation: Not Scribal Error * 4.3: Accounting for This Variation * 4.4: The Scribe as Performer * 4.5: The Scribe as Performer and the Wild Homeric Papyri * 4.5.1: The Wild Papyri and the Comparanda * 4.5.2: When? * 4.5.3: Who? * 5: Scribal Performance in the Ptolemaic Wild Papyri of the Homeric Epics * Introduction * 5.1: Juxtaposing the Wild Papyri and Helmut van Thiel's Text * 5.2: Competence and Entextualization * 5.2.1: Cohesion * 5.2.2: Coherence * 5.3: Competence and Completeness * 5.3.1: Characters Do More Things * 5.3.2: Nothing Is Assumed * 5.4: Competence and "Affecting Power" * 5.4.1: The Emotions * 5.4.2: The Fulfillment of Expectations and the Groove * 5.5: Tradition, Traditionalization, and the Intertextual Gap * 5.6: The Bookroll * 5.7: The Performing Scribe * 5.8: Scribal Performance and the Alternatives * 6: Conclusion * Endmatter * Works Cited * Index
* 0: Introduction * Part I: Oral Texts and Oral Intertextuality * 1: Oral Texts and Entextualization in the Homeric Epics * Introduction * 1.1: Performance, Oral Texts, and Entextualization * 1.2: Application to the Homeric Epics * 1.2.1: The Preexistence of Tales and Songs and the Object-Like Status of Utterances in the Homeric Epics * 1.2.2: Entextualization in the Character Text I * 1.2.3: Entextualization in the Character Text II * 1.2.4: The Poet and Entextualization * 1.3: Homerists on Texts * 2: Oral Intertextuality and Mediational Routines in the Homeric Epics * Introduction * 2.1: Oral Intertextuality and Mediational Routines * 2.2: Mediational Routines in the Homeric Epics * 2.2.1: The Source Text * 2.2.2: The Target Text * 2.3: Metapoetic Implications * Part II: The Emergence of Written Texts * 3: Textualization: Dictation and Written Versions of the Iliad and the Odyssey * Introduction * 3.1: The Dictation Model * 3.2: A Comparative Approach * 3.3: The Process of Recording by Hand * 3.3.1: The Challenges of Manual Transcription * 3.3.2: Steps to Work around These Challenges and Their Effects * 3.3.3: The Rare Exceptions * 3.3.4: Dictated Texts versus Sung Texts * 3.3.5: What Was Written Down * 3.3.5.1: The Collector as Gatekeeper * 3.3.5.2: The Scribal Process * 3.4: The Collector's Impact on the Oral Text * 3.4.1: Unwitting Interference (or the Collector's Presence) * 3.4.2: Purposeful Interference * 3.5: Editing * 3.5.1: Field Notes * 3.5.2: Editorial Work in the Nineteenth and Twentieth Centuries * 3.5.3: Editorial Work from the Second Half of the Twentieth Century until Today * 3.6: Best Practices * 3.7: The Collector's Text versus the Performer's Oral Performance * 3.8: The Formulations in Section 3.1 Reevaluated * 3.9: The Evolutionary Model's Transcript * Excursus: The Interventionist Textmaker and Herodotus's Histories * Part III: Copying Written Texts * 4: The Scribe as Performer and the Ptolemaic Wild Papyri of the Homeric Epics * Introduction * 4.1: The Ptolemaic Wild Papyri of the Homeric Epics * 4.2: The Nature of the Variation: Not Scribal Error * 4.3: Accounting for This Variation * 4.4: The Scribe as Performer * 4.5: The Scribe as Performer and the Wild Homeric Papyri * 4.5.1: The Wild Papyri and the Comparanda * 4.5.2: When? * 4.5.3: Who? * 5: Scribal Performance in the Ptolemaic Wild Papyri of the Homeric Epics * Introduction * 5.1: Juxtaposing the Wild Papyri and Helmut van Thiel's Text * 5.2: Competence and Entextualization * 5.2.1: Cohesion * 5.2.2: Coherence * 5.3: Competence and Completeness * 5.3.1: Characters Do More Things * 5.3.2: Nothing Is Assumed * 5.4: Competence and "Affecting Power" * 5.4.1: The Emotions * 5.4.2: The Fulfillment of Expectations and the Groove * 5.5: Tradition, Traditionalization, and the Intertextual Gap * 5.6: The Bookroll * 5.7: The Performing Scribe * 5.8: Scribal Performance and the Alternatives * 6: Conclusion * Endmatter * Works Cited * Index
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