Ch’unhyang—further typological comparisons from late-Chosŏn Korean song culture and modern Korean film culture

2018.09.05 | By Gregory Nagy §0.1. Continuing my commentary on the film Ch’unhyang as a point of typological comparison, I will compare here, more broadly, the visual art of film-making with the verbal art of poetry and song as we see that art at work in the epic and lyric traditions of ancient Greece. In making such a comparison, I will highlight two general features of verbal art, metaphor and… Read more

Ch’unhyang—typological comparisons from late-Chosŏn Korean song culture and modern Korean film culture

2018.09.05 | By Gregory Nagy §0. I focus here on two clips that I could describe as “lament-by-premonition” and “lament during moments of excruciating pain.” These clips will both involve a kind of comparison that is known as “typological.” Here is a working definition from H24H 3§11... typological comparison is a kind of comparative method that has to do with the study of parallelisms between structures as structures pure and… Read more

“The mother, so sad it is, of the very best”: The lament of Thetis in Iliad 18

2015.10.29 | By Gregory Nagy In this posting, I show the thinking that went into a self-evaluation exercise that I had put together for “Heroes X.” In putting together the wording for this exercise as I wrote it in 2013, I was thinking of things that never made it into the book version. So, my thinking about Iliad 18.54–56 is being shared here in public for the very first time. Read more

An unnamed woman’s lament as a signal of epic sorrow

2015.06.17 | By Gregory Nagy In Odyssey 8, Odysseus sheds tears both times when he hears the two songs of Demodokos about the Trojan War, paraphrased at verses 72–83 and 487–498. As I argued in what I posted for 2015.06.10, Odysseus is weeping because he recognizes that the stories told in these songs are signals of a sorrow felt by himself and even by Achilles. Read more

Feeling pain and delight while hearing a song in Odyssey 8

2015.06.10 | By Gregory Nagy This posting of 2015.06.10 continues from where I left off in the posting of 2015.06.03, where I was focusing on the audience’s reception of the first song of Demodokos. The song, as we saw, is paraphrased at verses 72–83 of Odyssey 8; and the reception, as we also saw, is described at verses 83–92, which I translated and analyzed in the previous post. Read more