Posts Tagged by mimesis
|February 17, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.02.17 | By Gregory Nagy
On the island of Lesbos, the voice of Sappho once had the authority to speak for the whole community in her role as leader of a chorus that sings and dances in the act of worshipping the goddess Hera.
|September 23, 2016||By Gregory Nagy listed under Plato commentary|
2016.09.23 | By Gregory Nagy
For Plato, mimesis is not a re-enactment as it is for rhapsodes: it is mere imitation. And it is easier to discredit such imitation when you hear a rhapsode paraphrase Homer in prose.
|September 21, 2016||By Dave Elmer listed under Plato commentary|
2016.09.21 | By David Elmer
The verb ep-eu-phēmeîn (ἐπευφημεῖν) at I.01.022 is virtually a hapax legomenon in the Homeric corpus: it occurs only here and in Achilles’ repetition of the line when he recounts for Thetis the poem’s opening scene, I.01.376. It is an exceptional, one-off substitute for ep-aineîn (ἐπαινεῖν) ‘approve’, the expected term, within the Iliad’s “grammar of reception,” for the collective approval of an audience in scenes of collective decision-making.
|December 31, 2015||By Gregory Nagy listed under By Gregory Nagy, Sappho|
Horace’s imitations of Sappho in Ode 4.1 and of Pindar in Ode 4.2 show his deep understanding of archaic Greek lyric poetry. Particularly striking is his visualization of Icarus in Ode 4.2 as a negative model for such poetry. The artificial wings of Icarus are seen as a foil for the natural wings of the swan, the sacred bird of Apollo, who is god of lyric poetry. Apollo’s swan thus becomes the ultimate model for the lyric poet.
|October 15, 2015||By Gregory Nagy listed under By Gregory Nagy|
The traditions of ancient Greek verbal art, as consolidated in the so-called classical era of the fifth century BCE and extending into the era of Aristotle in the fourth century, were shaped by the capacity of ancient Greek poetry to imitate, in a playful way, language in all its forms, both artful and artless.
|October 3, 2015||By Mark Griffith listed under Guest Post|
My warm thanks to Gregory Nagy for inviting me to contribute a coda here this week. I was a part of the same conference in Berkeley that he mentions as the occasion for the presentation of his paper, “Genre, Occasion, and Choral Mimesis Revisited—with special reference to the ‘newest Sappho’,” which is now posted here. My own paper entitled, “Was korybantic/orgiastic performance a ‘lyric genre’?,” discussed forms of sung and instrumental performance in ancient Greece that were of especially affective and mood-altering impact.