Posts Tagged by Sappho
|September 21, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.09.21 | By Gregory Nagy
Compared here are two songs that are historically unrelated to each other. Still, there are parallelisms between the two songs that are worth comparing. Such an exercise, in considering two historically unrelated structures, is known in linguistics as typological comparison.
|March 23, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.03.23 | By Gregory Nagy
A paper presented on March 11, 2017, at the Stoá tou Vivlíou in Athens as part of a conference hosted by the Society for the Promotion of Education and Learning.
|February 23, 2017||By Gregory Nagy listed under By Gregory Nagy|
2017.02.23 | By Gregory Nagy
The expression ‘once again this time’ is my translation of the word dēute as used three times in Song 1 of a woman named Sappho. The meaning of this word captures the recurrent many-sidedness of the songs attributed to Sappho, admired by many as one of history’s greatest masters of songmaking.
|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.
|October 8, 2016||By Gregory Nagy listed under Sappho|
2016.10.08 | By Gregory Nagy
The starting point here is Song 44 of Sappho, “The Wedding of Hector and Andromache.” My focus, this time, is on Aeolian myths about Thēbē, an old walled city in northwest Asia Minor, to be located southeast of Mount Ida and northeast of the Gulf of Adramytteion.
|August 31, 2016||By Gregory Nagy listed under By Gregory Nagy, Sappho|
2016.08.31 | By Gregory Nagy
This song, attributed to Sappho, shows the same kind of formulaic structure that we see at work in the Homeric Iliad and Odyssey. Such a structure, in the case of Homeric poetry, indicates that this poetry originated from oral traditions. So also in the case of the songmaking exemplified by Song 44 of Sappho, the formulaic structure of this song indicates a parallel origin from oral traditions.