東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Rhapsoidos, prophetes, and hypokrite...

Gonzalez, Jose Miguel.

FindBook

Google Book

Amazon

博客來

Rhapsoidos, prophetes, and hypokrites: A diachronic study of the performance of Homeric poetry in ancient Greece (Aristotle).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Rhapsoidos, prophetes, and hypokrites: A diachronic study of the performance of Homeric poetry in ancient Greece (Aristotle)./
作者:	Gonzalez, Jose Miguel.
面頁冊數:	261 p.
附註:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1751.
Contained By:	Dissertation Abstracts International66-05A.
標題:	Literature, Classical. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3173907
ISBN:	9780542113543

Rhapsoidos, prophetes, and hypokrites: A diachronic study of the performance of Homeric poetry in ancient Greece (Aristotle).
Gonzalez, Jose Miguel.

Rhapsoidos, prophetes, and hypokrites: A diachronic study of the performance of Homeric poetry in ancient Greece (Aristotle). - 261 p.

Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1751.

Thesis (Ph.D.)--Harvard University, 2005.

This thesis focuses on the rhapsode. I argue that one must study him diachronically, in relation to prophet, orator, and actor. For the classical period I center on Athens, whose Panathenaic festival was the preeminent venue for recitations of the Iliad and the Odyssey. The Athenian performance domains of rhapsodic recitation, dramatic acting, and oratorical delivery significantly influenced each other in ways that varied with time. Their affinity is not reducible to the universals of the performer-audience interaction, Indeed, early historical ties joined the rhapsode to the emerging actor, who borrowed even the label hypokrites from the Homeric performer. Like the rhapsode, who as mediating hermeneus 'revealed' the divine speech of the Muse to his audience, so, originally, the actor was viewed as explaining the song of the chorus. The hermeneutic dimension of rhapsodic performance derived from the kinship of mantic with epic poetry. This kinship also affected how cultural insiders viewed the poetic tradition: to it they attached a 'notional fixity,' as if the rhapsode always recited the 'same' poem, when in fact he recomposed his material anew in every performance. I argue, moreover, that the sophists, who invented oratory, arose in competition with the rhapsodes. A connection between orators and rhapsodes was acknowledged by Aristotle in his discussion of 'delivery' (hypokrisis) in Rhetoric III.1--12. Against previous scholars, I read the relationship between 'style' (lexis) and 'delivery' in the Rhetoric as one designed to capture Aristotle's concern with rhetoric's oral and auditory dimensions. The link between orators and rhapsodes was also recognized by Alkidamas' On the Sophists. In either case, this recognition occurs precisely when the orator's adoption of written drafts to aid his training and delivery is at issue. This coincidence implies that the cultural factors responsible for this development among speakers were also at work among rhapsodes. Therefore, I suggest that the fixation of the text of the Homeric poems was not the result of an act of dictation, but a gradual process driven by the changing performance practices of classical rhapsodes. A final direction of influence between the three performance domains, from actors to rhapsodes, was evident in the increasing theatricality of rhapsodic delivery. I trace this evolution towards the histrionic in the fourth century BC---especially during the times of Lykourgos and Demetrios of Phaleron---and among the homeristai of Hellenistic and later times. I end by considering the extant record---inscriptional and literary---about post-classical performances of epic poetry generally.

ISBN: 9780542113543Subjects--Topical Terms:

1017779
Literature, Classical.

Rhapsoidos, prophetes, and hypokrites: A diachronic study of the performance of Homeric poetry in ancient Greece (Aristotle).
LDR:03640nmm 2200289 4500 001 1827868
005 20061228142214.5
008 130610s2005 eng d
020 $a 9780542113543
035 $a (UnM)AAI3173907
035 $a AAI3173907
040 $a UnM $c UnM
100 1 $a Gonzalez, Jose Miguel. $3 1916783
245 1 0 $a Rhapsoidos, prophetes, and hypokrites: A diachronic study of the performance of Homeric poetry in ancient Greece (Aristotle).
300 $a 261 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1751.
500 $a Adviser: Gregory Nagy.
502 $a Thesis (Ph.D.)--Harvard University, 2005.
520 $a This thesis focuses on the rhapsode. I argue that one must study him diachronically, in relation to prophet, orator, and actor. For the classical period I center on Athens, whose Panathenaic festival was the preeminent venue for recitations of the Iliad and the Odyssey. The Athenian performance domains of rhapsodic recitation, dramatic acting, and oratorical delivery significantly influenced each other in ways that varied with time. Their affinity is not reducible to the universals of the performer-audience interaction, Indeed, early historical ties joined the rhapsode to the emerging actor, who borrowed even the label hypokrites from the Homeric performer. Like the rhapsode, who as mediating hermeneus 'revealed' the divine speech of the Muse to his audience, so, originally, the actor was viewed as explaining the song of the chorus. The hermeneutic dimension of rhapsodic performance derived from the kinship of mantic with epic poetry. This kinship also affected how cultural insiders viewed the poetic tradition: to it they attached a 'notional fixity,' as if the rhapsode always recited the 'same' poem, when in fact he recomposed his material anew in every performance. I argue, moreover, that the sophists, who invented oratory, arose in competition with the rhapsodes. A connection between orators and rhapsodes was acknowledged by Aristotle in his discussion of 'delivery' (hypokrisis) in Rhetoric III.1--12. Against previous scholars, I read the relationship between 'style' (lexis) and 'delivery' in the Rhetoric as one designed to capture Aristotle's concern with rhetoric's oral and auditory dimensions. The link between orators and rhapsodes was also recognized by Alkidamas' On the Sophists. In either case, this recognition occurs precisely when the orator's adoption of written drafts to aid his training and delivery is at issue. This coincidence implies that the cultural factors responsible for this development among speakers were also at work among rhapsodes. Therefore, I suggest that the fixation of the text of the Homeric poems was not the result of an act of dictation, but a gradual process driven by the changing performance practices of classical rhapsodes. A final direction of influence between the three performance domains, from actors to rhapsodes, was evident in the increasing theatricality of rhapsodic delivery. I trace this evolution towards the histrionic in the fourth century BC---especially during the times of Lykourgos and Demetrios of Phaleron---and among the homeristai of Hellenistic and later times. I end by considering the extant record---inscriptional and literary---about post-classical performances of epic poetry generally.
590 $a School code: 0084.
650 4 $a Literature, Classical. $3 1017779
650 4 $a History, Ancient. $3 516261
650 4 $a Language, Rhetoric and Composition. $3 1019205
690 $a 0294
690 $a 0579
690 $a 0681
710 2 0 $a Harvard University. $3 528741
773 0 $t Dissertation Abstracts International $g 66-05A.
790 1 0 $a Nagy, Gregory, $e advisor
790 $a 0084
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3173907