Ana Paula Figueiredo Pinto, Os Epítetos Homéricos dos Deuses Maiores. Contributo para o Estudo da Técnica de Composição Épica e da Concepção Homérica da Divindade, 1st ed., Humanidades (Braga: Axioma - Publicações da Faculdade de Filosofia, 2017), DOI 10.17990/Axi/2017_9789726972754
| Type | Book |
|---|---|
| Author | Ana Paula Figueiredo Pinto |
| DOI | 10.17990/Axi/2017_9789726972754 |
| Rights | © 2017 Aletheia - Associação Científica e Cultural |
| Series | Humanidades |
| Edition | 1 |
| Place | Braga |
| Publisher | Axioma - Publicações da Faculdade de Filosofia |
| ISBN | 978-972-697-274-7 (paperback); 978-972-697-275-4 (eBook) |
| Date | 2017 |
| Language | Portuguese and Ancient Greek |
| Synopsis | Homer, the Iliad and Odyssey, retain in the history of the West a unique status: the first poetic compositions of the Greek Literature. From the beginning the elected subject for ancient poets and philosophers within the Heladian narrow boundaries and within the wider circles of Greek culture, the poet and his works have therefore become the nuclear pillars of all Western culture. As an extraordinary and unprecedented start, the first written documents in European Literature allow for the reconstitution of the diaphanous image of a long precedent pathway of oral tradition. The surprising acknowledgement that the Homeric Poems, the oldest landmark of Westerner literariness, behold an oral nature, has been proposed by Wolf’s Prolegomena ad Homerum, by the end of century XVIII and this has been scientifically grounded since the first half of the XX century, especially by the systematic research of Milman Parry and his followers. Every Philological research has ever since underlined in the Poems the structural signs of a composed and orally transmitted poetry, therefore framed within a peculiar category of literariness. The research proposals were centred in the irrefutable reflexes of a peculiar technique of composition. With this technique, a fluid masterpiece was created. This masterpiece overcomes the invective and creative power of such a Poet, and is undeniably deviated, as an object of aesthetical fruition, from all other poetic creations that we took as legacy along centuries of literary written culture. As the first product of literariness, it condenses the result of its own pre-literary past. Although it is historically documented, the isolated upheaval of the Homeric Poems stands for an unprecedented enigma which we intend to decipher in this book. |
| # of Pages | 844 |
| Date Added | 26/07/2017, 19:00:02 |
| Modified | 27/07/2017, 11:27:20 |
Homer retains in the history of the West a unique status: the first poetic compositions of the rich legacy of the Greek Literature are attributed to himself.
Homer, the "Poet" by antonomasia, together with his work, true spiritual guide of Antiquity, has been from the beginning the elected subject for ancient poets and philosophers within the Heladian narrow boundaries and he has been enthusiastically received by a wider public within the wider circles of Greek culture, therefore becoming the most nuclear pillars of the Helenian unity in all Western culture.
The isolated upheaval of the Homeric Poems represents an unprecedented enigma, despite the fact that it has been historically documented – around the end of century VIII or the beginning of century VII BC – in the times when the epic poetry in oral composition reached its highest moment, and the Greek society, commanded by the aristocracy, lived a period of clear economic and cultural rebirth.
As an extraordinary and unprecedented start, the first written documents in European Literature allow for the reconstitution of the diaphanous image of a long precedent pathway of oral tradition. As the first product of literariness, they also condense the results of their own pre-literary past.
The surprising acknowledgement that the Homeric Poems, the oldest landmark of Westerner literariness, behold an oral nature, has been proposed by Wolf’s Prolegomena ad Homerum, by the end of century XVIII, and this has been scientifically grounded since the first half of the XX century, especially by the systematic research of Milman Parry and his followers. Every Philological research has ever since underlined in the Poems the structural signs of a composed and orally transmitted poetry, therefore framed within a peculiar category of literariness. Beyond intending to frame the Homeric creation within a phase in which writing could be, or maybe not, tested as historical evidence, the research proposals in the past couple of centuries were centred in the irrefutable reflexes of a peculiar technique of composition. With this technique, by using a set of fixed and repeated formulae that had been collectively created and kept through complex memorizing mechanisms (with no written help, at least during the initial conception phase), traditionally transmitted from generation to generation, a fluid masterpiece was created. This masterpiece overcomes the invective and creative power of such a Poet, and is undeniably deviated, as an object of aesthetical fruition, from all other poetic creations that we took as legacy along centuries of literary written culture.
This book aims at producing exhaustive research about the epic formulae of name-epithet (i.e. absolute epithetic title) that are associated to the poetic representation of the twelve higher gods in Homeric Poems, taking as starting point the scientific and critical discussion of the postulates in Theory of Oral Composition. The book also covers the formulae’s metrical adequacy of to the verse structure of the hexameter and it looks for simultaneously prove their regular semantic relevance within the narrative context, after having analysed the ethimology of the names and epithets of the twelve higher gods.
Out of methodology comfort, some Annexes are organised in the second part of the book. They result from the analysis (semantic contextualization of the occurrences of epithets and metric adequacy to the space of the hexameter verse) and can be observed as mere consultation elements.
