UID:
almafu_9961455203602883
Umfang:
1 online resource (xvii, 273 pages) :
,
digital, PDF file(s).
Ausgabe:
First edition.
ISBN:
1-009-07981-6
,
1-009-06715-X
Inhalt:
What if formularity, meter, and Kunstsprache in Homer weren't abstract, mechanical systems that constrained the poet's freedom, but rather adaptive technologies that helped poets to sustain feats of great creativity? This book explores this hypothesis by reassessing the key formal features of Homer's poetic technique through the lenses of contemporary linguistics and the cognitive sciences, as well as by drawing some unexpected parallels from the contemporary world (from the dialects of English used in popular music, to the prosodic strategies employed in live sports commentary, to the neuroscience of jazz improvisation). Aimed at Classics students and specialists alike, this book provides thorough and accessible introductions to the main debates in Homeric poetics, along with new and thought-provoking ways of understanding Homeric creativity.
Anmerkung:
Title from publisher's bibliographic system (viewed on 11 Apr 2024).
,
Cover -- Half-title page -- Title page -- Copyright page -- Dedication -- Contents -- List of Figures -- List of Tables -- Acknowledgments -- Note on the Transliteration -- List of Abbreviations -- Introduction The Paradox of Homeric Creativity -- Chapter 1 Formularity -- 1.1 The History of Homeric Formularity -- 1.1.1 Parry: Homer's Style as Traditional -- 1.1.2 Homer's Orality and the Quantitative Study of Formulas -- 1.1.3 Formulas and Their Flexibility -- 1.1.4 The Disappearance of the Formula -- 1.2 Formularity in Language -- 1.2.1 The Disadvantage of the Early Start -- 1.2.2 Formularity in Corpus Linguistics, Psycholinguistics, and Historical Linguistics -- 1.2.3 Measuring the Idiom Principle -- 1.3 Formularity in Cognition -- 1.3.1 Working Memory, Chunking, and Automation -- 1.3.2 Formularity, Mastery, and Genre -- 1.3.3 Collocational Measures in Homer and Other Corpora -- 1.4 A General Theory of Formularity -- 1.4.1 The Memory of the Poet -- 1.4.2 From Themes, to Conceptual Associations, to Collocations -- 1.4.3 Enter Meter and Syntax: From Collocations to Constructions -- 1.4.4 From Phrase Constructions to Sentence Constructions -- 1.4.5 Constructions and the Poet's Mind -- 1.4.6 Formulas and Diachrony -- 1.5 Conclusion: What Are Formulas and What Can We Do with Them? -- Chapter 2 Meter -- 2.1 The Dactylic Hexameter -- 2.1.1 Syllables, Moras, and Feet -- 2.1.2 Scanning the Hexameter -- 2.1.3 Incisions and Bridges -- 2.2 The Colometry of the Hexameter and the Prosodic Hierarchy -- 2.2.1 The Colometry of the Hexameter -- 2.2.2 What Are the Constituents of the Hexameter? -- 2.2.3 The Prosodic Hierarchy -- 2.2.4 Mapping Prosody onto Meter: The Hexameter and Its Prosodic Constituents -- 2.2.5 Homeric Enjambement from a Prosodic Perspective -- 2.3 Historical Approaches to the Hexameter -- 2.3.1 The Antiquity of the Tradition.
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2.3.2 The Tichy-Berg Theory of the Proto-hexameter -- 2.3.3 Kiparsky (2018) on the Indo-European Origin of the Hexameter -- 2.4 Meter and Cognition -- 2.4.1 Meter and Language -- 2.4.2 Prosodic Regularization in Hyperfluent Speech -- 2.4.3 Prosodic Regularization in Ancient Greek -- 2.5 Conclusion: Meter as Prosodic Optimization and the Poet's Freedom -- Chapter 3 Dialect -- 3.1 Introduction: Words and Forms Archaic and Dialectal -- 3.2 Archaic and Dialectal Features in Homer -- 3.3 Greek Dialects and Identity -- 3.3.1 The Maiden Choir at Delos, and Faking Others' Dialects -- 3.3.2 Dialect and Identity -- 3.3.3 Dialects in Performance -- 3.4 Interpreting Homer's Dialect -- 3.4.1 Ancient Critics -- 3.4.2 Modern Critics -- 3.5 Interlude: Open Questions and Big-Picture Questions -- 3.6 Kunstsprachen in Popular Music Today -- 3.6.1 Adele and the Motivation of the Singer -- 3.6.2 Bob Dylan and the Biographic Temptation -- 3.6.3 The Beatles: Between Synchronic and Diachronic Variation -- 3.6.4 Green Day and the Punk Rock Phase Theory -- 3.6.5 Alesha Dixon and the Conflict between Topic and Genre -- 3.6.6 Arctic Monkeys, Stage Persona, and the Perception of Dialect -- 3.6.7 Iggy Azalea, Realness, and Overshooting -- 3.7 Conclusion: Style between Tradition and Identity -- a. Why do singers use performance languages, and what role does meter play in selecting linguistic variants? -- b. Can performance languages be used to assess the geographic provenance of a poet? -- c. How does linguistic innovation (or the appearance of language change) play out in performance languages? -- d. Are there any known parallels for the Homeric phase theory? -- Chapter 4 Creativity -- 4.1 The Poet as a Craftsman -- 4.2 The Poet as Divinely Inspired -- 4.2.1 Divine Inspiration Before Plato -- 4.2.2 Divine Inspiration in Plato's Ion -- 4.3 Creative Improvisation.
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4.3.1 The Cognitive Science of Creativity -- 4.3.2 The Study of Jazz Improvisation -- 4.3.3 Improvisation, Creativity, and Flow -- 4.4 The Neuroscience of Improvisation -- 4.4.1 The Neural Substrate for Creativity and Flow -- 4.4.2 Experimental Studies of Improvisation -- 4.5 Conclusion: Hypofrontality, Tékhnē, and Enthousiasmós -- Conclusion Creativity, Memory, and the Muses -- Glossary of Linguistic Terms -- References -- Index Locorum -- General Index -- Index of Homeric forms -- Index of PIE forms -- Index of Homeric phraseology.
Weitere Ausg.:
ISBN 1-316-51241-X
Sprache:
Englisch
