Written Voices Spoken Signs

Written Voices, Spoken Signs is a stimulating introduction to new perspectives on Homer and other traditional epics. Taking advantage of recent research on language and social exchange, the nine essays in this volume focus on performance and audience reception of oral poetry. These innovative essays by leading scholars of Homer, oral poetics, and epic invite us to rethink some key concepts for an understanding of traditional epic poetry. Egbert Bakker examines the epic performer's use of time and tense in recounting a past that is alive. Tackling the question of full-length performance of the monumental Iliad, Andrew Ford considers the extent to which the work was perceived as a coherent whole in the archaic age. John Miles Foley addresses questions about spoken signs and the process of reference in epic discourse, and Ahuvia Kahane studies rhythm as a semantic factor in the Homeric performance. Richard Martin suggests a new range of performance functions for the Homeric simile. And Gregory Nagy establishes the importance of one feature of epic language, the ellipsis. These six essays centered on Homer engage with fundamental issues that are addressed by three essays primarily concerned with medieval epic: those by Franz Bäuml on the concept of fact; by Wulf Oesterreicher on types of orality; and by Ursula Schaefer on written and spoken media. In their Introduction the editors highlight the underlying approach and viewpoints of this collaborative volume. Reviews of this book: "Despite its wide range of topics and approaches, the volume has a clear thematic focus. All contributors seek to leave behind the more formal concerns of past generations of scholars and aim instead at an understanding of orality as that which is (conceptually or actually) close, immediate, or performed. In their joint search for the new picture, classicists, linguists, and medievalists discover a range of different 'oralities'." DD--J. Haubold, Classical Review

The Odyssey is an ancient Greek epic about the challenges and hardships Odysseus faces in his rambling ten-year journey homeward after the Trojan War and in the days following his arrival on the island of Ithaka, his homeland. Depicting his own and others’ social displacement after the war, and describing his successive challenges against human, natural and supernatural adversaries, the epic dramatizes his problematic process of healing from the trauma of war and his slow, arduous attempt to recover a sense of personal identity among his people, his wife, his son, and others who have longed for his return. In depicting the struggles of Odysseus, his wife Penelope, and his son Telemakhos, as well as key minor characters such as the slaves Eurykleia and Eumaios, in response to their social displacement, The Odyssey offers us literature’s first full-length narrative focused on the everyday heroism of ordinary human beings in the face of implacable misfortune and adversity.

Generically, theologically, and concerning content, Mark and Joseph and Aseneth are quite different. The former is a product of the nascent Jesus movement and influenced by the Greco-Roman Bioi (“Lives”). It details the life, ministry, death, and resurrection of a wandering Galilean. The latter is a Hellenistic Jewish narrative influenced by Greek romances and Jewish novellas. It expands the laconic account of Joseph's marriage to Aseneth in Genesis 41 into a full-fledged love and adventure story. Despite these differences, Elder finds remarkable similarities that the texts share. Elder uses both texts to examine media and modes of composition in antiquity, arguing that they were both composed via dictation from their antecedent oral traditions. Elder's volume offers a fresh approach to the composition of both Joseph and Aseneth and Mark as well as to many of their respective interpretive debates.

This volume presents a selection of papers presented at a series of three workshops organized by the Network “Written Language and Literacy” as launched by the European Science Foundation. The main topics making up Writing Development are: (1) Writing and literacy acquisition: Links between speech and writing, with contributions by David R. Olson, Claire Blanche-Benveniste, Emilia Ferreiro, Ruth Berman, Liliana Tolchinsky & Ana Teberosky; (2) Writing and reading in time and culture, with contributions by Collette Sirat, Françoise Desbordes, Harmut Günther, Peter Koch, & Jean Hébrard: (3) Written language competence in monolingual and bilingual contexts, with contributions by Michel Fayol & Serge Mouchon, Georges Lüdi, & Ludo Verhoeven; (4) Writing systems, brain structures and languages: A neurolinguistic view, with contributions by Giuseppe Cossu, Heinz Wimmer & Uta Frith, & Brian Butterworth. The volume heads off with an extensive introduction “Studying writing and writing acquisition today: A multidisciplinary view”.

In recent decades, the evidence for an oral epic tradition in ancient Greece has grown enormously along with our ever-increasing awareness of worldwide oral traditions. John Foley here examines the artistic implications that oral tradition holds for the understanding of the Iliad and Odyssey in order to establish a context for their original performance and modern-day reception. In Homer's Traditional Art, Foley addresses three crucially interlocking areas that lead us to a fuller appreciation of the Homeric poems. He first explores the reality of Homer as their actual author, examining historical and comparative evidence to propose that "Homer" is a legendary and anthropomorphic figure rather than a real-life author. He next presents the poetic tradition as a specialized and highly resonant language bristling with idiomatic implication. Finally, he looks at Homer's overall artistic achievement, showing that it is best evaluated via a poetics aimed specifically at works that emerge from oral tradition. Along the way, Foley offers new perspectives on such topics as characterization and personal interaction in the epics, the nature of Penelope's heroism, the implications of feasting and lament, and the problematic ending of the Odyssey. His comparative references to the South Slavic oral epic open up new vistas on Homer's language, narrative patterning, and identity. Homer's Traditional Art represents a disentangling of the interwoven strands of orality, textuality, and verbal art. It shows how we can learn to appreciate how Homer's art succeeds not in spite of the oral tradition in which it was composed but rather through its unique agency.

This novel, ground-breaking study aims to define Hesiod's place in early Greek intellectual history by exploring his conception of language and the ways in which it represents reality. Divided into three parts, it addresses a network of issues related to etymology, word-play, and semantics, and examines how these contribute to the development of the argument and the concepts of knowledge and authority in the Theogony and the Works and Days. Part I demonstrates how much we can learn about the poet's craft and his relation to the poetic tradition if we read his etymologies carefully, while Part II takes the discussion of the 'correctness of language' further - this correctness does not amount to a naïvely assumed one-to-one correspondence between signifier and signified. Correct names and correct language are 'true' because they reveal something particular about the concept or entity named, as numerous examples show; more importantly, however, correct language is imitative of reality, in that language becomes more opaque, ambiguous, and indeterminate as we delve deeper into the exploration of the condicio humana and the ambiguities and contradictions that characterize it in the Works and Days. Part III addresses three moments of Hesiodic reception, with individual chapters comparing Hesiod's implicit theory of language and cognition with the more explicit statements found in early mythographers and genealogists, demonstrating the importance of Hesiod's poetry for Plato's etymological project in the Cratylus, and discussing the ways in which some ancient philologists treat Hesiod as one of their own. What emerges is a new and invaluable perspective on a hitherto under-explored chapter in early Greek linguistic thought which ascertains more clearly Hesiod's place in Greek intellectual history as a serious thinker who introduced some of the questions that occupied early Greek philosophy.