By Jenny Strauss Clay
Relocating clear of the verbal and thematic repetitions that experience ruled Homeric reviews and exploiting the insights of cognitive psychology, this hugely cutting edge and available learn makes a speciality of the visible poetics of the Iliad because the narrative is anticipated via the poet and rendered obvious. It does so via a detailed research of the often-neglected 'Battle Books'. They the following end up a coherently visualized narrative series instead of as a random sequence of combats, and this method finds, for example, the importance of Sarpedon's assault at the Achaean Wall and Patroclus' route to destruction. furthermore, Professor Strauss Clay indicates new methods of impending historic narratives: not just with one's ear, but in addition with one's eyes. She extra argues that the loci method of mnemonics, frequently attributed to Simonides, is already absolutely exploited by way of the Iliad poet to maintain music of his solid of characters and to arrange his narrative.
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Extra info for Homer's Trojan Theater: Space, Vision, and Memory in the Iliad
541 12. 199 12. 461–70 12. 468 thirteen. 681 14. 35 23. 262 23. 467 23. 721 25 n. 28 30 n. forty seven sixty eight n. seventy three sixty eight n. seventy three seventy five n. 89 2 n. four 6 6 6 Theocritus sixteen. 42–46 118 n. sixty two Thucydides 1. eleven. 1 fifty six n. 36 Vita Homeri 6. 45–51 eleven eleven 6 n. 12 Subject index distance, epic 22–23 Doloneia 48–49 Achaean Wall 56–68, 76–79, one hundred and one gates of sixty one n. 50 Achilles arming of 9–11 itinerary of 106–108 motion, simultaneous vs. sequential 31–33, sixty eight, seventy six, 78–79, 89 n. 114 Agamemnon apology of 44–45 defeatism of eighty Anaximander ninety eight apostrophe 19–21 of Patroclus 20–21 point, verbal 63–64, sixty seven n. sixty nine, 70 Auerbach, E. 33–34 increase, verbal 19 n. 12 Genette, G. 34 n. fifty five gods as spectators 3–6, sixty three, seventy three, 107 conflict by means of the ships seventy two, eighty, 81–86 blindness of Homer 11–12 Brown, L. T. 111 n. 39 Jonson, Ben ninety six enargeia 6, 22, 29 n. forty two, 29–30, 33 endexia, epidexia 113 n. forty seven Epipolesis forty nine, seventy two harbor of Phorcys 117 Hector, itinerary of 39–41 “historical present,” absence of 18–19 Ilium, geography of 38 see additionally Troy itinerary, narrative as 27, 112 kleos fifty eight Calvino, Italo one hundred ten camp, Greek forty-one configuration of 48–51 camp, of Odysseus forty three Catalogue of Ships 22, 35, 117 n. fifty nine as itinerary 117 invocation to sixteen Catalogue of Trojans 118 heart of conflict sixty one, 69–71 middle, “to meson” forty three contingents, Trojan seventy one, seventy three, seventy four, seventy five los angeles Fontaine, J. de one hundred ten n. 36 lanthan¯o 119 left of the conflict forty five, 60, sixty one, seventy one, ninety one, ninety three, ninety four, 103 Lessing, G. E. 29 Lewin, ok. ninety seven Livius Andronicus 116 mapping, cognitive 102 see additionally visible imagery M´arquez, G. one hundred and one n. 18 reminiscence 17 n. five, 109 mimnesk¯o sixteen, 18, 18 n. nine, 119 mnemonics 28, a hundred and ten, 119 see additionally reminiscence Muses 15–18, 26, sixty two Dardanian Gate 38, one hundred and five, a hundred and five n. 27 deixis 33, forty five, fifty five, sixty six, seventy nine, ninety six demi-gods, hemitheoi 21, fifty eight Demodocus 18, 116 a hundred thirty five 136 topic index Nabokov, V. 27, 106 n. 31 narrative, cinematic personality 36, sixty five n. sixty three, sixty six n. sixty eight, seventy one see additionally landscape narrative, juxtaposition of 35 Nestor, over the top ingesting of seventy seven Odysseus’ scar 33–34 Odyssey 18 palace of Alcinous 117 of Odysseus, seating order in 113–15 of Priam 39 landscape 42–43, sixty three, sixty six Parry, Milman 14, 28 course of tune 115–19 see additionally itinerary, narrative as Patroclus conflict over corpse of 90–95 itinerary of 86–90 Phemius 18, 116 simple, Trojan 103–106 Poseidon, itinerary of 69–70, seventy five Priam, itinerary of 108–109 correct of the conflict forty eight, seventy three, 87, 88–89, ninety four, 106 ring composition fifty four, ninety five Sarpedon, place of sixty one, seventy three, 88–90 see additionally correct of the conflict Scaean Gate 38, forty-one “scale of love” 35 Scamander fifty one, 103, 103 n. 25 conflict with 107–108 ford of 103 self-positioning, of narrator forty three sema fifty eight, fifty eight n. forty-one, 118–19 seven, magical quantity ninety one n. 116 defend of Achilles 34 and spectators nine sound in nine similes 9–11, 21, sixty five inner observers in 7–8 Simonides one hundred ten n. 35, 118, 118 n. sixty one house cartographic ninety seven, ninety nine hodological 97–100 see additionally itinerary, tale as storytellers, conventional 26, 112–13 Teichomachia 56–68 see additionally Achaean Wall Teichoskopia 31–32, 36 theatai 6, 25 theesthai 2, 12 time, manipulation of 35–36, 63–64 see additionally motion, simultaneous Trojan battle, historicity of fifty three Troy fifty five as emotional geography forty-one simple of fifty one partitions of 108 style scenes of strive against fifty four imaginative and prescient and information sixteen n.