Jonathan L. Ready – författare

The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives, offering a revealing exploration of what made the epics such powerful examples of verbal artistry. Divided into two parts, the volume first considers similes in five modern-day oral poetries - Rajasthani epic, South Sumatran epic,Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia - and studies successful performances by still other verbal artists, such as Egyptian singers of epic, Turkish minstrels, and Chinese storytellers. By applying these findings to the Homeric epics, the second part presents a new take on how theHomeric poets put together their similes and alters our understanding of how the poets displayed their competence as performers of verbal art and interacted with their poetic peers and predecessors. Engaging intensively with a diverse array of scholarship from outside the field of classical studies, from folkloristics to cognitive linguistics, this truly interdisciplinary volume transforms how we view not only a central feature of Homeric poetry but also the very nature of Homericperformance.

The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives, offering a revealing exploration of what made the epics such powerful examples of verbal artistry. Divided into two parts, the volume first considers similes in five modern-day oral poetries - Rajasthani epic, South Sumatran epic,Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia - and studies successful performances by still other verbal artists, such as Egyptian singers of epic, Turkish minstrels, and Chinese storytellers. By applying these findings to the Homeric epics, the second part presents a new take on how theHomeric poets put together their similes and alters our understanding of how the poets displayed their competence as performers of verbal art and interacted with their poetic peers and predecessors. Engaging intensively with a diverse array of scholarship from outside the field of classical studies, from folkloristics to cognitive linguistics, this truly interdisciplinary volume transforms how we view not only a central feature of Homeric poetry but also the very nature of Homericperformance.

Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what about Homeric texts prior to the emergence of standardized written texts? Orality, Textuality, and the Homeric Epics sheds light on that earlier history by drawing on scholarship from outside the discipline of classical studies to query from three different angles what it means to speak of Homeric poetry together with theword "text".Part I utilizes work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe.Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri.By looking at oral texts, dictated texts, and wild texts, this volume traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts, in a comparative and interdisciplinary study that will benefit researchers in a number of disciplines across the humanities.

Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what about Homeric texts prior to the emergence of standardized written texts? Orality, Textuality, and the Homeric Epics sheds light on that earlier history by drawing on scholarship from outside the discipline of classical studies to query from three different angles what it means to speak of Homeric poetry together with theword "text".Part I utilizes work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe.Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri.By looking at oral texts, dictated texts, and wild texts, this volume traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts, in a comparative and interdisciplinary study that will benefit researchers in a number of disciplines across the humanities.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.Immersion, Identification, and the Iliad explains why people care about this foundational epic poem and its characters. It represents the first book-length application to the Iliad of research in communications, literary studies, media studies, and psychology on how readers of a story or viewers of a play, movie, or television show find themselves immersed in the tale and identify with the characters. Immersed recipients get wrapped up in a narrative and the world it depicts and lose track to some degree of their real-world surroundings. Identification occurs when recipients interpret the storyworld from a character''s perspective, feel emotions congruent with those of the character, and root for the character to succeed. This volume situates modern research on these experiences in relation to ancient criticism on how audiences react to narratives. It then offers close readings of select episodes and detailed analyses of recurring features to show how the Iliad immerses both ancient and modern recipients and encourages them to identify with its characters. Accessible to students and researchers, to those inside and outside of classical studies, this interdisciplinary project aligns research on the Iliad with contemporary approaches to storyworlds in a range of media. It thereby opens new frontiers in the study of ancient Greek literature and helps investigators of audience engagement from antiquity to the present contextualize and historicize their own work.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.Immersion, Identification, and the Iliad explains why people care about this foundational epic poem and its characters. It represents the first book-length application to the Iliad of research in communications, literary studies, media studies, and psychology on how readers of a story or viewers of a play, movie, or television show find themselves immersed in the tale and identify with the characters. Immersed recipients get wrapped up in a narrative and the world it depicts and lose track to some degree of their real-world surroundings. Identification occurs when recipients interpret the storyworld from a character''s perspective, feel emotions congruent with those of the character, and root for the character to succeed. This volume situates modern research on these experiences in relation to ancient criticism on how audiences react to narratives. It then offers close readings of select episodes and detailed analyses of recurring features to show how the Iliad immerses both ancient and modern recipients and encourages them to identify with its characters. Accessible to students and researchers, to those inside and outside of classical studies, this interdisciplinary project aligns research on the Iliad with contemporary approaches to storyworlds in a range of media. It thereby opens new frontiers in the study of ancient Greek literature and helps investigators of audience engagement from antiquity to the present contextualize and historicize their own work.

This is an open access title available under the terms of a CC BY-NC-ND 4.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations.Immersion, Identification, and the Iliad explains why people care about this foundational epic poem and its characters. It represents the first book-length application to the Iliad of research in communications, literary studies, media studies, and psychology on how readers of a story or viewers of a play, movie, or television show find themselves immersed in the tale and identify with the characters. Immersed recipients get wrapped up in a narrative and the world it depicts and lose track to some degree of their real-world surroundings. Identification occurs when recipients interpret the storyworld from a character's perspective, feel emotions congruent with those of the character, and root for the character to succeed. This volume situates modern research on these experiences in relation to ancient criticism on how audiences react to narratives. It then offers close readings of select episodes and detailed analyses of recurring features to show how the Iliad immerses both ancient and modern recipients and encourages them to identify with its characters. Accessible to students and researchers, to those inside and outside of classical studies, this interdisciplinary project aligns research on the Iliad with contemporary approaches to storyworlds in a range of media. It thereby opens new frontiers in the study of ancient Greek literature and helps investigators of audience engagement from antiquity to the present contextualize and historicize their own work.

A postcritical approach directs attention to how narratives move audiences, querying experiences of enchantment and wonder, of attachment and love. A relative newcomer to the field of classical studies, postcritique enjoins classicists to diversify the sorts of questions they ask of ancient texts. Euripides's Orestes and Postcritique answers this challenge by exploring Euripides's Orestes with the help of research from outside of classical studies. Building on investigations into popular narrative genres, such as fan fiction, melodrama, and trash, and looking to research in a range of disciplines, from psychology to media studies to empirical aesthetics, this intervention illuminates why Orestes was one of Euripides's most successful plays in antiquity and why it can still captivate readers today. After an initial review of the plot of Orestes and of basic facts about its production, Part 1 introduces postcritique and explains how a postcritical exploration of the play interacts with previous scholarship on Orestes and with current trends in the study of Greek tragedy. The lengthier Part 2 presents a postcritical close reading: it proceeds through a series of twelve points, each exploring a component of Orestes that can generate feelings of enjoyment or appreciation. An epilogue argues for the pedagogical value of a postcritical approach to the play.

The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives, offering a revealing exploration of what made the epics such powerful examples of verbal artistry. Divided into two parts, the volume first considers similes in five modern-day oral poetries - Rajasthani epic, South Sumatran epic, Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia - and studies successful performances by still other verbal artists, such as Egyptian singers of epic, Turkish minstrels, and Chinese storytellers. By applying these findings to the Homeric epics, the second part presents a new take on how the Homeric poets put together their similes and alters our understanding of how the poets displayed their competence as performers of verbal art and interacted with their poetic peers and predecessors. Engaging intensively with a diverse array of scholarship from outside the field of classical studies, from folkloristics to cognitive linguistics, this truly interdisciplinary volume transforms how we view not only a central feature of Homeric poetry but also the very nature of Homeric performance.

Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what about Homeric texts prior to the emergence of standardized written texts? Orality, Textuality, and the Homeric Epics sheds light on that earlier history by drawing on scholarship from outside the discipline of classical studies to query from three different angles what it means to speak of Homeric poetry together with the word "text". Part I utilizes work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe. Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri. By looking at oral texts, dictated texts, and wild texts, this volume traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts, in a comparative and interdisciplinary study that will benefit researchers in a number of disciplines across the humanities.

The Oxford Critical Guide to Homer's Iliad investigates each of the Iliad's twenty-four books, proceeding in order from book 1 to book 24 and devoting one chapter to each one. Contributors summarize the plot of a book and then explore its themes and poetics, providing both close readings of individual passages and synthetic reviews of current scholarship. This format allows readers to study the poem in the same manner in which they read it: book by book. Differing from other introductions to the Iliad that comprise chapters on specific topics and themes, the volume offers accessible and actionable discussions of concepts pertinent to each book of the poem. Differing from other introductory volumes that are written by a single author, this volume allows for a polyphony of critical voices and showcases the diversity of approaches to the Iliad. Finally, differing from commentaries keyed to the Greek text, this volume is completely accessible to those who do not read Homeric Greek. These features make the volume an essential resource for those studying the Iliad in translation and in the original Greek, for those in classical studies and in other disciplines, and for teachers and students, both those at the undergraduate level and those at the graduate level.

The Oxford Critical Guide to Homer's Iliad investigates each of the Iliad's twenty-four books, proceeding in order from book 1 to book 24 and devoting one chapter to each one. Contributors summarize the plot of a book and then explore its themes and poetics, providing both close readings of individual passages and synthetic reviews of current scholarship. This format allows readers to study the poem in the same manner in which they read it: book by book. Differing from other introductions to the Iliad that comprise chapters on specific topics and themes, the volume offers accessible and actionable discussions of concepts pertinent to each book of the poem. Differing from other introductory volumes that are written by a single author, this volume allows for a polyphony of critical voices and showcases the diversity of approaches to the Iliad. Finally, differing from commentaries keyed to the Greek text, this volume is completely accessible to those who do not read Homeric Greek. These features make the volume an essential resource for those studying the Iliad in translation and in the original Greek, for those in classical studies and in other disciplines, and for teachers and students, both those at the undergraduate level and those at the graduate level.

Jonathan L. Ready offers the first comprehensive examination of Homer's similes in the Iliad as arenas of heroic competition. This study concentrates primarily on similes spoken by Homeric characters. The first to offer a sustained exploration of such similes, Ready shows how characters are made to contest through and over simile not only with one another but also with the narrator. Ready investigates the narrator's similes as well. He demonstrates that Homer amplifies the feat of a successful warrior by providing a competitive orientation to sequences of similes used to describe battles. He also offers a new interpretation of Homer's extended similes as a means for the poet to imagine his characters as competitors for his attention. Throughout this study, Ready makes innovative use of approaches from both Homeric studies and narratology that have not yet been applied to the analysis of Homer's similes.

Jonathan L. Ready offers the first comprehensive examination of Homer's similes in the Iliad as arenas of heroic competition. This study concentrates primarily on similes spoken by Homeric characters. The first to offer a sustained exploration of such similes, Ready shows how characters are made to contest through and over simile not only with one another but also with the narrator. Ready investigates the narrator's similes as well. He demonstrates that Homer amplifies the feat of a successful warrior by providing a competitive orientation to sequences of similes used to describe battles. He also offers a new interpretation of Homer's extended similes as a means for the poet to imagine his characters as competitors for his attention. Throughout this study, Ready makes innovative use of approaches from both Homeric studies and narratology that have not yet been applied to the analysis of Homer's similes.

Before they were written down, the poems attributed to Homer were performed orally, usually by rhapsodes (singers/reciters) who might have traveled from city to city or enjoyed a position in a wealthy household. Even after the Iliad and the Odyssey were committed to writing, rhapsodes performed the poems at festivals, often competing against each other. As they recited the epics, the rhapsodes spoke as both the narrator and the characters. These different acts-performing the poem and narrating and speaking in character within it-are seldom studied in tandem. Homer in Performance breaks new ground by bringing together all of the speakers involved in the performance of Homeric poetry: rhapsodes, narrators, and characters.The first part of the book presents a detailed history of the rhapsodic performance of Homeric epic from the Archaic to the Roman Imperial periods and explores how performers might have shaped the poems. The second part investigates the Homeric narrators and characters as speakers and illuminates their interactions. The contributors include scholars versed in epigraphy, the history of art, linguistics, and performance studies, as well as those capable of working with sources from the ancient Near East and from modern Russia. This interdisciplinary approach makes the volume useful to a spectrum of readers, from undergraduates to veteran professors, in disciplines ranging from classical studies to folklore.