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Epic poetry, Classical --- Classical languages --- Simile. --- History and criticism. --- Figures of speech.
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Oppian, --- Criticism and interpretation. --- Influence (Literary, artistic, etc.) --- Didactic poetry, Greek --- Epic poetry, Classical --- Mountains in literature. --- Hunting in literature. --- Fishing in literature. --- Digression (Rhetoric) --- Sea in literature. --- Intertextuality. --- Simile. --- History --- History and criticism. --- Appreciation --- Digression (Rhetoric). --- Fishing in literature --- Hunting in literature --- Intertextuality --- Mountains in literature --- Sea in literature --- Simile --- Rhetoric --- Classical epic poetry --- Classical poetry --- Parabole --- Figures of speech --- Ocean in literature --- Criticism --- Semiotics --- History and criticism --- Oppian --- Criticism and interpretation --- Oppian of Apamea --- Influence (Literary, artistic, etc.) - History - To 1500. --- Didactic poetry, Greek - History and criticism. --- Epic poetry, Classical - Appreciation - Greece.
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The Homeric Iliad and Odyssey are among the world's foremost epics. Yet, millennia after their composition, basic questions remain about them. Who was Homer—a real or an ideal poet? When were the poems composed—at a single point in time, or over centuries of composition and performance? And how were the poems committed to writing? These uncertainties have been known as The Homeric Question, and many scholars, including Gregory Nagy, have sought to solve it. In Homeric Responses, Nagy presents a series of essays that further elaborate his theories regarding the oral composition and evolution of the Homeric epics. Building on his previous work in Homeric Questions and Poetry as Performance: Homer and Beyond and responding to some of his critics, he examines such issues as the importance of performance and the interaction between audience and poet in shaping the poetry; the role of the rhapsode (the performer of the poems) in the composition and transmission of the poetry; the "irreversible mistakes" and cross-references in the Iliad and Odyssey as evidences of artistic creativity; and the Iliadic description of the shield of Achilles as a pointer to the world outside the poem, the polis of the audience.
Epic poetry, Greek --- Oral tradition --- Oral-formulaic analysis --- History and criticism --- Theory, etc. --- Homer --- Technique --- Oral-formulaic analysis. --- Technique. --- Formulaic analysis, Oral --- Folk literature --- Folklore --- Greek epic poetry --- Epic poetry, Classical --- Greek poetry --- History and criticism&delete& --- Theory, etc --- Methodology --- Homeros --- Homère --- Homerus --- Hóiméar --- Hūmīrūs --- Gomer --- Omir --- Omer --- Omero --- Ho-ma --- Homa --- Homérosz --- האמער --- הומירוס --- הומר --- הומרוס --- هومر --- هوميروس --- 荷马 --- Ὅμηρος --- Гамэр --- Hamėr --- Омир --- Homero --- 호메로스 --- Homerosŭ --- Homērs --- Homeras --- Хомер --- ホメーロス --- ホメロス --- Гомер --- Homeri --- Hema --- Pseudo-Homer --- Pseudo Omero --- Epic poetry, Greek - History and criticism - Theory, etc. --- Oral tradition - Greece --- Homer - Technique
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