Beställningsvara. Skickas inom 3-6 vardagar. Fri frakt för medlemmar vid köp för minst 249 kr.
Hellenistic Poetry has enjoyed a notable re-appreciation in recent years and received ample scholarly discussion, especially focusing on its reception and innovation of Greek poetic tradition. This book wishes to add to our picture of how Hellenistic poetry works by looking at it from a slightly different angle. Concentrating on the interaction between contemporary poets, it attempts to view the dynamics of imitation and reception in the light of poetical self-positioning. In the courtly Alexandrian surroundings, choosing a poetic model and affiliation determines one's position in the cultural field. This book sets out to chart, not only the well-known complexities of handling the poetic past, but especially their relation to the poetic interaction of the Hellenistic, in particular Alexandrian poets.
Jacqueline Klooster, Ph. D. (2009) in Classics, University of Amsterdam, is researcher and lecturer at the University of Amsterdam. She has published various articles on Hellenistic Poetry including narratological analyses of time and space in Apollonius and Theocritus (Brill, 2007).
CHAPTER 1: POETIC PREDECESSORS IN EPIGRAM1.1From Greece to Alexandria1.2Greek Poets and their Predecessors1.3Royal Patronage and Cultural Memory1.4Which Poets and what Past?1.5Poetical Predecessors Represented in Epigram1.5.1The Text as Monument1.5.2Biographical Readings1.6ConclusionCHAPTER 2: COMING TO TERMS WITH POETIC MODELS2.1Tradition and Originality2.2Meeting Ancient Poets2.2.1Timon, Xenophanes and Pyrrho in Homer’s Hades2.2.2Hipponax in Callimachus’ Iambi and Herondas’ Mimiambi2.3Paradigmatic Poets: Theocritus 16:2.4Biased Readings: Hermesianax' Leontion2.5Poets to Avoid2.5.1Imitating Homer2.5.2Liking Antimachus2.6ConclusionCHAPTER 3: APPROPRIATING MYTHICAL POETS 3.1Inventing Traditions3.2Mythical Poets3.3Orpheus in Greek Tradition3.4Orpheus in the Argonautica3.5Orpheus and the Hymnic Argonautica3.6Theocritus and the Invention of Bucolic Poetry3.7Ancient Theories on the Origins of Bucolic Poetry3.8Daphnis in Idyll 13.9Allusive Narrative3.10Daphnis in the other Idylls3.11Daphnis and Comatas3.12A World of Song3.13ConclusionCHAPTER 4: CRITICIZING CONTEMPORARIES4.1The Muses' Birdcage4.2Poetic Competition and Strife4.3Bourdieu’s Field of Cultural Production4.4Callimachus and Apollonius4.5The Aetia-Prologue4.6The Telchines and the Lyde4.7Callimachus’ Iambi4.8Epigrams4.9ConclusionCHAPTER 5: PRAISING CONTEMPORARIES5.1Praised Poetics and Poetics of Praise5.2Praising the Old and the New5.3Reading the Signs in Aratus’ Phaenomena5.4The Mirror of Immortality5.5Inviting Comparison5.6Eliciting Praise5.7ConclusionCHAPTER 6: PERSONA, ALIAS AND ALTER EGO IN SPHRAGIS-POETRY6.1Sphragides6.2The Seal or Testament of Posidippus6.3Role-Playing versus Self-Portrayal6.4Allusive Names, Elusive Poets6.5Punning and Wordplay6.6Theocritus, Simichidas and Lycidas6.7ConclusionCHAPTER 7: AUTHORITY AND INSPIRATION IN THE AGE OF THE MUSEUM7.1Questioning the Muse7.2Homeric Scholarship and Hellenistic Poetry7.3Overview of Passages featuring ὑποφήτης7.4The Μοῦσαι ὑποφήτορες of Apollonius7.5Apollonius on Poetic Inspiration7.6Parallel Representations of the Muses7.7Theocritus7.7.1Idyll 16: Κλέος and Prophecy7.7.2Idyll 17: Immortal Fame for an Immortal King7.7.3Idyll 22: Rewriting the Poetic Past7.8Conclusion