Title: Nonverbal behaviour of characters in the Iliad as a form of prolepsis
Source document: Graeco-Latina Brunensia. 2015, vol. 20, iss. 2, pp. [17]-31
Extent
[17]-31
-
ISSN1803-7402 (print)2336-4424 (online)
Stable URL (handle): https://hdl.handle.net/11222.digilib/134628
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
In recent years a great effort has been devoted to the study of non-verbal behaviour, especially in the context of communication and interpersonal relations. It is worth pointing out that non-verbal language also plays a crucial role in ancient Greek literature. The goal of this paper is to examine the description of the non-verbal behaviour of the characters in the Iliad within the frame of the theory of oral-formulaic composition of the epos. Gesture could function as a kind of prolepsis – a sign which foreshadows further events. The gestures used as prolepsis convey many more associations than the words uttered by the characters; especially gestures, which are independent or contrary to a character's words, could imply an autonomic message and reveal the events, which go beyond the frame of the episode or even the entire Iliad. The poet applies gestures to enrich the verbal message of the characters and encode additional implications. On the other hand, gestures could depreciate the character's speech as well as disguise its actual meaning. Finally, it should be pointed out that the poet, by application of particular gestures, responds to the expectations and emotions of the listening audience.
References
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[2] Chruściak, I. (2013). On Madness without Words: Gestures in Homer's Poems as a Nonverbal Means of Depicting Madness. Symbolae Philologorum Posnaniensium, XXIII(2), 5–16.
[3] Couch, H. N. (1937). A Prelude to Speech in Homer. Transactions and Proceedings of the American Philological Association, 68, 129–140. | DOI 10.2307/283259
[4] Crotty, K. (1994). The Poetics of Supplication: Homer's Iliad and Odyssey. Ithaca, NY: Cornell University Press.
[5] DeForest, M. (1993). Clytemnestra's Breast and the Evil Eye. In M. DeForest (Ed.), Woman's Power, Man's Game: Essays on Classical Antiquity in Honor of Joy K. King (pp. 129–148). Wauconda: Bolchazy-Carducci Publishers.
[6] De Jong, I. (1997). Homer and Narratology. In I. Morris, & B. Powell (Eds.), A New Companion to Homer (pp. 305–325). Leiden – New York: Brill.
[7] De Jong, I. (2012). Homer. Iliad. Book XXII. Cambridge – New York: Cambridge University Press.
[8] Duckworth, G. E. (1931). Προαναφώνησις in the Scholia to Homer. American Journal of Philology, 52, 320–338. | DOI 10.2307/289937
[9] Edwards, M. W. (1970). Homeric Speech Introductions. Harvard Studies in Classical Philology, 74, 1–36. | DOI 10.2307/310994
[10] Edwards, M. W. (1997). Homeric Style and 'Oral Poetics'. In I. Morris, & B. Powell (Eds.), A New Companion to Homer (pp. 261–283). Leiden – New York: Brill.
[11] Foley, J. (1997). Oral Tradition and its Implications. In I. Morris, & B. Powell (Eds.), A New Companion to Homer (pp. 146–173). Leiden – New York: Brill.
[12] Genette, G. (1980). Narrative Discourse. An Essay in Method. Ithaca: Cornell University Press.
[13] Gould, J. (1973). Hiketeia. The Journal of Hellenic Studies, 93, 74–103. | DOI 10.2307/631455
[14] Hall, E. T. (1966). The Hidden Dimension. Garden City, N.Y.: Doubleday.
[15] Holoka, J. P. (1983). "Looking Darkly" (ϒΠΟΔΡΑ ΙΔΩΝ): Reflections on Status and Decorum in Homer. Transactions of the American Philological Association, 113, 1–16. | DOI 10.2307/283999
[16] Kirk, G. S. (1985). The Iliad: A Commentary (Vol. I, Books 1–4). Cambridge: Cambridge University Press.
[17] Kraut, C. (1863). Die epische Prolepsis, nachgewiesen in der Ilias, ein Beitrag zur Kenntniss des epischen Stils. Tübingen: Ludwig Friedrich Fues.
[18] Lateiner, D. (1995). Sardonic Smile: Nonverbal Behavior in Homeric Epic. Ann Arbor: University of Michigan Press.
[19] Lattimore, R. (1951). (Transl.). The Iliad of Homer. Chicago – London: University of Chicago Press.
[20] Lord, A. B. (1960). The Singer of Tales. Cambridge: Harvard University Press.
[21] Lowenstam, S. (1981). The Death of Patroklos: A Study in Typology. Königstein: Hain.
[22] Macleod, C. (1982). Homer. Iliad. Book XXIV. Cambridge – New York: Cambridge University Press.
[23] McCartney, E. S. (1938). On Grasping the Beard in Making Entreaties. The Classical Journal, 33, 211–216.
[24] Morrison, J. V. (1992). Alternatives to the Epic Tradition: Homer's Challenges in the Iliad. Transactions of the American Philological Association, 122, 61–71. | DOI 10.2307/284364
[25] Parry, M. (1930). Studies in the Epic Technique of Oral Verse-Making: I: Homer and Homeric Style. Harvard Studies in Classical Philology, 41, 73–147. | DOI 10.2307/310626
[26] Pedrick, V. (1982). Supplication in the Iliad and the Odyssey. Transactions and Proceedings of the American Philological Association, 112, 125–140. | DOI 10.2307/284075
[27] Richardson, N. (1993). The Iliad: A Commentary (Vol. VI, Books 21–24). Cambridge: Cambridge University Press.
[28] Russo, J. (1997). The Formula. In I. Morris, & B. Powell (Eds.), A New Companion to Homer (pp. 238–260). Leiden – New York: Brill.
[29] Scodel, R. (2004). The Story-teller and his Audience. In R. Fowler (Ed.), The Cambridge Companion to Homer (pp. 45–55). Cambridge – New York: Cambridge University Press.
[30] Scott, W. (2009). The Artistry of the Homeric Simile. Hanover, N.H.: University Press of New England.
[31] Seaford, R. (1993). Dionysus as Destroyer of the Household: Homer, Tragedy, and the Polis. In T. Carpenter, & C. Faraone (Eds.), Masks of Dionysus. Ithaca: Cornell University Press.
[32] Wieniewski, I. (1924). La technique d'annoncer les événements futurs chez Homère. Eos, 27, 113–133.