Homer's traditional art.

Homer's traditional art. JOHN MILES John Miles is the name of several notable people, including: John Miles (Australian politician) John Miles (auto racer) (born 1943), British former Formula One driver John Miles (mathematician) FOLEY. Homer's traditional art. xviii+363 pages.1999. University Park (PA): Pennsylvania State University Pennsylvania State University,main campus at University Park, State College; land-grant and state supported; coeducational; chartered 1855, opened 1859 as Farmers' High School. Press;0-271-01870-4 hardback $48.50. Seven of the 13 short papers in Ancient Greek Noun 1. Ancient Greek - the Greek language prior to the Roman EmpireGreek, Hellenic, Hellenic language - the Hellenic branch of the Indo-European family of languages cult practiceconsider evidence for rites or associated practice at shrines in Greeceand around the Aegean. A couple of the papers assess the evidence offinds and features for changes of practice. A couple present interimreports of excavations. The 11 short contributions (plus one abstract)to Ancient Greek hero cult range from the Early Iron Age to the Romanperiod, distinguishing types of hero and different rites, and thedevelopment of cults. Several argue that they symbolized politicalclaims but D.D. Hughes points out that that did necessarily not precludereligious convictions. Prof. BEACHAM draws on the literary sources,including Roman historians, and on art and the archaeology andtopography of buildings, to show that, in Rome, public theatre, gamesand races, processions by street and water, and combats and sacrificeswere used for making political statements both about the city in generaland, from time to time, about particular factions. Tracing the historyof these forms from the later Republic to the end of the reign of Nero,he shows how the city centre became a rhetorical device Noun 1. rhetorical device - a use of language that creates a literary effect (but often without regard for literal significance)rhetoric - study of the technique and rules for using language effectively (especially in public speaking) in itself. Hefinds the limits of taste in the revulsion against Caligula'sbloody displays. Prof. THALMANN argues that the Odyssey represents a specific idealof aristocratic society on the eve On the Eve (Накануне in Russian) is the third novel by famous Russian writer Ivan Turgenev, best known for his short stories and the novel Fathers and Sons. of the city state. By implication,the epic responded to a political struggle. His argument for the actionsby which emergent chiefs cleft themselves from their followers is allthe more fascinating for the several levels of symbolism that heidentifies (cf. PELTENBURG in `Cyprus', above). He is aware of theethnographic evidence for the political significance of manly contestand gender relations in contemporary Greece and of `social drama'further afield. Dr SULTAN collates literary and ethnographic evidencefrom Hesiod to modern Greek village life for poetry and songs by womenor about them on the theme of heroes' exiles and return. She showsthat, although they stand for values different from women's, theheroes are not autonomous and that the respective values complement eachother. At one level, it is a book about mariners' wives. Atanother, although she does not follow the political implications inProf. THALMANN's way, the comparison with his book is rivetting. Readers willing to accept such interpretations or familiar withearlier research on modern epics will readily grant that Prof. FOLEY isjustified to seek evidence for oral rendition in Homer's texts. DrWHEELER argues that Ovid presented the Metamorphoses as though he toowere singing to an audience. This idea is more surprising; but, then,his original readers were probably familiar with the experience. It isoften urged that, by that means, communities became (and become) steepedin lore providing common points of reference. Prof. SNODGRASS'study assesses the currency of Homer in pottery painting in Greece andas far afield as Italy from the 8th century to the earlier 6th; and hefinds that direct reference accounts for 1% or less of all citations oflegend! The iconic dominance of Homer was developed later -- which makesfor an interesting twist in the Balkan bardic tradition. (Cf. `Perils oficonography', pp. 948-50 below.) Two new books (details below) show how rich Classical culture wasin superstitions (how different Modern supersitition must be, could werecognize it). FLINT et al. review the evidence for: curse tablets(defixiones); witchcraft and sorcery sorcery:see incantation; magic; spell; witchcraft. SorcerySorrow (See GRIEF.)sorcerer’s apprenticefinds a spell that makes objects do the cleanup work. [Fr. ; magic; and the early Christianassessments and demonization de��mon��ize?tr.v. de��mon��ized, de��mon��iz��ing, de��mon��iz��es1. To turn into or as if into a demon.2. To possess by or as if by a demon.3. of magic and sorcery. St Ambrose took partin that movement; and Dr MOORHEAD assesses his career and thedevelopment of his thought. Ambrose's discouragement of sex andcircuses in Milan was probably unpopular, he surmises, not least onaccount of the political capital to be gained from promoting urbanentertainments (cf. BEACHAM, above). Something of the competitioninvolved is explained by FLINT et al., who also show that Ambrose'simagery drew from pagan culture.