Recently, archaeologists have been focusing on material relies as evidence of a historical consciousness. This article examines the Iliad and the Odyssey from the point of view of this 'archaeology of the past'. Various material objects, ranging from tombs to everyday objects, evoke the past in the epic poems, thereby enriching the narrative and providing reflections on the act of memory. In turn, Homeric evidence sheds new light on the hermeneutics of relies in archaic oral society.

In this bold book, Jonas Grethlein proposes a new dialogue between the fields of Classics and aesthetics. Ancient material, he argues, has the capacity to challenge and re-orientate current debates. Comparisons with modern art and literature help to balance the historicism of classical scholarship with transcultural theoretical critique. Grethlein discusses ancient narratives and pictures in order to explore the nature of aesthetic experience. While our responses to both narratives and pictures are vicarious, the 'as-if' on which they are premised is (...) specifically shaped by the form of the representation. Form emerges as a key to how narratives and pictures constitute an important means of engaging with experience. Combining theoretical reflections with close readings, this book will appeal to art historians as well as to textual scholars. (shrink)

Lately, the concept of experience, which postmodernist theoreticians declared dead, has seen a renaissance. The immediacy of experience seems to offer the possibility of reaching beyond linguistic discourses. In their attempt to overcome the “linguistic turn,” scholars such as Ankersmit, Gumbrecht, and Runia pit experience against narrative. This paper takes up the recent interest in experience, but argues against the opposition to narrative into which experience tends to be cast. The relation between experience and narrative is more complex than is (...) widely assumed. Besides representing and giving shape to experience, narratives are received in the form of a experience. Through their temporal structure, narratives are crucial to letting us re-experience the past as well as to representing the experiences of historical agents. This potential of narrative is nicely illustrated by Thucydides' History of the Peloponnesian War in which “side-shadowing” devices restore history's experientiality. Through “side-shadowing,” narrative can challenge the tendency toward teleologies inherent in merely retrospective histories and can re-create the openness intrinsic to the past when it still was a present. However, the “side-shadowing” devices used by Thucydides are fictional. To conceptualize the price and gain of “side-shadowing” in historiography, the paper advances the concept of a “narrative reference” . Introspection, speeches, and other “side-shadowing” devices sacrifice truth in a positivist sense, but permit a second-level reference, namely to history's experientiality. In a final step, the paper turns toward modern historians—most of whom are reluctant to use the means of fiction—to briefly survey their attempts at restoring the openness of the past. (shrink)

A change in the form of narrative presentation divides Heliodorus’ Aethiopica in two halves, the first embracing Books 1–5, the second Books 6–10. The shift has been described in different terms: Keyes notes that, whereas the first part uses an in medias res opening, the second follows by and large chronological order. Morgan ascribes to the first half a ‘hermeneutic impulse’ that gives way to an ‘end-directed’ drive in the second half. Using Sternberg's concept of narrative time, one could say (...) that by and large the first five books are dominated by curiosity, the second five books by suspense: after trying to fathom the prehistory, the reader then directs her attention to the further development of the plot. The shift, however, concerns not only the orchestration of time, but also the stance of the narrator: while Hefti juxtaposes the net of embedded narratives in the first five books with the predominance of the primary narrator in the last five books, Futre Pinheiro considers the shift in terms of ‘showing’ and ‘telling’. The difference between the two halves of the Aethiopica thus hinges on the central narratological categories of time and voice. (shrink)

Things in Homer cannot complain about a lack of attention. Nearly forty years ago, Jasper Griffin, in response to the oralist emphasis on composition and formulaic language, drew our attention to the many significant objects populating the Iliad and the Odyssey. Nestor's cup, for example, is so heavy that other men have difficulties to lift it; the cup illustrates the eminence of its owner who rubbed shoulders with the far greater heroes of the past. As Griffin demonstrated, Homer deftly uses (...) the significance of objects to enrich many scenes of his narrative. While the sceptre, symbol of the king's power, underscores the sorry figure cut by Agamemnon in Iliad Book 2, the washing places that Hector passes when he tries to escape Achilles generate a powerful tragic contrast to the battlefield chase in which he is now involved. Following Griffin's lead, scholars have closely examined things and their role in Homeric epic, notably their commemorative function: weapons and other objects have biographies and are therefore an important means of evoking the past besides song. (shrink)

The Republic’s ban on poetry is a major reason for the prominent place that liberal critics assign to Plato among the enemies of the open society, Friedrich Nietzsche's description of Plato as “the greatest enemy of art Europe has yet produced” being often cited. In this article, I argue that, while Plato's ethical stance remains unacceptable for most readers today, his understanding of aesthetic experience in the Republic appears highly perceptive when seen in the light of cognitive studies and can (...) be thought‐provoking for current debates. As I try to show in the first half of the article, Plato's assessment of responses to poetry and theater resonate with embodied and enactive views of cognition. To corroborate this thesis, I point out in the second half that while theory has been blind to the significance of Plato's aesthetics, its major ideas are substantiated in practice. Contemporary psychotherapy and its increasing deployment of virtual reality unknowingly and with the opposite intent realize Plato's approach to the cognitive dynamics and ethical potential of aesthetic experience. (shrink)

In the Syracusan embassy scene (Hdt. 7.153–63), both the Spartan and the Athenian envoys invoke the epic past to buttress their claims to the chief command; against this, Gelon pits the youthful vigour of his recent superpower, calling his army the "spring of Greece." However, intertextual links undermine the claims of all three and evoke the later fights for hegemony. This analysis sheds light on the way Herodotus uses the widespread juxtaposition of the Trojan and Persian Wars and helps to (...) assess the relation of his Histories to non-historiographical genres. (shrink)