This paper addresses the question of the relation between mortal and immortal time in the Iliad as it is represented by the physical act of falling. I begin by arguing that falling serves as a point of reference throughout the poem for a concept of time that is specifically human. It is well known that mortals fall at the moment of death in the poem, but it has not been recognized that the movement of the fall is also connected (...) with the time of birth, aging, and generation. In light of the significance of falling for mortals, I then go on to examine the problematic case of two particular immortals who fall in the Iliad. When Hephaestus tumbles down to earth from Olympus, and when Ares is knocked flat on the battlefield, both gods, I argue, also “fall into” human time. This complicates their status as ageless and eternal beings, and draws into question the different temporal registers at work in the narrative . The single action of falling brings together several key concepts in the poem which hinge on the issue of the separation between the mortal and immortal spheres in the Iliad. (shrink)

This article focuses on those Iliadic characters who fall in battle to the poem’s major heroes. Homer has various ways to make these characters minor, such as through processes of obscuring or typification or by focusing on a specific body part. By making a character minor, the poet signals that we need not attend to him. After he makes a character minor, the poet can suggest that in the process of being made minor a character paradoxically ends up diverting attention (...) from another character, or he can portray minorness as marked by an inability to divert attention from another. The poet can present in one episode these two different visions of minorness and can make one character depict another as minor by using the tactics deployed by the narrator. This study accentuates the narratological complexities that arise in the poet’s depiction of minor characters. That complexity shapes our understanding of the Iliad’s concern with the distribution of narrative attention among all its characters. (shrink)

A major desconstructive reading of Homer's Iliad by the well-known translator of Derrida and Lyotard.

It is usually said that there is a clear difference between pre-philosophical texts such as Homer’s Iliad and what is provided in the fragments corresponding to first philosophers such as Thales of Miletus. This paper tries to show that this is not undoubtedly so, and it does that by means of the analysis of a fragment of the Iliad in which Hypnos is speaking. In this way, the main argument is that, while the fragment can be interpreted both (...) in a literal and in a metaphorical or poetic sense, in both of those cases it can be thought that it is related to philosophy or rational thinking. If the interpretation is literal, the fragment expresses an idea very akin to an important thesis by Thales of Miletus. On the other hand, if the interpretation is metaphorical or poetic, we have to assume, following several contemporary reasoning theories, that the fragment is essentially based on an evident rational inference. (shrink)

Homeri Ilias. Scholarum in usum edidit Paulus Cauer. Pars I. Carm. I.—XII. Editio Maior. Vienna, Tempsky; Leipzig, Freytag. 3m. Ditto. Ditto. Editio Minor, 1m. 75. The First Three Books of Homer's Iliad, with Introduction, Commentary, and Vocabulary for the use of schools. By Thomas D. Seymour, Hillhouse Professor of Greek in Yale College. Boston, Ginn. Homer's Ilias in Verkürzter Ausgabe. Für den Schulgebrauch von A. Th. Christ. Mit 9 Abbildungen und 2 Karten. Vienna, Tempsky. 1 fl. 30kr.

Name der Zeitschrift: Philologus Jahrgang: 160 Heft: 2 Seiten: 185-196.

Eric Nelson presents the first critical edition of the translations of Homer's Iliad and Odyssey composed by the great seventeenth-century philosopher and political theorist Thomas Hobbes. Nelson shows that these translations are not only of great literary interest but offer special insights into Hobbes's own thought.

Although the _Iliad_ is typically approached as a version of, say, _Catch-22_, the epic is not about armed conflict and its horrors. The war at Troy serves the poet as a metaphor for life. Advanced in the hexameters is an account of the genesis, and a defense, of the humanist view that men and women occupy an autonomous place midway between clods and gods. Plato's harsh criticism of Homer's work comes into focus once Achilles's transformation is interpreted along these (...) philosophical lines. Homer is rejecting what Plato, who flattens human reality and calls it justice, endorses. (shrink)

Weil’s essay on Homer’s Iliad contains a philosophical analysis of la force that divides it into two phenomena with one metaphysical ground. Her analysis is a corrective to misunderstandings of force as something that can be possessed. The first half of my elaboration of Weil’s analysis is devoted to the phenomena she identifies in relation to la force, which I call might. In the second half, I elaborate the varieties of misunderstanding of la force. First, might is an illusion (...) sustained by the shared belief of those in submission to might. Second, forces, i.e. the material forces on which weaponry depends, cannot be possessed. Third, what lies behind material forces is necessity, a third meaning of la force, which functions as a superordinate or ultimate force to which everyone and everything is subject. Understanding the last of these is the corrective that Weil means to present. (shrink)

Homer’s Iliad recounts the struggles of the Greek (also: Achaean) army, led by Agamemnon, during the tenth year of their siege of Troy.1 The poem begins with a plague inflicted on the Greek camp by...

Il est assez commun de se représenter le bûcheron comme un être plutôt fruste, qualifié avant tout par sa force au service d’une tâche peu valorisée. Or cette représentation se révèle tronquée, car l’équation qui associe la force à l’outil ne peut se réaliser sans le contrôle du geste. Plus encore, l’écoute des témoignages recueillis auprès des forestiers nous apprend que ce travail réclame d’efficaces systèmes de précision. C’est là une qualification oubliée, pourtant reconnue à part entière dès l’Iliade, qui (...) nous en donne deux témoins privilégiés par l’anthropologie historique de la Grèce, la mètis, l’« intelligence rusée », prêtée au kybérnêtês, le pilote du navire, au conducteur de char et, en bonne première place, au bûcheron. La théorie du contrôle nous permet maintenant de dépasser le flou conceptuel de la notion historiquement pré-théorique de mètis, la ruse s’appliquant à des cas bien trop divers, pour lui préférer les développements les plus récents d’une science du contrôle de l’action, théorisée depuis Wiener, nourrissant aujourd’hui les projets les mieux financés de cyber-cerveaux informatiques, au service des neurosciences et de la médecine. Le travail forestier, qui réclame une coordination maîtrisée des gestes, y compris de leurs commandes vocales dans le chant de travail — qu’un seul ou plusieurs bûcherons en équipe soient mobilisés —, nous en fournit une parfaite illustration. The woodcutter is commonly represented as a fairly boorish person, reduced to brute force and low-level tasks. But this representation is partial because a simplistic inferential link between an axe and strength obliterates that nothing can happen without any modus operandi, i.e. a set of neural controls over gestures. Indeed, listening to woodcutter’s testimonies led us to elicit that this work needs efficient precision systems. This high level of qualification was acknowledged at least since Homer’s Iliad as evidenced by two favourite telltales from historical anthropology of Ancient Greece: mètis ascribed to kybérnêtês, the ship’s pilot as to the chariot-driver and in the first rank to the woodcutter. Control theory allows now to avoid the fuzziness of meaning of the pre-theoretical notion of mètis to focus on a domain steadily developed since Wiener, now part of costly cyber-brain projects in informatics, for neuroscience and medicine. Forest work, which requires skilled gesture coordination, with vocal commands in a worksong—for one or more woodcutters being engaged in the task—is such a telling case. (shrink)