Ahuvia Kahane

Dados Biográficos

ID3864570
NOMEAhuvia Kahane
PRENOMESAhuvia
SOBRENOMEKahane
ASSINATURAKAHANE A
AFILIAÇÕESRoyal Holloway University of London
ORCID0000-0003-0450-1286
VERIFICADOSim
TOTAL DE OBRAS19
TOTAL DE CITAÇÕES15
TOTAL COMO AUTOR16
TOTAL COMO EDITOR3
PRIMEIRO ANO DE PUBLICAÇÃO1973
ANO MAIS RECENTE DE PUBLICAÇÃO2022
ÍNDICE H2

  • A Narratology of the Emotions

    Ahuvia KahaneCHAPTEREmotions and Narrative in Ancient…2022

  • The Gods of Greek Hexameter Poetry

    James J Clauss, Martine Cuypers et al.BOOKThe Gods of Greek Hexameter Poetry2016

    This e-book explores the representation of the gods in Greek hexameter poetry in its many forms, including epic, hymnic and didactic poetry, from the archaic period to late antiquity. Its twenty-five chapters, written by an international team of experts, trace a broad historical arc, reflecting developments in religious thought and practice, and ongoing philosophical and literary-critical engagement with the nature and representation of the divin…

  • The (Dis)continuity of Genre

    Ahuvia KahaneCHAPTERGeneric Interfaces in Latin…2013

  • Quantifying Epic

    Ahuvia KahaneCHAPTERA New Companion to Homer2011

  • Philosophy, Contemporary

    Open AccessAhuvia KahaneCHAPTER2011

  • Postscript

    Ahuvia KahaneCHAPTERAncient slavery and abolition2011

    This chapter highlights some conceptual problems important to the study of the reception of ancient slavery in the modern era, perhaps especially so in the context of abolition. It focuses on two basic ‘modalities’ of modernity, whose terms of engagement are notionally discontinuity (disjunction) and continuity (progression). Each of these modalities contains, and requires the recognition of a dialectic between, disjunction and progression. Kahan…

  • Antiquity and the ruin

    Ahuvia KahaneARTICLEEuropean Review of History Revue…2011Referências: 5

  • Image, word and the antiquity of ruins

    Ahuvia KahaneARTICLEEuropean Review of History Revue…2011Citada por: 1Referências: 23

    This paper considers the ruin as a special genre of representation involving special objects. The paper examines the temporality of the ruin, the mediality of the ruin – especially the relation between image and word – and the historical positioning of the idea of the ruin in relation to antiquity and the modern era. The author analyzes aspects of the basic visual and phenomenological “grammar” of the ruin and comments on some of the implications…

  • Written Voices, Spoken Signs

    Egbert J Bakker, Ahuvia KahaneBOOKWritten Voices, Spoken Signs2009

  • Diachronic Dialogues

    Ahuvia KahaneBOOKDiachronic dialogues2005

    Chapter 0 Introduction: In Search of a Question Chapter 1 Homer and the Riddle of the Worm Chapter 2 Hidden Habits and the Trappings of Identity Chapter 3 Formal Fantasies Chapter 4 Homeric Signs Chapter 5 Intentions and Connections Chapter 6 The Order of the World Chapter 7 Conclusion: Diachronic Dialogues

  • Out of Line

    Ahuvia Kahane, Matthew Clark et al.ARTICLEThe Classical World2003

  • A Companion to the Prologue to Apuleius' Metamorphoses

    Ahuvia Kahane, A G LairdBOOKA companion to the Prologue of…2002

    Introduction 1. The Prologue to Apuleius' Metamorphoses: Text, Translation, and Textual Commentary 2. Cola and Clausulae in to Apuleius' Metamorphoses 1.1 3. Some Linguistic Points in the Prologue 4. Apuleius' Prologue and the Anxieties of Philosophers 5. Reflections of the African Character of Apuleius 6. The Hiding Author: Context and Implication 7. Argutia Nilotici Calami: A Theocritean Reed 8. Apuleius and Persius 9. Apuleius and Luke: Prolog…

  • A Companion to the Prologue of Apuleius’ Metamorphoses

    Ahuvia Kahane, Andrew LairdBOOKA companion to the Prologue of…2001

    Nowadays we can judge books by their covers. In antiquity, when a 'book' was a papyrus roll, its first few words advertised the nature of the text to follow. The Prologue of Apuleius' innovative novel, the Metamorphoses (or Golden Ass), is an extraordinary example of a programmatic opening, which has captivated readers and scholars from the Renaissance to the present day. This short text raises a variety of important questions about liberty, and …

  • Blood for Ghosts? Homer, Ezra Pound, and Julius Africanus

    Ahuvia KahaneARTICLENew Literary History1999

    New Literary History - Volume 30, Number 4, Autumn 1999

  • Written Voices, Spoken Signs

    Matthew Clark, Matthew M Clark et al.ARTICLEPhoenix1998Citada por: 2

  • Hexameter Progression and the Homeric Hero’s Solitary State

    Ahuvia KahaneCHAPTERWritten Voices, Spoken Signs1997

  • The Interpretation of Order

    James H Dee, Ahuvia Kahane et al.ARTICLEThe Classical World1997Citada por: 7

    Patterns and verse-making technique metrical units and sense-units accusative theme-word patterns patterns of the proper-name vocative patterns of the proper-name nominative. Appendices: collated localization data position and reference of theme-words localization of proper-name vocatives approaches to apostrophe localization of proper-name nominatives

  • The Interpretation of Order

    Ahuvia KahaneBOOKThe interpretation of order1994Citada por: 5

    This is an exciting and original study on the poetic significance of formal repetition in Homer. The author argues that localization, metre, and verse-structure are regularly used as semantic markers, providing certain words with a "meaning" that extends beyond their immediate context. This meaning often interacts with context-specific semantic features, creating a discourse that is replete with ambiguity, ambivalence, irony, and allusion. The di…

  • The Paved Roman Road East from Gabii

    Open AccessAhuvia Kahane, A M KahaneARTICLEPapers of the British School at…1973

    Many stretches of the paved Roman road described here are already known. The earliest section of it (from Gabii) was described by Nibby as the shortest route to Passerano (see Figs. 1 and 2) (Nibby, 1849, iii: 69–70) and it is recorded by Ashby (1906: 195–6) together with the part east from the Fosso di Corzano (Fig. 2). A ‘Via Antica’ is marked between the Fosso di Passerano and the upper course of the Fosso di Ceccara on the ‘Colonna’ map sheet…