Jonathan L Ready
Biographic Data
| ID | 5366702 |
|---|---|
| NAME | Jonathan L Ready |
| GIVEN NAMES | Jonathan L |
| FAMILY NAME | Ready |
| SIGNATURE | READY J L |
| AFFILIATIONS | Indiana University |
| VERIFIED | No |
| TOTAL WORKS | 23 |
| TOTAL CITATIONS | 25 |
| AUTHOR COUNT | 23 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1986 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Response to Hogan
I find Hogan’s ideas and models convincing and helpful. Not only do I (think I) understand them (not an insignificant factor in how we take sides in academia), but they also connect neatly with the findings and interests of other subdisciplines in the humanities.To begin with, Hogan’s story universals make sense to me as both a reality and a heuristic device because they resemble a folklorist’s tale types. A description of a tale type presents in…
Oral Texts and Entextualization in the Homeric Epics
This chapter introduces to Homeric studies the concepts of oral texts—utterances capable of spiting the power of time—and entextualization—the process of making an oral text. It delves into a range of material, from the speeches Zeus entrusts to messengers to public laments over fallen warriors, from the narrator’s catalogues to moments in which the text engages in its own exegesis. It thereby explores the ways in which the Homeric characters tal…
Conclusion
This concluding chapter reviews the book’s contributions to the understanding of three kinds of Homeric texts: oral texts, dictated texts, and wild texts. It discusses how the book overlaps with scholarship on the intersections between orality and textuality in both classical studies and numerous other disciplines. It ends by suggesting three ways future research into Homeric texts may proceed: one should continue to investigate what factors enab…
The Scribe as Performer and the Ptolemaic Wild Papyri of the Homeric Epics
This chapter offers a new way to think about the scribal activity that produced the texts one sees in the Ptolemaic wild papyri of the Homeric epics. After reviewing previous research in Homeric studies on these texts, the chapter introduces the model of the scribe as performer put to work by students of several literatures, such as Anglo-Saxon and Israelite texts. Per this model, the scribe performs in the act of copying. The chapter then demons…
Oral Intertextuality and Mediational Routines in the Homeric Epics
Building on Chapter 1, this chapter works with a more precise model of oral intertextuality than Homerists have used heretofore. Returning to episodes involving messengers in the epics, it touches on the anticipatory intertextuality evident in such episodes and then explores the messenger’s performance. It focuses on how, as mediators, messengers negotiate the intertextual gap between the speech they are tasked with relaying and their own speech.…
Orality, Textuality, and the Homeric Epics
This book queries from three different angles what it means to speak of Homeric poetry together with the word “text.” Scholarship from outside the discipline of classical studies on the relationship between orality and textuality motivates and undergirds the project. Part I uses work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics an…
Homer in Performance
Similes in Five Modern Oral Poetries
This chapter presents detailed analyses of similes in five modern oral poetries. Examining the poet’s reliance on shared similes in the performances of two epic poems, The Epic of Pābūjī (Rajasthan, India) and The Guritan of Radin Suane (South Sumatra), prepares us to pay attention to shared similes when we see them alongside idiolectal similes. Next comes a demonstration of how Kyrgyz and Bosniac epic poets and composers of Najdi lyric poetry us…
Idiolectal Similes in the Homeric Epics
Like modern oral poets, our Homeric poets constructed their idiolectal similes in two ways. Some idiolectal similes comprise an idiolectal vehicle and an unparalleled tenor, and other idiolectal similes comprise an idiolectal vehicle and a paralleled tenor. The Iliad poet and the Odyssey poet display their competence by at times generating similes that come down squarely on the idiolectal end of the spectrum of distribution and at times turning t…
Conclusion
This chapter reviews the two methods of comparison adopted in this book and suggests avenues for future research, including an investigation of the Hellenistic-era papyri of the Homeric poems.
The Homeric Simile in Comparative Perspectives
The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives. The first part considers similes in five modern oral poetries—Rajasthani epic, South Sumatran epic, Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia—and studies successful performances by still other v…
The Textualization of Homeric Epic by Means of Dictation
The textualized versions of Homeric epic that stemmed from a process of dictation should be understood as co-creations of the poet, scribe, and collector. The evidence provided by numerous modern-day instances of the textualization of an oral traditional work supports this inference
Omens and Messages in the Iliad and Odyssey
The Iliad and Odyssey present mortals of all classes readily engaging with omens but focus on the elite when it comes to getting at the divine will in ways that do not involve reading omens. This chapter examines the poet's representation of what his characters think about omens, but the external audience also witnesses the epics' omens and returns to the second component of messenger scenes. In discussing the external audience's opportunity, an …
ATU 974 The Homecoming Husband , the Returns of Odysseus, and the End of Odyssey 21
The end of Odyssey 21 alludes either to other archaic-era renditions of The Homecoming Husband or to other archaic-era stories about Odysseus’s return (or to both). As Odysseus reveals himself by stringing his bow and performing a feat of archery, the poet cites another way in which the hero of these stories can reveal himself: by singing a song
Character, Narrator, and Simile in the Iliad
Similes in the Narrator-Text
the results of the previous chapters urge an exploration of the Iliad 's narrator-text itself and a search for the competitive dynamics of similes therein. I begin this chapter with a brief examination of the sequential arrangement of one pair and one series of similes in the narrator-text. At such moments, the poet gives a competitive orientation to the similes describing the heroes' martial contests. This arrangement amplifies the successful wa…
Similes and Likenesses in the Character-Text
scholars have observed how characters in the odyssey can rely on similes. Helene Foley notes that Odysseus' figuring of Penelope as a prosperous ruler ( Od . 19.108–14) “poses a question to Penelope” (1978: 11): is she working to preserve Odysseus' kingship? Emily Anhalt examines the thematic richness of Penelope's simile in which she describes herself as a nightingale ( Od . 19.518–24) (2001–2). Following in the footsteps of these critics, I beg…
The Simile and the Homeric Comparative Spectrum
a study of the homeric simile can begin by defining its terms. I propose to accomplish this preliminary task by looking at the larger question of statements in the shape “A (is) like B” in the Homeric poems. Glaukos' famous contention that men resemble leaves is a good place to start: οἵη περ φύλλων γενεή, τοίη δὲ καὶ ἀνδρῶν. φύλλα τὰ μέν τ' ἄνεμος χαμάδις χέει, ἄλλα δέ θ' ὕλη τηλεθόωσα φύει, ἔαρος δ' ἐπιγίγνεται ὥρη· ὣς ἀνδρῶν γενεὴ ἡ μὲν φύει ἡ…
Conclusion
in many ways, homeric similes stand apart from their surroundings: “because of its characteristic everyday content the Homeric simile for a moment unites narrator and audience in their world, not that of the heroes, as together they marvel at the mighty deeds of the past.” At the same time, scholarship continues to demonstrate that this distance does not stop similes from making vital thematic contributions to the epics. In the spirit of such inq…
The Cambridge Companion to Archaic Greece
The Cambridge Companion to Archaic Greece provides a wide-ranging synthesis of history, society, and culture during the formative period of Ancient Greece, from the Age of Homer in the late eighth century to the Persian Wars of 490–480 BC. In ten clearly written and succinct chapters, leading scholars from around the English-speaking world treat all aspects of the civilization of Archaic Greece, from social, political, and military history to ear…
Stories from the Mountain, Stories from the Sea
A Binding Song
Forgotten Allies
Forgotten Allies
A Binding Song
The Textualization of Homeric Epic by Means of Dictation
The textualized versions of Homeric epic that stemmed from a process of dictation should be understood as co-creations of the poet, scribe, and collector. The evidence provided by numerous modern-day instances of the textualization of an oral traditional work supports this inference
The Homeric Simile in Comparative Perspectives
The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives. The first part considers similes in five modern oral poetries—Rajasthani epic, South Sumatran epic, Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia—and studies successful performances by still other v…
ATU 974 The Homecoming Husband , the Returns of Odysseus, and the End of Odyssey 21
The end of Odyssey 21 alludes either to other archaic-era renditions of The Homecoming Husband or to other archaic-era stories about Odysseus’s return (or to both). As Odysseus reveals himself by stringing his bow and performing a feat of archery, the poet cites another way in which the hero of these stories can reveal himself: by singing a song
Forgotten Allies
A Binding Song
Stories from the Mountain, Stories from the Sea
The Cambridge Companion to Archaic Greece
The Cambridge Companion to Archaic Greece provides a wide-ranging synthesis of history, society, and culture during the formative period of Ancient Greece, from the Age of Homer in the late eighth century to the Persian Wars of 490–480 BC. In ten clearly written and succinct chapters, leading scholars from around the English-speaking world treat all aspects of the civilization of Archaic Greece, from social, political, and military history to ear…
Character, Narrator, and Simile in the Iliad
Similes in the Narrator-Text
the results of the previous chapters urge an exploration of the Iliad 's narrator-text itself and a search for the competitive dynamics of similes therein. I begin this chapter with a brief examination of the sequential arrangement of one pair and one series of similes in the narrator-text. At such moments, the poet gives a competitive orientation to the similes describing the heroes' martial contests. This arrangement amplifies the successful wa…
Similes and Likenesses in the Character-Text
scholars have observed how characters in the odyssey can rely on similes. Helene Foley notes that Odysseus' figuring of Penelope as a prosperous ruler ( Od . 19.108–14) “poses a question to Penelope” (1978: 11): is she working to preserve Odysseus' kingship? Emily Anhalt examines the thematic richness of Penelope's simile in which she describes herself as a nightingale ( Od . 19.518–24) (2001–2). Following in the footsteps of these critics, I beg…
The Simile and the Homeric Comparative Spectrum
a study of the homeric simile can begin by defining its terms. I propose to accomplish this preliminary task by looking at the larger question of statements in the shape “A (is) like B” in the Homeric poems. Glaukos' famous contention that men resemble leaves is a good place to start: οἵη περ φύλλων γενεή, τοίη δὲ καὶ ἀνδρῶν. φύλλα τὰ μέν τ' ἄνεμος χαμάδις χέει, ἄλλα δέ θ' ὕλη τηλεθόωσα φύει, ἔαρος δ' ἐπιγίγνεται ὥρη· ὣς ἀνδρῶν γενεὴ ἡ μὲν φύει ἡ…
Conclusion
in many ways, homeric similes stand apart from their surroundings: “because of its characteristic everyday content the Homeric simile for a moment unites narrator and audience in their world, not that of the heroes, as together they marvel at the mighty deeds of the past.” At the same time, scholarship continues to demonstrate that this distance does not stop similes from making vital thematic contributions to the epics. In the spirit of such inq…
Omens and Messages in the Iliad and Odyssey
The Iliad and Odyssey present mortals of all classes readily engaging with omens but focus on the elite when it comes to getting at the divine will in ways that do not involve reading omens. This chapter examines the poet's representation of what his characters think about omens, but the external audience also witnesses the epics' omens and returns to the second component of messenger scenes. In discussing the external audience's opportunity, an …
ATU 974 The Homecoming Husband , the Returns of Odysseus, and the End of Odyssey 21
The end of Odyssey 21 alludes either to other archaic-era renditions of The Homecoming Husband or to other archaic-era stories about Odysseus’s return (or to both). As Odysseus reveals himself by stringing his bow and performing a feat of archery, the poet cites another way in which the hero of these stories can reveal himself: by singing a song
The Textualization of Homeric Epic by Means of Dictation
The textualized versions of Homeric epic that stemmed from a process of dictation should be understood as co-creations of the poet, scribe, and collector. The evidence provided by numerous modern-day instances of the textualization of an oral traditional work supports this inference
Similes in Five Modern Oral Poetries
This chapter presents detailed analyses of similes in five modern oral poetries. Examining the poet’s reliance on shared similes in the performances of two epic poems, The Epic of Pābūjī (Rajasthan, India) and The Guritan of Radin Suane (South Sumatra), prepares us to pay attention to shared similes when we see them alongside idiolectal similes. Next comes a demonstration of how Kyrgyz and Bosniac epic poets and composers of Najdi lyric poetry us…
Idiolectal Similes in the Homeric Epics
Like modern oral poets, our Homeric poets constructed their idiolectal similes in two ways. Some idiolectal similes comprise an idiolectal vehicle and an unparalleled tenor, and other idiolectal similes comprise an idiolectal vehicle and a paralleled tenor. The Iliad poet and the Odyssey poet display their competence by at times generating similes that come down squarely on the idiolectal end of the spectrum of distribution and at times turning t…
Conclusion
This chapter reviews the two methods of comparison adopted in this book and suggests avenues for future research, including an investigation of the Hellenistic-era papyri of the Homeric poems.
The Homeric Simile in Comparative Perspectives
The Homeric Simile in Comparative Perspectives: Oral Traditions from Saudi Arabia to Indonesia investigates both the construction of the Homeric simile and the performance of Homeric poetry from neglected comparative perspectives. The first part considers similes in five modern oral poetries—Rajasthani epic, South Sumatran epic, Kyrgyz epic, Bosniac epic, and Najdi lyric poems from Saudi Arabia—and studies successful performances by still other v…
Homer in Performance
Oral Texts and Entextualization in the Homeric Epics
This chapter introduces to Homeric studies the concepts of oral texts—utterances capable of spiting the power of time—and entextualization—the process of making an oral text. It delves into a range of material, from the speeches Zeus entrusts to messengers to public laments over fallen warriors, from the narrator’s catalogues to moments in which the text engages in its own exegesis. It thereby explores the ways in which the Homeric characters tal…
Conclusion
This concluding chapter reviews the book’s contributions to the understanding of three kinds of Homeric texts: oral texts, dictated texts, and wild texts. It discusses how the book overlaps with scholarship on the intersections between orality and textuality in both classical studies and numerous other disciplines. It ends by suggesting three ways future research into Homeric texts may proceed: one should continue to investigate what factors enab…
The Scribe as Performer and the Ptolemaic Wild Papyri of the Homeric Epics
This chapter offers a new way to think about the scribal activity that produced the texts one sees in the Ptolemaic wild papyri of the Homeric epics. After reviewing previous research in Homeric studies on these texts, the chapter introduces the model of the scribe as performer put to work by students of several literatures, such as Anglo-Saxon and Israelite texts. Per this model, the scribe performs in the act of copying. The chapter then demons…
Oral Intertextuality and Mediational Routines in the Homeric Epics
Building on Chapter 1, this chapter works with a more precise model of oral intertextuality than Homerists have used heretofore. Returning to episodes involving messengers in the epics, it touches on the anticipatory intertextuality evident in such episodes and then explores the messenger’s performance. It focuses on how, as mediators, messengers negotiate the intertextual gap between the speech they are tasked with relaying and their own speech.…
Orality, Textuality, and the Homeric Epics
This book queries from three different angles what it means to speak of Homeric poetry together with the word “text.” Scholarship from outside the discipline of classical studies on the relationship between orality and textuality motivates and undergirds the project. Part I uses work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics an…
Response to Hogan
I find Hogan’s ideas and models convincing and helpful. Not only do I (think I) understand them (not an insignificant factor in how we take sides in academia), but they also connect neatly with the findings and interests of other subdisciplines in the humanities.To begin with, Hogan’s story universals make sense to me as both a reality and a heuristic device because they resemble a folklorist’s tale types. A description of a tale type presents in…
Art (21 works) · Classical Antiquity Studies (19 works) · Literature (19 works) · History (13 works) · Philosophy (13 works) · Linguistics (10 works) · Poetry (9 works) · Metaphor (6 works) · Simile (6 works) · Historical, Religious, and Philosophical Studies (5 works)