By Elizabeth Minchin
Homeric Voices is a examine, from a compositional standpoint, of the colossal speeches and exchanges of speech that Homer depicts in his songs. Drawing on examine in sociolinguistics, discourse research, and cognitive psychology, Elizabeth Minchin considers the phrases that Homer attributes to his characters from views, as cognitive and as social phenomena. She asks how the poet labored with reminiscence to generate the speech varieties that he represents; and the way Homeric speech constructs and divulges the social hierarchies which are certain up with age, prestige, and gender--with specific curiosity in gender--in the realm of the poems.
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Extra info for Homeric Voices: Discourse, Memory, Gender
23 Indeed, Agamemnon praises this at 1. 286. The balance which Lohmann notes in 275–84 or the binary structures 22 Lohmann, Die Komposition der Reden, at 224, n. 18, analyses the composition of this speech: I. 254–58 Klage u¨ber die Situation. II. 259–74 Appell an die beiden Streitenden, zu gehorchen. III. 275–84 Wechselseitiger Appell zur Verso¨hnung. Lohmann detects ring-composition in the exemplum of II: a 259, b 260–1, c 262–8, b’ 269–73, a’ 274; and in the alternations of III: a 275–6 (to Agamemnon), b 277–81 (to Achilles), a’ 282–4 (to Agamemnon).
275–84 Wechselseitiger Appell zur Verso¨hnung. Lohmann detects ring-composition in the exemplum of II: a 259, b 260–1, c 262–8, b’ 269–73, a’ 274; and in the alternations of III: a 275–6 (to Agamemnon), b 277–81 (to Achilles), a’ 282–4 (to Agamemnon). His analysis, preoccupied as it is with internal parallels within this particular rebuke, does not further our understanding of the composition of rebukes in general. 23 Martin, Language of Heroes, at 101, notes that ‘[b]inary structures abound, presenting a rhetorical model, or icon, for two-sidedness’.
Thorne and N. : Newbury House, 1975), 184–203, at 186. 54 For an important early account of non-verbal communication and its importance, see GoVman, Interaction Ritual, 5–45 (‘On Face-Work’); and 47–95 (‘The Nature of Deference and Demeanour’). 55 On this point see D. Lateiner, Sardonic Smile: Nonverbal Behavior in Homeric Epic (Ann Arbor: University of Michigan Press, 1995), esp. at 58–61. 56 This may be because the speeches that women make are in themselves highly important to the plot. It may also be because the poet recognizes the greater expressiveness of women in the everyday world and attempts, for authenticity’s sake, to represent this in his tale.