Talk and text: the pre-Alexandrian footnote from Homer to Theodectes by Nelson, T

“…I explore this question here by considering the early Greek precedent for the so-called ‘Alexandrian footnote’, a device often regarded as one of the most learned and bookish in a Roman poet’s allusive arsenal. Ever since Stephen Hinds opened his foundational Allusion and Intertext with this device, it has been considered the preserve of Hellenistic and Roman scholar-poets. …”

How to end an orally-derived epic poem by Kelly, A

“…By directing the audience to this disparity in scale, the poets discourage them from expecting continuation, and so signal the close of their texts.…”

Aias in Athens: the worlds of the play and the audience by Kelly, A

“…Athenian tragic poets were careful to separate the ‘heroic’ world from the world of their ffth-century audience, and they did so by deploying the twin dynamic of ‘distance and diference’. …”

Performance and rivalry: Homer, Odysseus and Hesiod by Kelly, A

“…This article will argue that his decision should be understood within the broader context of the relationship between the poet and Odysseus.3 Seen in this light, the recapitulation can reveal much about Homer’s conception of his craft, and his attitude towards other (competing) aoidoi.…”

Achilles in control? by Kelly, A

“…Though great poets may appreciate the artistry and interest of the Funeral Games in Book 23 of the Iliad, it must be admitted that the entire episode can seem an interlude between the death of Hector in Book 22 and the final, pathetic meeting between Achilles and Priam in Book 24. …”

With, or without, Homer: hearing the background in Sappho by Kelly, A

“…In sum, we are told that we should use the same strategies of the Augustan poets in Rome as the model to understand the visible beginnings of Greek literature.3…”

Homeric hymn to Apollo: introduction and commentary on lines 1-178 by Bonnell, K

“…</u> This chapter discusses the poet’s description of himself as the ‘blind Chian’ (172-3). …”

Scottish Chaucerianism in older Scots literature, c.1424-1513: a re-evaluation by Kelly, A

“…In overview, this account provides a broader understanding of this body of writing as cohesive and dynamic, increasingly growing in confidence as it matures and evolves along distinct lines and revealing an awareness of itself as a native tradition in its own right as the later poets of the period respond to the work of the earlier ones.…”

Listening to many voices: Athenian tragedy as popular art by Kelly, A, Allan, W

“…Although the idea that the poet expresses his personal opinions through the chorus or his characters is now rightly seen as old-fashioned and naïve, it is still legitimate to ask how the poet uses his heroic characters and their voices to speak to his contemporary audience—using ‘speak to’ in the broadest sense, that is, how the poet engages, provokes, and entertains his diverse and demanding audience, with the ultimate aim of winning the prize for the best production in the tragic competition. …”

Apollonios and the end of the Aeneid by Kelly, A

“…The death of Turnus is one of the Aeneid's most controversial and variously interpreted episodes – anything from the triumphant vindication of Aeneas and the Roman future, to the poet's last, resounding plaint against Augustan totalitarianism, with all the more nuanced shades of opinion in between. …”

Epic and lyric by Kelly, A

“…A niggling impression of inconsistency remains, especially given that Tyrtaeus uses the same theme in a hortatory elegy: the poet here makes it clear that the death of an old man in battle is a shameful thing, following on from his call to the young specifically not to abandon their elders, whilst it is both laudable and beautiful for a youth to die there. …”

Homer's Rivals? Internal Narrators in the Iliad by Kelly, A

“…Unlike their near contemporary Hesiod, who is very forthcoming about biographical details and family quarrels, neither the Iliad nor the Odyssey – though they contain plenty of first person pronouns referring to the ‘poet’ – give us anything like that kind of detail.1 Presumably this helped to make his later biographical tradition so rich and contested, but it poses an interesting problem for any interpreter of Homeric poetry: why, in a world in which who you are matters as much as what you say, is this absent figure granted so much authority? …”

The audience expects: Penelope and Odysseus by Kelly, A

“…</p> <p>I propose to elucidate this dynamism, for want of a better term, by setting out the structural ‘grammar’ underlying the construction of the scene, and then showing how the poet manipulates his audience’s familiarity with that grammar in order to create uncertainty, excitement and meaning, to direct, misdirect and control their response, and on the smallest scales of narrative. …”

The path of song by Kelly, A

“…Thus, the associative qualities of traditional narrative allow the poet during the realisation of the song to manipulate audience expectations as they listen to stories whose general outlines (i.e. who kills who, who must not die at a certain moment in the story, etc.) they know from a lifetime of experience. …”