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Her zaman insanın ve hayatın bir parçası olarak
kabul edilen şiddet; doğal olarak söylemin ve dolayısıyla da yazının bir
parçası olarak insanlık tarihinin ana temalarından birisini oluşturmuştur. Güç
ve baskı uygulanarak insanlara bedensel veya ruhsal zararlar veren, bireysel
veya toplu hareketlerin tümü olarak adlandırılan şiddet; özel veya kolektif,
dolaylı veya doğrudan, cürümsel veya kamusal açılardan incelenebilir. Hepsinin
ortak noktası ise bir tarafın diğer tarafı veya doğrudan bireyi şiddet yoluyla baskı
altına alması ve ötekileştirmesidir. Klasik Yunan'dan itibaren yazının ana
temalarından biri olan ve özellikle Homeros, Aiskhülos, Sofokles ve Euripides
gibi ozan ve yazarların tüm eserlerinde sergilenen şiddet, insan ve iktidarın
özüne de bir ayna tutma görevi üstlenmiştir. Bu çalışmada Batı edebiyatının temel taşları olarak konumlandırılan
Homeros'un İlyada ve Odysseia isimli eserleri ile antik dönemin üç büyük
tragedya yazarı Aiskhülos, Sofokles ve Euripides'in oyunlarında şiddetin
izdüşümleri tartışılarak Batı edebiyatına yön veren baskın temalardan birisinin
şiddet olduğu ortaya çıkarılacaktır

Representations of Hades, the Underworld, and the afterlife in ancient Greek literature have traditionally been studied from a religious or mythological perspective. Scholars have often tried to extrapolate historical practices and eschatological beliefs about life after death from accounts of rituals and myths surrounding funerary practices, cult beliefs, necromantic encounters, and descents by heroes to the Underworld. As a result of this focus, scholars have generally overlooked the narrative function of Underworld scenes. In this project, I examine ancient Underworld scenes from Homer to Plato as a type of literary device containing unique rhetorical features and functions. I argue that Underworld scenes are embedded authorial commentaries, which allow communication between author and audience in an exercise of narrative self-reflection. Underworld scenes condense the actions and themes of the main story into an abbreviated space while also situating their parent narratives within a dynamic historical and literary tradition. Through these scenes, authors and artists create networks of texts by including allusions and story patterns, which can activate similar tales of ghostly encounter (nekuia), underworld journeys (katabaseis), punishment for sinners, and rewards for the "blessed." Underworld scenes "open up" dialogues between texts and characters across time and space so they could engage with each other and their tradition. Thus, Homer could imagine Odysseus talking to the ghosts of Achilles and Agamemnon in the Odyssey as a contemplation of heroism, and Plato could imagine Socrates anticipating afterlife conversations about justice with Homer, Ajax and Orpheus in the Apology.Chapter 1 presents the parameters of Underworld scenes and the methodologies that will be used in analyzing these scenes. Chapter 2 examines the structure of Underworld scenes in early Archaic poetry as well as the distinct language and image set which allowed communication between authors and audiences. Chapter 3 shows how Greek epinician and lyric poets used Underworld scenes to assimilate their patrons to heroes who achieved a "blessed" afterlife. Chapter 4 focuses on the use of Underworld scenes on the dramatic stage and in funerary contexts in Classical Athens to portray and offer solutions to contemporary political and social issues. Finally, Chapter 5 explores famous Underworld episodes in Plato's dialogues and examines how Socrates uses Underworld scenes to overwrite traditional sources and redefine the afterlife as a stage of life, like childhood and old age.

AbstractThe Birth of the Mob: Representations of Crowds in Archaic and Classical Greek LiteraturebyJustin Jon SchwabDoctor of Philosophy in ClassicsUniversity of California, BerkeleyProfessor Leslie Kurke, Chair This dissertation surveys the representation of crowds and related phenomena in Homer, the Attic tragedians, and Aristophanes. The first chapter begins by noting that while recent scholarship has explored the role of the crowd in ancient Roman history and literature, virtually no similar work has been done in archaic and classical Greek studies. Admittedly, Greek poleis were on a much smaller scale than was Rome, and it may be for this reason that classical scholars have assumed "the" crowd is not a feature of ancient Greek society. In order to explain why this absence of study is due to a limited understanding of what crowds are, I survey the development of crowd theory and mass psychology in the modern era. I adopt the model of Elias Canetti's Crowds and Power, which studies crowds as part of a spectrum of group behavior, ranging from small "packs" to imagined crowds at the level of a nation. Under this expanded model, I argue that crowds are universal human phenomena whose representations in archaic and classical Greek literature are fruitful objects of study. The chapter ends with a brief survey of "crowd words" to be examined, including homilos, ochlos, homados and thorubos. The second chapter studies crowds in Homer through a close reading of several words and passages. The two crucial words for this study are homilos and homados, which refer respectively to a crowd and the distinctive noise it makes. I survey the homilos in the Iliad as a background of anonymous figures against which elite figures display their excellence, before arguing that the suitors in the Odyssey are the closest Homer comes to representing a crowd. Individually elite, they nonetheless are reduced to the status of a mob by the fact of their aggregation. The third chapter examines the crowd in tragedy. I argue that the crowd looms as an offstage threat to the elite characters depicted onstage, most obviously in such plays as Sophocles's Ajax and Euripides's Andromache and Orestes, but to some extent in almost every surviving tragedy. In this chapter, the word ochlos (not yet present in Homer) is the key crowd-term, although homilos and other words are also present. The works of Euripides are particularly rife with descriptions of crowds, and my survey illuminates just how central the topic was to his work, in a reflection of the troubled politics of his era. The fourth chapter examines the discourse on the crowd in Aristophanes. I demonstrate that the comedian's work is highly concerned with crowds and other groupings of people. Athens during the Peloponnesian war was crowded, not only due to the siege but in mentality and dramatic representation. To many of Aristophanes's characters, the improper aggregation of bodies is just one symptom of the general disintegration of society and decline of traditional morality. Where in tragedy the crowd must remain offstage, comedy can also bring crowds onto the stage, in such scenes as the opening of the Acharnians. I close with a Postscript presenting two quotes of Plato, from the Republic and the Laws, whose descriptions of crowd behavior and its effect on individuals take on new significance in light of the deep history of the representation of crowds which this dissertation explores.

In Greece's most well-known thesaurus of neologisms from the late nineteenth century, two compelling terms are detected: syllogomania ('collection frenzy') and bibliomania ('book frenzy'). Both very vividly illustrate the cultural landscape of fin-de-siècle Greece. The institutionalization of archives and the consolidation of the book culture were important aspects of the new-born state's cultural politics and poetics. It is in this context that instances of literary discourse thematizing archival destruction appeared, taking the form of symbolic resistance against the canonization and institutionalization of memory. In the two texts discussed in the article, 'Kostakis's Manuscripts' by Alexandra Papadopoulou (1896) and 'Old Papers' by Mikhail Mitsakis (1884), the laws of order, accumulation and preservation are opposed by a desire for disorder and dispersion. In the former, the manuscripts of a dead author are burnt to ashes by his girlfriend, who wishes to save them from being published. In the latter, a man scatters his writings in the wind, as a way of reactivating his memory. Both texts enact the cultural ambivalences of fin-de-siècle modernity by narrating the constant tension between, on one hand, canon and archive; and, on the other, waste and destruction. Through the destruction of fictional archives, the possibility of a counter-memory is claimed. Papadopoulou's and Mitsakis's claim of an overturning of the dynamics between cultural memory and oblivion can be considered as a call for questioning the laws that govern cultural memory's circulation and for repositioning their auctorial figures in the history of Modern Greek literature.

Frontmatter -- Contents -- Acknowledgments -- General Abbreviations -- Signs and Symbols -- Bibliographical Abbreviations -- Introduction / Passa, Enzo / Tribulato, Olga -- Bibliography of Albio Cesare Cassio -- Unconventional Features in Homer: The Case of ἑέ and ἑοῖ / Kaczko, Sara -- σθένεϊ βλεμεαίνων: Origin and Evolution of a Homeric Formula / Willi, Andreas -- Active versus Middle Perfect in Homeric Greek: Synchrony and Diachrony / Beek, Lucien van / Migliori, Laura -- Empedocles in the West, Panyassis in the East: Doric and Hexameter Poetry in the Classical Age / Passa, Enzo -- Of Land, Ancestral Property and Prophecy in Corinna PMG 654 col. iii ll. 37–39 / Prauscello, Lucia -- Epicharmus and Choral Lyric Poetry: A Reappraisal of Old and New Evidence / Favi, Federico -- Early Dactylic Prose in the History of Greek Prose Rhythm / Vatri, Alessandro -- Gk. ταπεινός 'Low(-lying)' and Its IE Heritage: Gk. PN Τέμπυρα, Hitt. dampu- 'Blunt', Old Russ. tupъ 'Blunt, Stupid' / Serangeli, Matilde -- Prose and Poetry of Pain: A History of the Term ἄλγος / Cerroni, Enrico -- Making the Case for a Linguistic Investigation of Greek Lexicography: Some Examples from the Byzantine Reception of Atticist Lemmas / Tribulato, Olga -- List of Contributors -- Index of Notable Words -- Index of Subjects -- Index of Passages

Abstract
This article focuses on the visual representations of literary knowledge and the combination of visualized information with a didactical scope. It begins with a theoretical overview of current terms, such as visual, new (and multimodal) literacies, graphic and educational comics and visual adaptations of literary classics. Furthermore, the essay proposes the term iComic turn as a new term for the recent blooming of editions of graphic literary adaptations. The article subsequently focuses on examples of how comics could be integrated in the classroom presenting some draft sketches of A Graphic History of Modern Greek Literature.

Review of: Inter–Esse: Themata kai Ermineutikes Proseggiseis sti Neoelliniki Logotehnia ('Inter–Esse: Themes and interpretative approaches to modern Greek literature'), Sophia Iakovidou (2020)
Athens: Gutenberg, 451 pp.,
ISBN 978-9-60012-148-3, p/bk, €23.00