This book takes a fresh look at a familiar element of the Homeric epics - the poetic catalogue. It shows that in a variety of contexts, Homer uses catalogue poetry not only to develop his themes, but to comment on the ideals and limitations of the epic genre itself.
From a corpus of Greek epics known in antiquity as the "Epic Cycle," six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. In Device and Composition in the Greek Epic Cycle, Benjamin Sammons shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. He demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construction of these later works. Yet while the "cyclic" poets constructed their works using the same traditional devices as Homer, they used these to different ends and with different results. Sammons argues that the essential difference between cyclic and Homeric poetry lies not in the fundamental building blocks from which they are constructed, but in the scale of these components relative to the overall construction of poems. This sheds important light on the early history of epic as a genre, since it is likely that these devices originally developed to provide large-scale structure to shorter poems and have been put to quite different use in the composition of the monumental Homeric epics. Along the way Sammons sheds new light on the overall form of lost cyclic epics and on the meaning and context of the few surviving verse fragments.
The Collected Works of Benjamin Hawkins provides a comprehensive collection of the most important sources on the late historic Creek Indians and their environment.
From a corpus of Greek epics known in antiquity as the "Epic Cycle," six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. In Device and Composition in the Greek Epic Cycle, Benjamin Sammons shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. He demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construction of these later works. Yet while the "cyclic" poets constructed their works using the same traditional devices as Homer, they used these to different ends and with different results. Sammons argues that the essential difference between cyclic and Homeric poetry lies not in the fundamental building blocks from which they are constructed, but in the scale of these components relative to the overall construction of poems. This sheds important light on the early history of epic as a genre, since it is likely that these devices originally developed to provide large-scale structure to shorter poems and have been put to quite different use in the composition of the monumental Homeric epics. Along the way Sammons sheds new light on the overall form of lost cyclic epics and on the meaning and context of the few surviving verse fragments.
American Sports offers a reflective, analytical history of American sports from the colonial era to the present. Readers will focus on the diverse relationships between sports and class, gender, race, ethnicity, religion and region, and understand how these interactions can bind diverse groups together. By considering the economic, social and cultural factors that have surrounded competitive sports, readers will understand how sports have reinforced or challenged the values and behaviors of society.
Over the course of three centuries, Yale has been actively and seriously engaged in Near Eastern learning, in both senses of the term-training students in the knowledge and skills needed to understand the languages and civilizations of the region, and supporting generations of scholars renowned for their erudition and pathbreaking research. This book traces the history of these endeavors through extensive use of unpublished archival materials, including letters, diaries, and records of institutional decisions. Developments at Yale are set against the wider background of changing American attitudes toward the Near East, as well as evolving ideas about the role of the academy and its curriculum in educating undergraduate and graduate students. In the case of the Near East, this also involves considering how several of its disciplines made the transition from biblically motivated enterprises to secular fields of study. Yale has notable firsts to her credit: the first American professional program in Arabic and Sanskrit; the first American learned society and periodical devoted to Oriental subjects; the first American research institutes in Jerusalem and Baghdad; the first American university to have endowed funds to establish and curate one of the world's largest collections of cuneiform tablets and cylinder seals. Yet at the same time, especially over the past half-century, Yale has found it challenging to deal administratively with a small humanities department whose standards and philosophy of teaching and learning seemed increasingly at odds with trends in the university as a whole. This book places these tensions in the context of Yale's responses to post-World War 2 interest in the modern Middle East, the rise of government-supported "area studies," and the consequences of American military actions in Iraq and Afghanistan. Numerous illustrations, many of them previously unpublished and drawn from a wide range of source material, round out the portrait of three centuries of Near Eastern learning at Yale.
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