By John Edwin Sandys
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Additional resources for A history of classical scholarship / Vol. 1
The idea of Homer is more important here than the ‘real’ Homer, if he ever existed. For an introduction to the debate, see Heiden 2000. See further Taplin 1992: 285–93, Stanley 1993: 249–93, Olson 1995: 228–39, Heiden 1998, Jensen 1999, De Jong 2001, Edwards 2002: 38–61, Heiden 2008. We should take book divisions seriously as part of the architectural design of the poems, especially the Iliad, at whatever stage in the tradition they were introduced, and as a fascinating aspect of narrative transition.
Bakker 1993: 15. See further Bakker 2005 on Homeric performance and visualisation, esp. ch. 8, ‘Remembering the god’s arrival’. On Ovid, see Wheeler 1999. It would be proﬁtable to pursue this in other Hellenistic and Roman epics. 111 More tendentiously, one might argue that narrative poetry in the ancient world has the same cultural hegemony, penetration and prestige as cinema has in ours. 113 For all the similarities, the differences between ﬁlm and epic are equally important: by drawing out the visual side of epic, ideas from ﬁlm studies and other visual theories take us away from words and the poet, and instead privilege the reader or listener as spectator.
100 On the embodied nature of spectatorship and reading, see Esrock 1994. 22 Introduction interplay of difference and similarity, the attempt to think ourselves into their schemata and thought patterns, while remaining aware of our own. For this project, all sorts of theoretical writings are invaluable. Anyone who claims not to be using a ‘theory’ in their work is being disingenuous, or rhetorical. I have tried not to impose an idea on the material, but to balance what I look for in the texts against what I happen to ﬁnd.