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Latacz ed. Stoevesandt; general editor of the English edition: S. Olson; transl. Millis and S. The English edition of the commentary volumes of Homers Ilias. Gesamtkommentar edited by the De G Published are: Anton Bierl and J. Stoevesandt, general editor of the English edition S. Strack vol. Save to Library Edit.
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The project leaders are the current and emeritus holders of the Chair of Greek Philology at the University of Basle. The commentary appeals to Classicists in the broad sense as well as to students and scholars of the humanities in general.
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It is consciously not intended to be a specialized commentary for Greek scholars or Homer experts, although this is incorporated in the work. A decline of knowledge and familiarity with Homer is lamented not only across a wide range of modern language studies German, Romance, and English literature etc. The Basle Commentary aims to make Homer accessible again to other disciplines by making two hundred years of specialized modern Homeric scholarship available for the general reader.
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The commentary was conceived in such a way that it can address a range of audiences from high school students to college professors to Homer specialists. Volumes already published: Prolegomena, 3rd revised ed. Fascicle 1: Text u. West, Translation by J.
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Coray, M. Krieter—Spiro and E. Lethbridge, in: BMCR Willcock, in: CR 55, , 4f. Other reviews not available on the internet: — Bernhard Forssman, in: Kratylos 48, , — Theoretische Konzeptionen und ihre szenische Realisierung, Stuttgart: Metzler Drama—Beiheft 5 ; 2nd edition Concezioni teoriche e realizzazioni sceniche transl. Saur former Teubner BzA The Basel Commentary. English edition of the commentary volumes of Homers Ilias.
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Sommerstein ed. In Old Comedy we do not find utopias in the modern sense, but utopia-like ideas are fundamental t Since Old Comedy is highly political, the revolutionary measures taken in Ecclesiazusae can be regarded as precursors to the fully developed utopias of the modern era. Both are bound up with a mythical-ritual pattern. The model of a festival of exception, of inversion, and of the accompanying myth of reversion to the primordial conditions of the ambivalent "Age of Cronus" that preceded the reign of Zeus, includes inter alia utopian ideas.
Like the Golden Age, the Better World is at risk of toppling over into its opposite. The future full of promise becomes an imagined reality through emphasis on the new, which however is always simultaneously equated with the olden days. Aristophanes extends the mythical-ritual schema of the original Cockaigne folktale into utopian scenarios of politics and of intellectual debate on poetry, religion and philosophy. A figure from North American mythology, which has been used as an anthropological comparandum for Both are crafty, lie and cheat, in order to achieve their aim of socially and culturally significant innovation.
They are extremely inconsistent agents, and are distinguished by a high degree of corporeality and lust; like perverted culture-heroes, they strive to return to the primordial state of affairs that preceded the reign of Zeus. In the changed conditions of New Comedy, whose heroes are bourgeois figures moulded on Euripidean patterns, they no longer bear any relation to the figure of the trickster. A simple ritual song addressed to the phallus, in the context of Dionysiac festivals, in conjunct Aristotle sees in the phallikon, or in improvisations by the lead singer, the origin of comedy.
Besides two Hellenistic examples of the genre preserved by Semos, we have a song integrated into the action of Acharnians. In the bourgeoisified New Comedy obscenity disappears, and the phallikon disappears too.
Since in drama there is no "external narrator", it is disputed whether narratology is even applicable to drama; but since in comedy "internal narrators" also present embedded, secondary narratives, the narratological method can undoubtedly be meaningfully applied to it even on Genette's stricter definition. The plot of New Comedy, on the other hand, in its strong closure which makes it an important precursor of the novel and of the Western narrative model, is well adapted for narratological analysis as object and performance with reference to its structural sequence.