By Elizabeth Minchin
Homeric Voices is a learn, from a compositional standpoint, of the large speeches and exchanges of speech that Homer depicts in his songs. Drawing on examine in sociolinguistics, discourse research, and cognitive psychology, Elizabeth Minchin considers the phrases that Homer attributes to his characters from views, as cognitive and as social phenomena. She asks how the poet labored with reminiscence to generate the speech types that he represents; and the way Homeric speech constructs and divulges the social hierarchies which are certain up with age, prestige, and gender--with specific curiosity in gender--in the area of the poems.
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Additional resources for Homeric Voices: Discourse, Memory, Gender
P. V. Jones’ discussion in his ‘Introduction’ in G. M. Wright and P. V. Jones, Homer: German Scholarship in Translation, (Oxford: Clarendon Press, 1995), 1–41, at 5–10. 38 This is in line with research into repetition (see below), which has begun to examine cognitive and interactional motivation for repetition, whether same-speaker repetition, as here, or second-speaker repetition. 39 See D. Tannen, ‘Repetition in Conversation: Towards a Poetics of Talk’, Language, 63 (1987), 574–605, at 581. Tannen describes neurolinguistic research which supports the notion that automatic language production is in all ways more Speech Acts in Homer 43 economical response.
43 As we have observed, repetition serves a number of communicative functions which relate to interpersonal involvement: its functions are in the main pragmatic. But, as Tannen observes, in today’s world, which holds the written word and literature in high esteem, we are inclined to think of repetition Wrst as a literary trope. 44 When scholars such as Lohmann identify so-called ring-composition in Homer’s speeches, they are reading the natural strategies of everyday rhetoric as formal devices for ‘literary’ ends.
4 (‘The Theme’); and, for sustained discussion of thematic structures, see B. Fenik, Typical Battle Scenes in the Iliad: Studies in the Narrative Techniques of Homeric Battle Description (Wiesbaden: Franz Steiner, 1968); S. Reece, The Stranger’s Welcome: Oral Theory and the Aesthetics of the Homeric Hospitality Scene (Ann Arbor: University of Michigan Press, 1993), ch. 1. In all the above works it is assumed that the typical scenes which have been identiWed by scholars are phenomena of oral epic song.