- Title Pages
- List of Contributors
- List of Abbreviations
- 1 ‘The Coming of the Greeks’ and All That
- 2 Archaeology and the Archaeology of the Greek Language: On the Origin of the Greek Nouns in-<span xml:lang="ell">εύς</span>
- 3 Survey, Excavation and the Appearance of the Early <i>Polis</i>: A Reappraisal
- 4 Homer and the Ekphrasists: Text and Picture in the Elder Philostratus’ ‘Scamander’ (<i>Imagines</i> I.1)
- 5 Homer’s Audience: What Did They See?
- 6 Homer and the Sculptors
- 7 Potters, <i>Hippeis</i> and Gods at Penteskouphia (Corinth), Seventh to Sixth Centuries BC
- 8 Space, Society, Religion: A Short Retrospective and Prospective Note
- 9 Modelling the Territories of Attic Demes: A Computational Approach
- 10 Hesiod and the Disgraceful Shepherds: Pastoral Politics in a Panhellenic <i>Dichterweihe</i>?
- 11 ‘Is Painting a Representation of Visible Things?’ Conceptual Reality in Greek Art: A Preliminary Sketch
- 12 Coins in a ‘Home Away from Home’: The Case of Sicily
- 13 Life on Earth and Death from Heaven: The Golden Pectoral of the Scythian King from the Tolstaya Mogila (Ukraine)
- 14 The Idea of an Archetype in Texts Stemming from the Empire Founded by Cyrus the Great
- 15 Loropéni and Other Large Enclosed Sites in the South-West of Burkina Faso: An Outside Archaeological View
- 16 The Poetics of Ruins in Ancient Greece and Rome
- 17 Context Matters: Pliny’s <i>Phryges</i> and the Basilica Paulli in Rome
- 18 Anthony in Edinburgh
- 19 Anthony McElrea Snodgrass and the Classics Faculty in Cambridge: A Personal Appreciation
- 20 The First Thirty-Six Years of the Boeotia Project, Central Greece
Homer and the Sculptors
Homer and the Sculptors
- (p.113) 6 Homer and the Sculptors
- The Archaeology of Greece and Rome
- Edinburgh University Press
‘In the beginning, Homer was just a very good poet living in Ionia’ (Snodgrass 1998: 11). That premise is more controversial than perhaps it seems at first sight: if Homer appeared to his contemporaries an extraordinary genius, a poet uniquely privileged with divine inspiration, then one might indeed argue that he directly catalysed the coming of Greek literacy, and the development of figure scenes in early Greek art.1 But suppose, for present purposes, that the reputation of an eighth-century BC Homer was local to Ionia, and that the poet died (as one legend had it)poor and obscure. So his genius was only recognised/created/celebrated later; and so ‘a very good poet’ became Homer the great founding father of Classical literature. How important was it that visible form was given to this transfiguration? We can argue about what Homer did for artists. What did artists do for ‘Homer’?
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