Phemius Suite
This article examines four connected aspects of Phemius’ performance in Odyssey 1. The first section examines the poet’s unusual technique in relating Phemius’ music to other, simultaneous sounds in the ‘soundscape’ of Odysseus’ hall. The second argues that the suitors’ initial dancing develops into...
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| Format: | Article |
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Cambridge University Press
2014
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| Online Access: | https://eprints.nottingham.ac.uk/32307/ |
| _version_ | 1848794380067930112 |
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| author | Thomas, Oliver |
| author_facet | Thomas, Oliver |
| author_sort | Thomas, Oliver |
| building | Nottingham Research Data Repository |
| collection | Online Access |
| description | This article examines four connected aspects of Phemius’ performance in Odyssey 1. The first section examines the poet’s unusual technique in relating Phemius’ music to other, simultaneous sounds in the ‘soundscape’ of Odysseus’ hall. The second argues that the suitors’ initial dancing develops into a theme of appropriate and inappropriate nimbleness which, in particular, creates significant connections between books 1 and 22. The third section shows that the poet is suggestive but studiedly vague on the politics of Phemius’ first song which, in the final section, I interpret as a self-reflexive and open-ended ‘lesson’ in how to read epic. |
| first_indexed | 2025-11-14T19:15:16Z |
| format | Article |
| id | nottingham-32307 |
| institution | University of Nottingham Malaysia Campus |
| institution_category | Local University |
| last_indexed | 2025-11-14T19:15:16Z |
| publishDate | 2014 |
| publisher | Cambridge University Press |
| recordtype | eprints |
| repository_type | Digital Repository |
| spelling | nottingham-323072020-05-04T20:15:54Z https://eprints.nottingham.ac.uk/32307/ Phemius Suite Thomas, Oliver This article examines four connected aspects of Phemius’ performance in Odyssey 1. The first section examines the poet’s unusual technique in relating Phemius’ music to other, simultaneous sounds in the ‘soundscape’ of Odysseus’ hall. The second argues that the suitors’ initial dancing develops into a theme of appropriate and inappropriate nimbleness which, in particular, creates significant connections between books 1 and 22. The third section shows that the poet is suggestive but studiedly vague on the politics of Phemius’ first song which, in the final section, I interpret as a self-reflexive and open-ended ‘lesson’ in how to read epic. Cambridge University Press 2014-01 Article PeerReviewed Thomas, Oliver (2014) Phemius Suite. Journal of Hellenic Studies, 134 . pp. 89-102. ISSN 2041-4099 Homer Odyssey Phemius metapoetics reader-response http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=9456980&fileId=S007542691400007X doi:10.1017/S007542691400007X doi:10.1017/S007542691400007X |
| spellingShingle | Homer Odyssey Phemius metapoetics reader-response Thomas, Oliver Phemius Suite |
| title | Phemius Suite |
| title_full | Phemius Suite |
| title_fullStr | Phemius Suite |
| title_full_unstemmed | Phemius Suite |
| title_short | Phemius Suite |
| title_sort | phemius suite |
| topic | Homer Odyssey Phemius metapoetics reader-response |
| url | https://eprints.nottingham.ac.uk/32307/ https://eprints.nottingham.ac.uk/32307/ https://eprints.nottingham.ac.uk/32307/ |