I]A significant other to Greek Mythology[/i] provides a sequence of essays that discover the phenomenon of Greek fantasy from its origins in shared Indo-European tale styles and the Greeks' contacts with their japanese Mediterranean neighbours via its improvement as a shared language and thought-system for the Greco-Roman world.
• beneficial properties essays from a prestigious foreign crew of literary experts
• comprises insurance of Greek myth's intersection with historical past, philosophy and religion
• Introduces readers to issues in mythology which are frequently inaccessible to non-specialists
• Addresses the Hellenistic and Roman sessions in addition to Archaic and Classical Greece
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Extra info for A Companion To Greek Mythology (Blackwell Companions To The Ancient World)
12. Antiphanes F189, from a play called Poie-sis (‘Poetry’ or ‘Composition’): for text, translation, and discussion of the fragment’s implications for comedy as ‘fiction’, see Lowe (2000: 260–9); also Olson (2007: 154 f. (text), 172–5 (commentary), 437 f. )). 13. Walcot (1976). 14. Not all tragedies are set in cities (Sophocles’ Philoktetes and Euripides’ Hecuba, for example, are not), but most are. Satyr plays, by contrast, seem often to have been set in the wilder places where the part-human, part-animal followers of Dionysos who formed their chorus were at home.
Myth is a much huger subject that we imagine when we first encounter it, perhaps at an early age – occupying the same mental space as fairy stories – now Jack and the Beanstalk, now Theseus and the Minotaur. But myth is more than merely imaginative Greek stories that happen through a quirk of history and an accident of education to have become a common inheritance of European and to some extent global culture. 28, 29 Even there it would not have done so unless it had provided a space for meaning, for ideas, for argument that was applicable far beyond the narrow limits of an ancestral Greece.
Satyr plays, by contrast, seem often to have been set in the wilder places where the part-human, part-animal followers of Dionysos who formed their chorus were at home. 15. And, as Roland Barthes persuasively suggested (1957), there is a sense in which brands and advertising are the modern world’s mythology: see further below. 16. It is interesting to speculate, but impossible to know, how much effort Euripides’ production team made to realize the spectacle of Apollo’s temple visually in the theatre.