The Fall of Troy in Early Greek Poetry and Art by Michael J. AndersonThe Fall of Troy in Early Greek Poetry and Art by Michael J. Anderson

The Fall of Troy in Early Greek Poetry and Art

byMichael J. Anderson

Hardcover | March 1, 1997

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Greek myth-makers crafted the downfall of Troy and its rulers into an archetypal illustration of ruthless conquest, deceit, crime and punishment, and the variability of human fortunes. This book examines the major episodes in the archetypal myth - the murder of Priam, the rape of Kassandra,the reunion of Helen and Menelaos, and the escape of Aineias - as witnessed in Archaic Greek epic, fifth-century Athenian drama, and Athenian black- and red-figure vase painting. It focuses in particular on the narrative artistry with which poets and painters balanced these episodes with one anotherand intertwined them with other chapters in the story of Troy. The author offers the first comprehensive demonstration of the narrative centrality of the Ilioupersis myth within the corpus of Trojan epic poetry, and the first systematic study of pictorial juxtapositions of Ilioupersis scenes onpainted vases.
Michael J. Anderson is at Columbia University.
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Title:The Fall of Troy in Early Greek Poetry and ArtFormat:HardcoverDimensions:294 pages, 8.5 × 5.43 × 0.91 inPublished:March 1, 1997Publisher:OUP

The following ISBNs are associated with this title:

ISBN - 10:0198150644

ISBN - 13:9780198150640

Reviews

Editorial Reviews

`worthwhile study ... One of the virtues of this book is that Anderson found an approach to the material that is constructive, that is not confounded at every turn by the limitations of the evidence ... Perhaps the book's broadest and most important contribution is that it abundantly atteststo the fluidity and elasticity of the tradition about Troy ... The book is written and organized in such a way that it is accessible to nonspecialists as well as being useful to scholars ... the most interesting account in English of the sack of Troy in Greek art and literature now available.'Guy Hedreen, Bryn Mawr Classical Review