THE BEGINNINGS OF NARRATIVE CLOSURE
IN
HOMERIC EPIC
i. Introduction
1. Aims and Scope of the Thesis
2. Concepts of Closure
2.1. Modern Literary Criticism
I introduce the subject of closure through an overview of the
definition and use of the term closure in criticism. After distinguishing
various concepts of closure in more abstract terms, I review the critical
debate
over openness and closure by summarizing the
most influential works on closure in literary studies in general
(Kermode, Smith, Torgovnick).
2.2. Closure and Classics Texts
Turning to the subject of Classics, I complete my overview with a brief
account of ancient thought and terminology on the subject. Authors
concerned with literary criticism (as opposed to rhetoric in general)
include Aristotle and Horace in particular, but mention is made too of
the critical traditions preserved in ancient scholia which will be
looked at in more detail in later chapters. The emphasis in this part
will however be on recent developments in the study of closure in
Classics, and especially narrative (e.g. Fowler, Gomez Pallares, Dunn).
Specialized studies of authors discussed later will again be reserved
for the respective chapters (Quint, Hardie, Masters).
3. Genre
I widen the scope of the enquiry by explaining how I wish to place closure
in the wider context of literary criticism/interpretation. First, the
possible relation of the study of closure to the notion of genre, and vice
versa, is considered. Closural strategies (as other literary techniques)
do not work in a vacuum, but need to be set in contexts which shape
expectations about them. I see genre as a flexible concept, useful to both
writers and readers in bounding expectations, which is held together by a
number of identifying ("core") traits that can vary in kind according to
the genre studied. Such core traits are supplemented by other traits or
elements, less essential to the particular genre's identity or even alien
to it.
Additional elements and even
core traits may change over time as different poets shift the boundaries
of a genre through, and for, their writings. Other elements can also be
seen to be introduced from other genres, more or less closely related to
the one in question, as well as borrowed from specific texts (cf. the
ancient concept of imitatio). The effect of such practices can be
evaluated/interpreted, both in relation to the particular text and to the
development of the genre. My thesis
is intended to mirror to some extent, structurally as well as thematically,
this process of picking up traits and
newly weaving in others which I see in the poems.
4. Methodology
In view of my dynamic approach to genre and literary history, I try
to develop a broad framework for studying closure in particular
texts. The categories under which closure is approached range from formal
structures through themes and motifs and characters' involvement to the
poet's
voice. For more detailed analysis of possible structures inside these
categories I borrow concepts from ancient and modern criticism as set out
in the first chapter. The broad range of my categories allows me to suit
the interpretive categories used to the text in question, by emphasizing
the particular category (or categories) which appears to be of the
greatest importance for appreciating the closure of that text.
I also
hope
to show how shifting emphasis on particular categories facilitates
connection with other genres, through the introduction of elements (more)
familiar in their closural strategies. Thus some formal closural devices
can link up with hymns, thematic closure with shorter lyric poetry, the
use of characters in closure can be related to drama, and that of the
poet's voice to didactic. This is of course only a selection from a much
larger list of possibilities, which needs to be detailed and refined in
the context of the individual texts.
ii. Interpretations
1. Views on Homeric Closure so far
2. The Iliad
2.1. Mapping Out
2.2. Plotting
2.3. Reaching the limit: telos thanatoio
2.4. Summary
3. The Odyssey
3.1. Odysseus' mythos: the journey towards the end
3.2. Recognizing Odysseus: the closure of his mythos
3.3. Summary
4. Beyond Homer
iii. Bibliography
Please return
to my homepage!