By John Edwin Sandys
Sir John Edwin Sandys (1844-1922) used to be a number one Cambridge classicist and a Fellow of St. John's university. His most famed paintings is that this three-volume background of Classical Scholarship, released among 1903 and 1908, which is still the single large-scale paintings at the topic to span the total interval from the 6th century BCE to the top of the 19th century. The historical past of classical reports used to be a well-liked subject in the course of the 19th century, fairly in Germany, yet Sandys stands proud for the formidable scope of his paintings, although a lot of it was once in accordance with prior scholarship. His chronological account is subdivided via style and sector, with a few chapters dedicated to rather influential participants. quantity 2 covers the interval from the Renaissance to the eighteenth century.
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Extra resources for A history of classical scholarship / Vol. 2, From the revival of learning to the end of the eighteenth century (in Italy, France, England, and the Netherlands)
To name is to assert a relation in the exchange of language (a relation of power as well as definition). 48 Different namings assert different relations -philos, xeinos, father, lord, king, child etc. The proper name in particular is invested with a classificatory force that is inherently concerned with what is, in all its senses, the property of an individual. 49 To say 'Odysseus', or 'Odysseus, son of Laertes', or 'Odysseus the Ithacan', or 'Odysseus of the many wiles', or 'Odysseus, my father', etc.
264-84) and his remarks about old age. Odysseus must make another journey to effect his nostos, a journey away from Ithaca, to ... where? ) Somewhere which does not know the Odyssey, or Greek or the fame of Odysseus; somewhere different even from all the places Odysseus has yet visited (by sea). *3 In my opening discussion, I mentioned how critics have often seen the Odyssey as a journey of definition for 'a/the man of many turns'; nostos as the return into the nexus of relationships by which his place in society is formed.
On the ambiguousness of Telemachus' bow attempt, see Goldhill (1984) 189-91; Goldhill (1986a) 149-50. Language and representation in the Odyssey 21 sequence of recognition scenes, not merely to confirm that deception is typical or characteristic of Odysseus, but rather to continue the exploration of what is at stake in the process of recognition. Odysseus and Telemachus recognize each other without tokens but through Odysseus' explanatory words: as Telemachus had said, 'no one knows his own father'.
A history of classical scholarship / Vol. 2, From the revival of learning to the end of the eighteenth century (in Italy, France, England, and the Netherlands) by John Edwin Sandys