Iliada i jej tradycja epicka: studium z zakresu greckiej tradycji oralnej
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Buch |
| Sprache: | Polish |
| Veröffentlicht: |
Wrocław
Wydawnictwo Uniwersytetu Wrocławskiego
2014
|
| Schriftenreihe: | Acta Universitatis Wratislaviensis
3556 |
| Schlagworte: | |
| Online-Zugang: | Abstract Inhaltsverzeichnis |
| Beschreibung: | Zsfassung in engl. Sprache u.d.T.: "The Iliad" and its epic tradition Bibliogr. s. 505-531. Indeksy |
| Beschreibung: | 558 s. 24 cm |
| ISBN: | 9788322933572 |
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| adam_text | The Iliad and Its Epic Tradition.
On the Greek Oral Tradition
Summary
The aim of the book is to reconstruct the nature of the Greek oral epic tradition, from which came the
Iliad. The task requires a comprehensive approach, which is why the author discusses several issues.
Since the Iliad is part of the Trojan Cycle, the basic issue is to define what this cycle in fact was
and how it came into being. It turns out that the epic cycle is not an exclusively Greek phenomenon
and that we can present an evolutionary model of its emergence. However, not in all cultures was its
form so developed. An important role in the evolution of the cycle is played by the generation of vari-
ous accomplishments of its protagonists, often multiplied in their form; emergence of specific roles
of specific protagonists; as well as a specific way of presenting a song during a singer s performance,
reaching to the beginning and end of a given story.
In every oral culture a song presents only an episode from the entire known epic tradition, the
threads of which are often tangled and irregularly interwoven. Our expectations with regard to
a consistently built plot in this multi-version and ephemeral matter are groundlessly anachronistic.
A typical example of a developed cycle seems to be Mahabharata, which presents an entire heroic
war in all its aspects, often presenting different versions of events. Perhaps if it had not been for the
unique emergence of the Iliad, or a group of well-developed epic works in Greece, we would be
dealing with a similar approach to the cycle as a unified form. Yet the Iliad, like the other works of
the cycle, presents an episode against the background of the story of the entire Trojan War. This may
have been a trend in epic poem performance in that period, very unlikely connected with its pres-
ervation in any written form. The result was that the plot of a single episode, like the one described
in the Iliad, became independent This emancipation of the song plot is, however, a secondary result
of the functioning of the song in the 7th and 6th centuries BC, perhaps associated with a change in
the formula of presenting songs in a broader public space, e.g. during agons held to coincide with
religious celebrations.
This reasoning is based on an attempt, made in Chapter One, to present a typical epic song, its
self-contained nature and existence within commonly known epic stories. Demodocus’ songs, which
constitute the basis of these analyses, are not fragments of a larger poem or any other work different
from what Homers works are. They are certainly no worse than the Iliad, nor are they its simplified
version, as people used to think. Each epic song is a separate whole, following one of the established
traditional story-patterns. At the same time, it refers to a broader story of mythical reality freely
moderated within repeatable patterns. We can define this entire reality, following Andrew Ford, as
epic. For all this is a potential subject matter for a song; it is, as the Greek called it, κλέα άνδρών και
θεών “praise of heroes and gods”. A cycle is something else, however — it is an unequivocally drawn
story which constitutes the basis of various songs. For the singer, the cycle is a multi-layer framework
within which he places an episode from his song. We can notice that in general the same framework
— encompassing within its broadest range the divine plan to destroy humanity (often as a result of
a dispute or war between deities themselves) — can be used as a basis for various cycles, e.g. Theban
Cycle and Trojan Cycle. It could be said that the newer cycle in a way borrows it from the older one.
Strictly speaking, the singer refers a new story with its unique distinctive features to a traditional
model. This cosmic-religious framework of a cycle remains closely linked to its temporal-spatial
dimension. Space is organised with regard to an expedition and usually unhappy return. Time con-
stitutes a magical value of repeated numbers closing the entire cycle and the various songs. A lot
534 | Summary
points to links between the magic of those periods and astronomical data interpreted as the rhythm
of life in the world. These references enable the singer to give the right gravitas to his story, to link it
to a popular theme and to create new episodes. Singers place the action of their songs at points which,
in their opinion, mark the beginning or end of the story presented in a cycle.
The Greek cyclic song can be defined in greater detail, not just through its reduction to Propp s
model. A comparison of various motifs in cyclic songs ֊֊ also taking into account the fact that they
have many versions — makes it possible to distinguish some specific features of the songs making up
the Trojan Cycle, which I try to present in Chapter Two. The action of the epic begins at a moment
of crisis: when the action is placed towards the end of the war, this signifies a situation in which
Troy cannot be captured despite all the efforts, with the mood of dejection being caused by a new
obstacle which has just emerged and which has doomed the expedition to failure. The crisis may
worsen because of a conflict between the leaders of the Achaeans. On the other hand, the obstacles
determining the crisis may vary. Usually, this role must have been played by the arrival of a new con-
tingent of Trojan allies, which is key to the action of the epic regardless of the traditional functioning
of the catalogue of the allies, which in turn is used only to intensify terror and significance of the
war in question. There may have been other obstacles as well — usually magical, like the Palladium,
the bow of Apollo at Paris disposal etc. Given the imminent danger which all great heroes present
at Troy cannot prevent, there emerges room for a young hero to act. This is a typical way of orga-
nising the plot in an epic. In the Trojan Cycle, the main protagonist, i.e. Achilles, or someone in his
role (e.g. Neoptolemus, Patroclus), has two tasks to perform: kill the leader of the Trojan allies and
Priam s son. Sometimes, like in the Iliad, this task is divided between Achilles and his allomorph. All
deviations from this pattern are modifications — characteristic of oral tradition — of typical scenes.
In the Trojan Cycle there emerged a need to create two main though different protagonists: Achilles
and Odysseus. Such a situation seems to be present already in the Theban Cycle. In both cycles the
two main protagonists appear like a lion and a wild boar collaborating with each other. In fable՞ and
myth-like epics these animals play the role of monsters slain by heroes and they always act separately.
Combining their forces in joint action means that singers resorted to magnifying their epics — this
required them to combine impossibilities on the part of the heroes. Combining impossibilities ob-
viously generates conflicts, which is conducive to making the plot dynamic.
In Achilles fate a key role is played by the prophecy of his death, holding him back. A withdrawal
of the hero from fighting replaces a typical device used in epics, whereby given the helplessness of
others — the best heroes of the period — what is needed is a man from nowhere, a young protagonist
for whom the imminent fight will constitute an initiation into the world of heroes. The prophecy in
the Trojan Cycle replaced the curse, common in the earlier phase of the epic, which constituted the
spiritus movens of the events. The Iliad respects this traditional role of a prophecy, but it is pushed
to the background, because the real reason behind Achilles withdrawal is the fact that Agamemnon
has taken his honour. Many threads in the cycle are clearly paired, with the pairs indicating the
beginning and the end of the story. Among them, the most important seems to be the story of how
Philoctetes was left behind and then brought to the battlefield because he had the bow of Heracles,
which was the only weapon capable of defeating the bow of Apollo, which was at Paris disposal.
This is probably the earliest phase of the Trojan War epic. Philoctetes was replaced in the role of the
hero by a more typical figure — a young protagonist. Preservation of his youth is the most important
feature in Achilles image; it stems from the fact that a magical function was attributed to young
warriors (kouroi): their readiness to give their life for the community they defend acquires a sacred
dimension. The killing of Priam’s son, too, turns out to have preceded the killing of the leader of the
allies, who was added to the narrative in order to intensify the meaning of the events.
Killed by Achilles and his deputies, the leaders of the Trojan allies still have some monstrous fea-
tures — the killing of a monster was a typical task of a hero in the earlier phase of the fable-like and
myth-like epic. This is associated with the presence of the magical and the miraculous in Homers
poems, discussed in Chapter Three. The common opinion that the Iliad is fundamentally different
Summary | 535
from the rest of the cycle should be revised. Fantastic, miraculous and magical elements are common
not only in non-Homeric cyclic poems, but also in the entire Greek epic tradition. Nor they can be
treated as manifestations of a later fashion or any change. Like in other epic traditions, rationalisation
is a later element. A whole host of magical elements that are part of tradition are respected in the
Iliad, the only difference being that one causality is replaced by new causality. In any case, it would
be difficult to call this new causality fully rationalistic; to a large extent it is no less irrational than the
traditional one. Thus the Iliad is an expression of a new tendency in the Greek epic or — unfortu-
nately, less likely — a reflection of its author’s original views. However, this tendency did not replace
the traditional tendency, the power of which in the Archaic period turns out to be markedly greater
than the tendency in Homers poems. This issue leads to an assessment of the presence of historical
content in the Iliad. There is no doubt that any historical references only provide a background to the
heroic action and the difficulty lies in determining to what extent oral tradition is capable of preserv-
ing information from a distant past, and to what extent this picture is subjected to the imagination of
singers, who on the one hand transmit the content in accordance with the reality of their time, and
on the other — create an epic vision of heroic times, a vision full of idealisation and exaggeration. Yet
recent findings of historians and archaeologists do make it possible to find in the myths of mainly the
Theban and the Trojan Cycles some references to the situation of historical Greece and the coast of
Asia Minor in the late Mycenaean period.
In multi-version cyclic poems we will find all kinds of accumulation of events making the plot
very elaborate. Thus, the Iliad is by no means an exception, and its monumental form is more of an
expression of a certain tendency prevailing at that time in performances of oral epics. The simplest
way of expanding the plot is simply to add obstacles to the capture of Troy (Little Iliad). The Iliad
displays a pattern that is present also in the Aethiopis: we see a doubling of the motif of the arrival of
a contingent of Trojan allies. The doubling of this motif in the Iliad is associated with the division of
the task of overcoming the obstacle between two heroes: Achilles and Odysseus. Thus, it is a device
analogous to the substitution of the protagonist and the division of the task of killing the leader of the
allies and Priams son between Achilles and his substitute. The doubling of the plot of the entire cycle
can be found also in the story of the first failed Teutranian campaign.
Cyclic works have features of typical epic oral songs sharing a certain overriding structure. An-
other task is, therefore, to investigate whether the Iliad is in any way different from them in order to
be able to say whether it constitutes a departure from tradition determined by the circumstances in
which the text was written down. The main argument against the orality of the Iliad is its extraordin-
arily elaborate nature. It seems to be a well-though-out work sensitive to every detail. In Chapters
Four to Six I try to demonstrate that such a treatment of Homers work stems from misplaced ex-
pectations and misunderstanding of the specificity of the structure of an oral work. Homer s refined
style stems from the fact that the singer took into account his listeners’ needs and expectations.
Arguments supporting this are presented in several stages.
First of all, research into the status of the aoidos and the nature of his listening public makes its
possible to conclude that it was by no means easy to hold the listeners’ attention. People like to listen
to epic stories, but listening to a song attentively is an exception rather than a rule. A talented singer
tries to tell a traditional story in a manner that would be as interesting to the listeners as possible.
Thus, he constantly needs to stimulate their interest and to help them follow the long action which is
full of digressions. This is based on controlling emotions. The singers behaviour is far from the so-
phisticated devices used by a novelist. The emotion on which it is based is terror. However, the singer
does not build it up consistently, but often surprises us by abandoning it and making us feel a sense of
relief. The relief is usually brief; the singer again starts to build up terror. Thus, we have an emotional
see-saw of sorts, fluctuating between terror and relief. The singer also refers to a rational assessment
of the events. However, his suggestions are addressed to his listeners as a group, to collective ideas of
what is right, appropriate, typical etc. A very frequently used device in this respect is a sense of irony,
based on a reference to the listeners’ knowledge of the world and mythical-epic stories.
536
Summary
Secondly, therefore, the singer assumes a degree of familiarity with the cycles plot on the part
of his listeners and draws on it constantly in various allusions. The allusions help to place the action
of the song in the right place of the cycles story. In addition, they play a huge role in the narrative
strategy adopted by the author of the song. The listeners know the story of the Trojan War, even
if only generally, and even may be familiar — as it turns out — with the content of the Iliad itself.
However, they do not know how the singer will lead the story to the well-known end. Numerous and
varied harbingers of future events help the listeners follow the relentless flow of the oral narrative. At
the same time, the singer is able to deceive the listeners when it comes to their expectations (J. Mor-
rison). In fact, everything told by the singer is a retardation of what he foretells. A specifically oral
phenomenon is the singers reference (much more evident in the Iliad than in the Odyssey) to events
taking place outside the action of the song itself, i.e. reference to the publics familiarity with the cycle.
The strategy of using allusions is not limited only to the right — i.e. in accordance with the sing-
ers intentions — reading of the meanings of various situations, the protagonists utterances, their
often hidden intentions. The basic function is that of foretelling future events expressed not only
in these events being mentioned specifically but in constructing entire scenes to make them recall
events known from tradition. In the Iliad the narrative leads to the key problem of Achilles’ death.
However, from the very beginning the singer has no intention of presenting it. Instead, he recalls
this traditionally important scene in a sequence of other scenes, which refer to it in various sets of
characteristic details. The furthest it may seem from this idea in the case of a character like e.g. Dio-
medes, the more significant details are given. On the other hand, the more a situation resembles its
original, the more the singer tries to make it different (death of Patroclus, wounding of Diomedes).
The sequence of these scenes has a characteristic order as well: first building up terror by making it
similar to the model scene only to suddenly release the tension, when the protagonist escapes un-
harmed despite the listeners’ fears, and when the listeners may expect that in some subsequent scene
the protagonist will again be saved, he is killed. This is what happens in the case of Patroclus death.
A recognition of this strategy enables us to reconcile the positions of neoanalysis and oral theory.
Thus, the singer builds up tension in a specific manner: the scenes presented by him are to foretell
what is to come, but also what is to come is to help us understand what is currently being described.
In other words, by living through Patroclus’ death, the listeners anticipated the death of Achilles, but
also when remembering Achilles’ fate, they were even more profoundly moved by Patroclus’ fate.
Thirdly, the narrative in oral performance develops linearly, though it is also subordinated to the
principle of ring composition. Ring composition is present, as we know, in the speeches of various
protagonists and in bigger narrative fragments; it even encompasses the whole structure of the Iliad.
It stems from the very nature of an important oral utterance (E. Minchin) and organises the text in
a way that makes the listeners aware that they are dealing with a whole and, thanks to it, they can
notice what is really important in the entire long fragment. At the end of the Iliad once again we have
a scene in which an elderly father is asking for his child to be given to him and once again we are
dealing with the question of Achilles’ pleading relationship with the gods associated with this scene.
As we follow the linear transmission of the content in Book One and then compare the results with
the scenes ending the Iliad, we can come to surprising conclusions. The listeners are told to juxtapose
Agamemnon’s refusal of Chryses’ request — which nothing can justify and which is motivated by
the king’s hubris and desire to show his domination over all the others — with Achilles’ acceptance
of Priam’s request, surprising given the development of the action so far and occurring despite the
fact that the hero cannot satisfy his anger and has good reasons to refuse the king of an enemy state
and the father of his most hated enemy. All this enabled the listeners to see Agamemnon’s conduct as
reprehensible and mean, despite the semblance of this character’s greatness, and Achilles’ conduct as
extraordinary and commendable, despite the fact that the nobility of this character was deliberately
obscured. Such a presentation of the protagonists is markedly different from their typical images
in the epic tradition. Achilles’ withdrawal from the fighting is a typical motif, but it acquires new
motivation: instead of a fear of death, the hero is deterred by the fact that he has been deprived of
Summary | 537
his honour. His return to the battlefield and heroic deeds were the essence of every epic dealing with
him, but here they acquire a new dimension of personal revenge and reconciliation with his own
mortality in the face of the biggest loss he could suffer. His gesture of pity towards Priam is a sign that
he has recognised his human condition in its fullness. Achilles ceases to be a demigod and becomes
a human being, who initially rebels against the injustice of the world that cannot appreciate his great-
ness, and finally accepts his fate as the fate of every man, even an enemy. The description of Achilles
is completed by a comparison of this figure with young heroes from other epic traditions who serve
the role of the protagonists of epic songs. In a comparative perspective, Homers Achilles has all the
typical features of an epic hero but is reinterpreted in almost all respects. In addition, the material
taken into account by the author of the Iliad has many versions and draws in many respects on very
old structures of an oral epic.
Ring composition makes us see the course of the action in a completely different way than in
the case of literary tradition. The scenes at the beginning and at the end provide a framework for
the Iliad, suggesting the right understanding of the episode and placing it within the perspective
of the entire war. The listeners not so much learn what happened before and what will happen later
(they know that from tradition), but are confronted with these events from the right moral perspec-
tive. They receive a whole range of suggestions as to how they should perceive the behaviour of the
various characters. Often this is in opposition to the epic tradition, and we see that a talented singer
can present a traditional story tendentiously, i.e. as he himself understands the essence of the story,
using his own moral principles, though conforming to the ideas of the public at large. Thus, Homers
creation is analogous to Avdo Mededovics work on expanding traditional songs. The very centre of
the Iliad from the point of view of oral performance — i.e. at noon of the middle day of the battle,
which fills the time between the periods of the beginning and the end of the narrative — is occupied
by the scene of Patroclus* death. While Hectors death presages the fall of Troy, the death of Patroclus
presages the death of Achilles. However, this is a special kind of presaging, because it is emotionally
experienced by the listeners.
Spis treści
Wstęp.......................................................................... 11
1. Zarys historii badań.................................................... 20
Neoanaliza ............................................................. 20
Teoria oralna........................................................... 22
Neoanaliza i teoria oralna.............................................. 25
Formuła................................................................. 27
Znaczenie kontekstualne formuły......................................... 29
Formularność języka Homera ............................................. 30
Datowanie formuł........................................................ 31
Sceny typowe ........................................................... 31
Poezja cykliczna........................................................ 32
2. Uwagi techniczne........................................................ 35
Rozdział I. Cykl i pieśń ..................................................... 37
L Fenomen cyklu; ustalanie ciągu fabularnego i ról bohaterów.............. 37
2. Związek cyklu pieśni z cyklem czasu ................................... 54
Cykl epicki ........................................................... 54
Termin κύκλος...................................................... 54
Cykliczna przestrzeń............................................... 56
Czas cyklu......................................................... 58
Cykle Iliady........................................................... 67
Przypuszczalny pierwotny kształt akcji ................................ 79
3. Jak powstaje cykl. Epizod w perspektywie całości. Ustalenie treści poematów
cyklicznych................................................................ 81
Jakim zestawem pieśni był cykl — w jaki sposób tworzą całość........ 85
Jak wygląda struktura pieśni epickiej ................................. 92
4. Pierwsza pieśń Demodoka a inwokacja do Iliady i Odysei.............. 97
5. Różnice między Homerem a Cyklem........................................ 122
6. Miejsce Iliady w fabule cyklu. Zagadnienie: czy Iliada jest niezbędnym ele-
mentem ciągłości fabuły .............................................. 125
Kwestia adekwatności tytułu Iliady..................................... 131
Związki Iliady z Odyseję............................................... 133
Rozdział II. Pieśń i tradycja. Schemat opowieści epickiej..................... 137
1. Schematy fabuły eposu greckiego na tle pieśni południowych Słowian.. 137
2. Podobieństwa zdarzeń cyklicznych jako ślad tradycyjnych schematów ..... 145
Kombinacje scen typowych .............................................. 145
Przybycie sprzymierzeńców..........................,............ 146
Zabicie wodza sprzymierzeńców a zabicie syna Priama ............... 152
Wycofanie Achillesa z walki/ przepowiednia jego śmierci .......... 154
Rzeczy niezbędne do zdobycia Troi ................................. 160
6 I Spis treści
Specyfika schematów Cyklu Trojańskiego.............................. 165
Achilles i Odys.................................................... 165
Klątwa i przepowiednia w relacji z psogos ...................... 173
Memnon............................................................. 182
3. Sięganie w głąb tradycji............................................... 195
Zbrojenie się bohatera............................................... 195
Kłótnia lwa i dzika................................................... 200
Gwarancja sławy ...................................................... 211
4. Wykorzystywanie schematów w Cyklu Trojańskim .......................... 214
Potencjalność wykorzystywania schematu................................ 214
Powtarzanie schematu.................................................. 221
Rozdział III. Fantastyka Cyklu i racjonalność Homera ..................... 225
1. Fantastyka i magia..................................................... 225
Problem obecności fantastyki i magii w Cyklu i w dziełach Homera... 225
Podskórność magii w Iliadzie.......................................... 234
Przedmioty magiczne w innych cyklach .............................. 234
Przedmioty magiczne w Iliadzie .................................... 241
Magia a racjonalizm Homera......................................... 252
Postaci fantastyczne skrywane w Iliadzie.............................. 262
Chejron i Memnon .................................................. 262
Historyczność Etiopów.............................................. 268
Historyczność Troi i Wojny Trojańskiej................................ 272
Kwestia dominującej roli Teb w świecie mykeńskim .................. 274
Sytuacja atakowanej Troi .......................................... 277
Kwestia fantastyki i baśniowości obrazu epickiego..................... 277
Dwoistość państwa trojańskiego..................................... 279
2. Związki między Cyklami................................................ 280
Podobieństwa między cyklami w literaturze przedmiotu ................. 280
Kształtowanie nowych cyklów........................................... 286
„Podwojenie” Cyklu Trojańskiego....................................... 288
Kreowanie cyklu....................................................... 291
Rozdział IV. Aluzje w relacjach pieśniarz-publiczność .................... 295
1. Kryteria odbioru oralnego ............................................. 295
Aluzyjność tekstu..................................................... 295
Oddziaływanie na słuchaczy ........................................... 298
Pieśniarz ............................................................ 300
Publiczność........................................................... 312
2. Inwencja czy aluzja .................................................. 318
3. Groza i ulga.......................................................... 325
4. Ironia................................................................ 335
5. Formuła a oddziaływanie na słuchaczy ............................... 346
6. Podwójna funkcja powtórzeń............................................ 348
7. Meleager — wrażliwość na szczegół .................................... 357
8. Konkluzje ............................................................ 362
Spis treści I 7
Rozdział V. Paralełność scen Cyklu i Iliady ................................ 365
1. Stosunek pieśni do tradycji....................................... 367
2. Funkcjonalność aluzji ............................................... 373
3. Sceny paralelne Iliady i Aithiopidy.................................. 385
4. Diomedes — alter ego Achillesa....................................... 390
5. Czas ratowania Nestora............................................... 399
6. Sekwencje scen....................................................... 403
7. Modalność i tradycyjność............................................. 426
Rozdział VI. Relacja między ethopoiią a systemem aluzji zewnętrznych u Homera 431
1. Powód sporu........................................................... 432
2. Oszustwo Achillesa .................................................. 434
3. Zasady odbioru oralnego ............................................. 436
4. Spór Achillesa z Agamemnonem......................................... 440
5. Charakter Achillesa.................................................. 464
Egoizm a troska o los grupy.......................................... 466
Zachłanność i skromność potrzeb...................................... 473
Okrucieństwo i litość................................................ 474
6. Achilles jako heros.................................................. 478
Zakończenie ................................................................ 497
Bibliografia ............................................................... 505
Summary..................................................................... 533
Indeks badaczy.............................................................. 539
Indeks postaci.............................................................. 543
Indeks źródeł............................................................... 551
Indeks kluczowych słów i tematów............................................ 557
|
| any_adam_object | 1 |
| author | Zieliński, Karol 1968- |
| author_GND | (DE-588)1253819610 |
| author_facet | Zieliński, Karol 1968- |
| author_role | aut |
| author_sort | Zieliński, Karol 1968- |
| author_variant | k z kz |
| building | Verbundindex |
| bvnumber | BV042636738 |
| ctrlnum | (OCoLC)915913266 (DE-599)BVBBV042636738 |
| format | Book |
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| id | DE-604.BV042636738 |
| illustrated | Not Illustrated |
| indexdate | 2024-07-10T07:06:26Z |
| institution | BVB |
| isbn | 9788322933572 |
| language | Polish |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-028069192 |
| oclc_num | 915913266 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 558 s. 24 cm |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | Wydawnictwo Uniwersytetu Wrocławskiego |
| record_format | marc |
| series | Acta Universitatis Wratislaviensis |
| series2 | Acta Universitatis Wratislaviensis |
| spelling | Zieliński, Karol 1968- Verfasser (DE-588)1253819610 aut Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej Karol Zieliński Wrocław Wydawnictwo Uniwersytetu Wrocławskiego 2014 558 s. 24 cm txt rdacontent n rdamedia nc rdacarrier Acta Universitatis Wratislaviensis 3556 Zsfassung in engl. Sprache u.d.T.: "The Iliad" and its epic tradition Bibliogr. s. 505-531. Indeksy Homerus / Iliás Homerus ca. v8. Jh. Ilias (DE-588)4135525-8 gnd rswk-swf Narracja / w literaturze greckiej Epik (DE-588)4015025-2 gnd rswk-swf Mündliche Überlieferung (DE-588)4040600-3 gnd rswk-swf Homerus ca. v8. Jh. Ilias (DE-588)4135525-8 u Epik (DE-588)4015025-2 s Mündliche Überlieferung (DE-588)4040600-3 s DE-604 Acta Universitatis Wratislaviensis 3556 (DE-604)BV004668106 3556 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028069192&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028069192&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Zieliński, Karol 1968- Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej Acta Universitatis Wratislaviensis Homerus / Iliás Homerus ca. v8. Jh. Ilias (DE-588)4135525-8 gnd Narracja / w literaturze greckiej Epik (DE-588)4015025-2 gnd Mündliche Überlieferung (DE-588)4040600-3 gnd |
| subject_GND | (DE-588)4135525-8 (DE-588)4015025-2 (DE-588)4040600-3 |
| title | Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej |
| title_auth | Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej |
| title_exact_search | Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej |
| title_full | Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej Karol Zieliński |
| title_fullStr | Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej Karol Zieliński |
| title_full_unstemmed | Iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej Karol Zieliński |
| title_short | Iliada i jej tradycja epicka |
| title_sort | iliada i jej tradycja epicka studium z zakresu greckiej tradycji oralnej |
| title_sub | studium z zakresu greckiej tradycji oralnej |
| topic | Homerus / Iliás Homerus ca. v8. Jh. Ilias (DE-588)4135525-8 gnd Narracja / w literaturze greckiej Epik (DE-588)4015025-2 gnd Mündliche Überlieferung (DE-588)4040600-3 gnd |
| topic_facet | Homerus / Iliás Homerus ca. v8. Jh. Ilias Narracja / w literaturze greckiej Epik Mündliche Überlieferung |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028069192&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028069192&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV004668106 |
| work_keys_str_mv | AT zielinskikarol iliadaijejtradycjaepickastudiumzzakresugreckiejtradycjioralnej |