Chapter Eight Embedded Focalization and Free Indirect Speech in Homer as Viewpoint Blending

Chapters in this book

1. Frontmatter i
2. Contents v
3. A Note on Iota Adscript and the Transliteration of Proper Nouns vii
4. Acknowledgments ix
5. Introduction 1
6. Part I Rhapsodes
7. Chapter One Performance Contexts for Rhapsodic Recitals in the Archaic and Classical Periods 29
8. Chapter Two Reading Rhapsodes on Athenian Vases 76
9. Chapter Three Performance Contexts for Rhapsodic Recitals in the Hellenistic Period 98
10. Chapter Four Rhapsodes and Rhapsodic Contests in the Imperial Period 130
11. Chapter Five Formed on the Festival Stage: Plot and Characterization in the Iliad as a Competitive Collaborative Process 151
12. Chapter Six Did Sappho and Homer Ever Meet? Comparative Perspectives on Homeric Singers 178
13. Part II Narrators and Characters
14. Chapter Seven Odysseus Polyonymous 205
15. Chapter Eight Embedded Focalization and Free Indirect Speech in Homer as Viewpoint Blending 230
16. Chapter Nine Speech Training and the Mastery of Context: Thoas the Aetolian and the Practice of Muthoi 255
17. Chapter Ten Diomedes as Audience and Speaker in the Iliad 278
18. Chapter E leven Hektor, the Marginal Hero: Performance Theory and the Homeric Monologue 299
19. Chapter Twelve Performance, Oral Texts, and Entextualization in Homeric Epic 320
20. Chapter Thirteen Homer’s Rivals? Internal Narrators in the Iliad 351
21. Works Cited 378
22. Notes on Contributors 419
23. Index of Terms 421
24. Index of Passages 425