Publications

2012
Elmer DF, Bonifazi A. The Meaning of Melody: Remarks on the Performance-Based Analysis of Bosniac Epic Song. In: Harris J, Hillers B Child's Children: Ballad Study and Its Legacies. Trier: Wissenschaftlicher Verlag Trier ; 2012. pp. 233-247.
Elmer DF. Orestes in Skopje: The Macedonian "Oresteia" of Milcho Manchevski. Donum natalicium digitaliter confectum Gregorio Nagy septuagenario a discipulis collegis familiaribus oblatum. 2012. Website
Elmer DF. Building Community Across the Battle-Lines: The Truce in Iliad 3 and 4. In: Wilker J Maintaining Peace and Interstate Stability in Archaic and Classical Greece. Berlin: Verlag Antike ; 2012. pp. 25-48.
2011
Bonifazi A, Elmer DF. Composing Lines, Performing Acts: Clauses, Discourse Acts, and Melodic Units in a South Slavic Epic Song. In: Minchin E Orality, Literacy and Performance in the Ancient World. Leiden: Brill ; 2011. pp. 89-109.
Elmer DF. Oral-Formulaic Theory. In: Finkelberg M The Homer Encyclopedia. Malden, MA: Wiley-Blackwell ; 2011. pp. 604-607.
2010
Elmer DF. Kita and Kosmos: The Poetics of Ornamentation in Bosniac and Homeric Epic. Journal of American Folklore. 2010;123 (489) :276-303.
2009
Elmer DF. Presentation Formulas in South Slavic Epic Song . Oral Tradition. 2009;24 (1) :41-59.
2008
Elmer DF. Epikoinos: The Ball Game Episkyros and Iliad 12.421-3. Classical Philology. 2008;103 (4) :414-422.
Elmer DF. Heliodoros' 'Sources': Intertextuality, Paternity, and the Nile River in the Aithiopika. Transactions of the American Philological Association. 2008;138 (2) :411-450.
2005
Elmer DF. Helen Epigrammatopoios. Classical Antiquity. 2005;24 (1) :1-39.Abstract
Ancient commentators identify several passages in the Iliad as ‘epigrams.’ This paper explores the consequences of taking the scholia literally and understanding these passages in terms of inscription. Two tristichs spoken by Helen in the teikhoskopia are singled out for special attention. These lines can be construed not only as epigrams in the general sense, but more specifically as captions appended to an image of the Achaeans encamped on the plain of Troy. Since Helen’s lines to a certain extent correspond to the function and style of catalogic poetry, reading them specifically as captions leads to a more nuanced understanding of both Homeric poetry and Homeric self-reference. By contrasting Helen’s ‘epigrams’ with those of Hektor, one can also discern a gender-based differentiation of poetic functions.

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