The article shows that in the Archaic period the Greeks did not possess a term equivalent to Classical ποιητής “poet-composer.” The principal meaning of the word άοιδός, often claimed to correspond to ποιητής and modern English poet, was “tuneful” or “singer” . The secondary meaning “poet working in the hexameter medium” is limited to the post-Iliadic hexameter corpus. It is furthermore possible to show that the simplex άοιδός was backderived from a compound. More specifically, following Hermann Koller, I propose that (...) the secondary meaning, being an epic innovation, developed from the compound *θεσπιαοιδός “singer of things divine,” whereas the primary meaning “singer” may go back to έπαοιδός, which later acquired the specialized meaning “singer of incantations.”. (shrink)

Thirty years after the appearance of Wolf Leslau’s Comparative Dictionary of Geʿez, the present study aims at correcting and updating some of the entries of this major tool of Semitic etymology. New data from Ugaritic, Akkadian, and especially Modern South Arabian are prominent among the additions.

It is shown that the Old Chinese terms for the four directions form two etymological pairs, one of which (north-south) relates to the notions of front and back (of the house: houses faced south in early China ) and the other (east-west) to notions of beginning vs. ceasing movement, applied to the sun. The relevant word families are adumbrated, the morphology explained and Sino-Tibetan cognates established.

Part personal documentary, part exercise in medical semantics, this essay brings the analytical tools of a linguist and the human perspective of a patient receiving treatment in the American health care system to bear on the language we use—for the most part unconsciously—to talk about illness and disease. Topics to be explored include linguistic ramifications of the illness/disease distinction; referring expressions for health disorders; the “linguistic construction” of disease (what's in a name?); the “translation” of biomedical information from the specialists' (...) dialect into everyday idiom; and the metaphoric/symbolic dimension of body-parts and their afflictions. (shrink)

The aim of this article is to map the relationship between the main words that comprise the Homeric lexicon of roads, journeys, paths and travel. The central task is to explore the relationship between the words hodos and keleuthos; along the way, the article will also address other terms that appear less frequently, such as atarp(it)os and poros. The article first teases out a difference in sense between keleuthos in the singular and in the plural. The discussion of keleuthos provides (...) a key distinction, namely between ‘object-concepts’ and ‘activity-concepts’, that proves valuable in discussing different senses of the word hodos. Rather than differentiating the words keleuthos and hodos as others have suggested, however, this distinction should be used to differentiate domains of meaning within each word. The result will be what might be conceived of as a four-part grid, with the two words hodos and keleuthos split into two distinct parts along the ‘activity-concept’/‘object-concept’ axis. Finally, concepts drawn from discussions of verbal aspect and philosophy of action are deployed heuristically to develop further the analysis of this semantic field. (shrink)

It is characteristic that in consideration of the issues related to feeling, one encounters a problem of its definition; it is not only about determining the essence of feeling itself but first it must be explained how we understand and use the word ’feeling’. We could give examples from Polish, German, French, English and Latin as well as Ancient Greek to look into the issue of determining ’feeling’ as a language category. Feeling is described by words that are not cognates (...) in these languages; also, the terms function in ways that overlap only partially, so they are only partial counterparts. Does it mean that the very essence of feeling is different or appears as something different to the speakers of the many languages? Or is it that some languages create the word ’feeling’ more skillfully than others, some rendering it more aptly than others? Or maybe giving a name to feeling exceeds the capacity of language? Does the lack of the equivalent of the Polish word uczucie in the Greek language mean, as is often presupposed, that feeling was beyond the ancient philosophers’, psychologists’ or poets’ perception? (shrink)

The relationship between typology and Cognitive Linguistics was first posed in the 1980s, in terms of the relationship between Greenbergian universals and the knowledge of the individual speaker. An answer to this question emerges from understanding the role of linguistic variation in language, from occasions of language use to typological diversity. This in turn requires the contribution of discourse analysis, sociolinguistics, and evolutionary historical linguistics as well as typology and Cognitive Linguistics. While Cognitive Linguistics is part of this enterprise, a (...) theory of language that integrates all of these approaches is necessary. (shrink)

El poema épico de Ovidio -una historia universal mítico-etiológica- se abre con un relato acerca del origen del mundo, seguido por la creación del hombre. La transformación del caos en cosmos es, por ende, la primera metamorfosis. El texto continúa con una descripción de las Edades decrecientes, puesto que la instauración de un orden armonioso siempre está seguida por su disolución (HOLZBERG 2002: 120). Este trabajo se propone estudiar la cosmogonía y antropogonía ovidianas a partir de las categorías específicas enunciadas (...) por W. BURKERT (1999: 87-106) y explorar las relaciones entre lo que se ha denominado carácter 'tecnomórfico' de dicha cosmogonía y la figura del poeta en cuanto tal. Ovid's epic poem, a mythical and etiologic world history, starts with a story about the origin of the world, followed by the creation of man. Thus, the first metamorphosis is the transformation of chaos into cosmos. The text continues with a description of the decreasing Ages, since the establishment of a harmonious order is always followed by its dissolution (HOLZBERG 2002: 120). This work intends to study ovidian cosmogony and anthropogony starting from specific categories set out by W. BURKERT (1999: 87-106) and explore the relationship between what has been termed technomorphic character of cosmogony and the figure of the poet itself. (shrink)