Eleanor dickey greek prose composition

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eleanor dickey greek prose composition

Eleanor Dickey (Author of Learning Latin the Ancient Way)

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Greek 101: Learning an Ancient Language - The Great Courses


Flat Style by Ian Bradley. Privacy Terms. Quick links. Board index Greek Learning Greek. Use this board to ask questions about grammar, discuss learning strategies, get help with a difficult passage of Greek, and more. This extract from the preface seems important for Textkit readers: "To derive maximum benefit from the exercises, the relevant vocabulary and grammatical forms should be memorized before each chapter is undertaken, so that the sentences can be done without consultation of reference works.

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Students usually read a good deal of ancient Greek without writing much of it, at least until they reach graduate school where there is a Greek Prose Composition requirement. By this point, they have accrued a large passive vocabulary and a fairly nuanced sense of the grammar, so the unspoken expectation often seems to be that they therefore ought to be able to write idiomatic Greek sentences too. Rather than simply being given a grammatical topic for review and a number of English sentences to translate at home, the student instead begins with a reduced list of words to memorize actively ahead of time, and only then, after memorizing the words and grammar, turns to the assignment, which is to be done from memory. Even if students have the best intentions of committing to memory the words and phrases that they are looking up, how exactly does one memorize LSJ in a semester-long course? This reduction of LSJ to manageable lists of words per assignment is paralleled in a reduction of the grammar. The book is divided into twenty chapters in traditional progression, beginning, for example, with accent review Ch.

I began studying Greek at age 18; this gives me particular sympathy with students who begin languages at university. I am interested in pretty much everything, especially the ancient world and its languages and literatures; the common thread connecting my different research projects is a desire to use rigorous, fact-based analysis often, but by no means always, of language to shed new light on literary texts and on the world and thought processes of the people who wrote those texts. Over the years my research has focused on the sociolinguistics of Greek and Latin how factors like age, gender, and social class influenced the language that ancient speakers used , the history of Greek and Latin their development from Indo-European through the ancient languages we usually study to the modern Romance languages and modern Greek , how those languages were taught and analysed in antiquity ancient scholarship and language teaching in antiquity , and language contact in antiquity especially Greek speakers learning Latin and the influence of Latin on Greek. Some of my work is interdisciplinary, involving both Classics and linguistics. My first book Greek Forms of Address, Oxford University Press concerns the forms of address vocatives one ancient Greek would use to another and attempts to answer questions such as: who used which vocatives, and to whom? What overtones did particular addresses convey?

She is an expert on Greek and Latin linguistics and has published more than eighty scholarly works, including books on Greek forms of address, Latin forms of address, ancient Greek scholarship, and the Colloquia of the Hermeneumata Pseudodositheana an ancient Latin and Greek textbook. Eleanor Dickey. Why learn to write in a dead language? Because a really good understanding of a language can only be attained by using it actively. Unlike earlier textbooks aimed at schoolboys, this work addresses modern adults who want to understand concepts fully as they learn. Drawing on recent scholarship where appropriate and assuming no prior background except some reading knowledge of Greek, the course combines a structured review of paradigms and vocabulary with clear and comprehensive explanations of the rules of Greek syntax. Large numbers of exercises are provided, both with and without key: a complete set of cumulative exercises and another set of non-cumulative exercises for those who prefer to dip into specific sections.

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