Telemachus in Ithaca: Delimitation of Identity Frontiers in The
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, A
Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, a young poet employed as a school teacher; Buck Mulligan, a med student; and an Englishman called Haines, who is in Ireland to study Celtic culture, spend their morning in their Martello Tower at the seaside resort town of Sandycove, south of Dublin. Stephen, who is mourning for his dead mother, watches Buck shave on the parapet, they discuss things, Buck goes inside to cook breakfast. They all eat while a local farm woman brings them their milk. Then they walk Martello (now called the "Joyce") Tower at down to the "Forty Foot Hole," where Buck Sandycove swims in Dublin Bay. Pay careful attention to what the swimmers say about the Odyssey, Odysseus was missing, Bannons and the photo girl. presumed dead by most, for ten years after the end of the Trojan War, and Look for parallels between Stephen and his palace and wife in Ithaca were Hamlet, on one hand, and Telemachus, the beset by "suitors" who wanted to son of Odysseus, on the other. In the become king. Ulysses is a sequel to Joyce's A Portrait of the Artist as a Young Man, which is a bildungsroman starring Stephen Dedalus. That novel ended with Stephen graduating from University College, Dublin and heading off for Paris to launch his literary career. Two years later, he's back in Dublin, having been summoned home by his mother's illness. So he's something of an Icarus figure also, having tried to fly out of the labyrinth of Ireland to freed om, but having fallen, so to speak. -
Jacques-Louis David
Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title. -
The Suitors' Take: Manners and Power in Ithaka
Colby Quarterly Volume 29 Issue 3 September Article 4 September 1993 The Suitors' Take: Manners and Power in Ithaka Donald Lateiner Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Quarterly, Volume 29, no.3, September 1993, p.173-196 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Lateiner: The Suitors' Take: Manners and Power in Ithaka The Suitors' Take: Manners and Power in Ithaka by DONALD LATEINER 1. Introduction HIS ESSAY EXAMINES "give and take" behaviors of the suitors, men of T acknowledged stature still inadequately examined by modern critics. The approach owes a debt to the social or human "sciences" of social psychology, historical anthropology, and comparative economics. I employ categories of nonverbal behavior, of social order and face-to-face interaction, and models of distributive reciprocity including gift-exchange. These tools for analyzing practices and habits that structure communities less and more complex than our own clarify heroic power and prestige and their absence. 1 These pages explore institutions of ubiquitous influence, characters of some depth, and situations ofsufficient complexity and significance. This exploration of elite ideology, of "what goes without saying," these quotidian values with which all comply complaint-free, shows how those in power "extortthe essential while seeming to demand the insignificant." It also addresses lesser phenomena, gestures and apparently off-handed comments in a carefully plotted text. This is a narrative "one of whose central themes.. -
Telemachus the Odyssey What We Know So Far
Telemachus The Odyssey What we know so far Telemachus: ● Has never met his father and has been raised by his mother and the maids ● No male role model to teach him how to be a Prince/King ● He has never fought in a war ● Needs father to give him the throne ● Young Suitors: ● In Ithaca for 4 years ● Feast all the time→ eating and drinking Odysseus’ food and wine ● They want to marry Penelope so they can become King ● Greedy ● Selfish ● Rude/Disrespectful ● Have “right” to be in Ithaca Telemachus’ speech ● Tells everyone that what suitors are doing is wrong ○ “plaguing my mother” ○ “insolent suitors” ● Tells them that they have to leave his palace ● Tells them to go feast somewhere else and eat their own food ● Realizes that he does not have the power to stop them ○ “I’d swing to attack if I had the power in me” ● Tells suitors that they should be ashamed of themselves for what they are doing ● Says that they should all fear the gods- they also see that this is wrong ● Reminds everyone that Odysseus never did anything against them Suitors’ Response ● They blame Penelope for what they are doing ○ she has been leading them on ○ she has been promising to choose for years ○ bring up the weaving trick ● They ask Telemachus to send mom back to her father’s house and have him choose new husband ● They refuse to leave- they have the right to be here ● They will continue to do as they are doing until she chooses ● They believe Odysseus is dead ● They believe that they can defeat him even if he shows up ● They do not fear Telemachus ○ “who is there -
The Swedish Odyssey Scott D. Richardson (St. John's
The Swedish Odyssey Scott D. Richardson (St. John's University) Among the post-Homeric treatments of Odysseus, the Swedish novel, Strändernas svall (1946), by Nobel-prize winner Eyvind Johnson has gone largely unnoticed by Homeric scholars. Even Stanford gives it only a brief mention in his comprehensive The Ulysses Theme published two years after the novel’s English translation (dubbed The Return to Ithaca, 1952), now out of print. Yet this novel not only covers almost the entire plot of Homer’s Odyssey but it also gives us a fresh and penetrating exploration of the principal characters compatible with both the ancient epic and the post-WWII world. My goal is twofold: first, to introduce this excellent novel to those who love the Odyssey and, second, to demonstrate how Johnson’s fascinating alterations and embellishments actually draw out features in Homer’s portrayal that can shed rich insight into the characters and plotlines of the epic. When we meet Odysseus outside of Homer, we usually see a single episode in his life, sometimes from the Odyssey years, sometimes beforehand. Dante and Tennyson take us beyond his return to Ithaka, as does Kazantsakis’ mammoth sequel. Not many have tried to cover the same ground as Homer. Two 20th-century efforts are Johnson’s novel (literally, Surge of the Shores) and Margaret Atwood’s recent Penelopiad, which looks at the Ithacan portion of the Odyssey story largely through Penelope’s eyes and voice. Both use Homer as a launching pad for their explorations of contemporary concerns, and both surprise us with quite unHomeric facts and incidents. -
Chaos, Order, and Cunning in the "Odyssey" Author(S): M. E. Heatherington Source: Studies in Philology, Vol. 73, No. 3 (Jul., 1976), Pp
Chaos, Order, and Cunning in the "Odyssey" Author(s): M. E. Heatherington Source: Studies in Philology, Vol. 73, No. 3 (Jul., 1976), pp. 225-238 Published by: University of North Carolina Press Stable URL: http://www.jstor.org/stable/4173907 Accessed: 22-03-2016 14:31 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of North Carolina Press is collaborating with JSTOR to digitize, preserve and extend access to Studies in Philology . http://www.jstor.org This content downloaded from 64.58.181.189 on Tue, 22 Mar 2016 14:31:38 UTC All use subject to JSTOR Terms and Conditions STUDIES IN PHILOLOGY Volume LXXIII JULY, I976 Number 3 Chaos, Order, and Cunning in the Odyssey by M. E. Heatherington T HE chaos caused by the Trojan War did not end when the war did. Besides Odysseus's own troubles, we have ample testimony in the Telemachia from Nestor (III) and Menelaos (IV),, and from most of the heroes in Hades (XI, XXIV), that disruption, confusion, disorder, and despair were the norm among the Achaian host for many years after the fall of Troy. The whole thrust of the Odyssey is toward a restoration of order to that chaotic universe, a social and moral order which all who knew Odysseus swear did obtain on Ithaka before he left, but which we never actually see holding true. -
Françoise Létoublon We Shall Here Study the Possible Coherence Or
Brolly. Journal of Social Sciences 1 (2) 2018 LIVING IN IRON, DRESSED IN BRONZE: METAL FORMULAS AND THE CHRONOLOGY OF AGES1 Françoise Létoublon UFR LLASIC University Grenoble-Alpes, France [email protected] Abstract. Names of important metals such as gold, silver, iron, and bronze occur many times in the Homeric Epics. We intend to look at them within the framework of oral poetry, with the purpose to determine if they form a more or less coherent set of “formulas”, in the sense defined by Milman Parry and the Oral Poetry Theory2, and to test a possible link with the stages of the evolution of humankind. Though several specialists criticized some excess in Parry’s and Lord’s definitions of the formula, we deem the theory still valuable in its great lines and feel no need to discuss it for the present study3. The frequent use of bronze in epical formulas for arms, while the actual heroes fight their battles with iron equipment, and the emphasis of gold in the descriptions of wealth may reflect a deep-seated linguistic memory within the archaic mindset of the Ages of Mankind. With Homer’s language as our best witness, metal formulas testify to the importance of the tradition of the Ages of Mankind in understanding the thought patterns and value-systems, as well as some linguistic usages of the Homeric Epics. Keywords: oral poetry, the Myth of Ages, metals, gold, bronze, iron, metaphors, anthropology We shall here study the possible coherence or opposition between linguistic and literary artefacts in Homer and Hesiod on one hand, and archaeological or historical data on the other. -
Odyssey Translated Byrobertfitzgerald Homer from the Xenia, Wasveryimportantingreek NOTES from the ANCHOR TEXT|EPICPOEM Odyssey, Part2 MULTIMEDIA SCAN FOR
ANCHOR TEXT | EPIC POEM from the Odyssey Homer translated by Robert Fitzgerald Part 2 The Return of Odysseus BACKGROUND The Greek concept of hospitality, xenia, was very important in Greek SCAN FOR culture and plays a role in Odysseus’ tale. Some scholars believe that MULTIMEDIA this value is based on Greek religious belief. Since the Greek gods could take multiple earthly forms, there was always the possibility that the stranger at the door was a god in disguise. Thus, Greeks opened their homes to strangers. In Part 2, as Odysseus returns home, it is clear that this cultural practice has created some problems. “Twenty years gone, and I am back again . .” NOTES Odysseus has finished telling his story to the Phaeacians. The next day, young Phaeacian noblemen conduct him home by ship. He arrives in Ithaca after an absence of twenty years. The goddess Athena appears and informs him of the situation © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson at home. Numerous suitors, believing Odysseus to be dead, have been continually seeking the hand of his wife, Penelope, in marriage, while overrunning Odysseus’ palace and enjoying themselves at Penelope’s expense. Moreover, they are plotting to from the Odyssey, Part 2 595 murder Odysseus’ son, Telemachus, before he can inherit his father’s NOTES lands. Telemachus, who, like Penelope, still hopes for his father’s return, has journeyed to Pylos and Sparta to learn what he can about 1. Eumaeus (yoo MEE uhs) his father’s fate. Athena disguises Odysseus as a beggar and directs him to the hut of Eumaeus,1 his old and faithful swineherd. -
An Alternative Virtual Odyssey
XXII Generative Art Conference - GA2019 An Alternative Virtual Odyssey Yiannis Papadopoulos Computer Science, University of Hull, Hull, United Kingdom https://yipapadopoulos.wixsite.com/yiap e-mail: [email protected] Luis Torrao Computer Science, University of Hull, Hull, United Kingdom www.luistorrao.com e-mail: [email protected] Agelina Vakali Translator and Dramaturg, Athens, Greece e-mail: [email protected] __________________________________________________ 1. Introduction For over 25 years, Athenian painter Stefanos Zannis has been painting Homer’s Odyssey but with a twist: delving into verses of the original poem who many would find obscure. This ancient poem has always been a quintessential symbol of the journey of life that we all go through, complete with the monsters we face and the longing for a spiritual home, or end-goal, symbolised by Odysseus island home, Ithaka. We take inspiration from Stefanos’s work on this epic poem to create an ‘alternative virtual Odyssey’ in multimedia form, an artistic reinterpretation of the poem that throws light on unheroic but important and emotionally loaded aspects of this journey. This virtual Odyssey takes place in a navigable virtual gallery of Stefanos’s works which are projected on multimedia sculptures created with the Timaeus art studio [1]. Sculptures are customized with media including images, videos, music, and narration, can be hollow and translucent, illuminated, and navigated either externally or internally. These become curved spaces or ‘worlds’ where projected episodes of the Odyssey can be experienced in three dimensions. Timaeus is thus a medium for creating spaces appropriate for experiencing the elements of this alternative Odyssey. -
Myth, Modernism and Mentorship: Examining François Fénelon's Influence on James Joyce's Ulysses by Robert Curran a Thesis
Myth, Modernism and Mentorship: Examining François Fénelon’s Influence on James Joyce’s Ulysses by Robert Curran A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Robert Curran ii Myth, Modernism and Mentorship: Examining Francois Fenelon’s Influence on James Joyce’s Ulysses by Robert Curran This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Julieann V. Ulin, Department of English, and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: 1/ u~ Jujjeann V. Ulin, Ph D. Thesis Advisor Mary FarftciFar/ci, Ph D. John C. Leeds, Ph D. Eric L. Berlatsky, Ph D. Chair, Department of English Heather Coltman, D.M.A. Dean, Dorothy F. Schmidt College of Arts and Letters crt is/a.ou,» Jpfborah L. Floyd, Ed.D. Date / Dean, Graduate College iii ACKNOWLEDGEMENTS The author wishes to express sincere gratitude to his committee members for all of their guidance and support. I am deeply indebted to my committee chair, Professor Ulin, whose mentorship made this thesis a reality. Professor Leeds provided me with an important understanding of literary criticism. I am indebted to Professor Faraci for igniting my passion for literature. The author is grateful for the help and assistance he received from the Harry Ransom Center, University of Texas at Austin, as well as from Florida Atlantic University’s Marvin and Sybil Weiner Spirit of America Collection. -
The Odyssey Book One Handout the Features of an Epic Activity
The Odyssey Book One Handout The Features of an Epic An epic is a long, booklength poem that tells a story about a hero. The ancient poet Homer wrote both The Iliad (the story of the Greeks defeating the their enemies during the tenyear Trojan War) and The Odyssey (the story of the Greek king Odysseus’ tumultuous tenyear journey home to Ithaca). The following characteristics are just some distinctive elements of the epic genre: 1. Beginning in medias res or “in the middle of things.” 2. An invocation or prayer to the gods for inspiration at the beginning of the poem. 3. Epic similes or Homeric similes, which are more involved, more ornate than the typical simile, often lasting last several lines. 4. Epithets or phrases that rename characters: for example, Athena is called “the cleareyed goddess,” Odysseus “the master tactician,” and Hermes “the giant killer.” These epithets sometimes function as appositive phrases. Activity One: Reading and Annotating the Invocation Read the invocation and the first few lines of Book One of The Odyssey below. Follow the instructions below as you annotate: 1. For your first reading, define the terms that have been bolded for you. Write a synonym or definition directly above the boxed word. 2. For your second reading, use a handbook of mythological terms, the glossary at the back of your text, or the Internet to look up background information for the shaded terms. Write the explanation directly above the term. 3. Finally, use the questions on the right side of the text to guide you as you record your insights and impressions about the text. -
Like Father Like Son Telemachus' Kep~Ea
LIKE FATHER LIKE SON TELEMACHUS' KEP~EA In his discussion of Homeric symposia Athenaeus remarks that "Homer ... like the good artist that he is, portrays Tele machus as in all things resembling his father"I). When reading the Odyssey we do indeed have a distinct feeling that the father and son share similarities, not only in form and shape, as Mentor, Helen, and Menelaus testify, but in character as welF). But how does Homer enable the audience to compare the two figures? They differ in age and place, situation and circumstances. One is a boy just coming of age, the other a middle-aged man. While the youth enjoys security in the privacy of his horne with his mother to protect hirn, the traveling hero is usually in danger, at the mercy of strange people or gods who wish to prevent his homecoming. We meet Telemachus first; his father does not appear in person until the fifth book of the epic. How, then, does the poet manage to create similitude without bringing the two figures together until Book Sixteen? Two techniques make it possible to portray the son in his father's image, yet different. Mirror image episodes First, mirror image episodes show similar backgrounds of the two acting characters, and make the audience associate them when the matching episode is sung3). By depicting their actions and 1) Athen. Deipn. 5.182: "OJ.tllQO~ WOltEQ &yueo~ ~wYQaqJo~ ltav"tu öJ.t0LQV "tcj> ltU"tQL "tov TllAEJ.tuxov ltUQ(m:llOt. 2) As is evident from this paper, I consider the subject of characterization in the Homeric epics a valid literary pursuit, viewing the epics as literary text in spite of their oral composition.