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Island Hopping in the Aeolians Tamara Thiessen 4 Minutes Reading Time
ISLAND HOPPING IN THE AEOLIANS TAMARA THIESSEN 4 MINUTES READING TIME THE LUMPY, CRINKLECUT ISLES OF PUMICE GREY STONE ARE ERUPTED PROTRUSIONS OF UNDERWATER VOLCANOES Tamara Thiessen takes a whirlwind tour of the picturesque archipelago off the shores of Sicily “The sea is in my veins – all my family have worked in boating and fishing. It’s a very special relationship, which all the Aeolians have with the sea … You have to live with its moods and our survival depends on it – particularly in winter, when sometimes we can’t come and go.” Silvia Carbone is the owner of a small artfilled hotel on the island of Lipari. It is very marine in decor, with its azzurrocoloured tiles and inner courtyard billowing with saillike curtains. This is our homely bolthole in the little harbour of Canneto – our first port of call in the Aeolians. Like all islands, getting there takes some mental gymnastics. In the case of the Aeolians – an archipelago of seven islands off Sicily’s north coast – the workout becomes even more vigorous as you try to decide which islands you should visit– in what order – and how to get between them. Though their lyrical string of names – Lipari, Panarea, Vulcano, Stromboli, Salina, Alicudi and Filicudi – would have you believe it is as easy as tiptoeing through the tulips – boat travel always means seasonal precariousness. We get an immediate taste of that, coming in October – just when the transport switches to its lowseason schedule and the waters get choppier. Being an islander myself (from Tasmania, in Australia) – islands are everpresent in my imagination – and the prospect of holing myself up on these breakaway pieces of land is as tempting as their wild, UNESCOlisted nature and deep blue mythladen seas. -
Validation of a Quasi-Steady Wind Farm Flow Model in the Context of Distributed Control of the Wind Farm
Validation of a quasi-steady wind farm flow model in the context of distributed control of the wind farm A.J. Brand J.W. Wagenaar Presented at: Torque 2010, 28-30 June 2010, Crete, Greece ECN-M--10-058 JULY 2010 2 ECN-M-10-058 Validation of a quasi-steady wind farm flow model in the context of distributed control of the wind farm A J Brand J W Wagenaar ECN Wind Energy ECN Wind Energy P.O. Box 1, NL 1755 ZG Petten, P.O. Box 1, NL 1755 ZG Petten, Netherlands Netherlands [email protected] [email protected] wind farm flow model, and presents load Abstract quantifiers calculated by the model. First, the research objectives of the FP7 project This work presents validation of an Aeolus are described (section 2) and the intermediate version of a quasi-steady quasi-steady wind farm flow model is wind farm flow model which will be part of introduced (section 3). Next, a comparison distributed control of a wind farm. In is presented between model output for and addition power and three load quantifiers measured data from the ECN Wind turbine as calculated by the model are Test site Wieringermeer EWTW (section demonstrated. It is concluded that 4). In addition power and three short-term differences between measurement and load quantifiers as calculated for the prediction are smaller than 2 m/s (wind considered cases are presented (section speed) and 200 kW (power), measured 5). Finally, a summary of the work and an minimum in wind speed and aerodynamic outlook to future work are given (section power at second or third turbine is not 6). -
A Level Classical Civilisation Candidate Style Answers
Qualification Accredited A LEVEL Candidate style answers CLASSICAL CIVILISATION H408 For first assessment in 2019 H408/11: Homer’s Odyssey Version 1 www.ocr.org.uk/alevelclassicalcivilisation A Level Classical Civilisation Candidate style answers Contents Introduction 3 Question 3 4 Question 4 8 Essay question 12 2 © OCR 2019 A Level Classical Civilisation Candidate style answers Introduction OCR has produced this resource to support teachers in interpreting the assessment criteria for the new A Level Classical Civilisation specification and to bridge the gap between new specification’s release and the availability of exemplar candidate work following first examination in summer 2019. The questions in this resource have been taken from the H408/11 World of the Hero specimen question paper, which is available on the OCR website. The answers in this resource have been written by students in Year 12. They are supported by an examiner commentary. Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible mark/level for each response, when marking these answers in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the marks/levels awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board. -
Odysseus and Feminine Mêtis in the Odyssey Grace Lafrentz
Vanderbilt Undergraduate Research Journal, Vol. 11 Weaving a Way to Nostos: Odysseus and Feminine Mêtis in the Odyssey Grace LaFrentz Abstract. My paper examines the gendered nature of Odysseus’ mêtis, a Greek word describing characteristics of cleverness and intelligence, in Homer’s Odyssey. While Odysseus’ mêtis has been discussed in terms of his storytelling, disguise, and craftsmanship, I contend that in order to fully understand his cleverness, we must place Odysseus’ mêtis in conversation with the mêtis of the crafty women who populate the epic. I discuss weaving as a stereotypically feminine manifestation of mêtis, arguing that Odysseus’ reintegration into his home serves as a metaphorical form of weaving—one that he adapts from the clever women he encounters on his journey home from Troy. Athena serves as the starting point for my discussion of mêtis, and I then turn to Calypso and Circe—two crafty weavers who attempt to ensnare Odysseus on their islands. I also examine Helen, whom Odysseus himself does not meet, but whose weaving is importantly witnessed by Odysseus’ son Telemachus, who later draws upon the craft of weaving in his efforts to help Odysseus restore order in his home. The last woman I present is Penelope, whose clever and prolonged weaving scheme helps her evade marriage as she awaits Odysseus’ return, and whose lead Odysseus follows in his own prolonged reentry into his home. I finally demonstrate the way that Odysseus reintegrates himself into his household through a calculated and metaphorical act of weaving, arguing that it is Odysseus’ willingness to embrace a more feminine model of mêtis embodied by the women he encounters that sets him apart from his fellow male warriors and enables his successful homecoming. -
Anna Bonifazi, Homer's Versicolored Fabric. the Evocative Power of Ancient Greek Epic Word-Making
New England Classical Journal Volume 40 Issue 3 Pages 213-216 11-2013 Anna Bonifazi, Homer's Versicolored Fabric. The Evocative Power of Ancient Greek Epic Word-Making. Anne Mahoney Tufts University Follow this and additional works at: https://crossworks.holycross.edu/necj Recommended Citation Mahoney, Anne (2013) "Anna Bonifazi, Homer's Versicolored Fabric. The Evocative Power of Ancient Greek Epic Word-Making.," New England Classical Journal: Vol. 40 : Iss. 3 , 213-216. Available at: https://crossworks.holycross.edu/necj/vol40/iss3/5 This Book Review is brought to you for free and open access by CrossWorks. It has been accepted for inclusion in New England Classical Journal by an authorized editor of CrossWorks. BOOK REVIEWS Anna Bonifazi, Homer's Versicolored Fabric. The Evocative Power of Ancient Greek Epic Word-Making. Washington, DC: Center for Hellenic Studies, 2012. Distributed by Harvard University Press. Pp. 350. Paper (ISBN 978-0-674- 06062-3) $24.95. his is a linguistic study of a1h6s and related words in epic, particularly the Odyssey but also the Iliad. Bonifazi considers first Thow a11T6s and EKE'ivos are contrasted when they refer to Odysseus, then how all the various av- words are similar. Her main tool is pragmatics, building on work by many scholars on discourse grammar in both Greek and Latin. Because she goes through a lot of basic background in this area of linguistics, with a copious bibliography, 25 pages, the book seems accessible to non-linguist classicists, though this is not really an introduction to pragmatics. In the introduction, Bonifazi says that "the general aim of this work is to contribute to an update of the grammatical accounts of some words in accord with notions and concepts from contemporary linguistics that are applicable to Homer" (10), observing that this kind of study adds precision to our understanding of pronouns, particles, and similar words, and that attention to the dialogue context can "shed more light on the standpoint of either the author or the internal characters" (11). -
Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com. -
Epic Anger, and the State of the (Roman) Soul in Virgil's First Simile1
Epic Anger, and the State of the (Roman) Soul in Virgil’s First Simile1 Kirk Freudenburg Yale University Virgil’s Aeneid begins with the goddess, Juno, both ‘still’ and ‘already’ angry: mene incepto desistere victam? ‘Am I to desist from what I’ve begun, beaten?’ Rivers of Trojan blood have been spilt, and Priam’s city has been looted and leveled. Extreme revenge has been exacted in the form of retaliatory rapes, forced enslavements, and so on. And yet somehow Juno thinks that her project of paying back the Trojans is not only not f nished, but only just begun. T e famous, translinguistic pun that issues from her f rst words (mene incepto) reminds us of Achilles’ rage, certainly, but by the Iliad’s end Achilles has gained some 1 T is paper is a heuristic ‘f rst go’ at an idea that I have been mulling over for years, on the problem of anger in ancient epic, and the soul work of Virgil’s f rst simile. Since I plan to do a larger workup of these ideas for a (distantly) forthcoming book, I will be more than happy to receive feedback on the paper’s contents and arguments. T e paper’s core ideas were tested at the annual Latin Day Colloquium held at Yale University on April 16, 2016. For helpful com- ments and criticisms, I wish to thank the day’s star and colloquium leader, Denis Feeney, as well as the event’s invited speakers, Jay Reed, Tom Biggs, and Irene Peirano. T anks also to Christina Kraus for organizing the event, and to the group of graduate respondents who were active participants throughout the day: Niek Janssen, Rachel Love, Kyle Conrau-Lewis, and Treasa Bell. -
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting. Volume One of Two Submitted by Ioannis Souris to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Performance Practice In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death. -
10Th Grade Latin Remote Packet 3/30/20
Hearts Irving Remote Learning Packet NB: Please keep all work produced this week. Details regarding how to turn in this work will be forthcoming. March 30 - April 3, 2020 Course: 10 Latin IV Teacher(s): Ms. Mueller [email protected] Supplemental Links: Aeneid I.34-49 Online Grammar Reference Aeneid I.50-63 Online Grammar Reference Aeneid Online Vocabulary Reference Weekly Plan: Monday, March 30 ⬜ For Aeneid Book 1.34-45, identify subjects, verbs, and adjectives; check work; and make corrections ⬜ Translate Aeneid Book 1.34-45 into English Tuesday, March 31 ⬜ For Aeneid Book 1.46-54, identify subjects, verbs, and adjectives; check work; and make corrections ⬜ Translate Aeneid Book 1.46-54 into English Wednesday, April 1 ⬜ Read the “Finding syllables” section of the scanned document “Part Three: Metrics” ⬜ Complete the worksheet titled “Scansion: Finding Syllables” Thursday, April 2 ⬜ Read the “Length and quantity of syllables” and “Elision” sections of “Part Three: Metrics” ⬜ Complete the worksheets titled “Scansion: Length of Syllables” and “Scansion: Elision” Friday, April 3 ⬜ Read the “Rhythmic patterns” and “Scansion of dactylic hexameter” sections of “Part Three: Metrics” ⬜ Complete the worksheet titled “Scansion: Dactylic Hexameter” Statement of Academic Honesty I affirm that the work completed from the packet I affirm that, to the best of my knowledge, my is mine and that I completed it independently. child completed this work independently Student Signature Parent Signature Monday, March 30 1. Re-read Aeneid, Book 1. 34-45 in Latin (pp. 10-11). 2. On pages 2 and 3 of the provided worksheets for lines 34-45 (Vix . -
Open Skoutelas Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF CLASSICS & ANCIENT MEDITERRANEAN STUDIES THE CARTOGRAPHY OF POWER IN GREEK EPIC: HOMER’S ODYSSEY & THE RECEPTION OF HOMERIC GEOGRAPHIES IN THE HELLENISTIC AND IMPERIAL PERIODS CHARISSA SKOUTELAS SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Classics & Ancient Mediterranean Studies and Global & International Studies with honors in Classics & Ancient Mediterranean Studies Reviewed and approved* by the following: Anna Peterson Tombros Early Career Professor of Classical Studies and Assistant Professor of Classics and Ancient Mediterranean Studies Thesis Supervisor Erin Hanses Lecturer in Classics and Ancient Mediterranean Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT As modern scholarship has transitioned from analyzing literature in terms of its temporal components towards a focus on narrative spaces, scholars like Alex Purves and Donald Lateiner have applied this framework also to ancient Greek literature. Homer’s Odyssey provides a critical recipient for such inquiry, and Purves has explored the construction of space in the poem with relation to its implications on Greek epic as a genre. This paper seeks to expand upon the spatial discourse on Homer’s Odyssey by pinpointing the modern geographic concept of power, tracing a term inspired by Michael Foucault, or a “cartography of power,” in the poem. In Chapter 2 I employ a narratological approach to examine power dynamics played out over specific spaces of Odysseus’ wanderings, and then on Ithaca, analyzing the intersection of space, power, knowledge, and deception. The second half of this chapter discusses the threshold of Odysseus’ palace and flows of power across spheres of gender and class. -
Eumaeus, Evander, and Augustus: Dionysius and Virgil on Noble Simplicity*
Eumaeus, Evander, and Augustus: Dionysius and Virgil on Noble Simplicity* Casper C. de Jonge Introduction Eumaeus might not be the first character to come to mind when we think of Homeric epic as Princes’ Mirror. To be sure, Eumaeus is of royal descent: his father was Ctesius, son of Ormenus, king of the island Syria.1 But Eumaeus is also a slave: as a child he was sold to Laertes and, having been raised together with Odysseus’ sister Ctimene, he became the family’s swineherd.2 Eumaeus is one of the lower-status figures to which the Odyssey pays more attention than the Iliad. Like Eurycleia, the other prominent lowly character, Eumaeus is portrayed as a loyal servant. During Odysseus’ absence he takes good care of his master’s animals (Od. 14.5–28, 524–533), although he is defenceless against the suitors, who continually force him to send in pigs for their feasts (Od. 14.17– 20). The detailed description of Eumaeus’ pig-farm (Od. 14.7–22) brings out its modesty in comparison with the luxurious palaces of kings like Menelaus, Alcinous, and Odysseus. But with its vestibule (πρόδομος), courtyard (αὐλή), and defensive wall the farm adequately fulfils its function.3 When Odysseus arrives in Ithaca, Eumaeus gives him hospitality and offers him a double meal (Od. 14.72–111 and 14.410–454) and a bed (Od. 14.454–533), not yet knowing that his guest is actually his master. The next day the host and his guest share * The research for this paper was funded by a grant awarded by the Netherlands Organization for Scientific Research (nwo). -
Homer's Ogygia: an Imaginary Or a Historiography?
Athens Journal of History - Volume 3, Issue 1 – Pages 49-70 Homer’s Ogygia: An Imaginary or a Historiography? By John Vella Epic poetry and legends are thought to be imaginary. Studies and science show that they may have a basis in history, yet the study of places-names – toponomy – supported by a multi-disciplinary approach provides sufficient tangible evidence as to enable the tracing of unwritten historic events and the description of forgotten contexts. In this paper, the researcher will conduct an analysis of Homer’s Ogygia, its character Calypso, and the events mentioned in the text. These factors provide enough details to classify and transform the perception of an imaginary story into a fact-based historic account – an early form of historiography – set on the island of Gozo-Malta. Introduction The author’s earlier research has argued that toponyms and associated legends backed by tangible evidence are silent witnesses to an unwritten history.1 This study departs from imaginaries instigated by ancient Greek epic poetry and a toponym. Homer’s Odyssey is the earliest written reference to the Maltese Islands. For centuries, the Iliad and its narrative of the aftermath of the Trojan War were considered fictional, but archaeology has proven otherwise. Though epic poetry has led to contrasting discussions, this study hopes to inspire historians and historiographers to revolutionise the interpretation of historic imaginary intangibles. The study provides a paradigm for the inclusion of both tangible and intangible factors in the construction of a more realistic narrative of the remote past. Toponym Definitions The term toponym is not restricted to the lexicographic definition as "a place name, especially one derived from a topographical feature".2 The author expands toponymy to include place-names derived from practices, functions, persons and historic events, rather than solely geographical or PhD Student, Mediterranean Institute, University of Malta, Malta.