DOCSLIB.ORG

Who Left This Wine Out?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Who Left This Wine Out? © Freshly Squeezed Pulp 1 Episode 1: Who Left this Wine Out? WRITING CREDITS CREATIVE DIRECTOR: BROCK FOREMAN ​ EXECUTIVE PRODUCER: NICOLE LINDBERGH ​ HEAD WRITERS: SHREYA HURLI & NICOLE LINDBERGH ​ WRITER’S ROOM: MAC GAGNE & JONATHAN SANDOVAL & LILY EL NACCASH & PRANAV ​ ATHIMUNDU & VICTORIA WANG CAST Odysseus …...……………………………………………………………………………………….Andrew Raines Telemachus .…………………………………………………………………………………...Jonathan Sandoval Penelope ………..……………………………………………………………………………………….Cady Bailey Hermes ………….…………………………………………………………………………………………Ami Wong Calypso ………..………………………………………………………….……………………………...Mac Gagne Zeus …….……………………………………………………………………….……….…………Jason Mceachin Athena ……………………………………………………………………...……………………….Gaby McDonald Antinous ………………………………….…………………………………...……………...………..William Smith Oracle of Delphi….…………………………..……….……………………………………………..Lily el Naccash Eurycleia ……………………..……….…………………………………………………………..…Brock Foreman Mentes……………………..……….……………………………………………………………….Gaby McDonald Aegyptus……………………….……………………..……….……………………………………….... Will Smith ​ Ares .………..………………………………………………….……….………………………………....Molly X ​ Apollo ………..………………………………………………..………….…………………………..Andrew Witte ​ LOGLINE Athena demands the freedom of Odysseus. Telemachus, frustrated by the suitors that have overrun his house, leaves home to find out the fate of his father. Penelope is left in charge of a palace she can barely control; Odysseus escapes Calypso's island with divine help from Hermes. SCENE-BY-SCENE PLOT OVERVIEW The Oracle of Delphi sings the story of Odysseus. In the Palace of the Gods, the divine banquet is interrupted by petty squabbling. Zeus reacts to the murder of Agammenon; Athena persuades Zeus to let her free Odysseus from Ogygia. Odysseus attempts to escape Calypso on his own, but is thwarted by the scaly goddess. At Odysseus’s space station palace, Telemachus daydreams of his father’s return. His mother Penelope informs him of a new guest: Mentes, Athena disguised. At the banquet hall, Telemachus earns Athena’s respect; she encourages him to sail in search of his father. The suitor Antinous antagonizes and humiliates Telemachus. On Ogygia, Zeus sends Hermes to release Odysseus from Calypso’s island. In Ithaca, Telemachus talks with the elderly elders of Ithaca; Antinous interrupts and insults him again. Telemachus storms out; Antinous comforts him. Telemachus resolves to leave in secret on his starship; he shares a drink with his nanny Eurycleia before he leaves. IF YOU HAVE QUESTIONS, REFER TO FIRST TWO CHAPTERS OF THE ODYSSEY ​ © Freshly Squeezed Pulp 2 Scene 1: Sing O Muses [ambient ritualistic humming intermixed with sci-fi control panel noises and steam. The sound of ​ a computer booting up] ​ ORACLE OF DELPHI: Sing to me, O muse, of a complicated man. Tell me a story of a hero and a husband, a liar and a thief, a hero and a husband, a pirate and a looter city sacker, a king and a vagabond the noble veteran of the Trojan Stellar War--the noble veteran of the Trojan Stellar War. Long, long ago, in a galaxy far away, there wept Odysseus, whose search for his home planet resided in the hands of the deathless gods, who lived in perfect harmony in their palace on the planet Olympus. Scene 2: Palace of the Gods [The sound of forks scraping against plates, and 8-bit game music and computerized shooting ​ from a handheld video game. A sad noise from the game as the player reaches game-over.] ​ ARES: FUCK. ORACLE: Perhaps it was not a perfect harmony. HERA: Ares! ARES: I was right fucking there! I had it! ​ ​ HERA: Ares, what did I tell you about video-games at the dinner table? ARES: I’m almost done, Mom, I’m at the final boss! APOLLO: If Ares can play games at the table, I should be able to play my harmonica. HERMES: If Apollo can play his harmonica, I should be able to legally emancipate myself from this family. HERA: Don’t you start, Hermes. ATHENA: Well, then the obvious solution is for Ares to stop playing his game, lest the whole world reach annihilation. ARES: Oh, I’ll annihilate you, Athena. © Freshly Squeezed Pulp 3 APOLLO & HERMES: OOOHH! ORACLE: The brothers howled at their clever wit, while the matchless Pallas Athene buried her head in her hands. Unfortunately for her, this was a regular Tuesday on Olympus, and unfortunately for all of us, that meant the entire galaxy was once more on the brink of ruin. HERA: Zeus, can you please control your spawn? ​ ​ ZEUS: [non-committal grunt] ​ ​ ORACLE: The King of the Galaxy continued reading the morning news from his Scroll, freshly delivered by his son Hermes. ATHENA: What in the name of Gaea could you possibly be playing on that thing that’s worth so much obsession? HERA: Put it away! ARES: No, I’m about to unlock the hero’s tragic backstory! You can’t! ATHENA: Why do you care so much about a game? APOLLO: Ha! You’re the one to talk about caring about something that doesn’t matter. ARES: [cough] Odysseus. ​ ​ ​ ​ HERA: Oh, don’t you start! ATHENA: What did you say? HERA: Zeus please. Your children… ATHENA: You have made a grievous mist-- ZEUS: [suddenly, loudly] WHAT. ​ ​ ​ ​ [The forks stall on the plates, and it’s dead silent] ​ ​ HERA: [hesitantly] Honeybear…? ​ ​ ​ ​ ZEUS: I cannot believe… that Clymenestra killed her own husband like that! ​ ​ ATHENA: What? © Freshly Squeezed Pulp 4 ZEUS: It’s in the Olympian Enquirer! It’s all over the news! The King of the Mycenaean Asteroid belt killed in his own bed, by his own wife! ORACLE: The deathless Athena sensed an opportunity. ATHENA: [sensing an opportunity] Oh, humanity! ​ ​ ​ ​ APOLLO: Horrid! ARES: Awful! HERA: If only… ZEUS: These humans. So audacious! ATHENA: The audacity! But you punish evil wherever you see it… and reward good. HERA: Oh, don’t you start-- ATHENA: Good… like Odysseus. APOLLO: Here we go again… ATHENA: Father, if I may make my case once more for the hero of the Greek Alliance, Odysseus of the Ithacan Confederation. He’s stuck on Calypso’s Space Station, and-- [the sound of a large door opening] ​ ​ POSEIDON: Did someone say… Odysseus. ATHENA: Oh, great. ZEUS: Poseidon! My brother, and Protective Admiral of the Olympian Star Fleet and Terror of the Seven Galaxies. What brings you to my hall? POSEIDON: Like any good nemesis, I came as soon as I heard Odysseus’s name spoken aloud. I promised I would turn his hope to ash in his mouth, so far, his heart’s still beating. ATHENA: Uncle Poseidon. POSEIDON: Little Athene. Let me guess--you’re trying to free your pet Odysseus again? © Freshly Squeezed Pulp 5 ATHENA: He deserves to go home to his family. To his son. POSEIDON: And he would have gotten home already, if a certain someone hadn’t scattered the ​ ​ Greek fleet to the solar winds because some human insulted their altar. ORACLE: The handsome son of Cronus met the digital gaze of the AI’s projectional avatar. The two sized each other up. ATHENA: Ajax got what he deserved. The rest of the Greeks were collateral. POSEIDON: Funny how your acts of vengeance are justice, but mine are petty and wrong. Maybe there really is a double-standard here... APOLLO: [softly, heartfelt] Oooh… ​ ​ ​ ​ POSEIDON: I’m going to ruin Odysseus’s life. You want to know why? Because I can. Because I want to. Because that’s my justice. ​ ​ ATHENA: You mean you’re going to do it because he has the Crystal. But it’s his by right. POSEIDON: The Crystal is ours! Not his, not theirs, not any human’s to play around with. ​ ​ You’re just an AI, Athena. A weekend DIY project that your creator should have reined in a long time ago. ATHENA: I’d rather be a beloved project than second pickings. POSEIDON: Zeus, can you tell your spare parts to stop her tireless crusade for a lost cause? ZEUS: Don’t talk to my daughter that way, Poseidon. Ever. ​ ​ POSEIDON: [breathes in, holds, then lets it out] Forgive me, brother. We shouldn’t fight. ​ ​ ​ ​ ZEUS: I don’t want any part of this battle. In fact, I forbid you both to intercede on Odysseus’s behalf. I will send Hermes to collect Odysseus from Calypso, and then whatever happens to him after--that’s between you two. POSEIDON: And the Crystal? ZEUS: It was a gift. It stays a gift. Understood? POSEIDON: Understood. ATHENA: Understood. © Freshly Squeezed Pulp 6 [the sound of another game over, and then 8-bit victory music] ​ ​ ARES: Hey look! I finished my game while you guys were being assholes! [CUE INTRO MUSIC AND INTRODUCTION WELCOME TO FSP’S PRODUCTION OF THE ODYSSEY] Scene 3.1: Escape From Ogygia [Sound of heavy stack of papers hits the desk--a hum from the fluorescent lighting] ​ ​ ODYSSEUS: Here’s the forms. E40 Permission for Interstellar Travel, my minute-by-minute flight records, and a… Z29 Permission to Travel with Potted Tentacled Plants. Why do you even use paper? I’ve never seen anyone use paper in a space station until I came here to get my license, Calypso. CALYPSO: Don’t pout, Odysseus; it doesn’t bring out your chiseled jawline. Besides, you’re lucky. We were on clay tablets before. Before that, stone. I’m sure you can imagine how long it took for us to file and process those. Once, all our license applicants had to wait five years for us to build a new storage wing to file their tablets. And you’ve only been waiting… 7 weeks. Anyway, your photo? ODYSSEUS: Sure. [pause] Uhhh… Could you not comb my hair for this? ​ ​ CALYPSO: It’d be a shame if a guy like you had to live with an ugly license pic. ODYSSEUS: [sigh] For which license? My pilot’s license, or my new license to Sew Polka Dots? ​ ​ CALYPSO: Yep! Stand right there! Move your hair to the side! And… maybe… unbutton one ​ button? ODYSSEUS: From my shirt? CALYPSO: Yeah… ODYSSEUS: [sigh] Whatever it takes. ​ ​ CALYPSO: Smile! ORACLE: Odysseus sighs and thinks of his favorite things--Delta V Ale, Ajax’s face after Odysseus won Achilles’s armor, a good trick, Penelope’s laughter.
Load more

Recommended publications
  • Sample Odyssey Passage
    The Odyssey of Homer Translated from Greek into English prose in 1879 by S.H. Butcher and Andrew Lang. Book I In a Council of the Gods, Poseidon absent, Pallas procureth an order for the restitution of Odysseus; and appearing to his son Telemachus, in human shape, adviseth him to complain of the Wooers before the Council of the people, and then go to Pylos and Sparta to inquire about his father. Tell me, Muse, of that man, so ready at need, who wandered far and wide, after he had sacked the sacred citadel of Troy, and many were the men whose towns he saw and whose mind he learnt, yea, and many the woes he suffered in his heart upon the deep, striving to win his own life and the return of his company. Nay, but even so he saved not his company, though he desired it sore. For through the blindness of their own hearts they perished, fools, who devoured the oxen of Helios Hyperion: but the god took from them their day of returning. Of these things, goddess, daughter of Zeus, whencesoever thou hast heard thereof, declare thou even unto us. Now all the rest, as many as fled from sheer destruction, were at home, and had escaped both war and sea, but Odysseus only, craving for his wife and for his homeward path, the lady nymph Calypso held, that fair goddess, in her hollow caves, longing to have him for her lord. But when now the year had come in the courses of the seasons, wherein the gods had ordained that he should return home to Ithaca, not even there was he quit of labours, not even among his own; but all the gods had pity on him save Poseidon, who raged continually against godlike Odysseus, till he came to his own country.
    [Show full text]
  • Taylor Swift Speak Now Torrent the Album Proved to Be Less Successful
    Taylor swift speak now torrent The album proved to be less successful in comparison with her debut Taylor Swift and featured both holiday classics such as Last Christmas and original songs by Swift. Because our MP3s have no DRM, you can play it on any device that supports MP3, even on your iPod! Нам очень жаль, но запросы, поступившие с вашего IP-адреса, похожи на автоматические. Возможны некоторые несоответствия клипов песне. Then Taylor realized how readily she could channel all her impetuous emotions into the music. She sang The Star-Spangled Banner before a Philadelphia 76s game at the age of 11and her performance fell into the hearts of the crowd. Although Swift is a raw talent for the American public, she had been performing since early childhood. Better Than Revenge 08. Она кричит на подружку невесты Где-то в другой комнате, Одета в платье, напоминающее торт. Because our MP3s have no Taylor swift speak now torrent, you can play it on any device that supports MP3, even on your iPod! It was sold 592,000 copies that was the highest selling week for any country album in a year. Вам необходимо один раз ввести символы в форму, после чего мы запомним вас и сможем отличать от других пользователей, выходящих с данного IP. Swift also recorded a holiday album Sounds of the Season: The Taylor Swift Holiday Collection that was issued in October 16, 2007. It turned out to be a doubtless success and brought her fame. Her music that became more mature may not quite jibe with her age but it does help make Fearless one of the best mainstream pop albums of 2008.
    [Show full text]
  • From the Odyssey, Part 1: the Adventures of Odysseus
    from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall.
    [Show full text]
  • 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.
    [Show full text]
  • Hesiod Theogony.Pdf
    Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on.
    [Show full text]
  • Summary Ng from the Homecomi Homer Od from the Not Recognize His Father
    Name Date from the ODYSSEY: PART 2 Summary THE HomecomiNG FROM THE ODYSSEY Homer Setting: Islands in the Mediterranean Sea, possibly around 1200 B.C. Book 16: Odysseus returns home dressed as a beggar. He meets Eumaeus, the faithful swineherd. Then he sees his son, Telemachus. Telemachus does not recognize his father. When Odysseus removes the disguise, Telemachus thinks he is a god. Finally, Telemachus recognizes his father. Father and son weep to be together again. Book 17: Odysseus returns to his palace still disguised as a beggar. Outside, he sees his dog, Argus, who has been treated badly while he was gone. Odysseus is angered by the dog’s poor condition. Book 21: Odysseus discovers that many suitors are at the palace. They want to marry Penelope. She has given up hope that Odysseus will return. She plans a contest. She will marry the winner. The men must string Odysseus’ bow. Then they must shoot an arrow through the holes in 12 ax heads. No one can string the bow. Still dressed as a beggar, Odysseus completes both tasks. Book 22: Odysseus takes off his disguise. He kills Antinous, the leader of the suitors. The remaining suitors decide they must fight with Odysseus. Telemachus and two servants join Odysseus in the fight. With the help of these men and Athena, Odysseus kills all the suitors. Book 23: Penelope is not sure the man is really Odysseus. She asks a servant to put his bed FROM outside his bedroom. Odysseus says that the bed cannot be moved. One of its posts is the from the trunk of an olive tree.
    [Show full text]
  • The Poetry of Symbolism and the Music of Gabriel Fauré
    THE POETRY OF SYMBOLISM AND THE MUSIC OF GABRIEL FAURÉ A CREATIVE PROJECT SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF MUSIC IN PERFORMANCE BY LYNNELL LEWIS ADVISOR: DR MEI ZHONG BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009 TABLE OF CONTENTS 1. Introduction ................................................................................... 1 2. Gabriel Fauré .................................................................................. 3 3. Fauré‟s Work and the Influences of Late 19th Century France .... 7 4. Paul Verlaine ................................................................................. 9 5. Fauré, Verlaine and Symbolism ..................................................... 14 6. Description of Songs and Performance issues ............................... 17 . Mandolin .............................................................................. 17 . En Sourdine .......................................................................... 18 . Green .................................................................................... 19 . A Clymène ........................................................................... 21 . C‟est l‟exstase ...................................................................... 23 7. Conclusion ...................................................................................... 25 Appendix of Poetry .............................................................................. 27 Mandoline ......................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • A Semantic Analysis of Non Literal Meaning a Thesis By
    THE SADNESS PORTRAYED IN TAYLOR SWIFT’S SELECTED SONGS: A SEMANTIC ANALYSIS OF NON LITERAL MEANING A THESIS BY WINDI RIAHNA KELIAT REG. NO. 140705167 DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA THE SADNESS PORTRAYED IN TAYLOR SWIFT’S SELECTED SONGS: A SEMANTIC ANALYSIS OF NON LITERAL A THESIS BY WINDI RIAHNA KELIAT REG. NO. 140705167 SUPERVISOR CO-SUPERVISOR Dr. Deliana, M.Hum. Rahmadsyah Rangkuti, M.A, Ph. D. NIP. 19571117 198303 2 002 NIP. 19750209 200812 1 002 Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan i n partial fulfillment of the requirements for the degree of Sarjana Sastra from Department of English. DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA MEDAN 2019 UNIVERSITAS SUMATERA UTARA Approved by the Department of English, Faculty of Cultural Studies, University of Sumatera Utara (USU) Medan as thesis for The Sarjana Sastra Examination. Head Secretary Prof. T. Silvana Sinar, M. A., Ph. D. Rahmadsyah Rangkuti, M.A., Ph. D. NIP. 19540916 198003 2 003 NIP. 19750209 200812 1 002 UNIVERSITAS SUMATERA UTARA Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of Sarjana Sastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan. The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on April 12th, 2019 Dean of Faculty of Cultural Studies University of Sumatera Utara Dr. Budi Agustono, M.S. NIP. 19600805 198703 1 001 Board of Examiners Prof. T.
    [Show full text]
  • The Complete Stories
    The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.
    [Show full text]
  • Some Words About the Category of Trickster in Ancient Mythology
    Studia Religiologica 53 (3) 2020, s. 203–212 doi:10.4467/20844077SR.20.014.12754 www.ejournals.eu/Studia-Religiologica Autolycus and Sisyphus – Some Words about the Category of Trickster in Ancient Mythology Konrad Dominas https://orcid.org/0000-0001-5120-4159 Faculty of Polish and Classical Philology Adam Mickiewicz University in Poznań e-mail: [email protected] Abstract The goal of this article is to juxtapose the trickster model suggested by William J. Hynes in the text Mapping the Characteristics of Mythic Tricksters: A Heuristic Guide with the stories of Sisyphus and Autolycus. A philological method proposed in this article is based on a way of understand- ing a myth narrowly, as a narrative with a specific meaning, which can be expressed in any literary genre. According to this definition, every mythology which is available today is an attempt at pre- senting a story of particular mythical events and the fortunes of gods and heroes. Therefore, stories about Sisyphus and Autolycus are myths that have been transformed and which in their essence may have multiple meanings and cannot be attributed to one artist. The philological method is, in this way, based on isolating all fragments of the myth relating to the above protagonists and subse- quently presenting them as a coherent narrative. Keywords: category of trickster, ancient mythology, Autolycus, Sisyphus, ancient literature Słowa kluczowe: kategoria trickstera, mitologia antyczna, Autolykos, Syzyf, literatura antyczna Every academic article should begin with the definition of basic terms connected to the main idea of the subject and included in the discourse suggested by the author.
    [Show full text]
  • 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.
    [Show full text]