DOCSLIB.ORG

AP Summer Assignment 2017-2018 1. Read Homer's the Iliad Translated by Robert Fagles 2. Read Albert Camus' the Stranger 3

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
AP Summer Assignment 2017-2018 1. Read Homer's the Iliad Translated by Robert Fagles 2. Read Albert Camus' the Stranger 3 AP Summer Assignment 2017-2018 1. Read Homer's The Iliad translated by Robert Fagles 2. Read Albert Camus' The Stranger 3. Study the List of Greek Names and the definition of who they are, what their story is, and their place within the Greek Pantheon. 4. Download the following instructional materials: o The Iliad Vocabulary o Greek Mythology Allusions o Crafting Strong Titles o Introductory Strategies o Iliad Essay Prompt o Writing about Literature Rubric o Know the genre conventions of tragedy, and the tragic hero according to Aristotle in his work, "Poetics" 5. Write an essay on The Iliad (see prompt). This is due the first day of class. Include a list of Works Cited. Even if it is just the Iliad, you need a Works Cites. 6. Upon return, you will take a series of multiple choice tests. The first one will be on The Iliad Vocab and the reading. The next ones will be on Greek Mythology Allusions (the List of Greek Names). These tests are 20 questions multiple choice tests once a week. Since the tests are 20 questions, you will be tested on the first 20 words on the list, starting with Acheron River and ending with Calliope. The next text will cover the next 20 words after Calliope and so on. 7. The first week of class, bring The Iliad so we may review it on a deeper level 8. The second week of class we will address Existentialism and apply it to The Stranger. At that time we will review and discuss The Stranger with supplemental readings. 9. The first novel you will read is Crime and Punishment by Feodor Dostoevsky. I have the Norton edition. You can find this text at any bookstore or library. Any translation or publication will do, it is always interesting to compare and contrast translations, however if you have a different translation (other than the Norton), your pages will not match mine. 10. In addition to studying the Greek Allusions: List of Greek Names, it is recommended (although not required) that you read Edith Hamilton’s Mythology. The Iliad: Vocab and Context The following vocabulary will help place the Iliad in context and help you understand the work better. Genre Conventions for the Heroic Epic The following seven terms are genre conventions for the heroic epic. On a separate sheet of paper, write a though definition of each term, provide an example of each genre convention from The Iliad. Epic Similes Epic Repetition Flashbacks Heroic Epithets Invocation of the Muse Medias Res Elevated Language On a separate sheet of paper, write a through definition of each word, then use the word in a sentence that makes it relevant to The Iliad. Anthropomorphic Achaeans Argives Kleos Aristiea moria Danaans Ilion Rhapsodos Dactylic hexameter Hubris Catharsis Hamartia Introductory Strategies Features of a good introduction: Introductions need to catch the attention of the reader The main purpose of an introduction is to present and frame a writer’s thesis announcing what the essay will illustrate. Many instructors like to see the thesis as the last sentence in the introductory paragraph Your introduction like the essay itself depends on your situation: What are you writing about, who are you writing to, what is your purpose? If your situation is formal, such as addressing the board of trustees at your school for money to increase the media center holdings, your introduction is likely to be serious and direct. Your introduction reveals your voice right away-the sound of your personality that you want to project. If your essay is humorous, your introduction should convey a humorous tone or attitude toward your subject. Opening Lines or Hooks: Start with a dramatic incident or a vivid, detailed description Such as the description of a concentration camp for an essay on Maus I or I Start by explaining the thesis Ironically, at one point everyone feels alone in a crowd of people, left out or like they do not belong. Start with a historical review The history of genocide suggests all cultures experience xenophobia as a form of patriotism. Start with a question or a problem Is too much imagination a bad thing? (essay on Amanda or Laura in Menagerie) Start with a contrast “It was the best of times; it was the worst of times.” Start with a quotation: “If ‘all art is useless’ as Oscar Wilde says, then Holden from Catcher in The Rye teaches us nothing. Start with an idea to be refuted. Introductions to Avoid: Definitions from a dictionary “According to Webster’s Dictionary…” Explicitly declaring what you will do: “In this essay, I will…” Apologies or Disclaimers “I’m not really an expert on this but…” Dean Memering, William Palmer, Discovering Arguments. New Jersey: Prentice Hall. 2007 Rubric for Writing About Literature Process Essays A These well-written essays use topics appropriate to the assignment and explain their ideas convincingly. Superior papers contain a strong thesis, which is insightful and original, are specific in their references, and are free of plot summary not relevant to the topic. They go beyond the obvious. In their analysis, writers will discuss how the author uses the literary elements in the work (for example, diction, imagery, pace, irony, point of view, theme, character and tone). The essay is without flaws, and demonstrates the writer’s ability to discuss a literary work with insight and understanding and to control a wide range of the elements of effective composition. B These essays demonstrate the writer’s ability to analyze a literary work, but they reveal a more limited understanding than do papers in the A range. They also discuss appropriate topics and ideas but are less developed, less perceptive or less specific than A papers. They deal accurately with the use of literary devices (diction, tone, and so forth) in the work, but are less effective of less thorough than A papers. They deal with the question, but with less maturity and control than the top papers. Although they are not flawless in grammar and mechanics they have no more than two mistakes. Generally B essays present a more developed analysis and a more consistent command of the elements of composition than essays scored C. C Superficiality characterizes these essays. They choose suitable topics or literary elements, but the explanation of the topics is simplistic, average, or lacks ambition, but is accurate. Their discussion of meaning may be pedestrian, mechanical or inadequately related to the chosen scene or thesis. Typically these essays reveal simplistic thinking and/or immature writing. They usually demonstrate inconsistent control over the elements of composition and are not as well conceived, organized or developed as the upper half papers. The writing however is sufficient to convey the writer’s thoughts, but these essays are not as well conceived, word choice is not as precise and the paper is not as developed as upper-level papers. D These lower-half essays may choose an acceptable topic or thesis, but fail to explain how supporting material develops the topic. Their analysis is likely to be unpersuasive, perfunctory, or underdeveloped or misguided. The meaning they deduce may be inaccurate or insubstantial and not clearly related to the thesis. Part of the assignment may be omitted altogether. Typically, these essays contain significant misinterpretations of the question or the work they discuss. They may also contain little, if any, supporting evidence, and practice paraphrase and plot summary at the expense of analysis. The writing may convey the writer’s ideas, but it reveals weak control over such elements as organization, language or mechanics, with little or no textual evidence (concrete detail). Fail or Non Pass These essays compound the weakness of essays in the D range. They seriously misread the play, novel, or poem, or feebly respond to the question. In addition, they are poorly written on several counts, including many distraction errors in grammar, and mechanics or lack any examples from the text in the form of direct quotes. Although the writer may have made some effort to answer the question, the views presented have little clarity or coherence. Essays that are especially inexact, vacuous, ill-organized, illogically argued and/or mechanically unsound should be scored a non pass. The essay does not meet the minimum requirements of the assignments in length, with little or no in text citations, with little or no quotes, appearance of idioms, colloquialisms, slang, weak unclear language, run-ons, fragments, writer has not turned in essay to Turnitin.com Crafting Strong Titles Most people don’t take their titles seriously enough. You usually can tell a lot about an essay by the time you’ve read the title. It is your advertisement to your reader about the general worthiness of what you’ve written. If you’re lazy about your title, this can send the unintentional message that you’ve been lazy in some way about your whole essay. In other words, a dull title can mistakenly tell your reader that you’re not particularly proud of what you’ve written, and that it isn’t really worth his or her time to read it. You may or may not intend this, and your essay may or may not be brilliant, but either way, a lifeless title suggests an equally lifeless essay. Get in the practice of asking a lot of your title, and when you can’t generate one that fulfills your high expectations, take that as a sign that there may actually be something still lacking within the essay itself. A good title should do at least three jobs: 1.
Load more

Recommended publications
  • Macedonian Kings, Egyptian Pharaohs the Ptolemaic Family In
    Department of World Cultures University of Helsinki Helsinki Macedonian Kings, Egyptian Pharaohs The Ptolemaic Family in the Encomiastic Poems of Callimachus Iiro Laukola ACADEMIC DISSERTATION To be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XV, University Main Building, on the 23rd of September, 2016 at 12 o’clock. Helsinki 2016 © Iiro Laukola 2016 ISBN 978-951-51-2383-1 (paperback.) ISBN 978-951-51-2384-8 (PDF) Unigrafia Helsinki 2016 Abstract The interaction between Greek and Egyptian cultural concepts has been an intense yet controversial topic in studies about Ptolemaic Egypt. The present study partakes in this discussion with an analysis of the encomiastic poems of Callimachus of Cyrene (c. 305 – c. 240 BC). The success of the Ptolemaic Dynasty is crystallized in the juxtaposing of the different roles of a Greek ǴdzȅǻǽǷȏȄ and of an Egyptian Pharaoh, and this study gives a glimpse of this political and ideological endeavour through the poetry of Callimachus. The contribution of the present work is to situate Callimachus in the core of the Ptolemaic court. Callimachus was a proponent of the Ptolemaic rule. By reappraising the traditional Greek beliefs, he examined the bicultural rule of the Ptolemies in his encomiastic poems. This work critically examines six Callimachean hymns, namely to Zeus, to Apollo, to Artemis, to Delos, to Athena and to Demeter together with the Victory of Berenice, the Lock of Berenice and the Ektheosis of Arsinoe. Characterized by ambiguous imagery, the hymns inspect the ruptures in Greek thought during the Hellenistic age.
    [Show full text]
  • The Hero's Journey: Literature and Composition
    The Hero’s Journey: Literature and Composition Coursebook Oak Meadow, Inc. Post Office Box 615 Putney, Vermont 05346 oakmeadow.com Table of Contents Introduction .................................................................................................................. xi What Is a Hero? Course Materials Course Orientation Academic Expectations Interdisciplinary Learning: The Cross-Pollination of Knowledge Unit I: Call to Adventure Lesson 1 Arc of the Hero’s Journey ......................................................................... 3 Archetypal elements in literature and film Historical and cultural relevance of the hero’s journey Stages of the hero’s journey Lesson 2 House of Light ............................................................................................... 15 Poetry analysis Figurative language Metaphor, personification, and imagery Unit II: Threshold of the Hero’s Journey Lesson 3 The House of the Scorpion: Youth: 0 to 6 ............................................. 23 Story recall Character motivation Science of cloning Oak Meadow iii Table of Contents The Hero’s Journey: Literature and Composition Lesson 4 The House of the Scorpion: Middle: 7 to 11 ........................................... 29 Narrative perspective Comparative essay Divergent perspectives Lesson 5 The House of the Scorpion: Old: 12 to 14 ............................................... 33 Synonyms First-person writing Compiling information for unit project Lesson 6 The House of the Scorpion: Age 14 and La Vida Nueva .....................
    [Show full text]
  • Durham E-Theses
    Durham E-Theses Rethinking mythology in Greek museums through contemporary culture Antonopoulou, Marina How to cite: Antonopoulou, Marina (2010) Rethinking mythology in Greek museums through contemporary culture, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2511/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk lml'Hlm:ING MYTHOLOGY IN <mEEK »KUSE{]Ml$ THROUGH CONTEMPORARY ClJL1UllB MARINAANTONOPOULOU Appendices The copyright of this thesis rests with the author or the university to which it was submitted. No quotation from it, or information derived from it may be published without the prior written consent of the author or university, and any information derived from it should be acknowledged. 2 6 MAY 2010 Appendix 1 Socratis Malamas Date: 15/01/2005 Venue: Hotel'Olympia', Thessaloniki. Q: Could you tell me what is the first thing that comes to mind when you hear the words 'Greek mythology'? A: The usual, what we learned in school.
    [Show full text]
  • Women of Trachis [PDF]
    SOPHOCLES TRACHINIAE [Women of Trachis] Translated by Ian Johnston Vancouver Island University Nanaimo, British Columbia Canada 2018 TRANSLATOR’S NOTE The following translation may be downloaded and distributed in print or electronic form (in whole or in part) without permission and without charge by students, teachers, artists, and members of the general public. Those who wish to edit or adapt the translation for their own purposes may do so. However, no commercial publication of this text is allowed without the permission of the translator, Ian Johnston ([email protected]). In the following text, the line number without brackets refer to the English translation; those in square brackets refer to the Greek text. In the English text, short indented lines have been included with short lines above them in computing the appropriate line number. The stage directions and footnotes have been provided by the translator. In this translation, possessives of words ending in -s are usually indicated in the common way (that is, by adding -’s (e.g. Zeus and Zeus’s). This convention adds a syllable to the spoken word (the sound -iz). Sometimes, for metrical reasons, this English text indicates such possession in an alternate manner, with a simple apostrophe. This form of the possessive does not add an extra syllable to the spoken name (e.g., Hercules and Hercules’ are both three-syllable words; whereas, Hercules’s has four syllables). The translator would like to acknowledge the valuable assistance of Richard Jebb’s commentary and translation (available online at Perseus). A NOTE ON THE MYTHOLOGICAL BACKGROUND Like almost all Greek legends, the Herakles (Hercules) story has many versions (especially since Herakles was a very popular figure in Greek drama and poetry).
    [Show full text]
  • Friedrich Dürrenmatt the Plays
    Foreign Rights List Autumn 2015 EST• 1952 Diogenes Friedrich Dürrenmatt The Plays . and other books by Patricia Highsmith Hartmut Lange · Donna Leon · Ingrid Noll Christoph Poschenrieder · Astrid Rosenfeld Bernhard Schlink · Hansjörg Schneider Martin Suter · Tomi Ungerer and F. K. Waechter Cinema Exhibitions Opera TV FRIEDRICH BENEDICT WELLS PATRICIA HIGHSMITH TOMI UNGERER HARTMUT LANGE DONNA LEON DÜRRENMATT Director Frieder Wittich The release of the cinema 1,000 Years of Strasbourg The Concert Adaptation for First broadcast of Beastly The documentation is in post-production adaptation of Carol (The Cathedral: The Artists of the opera by Swiss composer Things / The Golden Egg, In the Labyrinth /Friedrich of the cinema adaptation Price of Salt) is scheduled for the Cathedral. Alfons K. Zwicker. the 21st/22nd case for Commis- Dürrenmatt was broad- of Beck’s Last Summer. 28.11.2015 (USA) and 05.12.2015 Tomi Ungerer / John Howe sario Brunetti, in 2015. casted on TV in Spring 2015 Cast: Christian Ulmen, (UK). Director: Todd Haynes. at the Tomi Ungerer Museum, Director: Sigi Rothemund. and is now adapted for Nahuel Pérez Biscayart, Cast: Cate Blanchett, Strasbourg, from 06.03.2015 Script: Florian Iwersen. cinema. Director: Sabine Friederike Becht. Production: Rooney Mara and Kyle until 04.10.2015. Production: teamWorx and Hartmut Gisiger. Production: Das Claussen Wöbke Putz Chandler. Screenplay: Incognito at the Kunsthaus Lange ARD Degeto for Das Erste Das Konzert Kollektiv. Scheduled release: Filmproduktion. Scheduled Phyllis Nagy. Production: Zurich, from 30.10.2015 in co-operation with BR. Autumn 2015. release: Autumn 2015. Film4, Killer Films, Number until 07.02.2016. Aft erwards Novelle · Diogenes 9 Films.
    [Show full text]
  • 2016 Virginia State Finals Kick-Off Certamen Level III NOTE to MODERATORS: in Answers, Information in Parentheses Is Optional Extra Information
    2016 Virginia State Finals Kick-Off Certamen Level III NOTE TO MODERATORS: in answers, information in parentheses is optional extra information. A slash ( / ) indicates an alternate answer. Underlined portions of a longer, narrative answer indicate required information. ROUND ONE 1. TOSSUP: What is the meaning of Latin adjective, ingēns, ingentis? ANS: HUGE/BIG BONUS: What is the meaning of the Latin noun ingenium? ANS: TALENT/CHARACTER/NATURE/INTELLIGENCE/QUALITY/DISPOSITION 2. TOSSUP: What quaestor of Marius was instrumental in the capture of the Numidian king Jugurtha? ANS: (L. CORNELIUS) SULLA BONUS: Who was the father-in-law of Jugurtha who betrayed him to Sulla? ANS: BOCCHUS 3. TOSSUP: What god was thought by Hesiod to be born from Chaos, but is perhaps more commonly known to be the son of Aphrodite and Ares? ANS: EROS BONUS: According to Hesiod, from what was Aphrodite born? ANS: FOAM (OF THE SEA) 4. TOSSUP: What Roman playwright was part of the literary circle of Scipio Aemilianus and was accused of contāminātiō, or the blending of two different sources, in his most successful play Eunuchus? ANS: TERENCE / (PUBLIUS) TERENTIUS (AFER) BONUS: Where was Terence heading when he died during his travel in 159 BC? ANS: GREECE 5. TOSSUP: Listen carefully to the following passage, which I will read twice, and answer in Latin the quaestio that follows. Caesar vacuam urbem ingressus dictātorem sē fēcit. Inde Hispāniās petiit. Ibi Pompēiī exercitūs validissimōs et fortissimōs cum tribus ducibus, L. Afraniō, M. Petreiō, M. Varrōne, superāvit. Inde regressus in Graeciam transiit, adversum Pompēium dīmicāvit. Prīmō proeliō victus est et fugātus, ēvāsit tamen, quia nocte interveniente Pompēius sequī nōluit, dīxitque Caesar nec Pompēium scīre vīncere et illō tantum diē sē potuisse superārī.
    [Show full text]
  • Greek Mythology / Apollodorus; Translated by Robin Hard
    Great Clarendon Street, Oxford 0X2 6DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Robin Hard 1997 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published as a World’s Classics paperback 1997 Reissued as an Oxford World’s Classics paperback 1998 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organizations. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose this same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Apollodorus. [Bibliotheca. English] The library of Greek mythology / Apollodorus; translated by Robin Hard.
    [Show full text]
  • Apollodorus : the Library
    JU\r(^ Qksl 7^ani-hSin THE LOEB CLASSICAL LIBRARY EDITED BY E. CAPPS, Ph.D., LL.D. T. E. PAGE, Litt.D. W. H. D. ROUSE, Litt.D. APOLLODORUS THE LIBRARY I APOLLODOEUS THE LIBRARY WITH AN ENGLISH TRANSLATION BY SIR JAMES GEORGE FRAZER, F.B.A., F.R.S. FELLOW OF TRINITY COLLEGE, CAMBRIDGE IN TWO VOLUMES I LONDON : WILLIAM HEINEMANN NEW YORK : G. P. PUTNAM'S SONS MCMXXI FEB " 3 !940 TO MY OLD TEACHER AND FRIEND HENRY JACKSON, O.M. CONTENTS PAGK INTRODUCTION ix SUMMARY xlv SYMBOLS EMPLOYED IN THE CRITICAL NOTES llX 1 BOOK I • 127 BOOK II 295 BOOK Til Vll ERRATA. , Vol. , 73 For " Thestius " read " Agrius." Vol. II. P. 54. For "later version" read "earlier version." — INTRODUCTION I. The Author and His Book. Nothing is positively known, and little can be conjectured with any degree of probability, con- cerning the author of the Library. Writing in the ninth century of our era the patriarch Photius calls him Apollodorus the Gi'ammarian,^ and in the manu- scripts of his book he is described as Apollodorus the Athenian, Grammarian. Hence we may con- clude that Photius and the copyists identified our author with the eminent Athenian grammarian of that name, who flourished about 140 b.c. and wrote a number of learned works, now lost, including an elaborate treatise On the Gods in twenty-four books, and a poetical, or at all events versified. Chronicle in four books. 2 But in modern times good reasons have been given for rejecting this identification,^ ^ Photius, Bibliotheca, p.
    [Show full text]
  • Classical Rhetoric Through Structure and Style
    Classical Rhetoric through Structure and Style Writing Lessons Based on the Progymnasmata Adam Muller First Edition Copyright © January 2008 Institute for Excellence in Writing, Inc. Copyright 2008 Adam Muller ISBN: 978-0-9779860-8-8 No part of this publication may be reproduced in any form without written permission by the publisher with two exceptions: (1) brief quotations within critical articles or reviews, (2) copies for students within the same family or classroom. Published by Institute for Excellence in Writing, Inc. P.O. Box 6065, Atascadero, CA 93423 1 (800) 856-5815 www.excellenceinwriting.com Contents Introduction 5 Unit I: Note Taking Lesson 1: Chreia of Socrates and Lincoln 7 Lesson 2: Pericles 9 Unit II: Writing Proverbs and Fables from Notes Lesson 3: The Heedless Man at the Gates 11 Lesson 4: “The Man Who Dined on Turnips” and “Man Enough for the Job” 15 Lesson 5: A Truth Speaker 19 Unit III: Narratio Lesson 6: Thomas Carlyle 25 Lesson 7: Odysseus and Polyphemus 28 Lesson 8: Theseus and Minos 31 Lesson 9: Chanticleer and the Fox 35 Lesson 10: The Slave and the Lion 39 Unit IV: Encomium and Vituperation Lesson 11: King Solomon on Wisdom 41 Lesson 12: John of Gaunt’s Encomium to England 45 Lesson 13: Hannibal’s Monologue 50 Lesson 1-13 Review The Gettysburg Address 53 Unit V: Description Lesson 14: Coriolanus 57 Lesson 15: The Story of Meleager 61 Lesson 16: Beowulf 66 Lesson 17: The Shield of Achilles 70 Unit VI: Comparison Lesson 18: The Founding of Rome 75 Lesson 19: Helen of Troy 81 Lesson 20: Creation 85 Unit VII: Impersonation Lesson 21: Odysseus 89 Lesson 22: Coriolanus 94 Lesson 23: Orpheus and Eurydice 95 Lesson 24: Chiron 98 Learning the Rhetorical Analysis: Sonnet 65 100 Unit VIII: Thesis, Confirmation, and Refutation Lesson 25: King Solomon on Wisdom 101 Lesson 26: Hamlet 103 Lesson 27: The Quality of Mercy 107 Lesson 28: Helen of Troy 110 Unit IX: Formal Critique Lesson 29: Return to Meleager 113 Lesson 30: St.
    [Show full text]
  • Ciclos Mitológicos Nas Fabulae De Higino: 2013
    DIOGO MARTINS ALVES CICLOS MITOLÓGICOS NAS FABULAE DE HIGINO: TRADUÇÃO E ANÁLISE CAMPINAS, 2013 ii UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM DIOGO MARTINS ALVES CICLOS MITOLÓGICOS NAS FABULAE DE HIGINO: TRADUÇÃO E ANÁLISE Dissertação de Mestrado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Mestre em Linguística. Orientadora: Profa. Dra. Isabella Tardin Cardoso CAMPINAS, 2013 iii iv v vi ABSTRACT The relevance of the work Fabulae, assigned to a certain Hyginus, tends to be more and more recognized in the mythographical studies, although scholars mostly disagree about the value of the work itself. The text is considered either as a simple and poor translation from one single Greek compendium, today lost, or as the most important mythological manual left by the Greco-Roman Antiquity. This study, whose corpus is composed by the fabulae I to CXXV (i.e. the first 14 mythological cycles and the fabula Odisseia), does not have the intention to qualify the Fabulae in those terms. The intention is, above all, to observe the text (by focusing its language and style), as well as to investigate the importance of such aspects to the general study of the myths there presented (including those myths to which Hyginus is the only ancient source). Therefore, the text of the first mythological cycle (Fab. I to VI) is compared to Ovidian’s narrative of the same myths (Met. IV. 512-542; 563-603; Fast. III. 853-876 e VI. 473-562). Then, Fabula CXXV. Odisseia and its relations to Homer’s homonymous epic are appreciates.
    [Show full text]
  • Notes Du Mont Royal ←
    Notes du mont Royal www.notesdumontroyal.com 쐰 Cette œuvre est hébergée sur « No- tes du mont Royal » dans le cadre d’un exposé gratuit sur la littérature. SOURCE DES IMAGES Google Livres FRAGMENTA HISTORICORUM GRÆCORUM. l, PARISIIS. -- EXCUDEBANT FlRIlNm DIDOT ET SOC", VIA JACOB, 56. m rnAGMENTA HISTÛBICÛRUM GRÆCORUM, HECATÆI l; ANTIOCHI ê CLITODEMI CHARONIS PHILISTI PHANODEMI XANTHI TIMÆI ANDROTIONIS HELLANICI EPHORI DEMONIS PHERECYDIS THEOPOMPI PHILOCHORI ACUSILAI j; PHYLARCHI à ISTRI APOLLODORI BIBLIOTHECA CUM FRAG-MENTIS AUXERUNT, NOTIS ET PROLEGOMENIS ILLUSTRARUNT, INDICE PLENISSIMO INSTRUXERUNT K a Yt jxvtflx? v ’ . il CAR. ET THE0I). MULLEBI. i ACCEDUNT MARMORA PARIUM ET ROSETTANUM, "oc en! mmormn, mm) cru c. m COIIENTANIS. PARISIIS, EDITORE AMBROSIO FIRMIN DIDOT, INSTITUT! FRANCIÆ TYl’OGRAPHO, vu ucou . 56. M DCCC LX XXV. girafe MOMH sans) vis Il PRÆFATIO. Sortis nescio qua iniquitate accidit, ut, si exceperls quæ Herc- dotus, Thucydides, Xenophon commentariis suis tradîderunt, uberior antiquioris Græcorum historiæ expositio oninis fere nobis haurienda sit ex serioris demum ætatis scriptoribus. Qui quoniam ex aliorum libris sua hauserunt tanlum non omnia, auctoritas eorum in plerisque pendet ex diligenlia, quam ad fontes conquirendos attulerunt, et ex eorum quos duces sequeren-, tur delectu. Jam vero quamvis diligentia plurimorum animique sincera voluntas laudandæ sint, atque nefas habeam temerarie velle insolenterque meritis eorum detrahere; fatendum tamen est ipsius ætatis horum scriptorum indolem, cujus vim subterfugere non
    [Show full text]
  • AP Summer Assignment 2018-2019 1. Read Homer's the Iliad
    AP Summer Assignment 2018-2019 1. Read Homer's The Iliad translated by Robert Fagles 2. Read Albert Camus' The Stranger 3. Study the List of Greek Names, their stories, and their place within the Greek Pantheon. 4. Download the following instructional materials: o The Iliad Vocabulary o Greek Mythology Allusions o Crafting Strong Titles o Introductory Strategies o Rubric for Writing about Literature o Know the genre conventions of tragedy, and the tragic hero according to Aristotle in his work, "Poetics" 5. Upon return, you will have an in class essay. This will allow you the opportunity to demonstrate your knowledge of the text and on demand writing skills. The questions (each block will have a different question) will be a Free Response, Open Ended question from the AP Exam. You may access examples of these questions, from 1999 to the present, in the College Board web site. https://apcentral.collegeboard.org/courses/ap-english-literature-and-composition/exam The first day of class, we will review the AP Rubric and writing strategies, which includes the following instructional materials: “Crafting Strong Titles” and “Introductory Strategies”. All of these items are included with this summer assignment, if you want to examine them in advance. 6. You will also take a series of multiple-choice tests. The first one will be on The Iliad Vocab and the reading. The next ones will be on Greek Mythology Allusions (the List of Greek Names). These tests are 20 questions multiple choice tests once a week. Since the tests are 20 questions, you will be tested on the first 20 words on the list, starting with Acheron River and ending with Calliope.
    [Show full text]