TEST REVIEW – Homer's Odyssey

Total Page：16

File Type：pdf, Size：1020Kb

TEST REVIEW – Homer’s Odyssey Unit 2 Test 2 – The Epic, Archetypes, and the Monomyth I. Archetypes • Be able to identify and interpret examples of the following archetypes in the Odyssey: o Terrible Mother o Sunset o Quest o Good Mother o Sunrise o Task o Soul Mate o Whirlpool o Supernatural o Wise One/Mentor o Underworld Intervention o Loyal Retainer o Magic Weapon o Ritual o Giant/Monster o Island o Sleep/the Void • Be able to analyze the Monomyth (hero’s journey) within the Odyssey. II. Plot Comprehension • Know who the following characters are, what they do, and why they are important. o Odysseus o Athena/Mentes o Phemius o Circe o Penelope o Melanthius o Medon o Tiresias o Telemachus o Melantho o Eupithes o Argos o Laertes o Antinous o Polyphemus o Eurycleia o Eurymachus o Charybdis o Eumaeus o Amphinomus o Scylla III. Analysis • Be able to identify and interpret ALL literary elements from sets #1 and #2, with particular emphasis on the terms in set #2 that relate to epics and mythology. Be able to explain what a particular literary element is doing in the text. • Know the meaning and significance of Greek concepts: hubris, metis, xenia, nostos, kleos • Know the epic hero traits and how Odysseus fulfills them. • Be able to analyze motifs and character motivations in the epic. • Be able to use the text to draw conclusions about Greek customs and culture. • Be able to identify and analyze epic conventions in the text. • STUDY YOUR ANNOTATIONS AND NOTES. They will help. In some cases, they will give you information that is on the test. In most cases, though, they will help refresh you on the ways of thinking you will need to perform on the test. IV. Cold Read • You will have a cold read with AP-style multiple choice questions on this test as always. A good understanding of the literary concepts and your analytical skills will be all that you need. .

Copy Link

Recommended publications

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.
[Show full text]
Djebar's Scheherazade & Atwood's Penelope
Mythic women reborn: Djebar's Scheherazade & Atwood's Penelope Item Type Thesis Authors Frentzko, Brianna Nicole Download date 25/09/2021 03:49:19 Link to Item http://hdl.handle.net/11122/10563 MYTHIC WOMEN REBORN: DJEBAR'S SCHEHERAZADE & ATWOOD'S PENELOPE By Brianna Nicole Frentzko, M.A. A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English University of Alaska Fairbanks May 2019 © 2019 Brianna Nicole Frentzko APPROVED: Geraldine Brightwell, Committee Co-Chair Eileen Harney, Committee Co-Chair Rich Carr, Committee Member Sara Eliza Johnson, Committee Member Rich Carr, Chair Department of English Todd Sherman, Dean College of Liberal Arts Michael Castellini, Dean Graduate School ABSTRACT This thesis examines how two modern female writers approach the retelling of stories involving mythic heroines. Assia Djebar's A Sister to Scheherazade repurposes Arabian Nights to reclaim a sisterly solidarity rooted in a pre-colonial Algerian female identity rather than merely colonized liberation. In approaching the oppressive harem through the lens of the bond between Scheherazade and her sister Dinarzade, Djebar allows women to transcend superficial competition and find true freedom in each other. Margaret Atwood's The Penelopiad interrogates the idealized wife Penelope from Homer's Odyssey in order to highlight its heroine's complicity in male violence against women. Elevating the disloyal maids whom Odysseus murders, Atwood questions the limitations of sisterhood and the need to provide visibility, voice, and justice for the forgotten victims powerful men have dismissed and destroyed. The two novels signal a shift in feminist philosophy from the need for collective action to the need to recognize individual narratives.
[Show full text]
23 Hero-Without-Nostos.Pdf
1 23 Your article is protected by copyright and all rights are held exclusively by Springer Science +Business Media Dordrecht. This e-offprint is for personal use only and shall not be self- archived in electronic repositories. If you wish to self-archive your article, please use the accepted manuscript version for posting on your own website. You may further deposit the accepted manuscript version in any repository, provided it is only made publicly available 12 months after official publication or later and provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Springer's website. The link must be accompanied by the following text: "The final publication is available at link.springer.com”. 1 23 Author's personal copy Int class trad DOI 10.1007/s12138-014-0367-6 ARTICLE A Hero Without Nostos: Ulysses’ Last Voyage in Twentieth-Century Italy Francesca Schironi © Springer Science+Business Media Dordrecht 2015 Abstract The article reviews the reception of Ulysses’ last voyage in twentieth- century Italy. Ulysses’ last voyage is used by Italian authors to discuss different and often opposing views of the ideal human life as well as the intellectual and exis- tential angsts of the twentieth century. In addition, the Italian twentieth-century Ulysses becomes part of a metapoetic discourse, as going back to the Homeric and Dantesque myths of Ulysses for an artist also means interrogating oneself on the possibility of creating something new within a long tradition. This metaliterary dimension adds to the modern Italian reception of Ulysses, making it a unique case of the intersection of many different layers of reception both in chronological and thematic terms.
[Show full text]
Death and the Female Body in Homer, Vergil, and Ovid
DEATH AND THE FEMALE BODY IN HOMER, VERGIL, AND OVID Katherine De Boer Simons A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Depart- ment of Classics. Chapel Hill 2016 Approved by: Sharon L. James James J. O’Hara William H. Race Alison Keith Laurel Fulkerson © 2016 Katherine De Boer Simons ALL RIGHTS RESERVED ii ABSTRACT KATHERINE DE BOER SIMONS: Death and the Female Body in Homer, Vergil, and Ovid (Under the direction of Sharon L. James) This study investigates the treatment of women and death in three major epic poems of the classical world: Homer’s Odyssey, Vergil’s Aeneid, and Ovid’s Metamorphoses. I rely on recent work in the areas of embodiment and media studies to consider dead and dying female bodies as representations of a sexual politics that figures women as threatening and even mon- strous. I argue that the Odyssey initiates a program of linking female death to women’s sexual status and social class that is recapitulated and intensified by Vergil. Both the Odyssey and the Aeneid punish transgressive women with suffering in death, but Vergil further spectacularizes violent female deaths, narrating them in “carnographic” detail. The Metamorphoses, on the other hand, subverts the Homeric and Vergilian model of female sexuality to present the female body as endangered rather than dangerous, and threatened rather than threatening. In Ovid’s poem, women are overwhelmingly depicted as brutalized victims regardless of their sexual status, and the female body is consistently represented as bloodied in death and twisted in metamorphosis.
[Show full text]
Homer's Odyssey
Checklist for revising Year 1 Suggestions for how to revise each area Revision Homer’s completed? Odyssey OR Homer, the Watch these interviews/ lectures and make notes on what you learn about the poet, the epic genre itself and Homer’s influence/the way others viewed his poetry. Homeric tradition, • ‘The Homeric Tradition’ from scholar Edith Hall at the British Library: Homeric Question https://www.youtube.com/watch?v=jNKiQiDgNJs • ‘The Homeric Question’ by scholar Pelling: and ancient Greek https://www.youtube.com/watch?v=4zMiiq4JhXs epic poetry • ‘The Odyssey-In Our Time’ podcast from Melvyn Bragg and scholars Edith Hall, Goldhill and Taplin: https://www.youtube.com/watch?v=jSqxgB5NTUg • ‘Why Homer matters’ a lecture from scholar Cartledge at the Hay Festival: https://www.youtube.com/watch?v=NhXTEETdkmk The plot of each • Read the Odyssey again and make chapter plot summaries/timelines for the context chapters: 1, 5, 6, 7, 8, 9, 10, 11, 12, 13, 16, 17, 18, 19, 21, 22, 23 chapter REMEMBER-these are the chapters 10 marks will come from and they will be the focus of 20 mark essays • Watch each chapter summary+analysis video in this playlist, to help you make detailed chapter summaries/timelines: https://www.youtube.com/watch?v=EV- a_AtlilM&list=PLz_ZtyOWL9BTT6cHpSFM3HnK9ongAYDBl Concept of heroism • Read over your notes in your folder to remind yourself about the characteristics of a Homeric Hero and Homeric Heroism in general. • Watch this useful video on Homeric Heroism: ‘What makes a Homeric Hero?’: https://www.youtube.com/watch?v=rXTecz3PN18
[Show full text]
Dolios in "Odyssey" 4 and 24: Penelope's Plotting and Alternative Narratives of Odysseus's Νόστος Author(S): BENJAMIN S
Dolios in "Odyssey" 4 and 24: Penelope's Plotting and Alternative Narratives of Odysseus's νόστος Author(s): BENJAMIN S. HALLER Source: Transactions of the American Philological Association (1974-2014) , Autumn 2013 , Vol. 143, No. 2 (Autumn 2013), pp. 263-292 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/43830263 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]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to Transactions of the American Philological Association (1974-2014) This content downloaded from 128.95.104.109 on Thu, 04 Feb 2021 19:01:05 UTC All use subject to https://about.jstor.org/terms Transactions of the American Philological Association 143 (2013) 263-292 Dolios in Odyssey 4 and 24: Penelope's Plotting and Alternative Narratives of Odysseus's vógtoç* BENJAMIN S. HALLER Virginia Wesleyan College summary: The abortive messages that Dolios almost but never conveys from Penelope to Laertes and from Laertes' farm to Penelope in Books 4 and 24 of the Odyssey allude to alternative versions of Odysseus s vóaToç in which Odys- seus returned to Ithaca with an armed band and expelled the suitors with the knowing collusion of Penelope and Laertes.
[Show full text]
Human Beings and One Faithful Dog Odysseus the Central Figure in The
Human Beings and One Faithful Dog Odysseus The central figure in the epic, he employs guile as well as courage to return to Ithaca, defeat the suitors, and resume his proper place as king. Penelope Wife of Odysseus and mother of their son, Telemachus, she is shrewd and faithful in fending off the suitors. Telemachus Son of Odysseus and Penelope, the prince struggles to gain his own maturity while attempting to deal with the problems of the palace. Laertes Odysseus' father, the old king lives humbly and in solitude on a small farm where he mourns the absence of his son; once reunited with Odysseus, he is restored to dignity. Anticleia Odysseus' mother, she dies grieving her son's long absence and sees him only during his visit to the Land of the Dead. Eurycleia Faithful old nurse to Odysseus (as well as Telemachus), she identifies her master when she recognizes an old scar on his leg. Eumaeus and Philoetius Odysseus' loyal swineherd and cowherd, they assist him in his return to Ithaca and stand with the king and prince against the suitors. Argos Trained by Odysseus some twenty years before, the discarded old dog, dying on a dung heap, recognizes his master as Odysseus and Eumaeus approach the palace. Antinous and Eurymachus The two leading suitors, they differ in that Antinous is more physically aggressive while Eurymachus is a smooth talker. Eupithes Father of Antinous, he leads the suitors' families and friends who seek revenge for the slaughter and is killed by Laertes. Melanthius and Melantho Odysseus' disloyal goatherd and an insolent palace maidservant, these two are representative of those who serve their master poorly, and each is rewarded with a grisly death.
[Show full text]
The Return of Ulysses ‘Only Edith Hall Could Have Written This Richly Engaging and Distinctive Book
the return of ulysses ‘Only Edith Hall could have written this richly engaging and distinctive book. She covers a breathtaking range of material, from the highest of high culture to the camp, cartoonish, and frankly weird; from Europe to the USA to Africa and the Far East; and from literature to film and opera. Throughout this tour of the huge variety of responses that there have been to the Odyssey, a powerful argument emerges about the appeal and longevity of the text which reveals all the critical and political flair that we have come to expect of this author. It is all conveyed with the infectious excitement and clarity of a brilliant performer. The Return of Ulysses represents a major contribution to how we assess the continuing influence of Homer in modern culture.’ — Simon Goldhill, Professor of Greek Literature and Culture, University of Cambridge ‘Edith Hall has written a book many have long been waiting for, a smart, sophisticated, and hugely entertaining cultural history of Homer’s Odyssey spanning nearly three millennia of its reception and influence within world culture. A marvel of collection, association, and analysis, the book yields new discoveries on every page. In no other treatment of the enduring figure of Odysseus does Dante rub shoulders with Dr Who, Adorno and Bakhtin with John Ford and Clint Eastwood. Hall is superb at digging into the depths of the Odyssean character to find what makes the polytropic Greek so internationally indestructible. A great delight to read, the book is lucid, appealingly written, fast, funny, and full of enlightening details.
[Show full text]
Notes for the Penelopiad
NOTES FOR THE PENELOPIAD Use this guide to assist you while reading Margaret Atwood’s The Penelopiad. This guide will provide you with important information about different characters, events, and references. MARGARET ATWOOD Canadian author Margaret Atwood is a prolific and award-winning novelist, poet, short story writer, essayist, and critic. From a young age, Atwood has been keenly interested in mythology and folk/fairy tales, which inspire much of her poetry. Atwood is one of Canada’s most famous and respected literary figures. Published in October 2005, Atwood’s original novella The Penelopiad was part of a Canongate series of myths retold by contemporary authors. The Penelopiad reexamines Homer’s epic story the Odyssey through a variety of genres: narrative, a classic Greek chorus, various types of poetry and song, and modern settings including a court trial and an anthropology lecture. THE PENELEOPIAD The layout of this novel is characterized by monologues and narration from Penelope in the underworld, flashbacks to important events in Penelope's life, and poetic and musical segments from the maids, both in the underworld and during the flashback. The story begins with Penelope alone in the Greek underworld of the dead. Penelope, the wife of Odysseus and renowned for her faithfulness, has decided to tell her side of the famous Odyssey story. Penelope is haunted in the underworld by the spirits of her twelve maids, the ones who Odysseys ordered to be killed upon his return to Ithaca. HOMER Like Shakespeare, Homer is a highly influential but extremely mysterious literary figure. His exact birthdate is unknown, and seven cities in Greece all claim to be his birthplace.
[Show full text]
Penelope As Atragic Heroine
Penelope as a Tragic Heroine Choral Dynamics in Homeric Epic Sheila Murnaghan University of Pennsylvania [email protected] Abstract Attention to the ways in which Homeric epic is shaped by its engagement with choral lyric reveals continuities between epic and tragedy that go beyond tragedy’s mythi- cal subject matter and the characteristics of tragic dialogue: both poetic forms rework the circumstances of choral performance into fictional events. This point can be illus- trated through the figure of Penelope in the Odyssey who, like many tragic hero- ines, is in effect a displaced chorus leader. Penelope’s situation and her relations with her serving women, especially with the twelve disloyal maids whose punishment takes the form of a distorted choral dance, anticipate the circumstances of the tragic stage, in which individual characters act and suffer in the constant presence of choral groups. Keywords chorality – nightingale – Penelope – Nausicaa – maidservants A defining feature of classical Athenian tragedy is its combination of actors and choruses,* a distinctive configuration of individual and collective charac- ters who together enact episodes from the mythical tradition.1While actors and * Versions of this article were delivered at the Epichoreia workshop at New York University in January 2012 and at the University of Pennsylvania Classical Studies colloquium in September 2012. I am grateful to members of both audiences, especially Helene Foley, Barbara Kowalzig, Timothy Power, Deborah Steiner, and Ralph Rosen, for their helpful responses on those occa- sions. I owe a further debt to Deborah Steiner for generously sharing her unpublished work on chorality in Greek culture. Thanks also to Alex Purves and Timothy Power for reading and commenting on an earlier draft and to the editors of YAGE for their patience and encourage- ment.
[Show full text]
Penelope As Atragic Heroine
Penelope as a Tragic Heroine Choral Dynamics in Homeric Epic Sheila Murnaghan University of Pennsylvania [email protected] Abstract Attention to the ways in which Homeric epic is shaped by its engagement with choral lyric reveals continuities between epic and tragedy that go beyond tragedy’s mythi- cal subject matter and the characteristics of tragic dialogue: both poetic forms rework the circumstances of choral performance into fictional events. This point can be illus- trated through the figure of Penelope in the Odyssey who, like many tragic hero- ines, is in effect a displaced chorus leader. Penelope’s situation and her relations with her serving women, especially with the twelve disloyal maids whose punishment takes the form of a distorted choral dance, anticipate the circumstances of the tragic stage, in which individual characters act and suffer in the constant presence of choral groups. Keywords chorality – nightingale – Penelope – Nausicaa – maidservants A defining feature of classical Athenian tragedy is its combination of actors and choruses,* a distinctive configuration of individual and collective charac- ters who together enact episodes from the mythical tradition.1While actors and * Versions of this article were delivered at the Epichoreia workshop at New York University in January 2012 and at the University of Pennsylvania Classical Studies colloquium in September 2012. I am grateful to members of both audiences, especially Helene Foley, Barbara Kowalzig, Timothy Power, Deborah Steiner, and Ralph Rosen, for their helpful responses on those occa- sions. I owe a further debt to Deborah Steiner for generously sharing her unpublished work on chorality in Greek culture. Thanks also to Alex Purves and Timothy Power for reading and commenting on an earlier draft and to the editors of YAGE for their patience and encourage- ment.
[Show full text]
The Social and Narrative Functions of Telemachus in the Odyssey
The Social and Narrative Functions of Telemachus in the Odyssey Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Graduate Program in Ancient Greek and Roman Studies Dr. Joel Christensen, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Arts in Ancient Greek and Roman Studies by Zachary B. Elliott May 2018 Copyright by Zachary B. Elliott © 2018 Acknowledgements This thesis would not exist were it not for the kindness, commitment, and generosity of those who supported me throughout its production. My advisor, Dr. Joel Christensen, saw the project through its nascent and amorphous stages in a course on the Odyssey to its completion as an MA thesis. He receives my greatest thanks for his, seemingly, endless patience and dedicated mentorship as he showed me what it means to be a scholar and a colleague. My readers, Dr. Ann Olga Koloski-Ostrow and Dr. Cheryl Walker, gave thoughtful comments and enjoyable conversation toward the final stages of the thesis, and both have served as exceptional teachers during my time in the MA program. I give my gratitude also to Dr. Andrew Koh for providing early support in the program, to Dr. Patricia Johnston for improving my Latin, and to Dr. Alex Ratzlaff for being a constant pillar of support and encouragement. I thank my graduate student colleagues for creating an environment of camaraderie and collegiality which has made my two years in the program remarkable on a personal and professional level. In particular, I thank my fellow Graduate Department Representatives during my time at Brandeis, Jim Martin, Erin Brantmayer, and Anna Krohn, who gave their time and dedication to making the program better.
[Show full text]