The Odyssey Book One Handout the Features of an Epic Activity
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Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, A
Ulysses Notes Joe Kelly Chapter 1: Telemachus Stephen Dedalus, a young poet employed as a school teacher; Buck Mulligan, a med student; and an Englishman called Haines, who is in Ireland to study Celtic culture, spend their morning in their Martello Tower at the seaside resort town of Sandycove, south of Dublin. Stephen, who is mourning for his dead mother, watches Buck shave on the parapet, they discuss things, Buck goes inside to cook breakfast. They all eat while a local farm woman brings them their milk. Then they walk Martello (now called the "Joyce") Tower at down to the "Forty Foot Hole," where Buck Sandycove swims in Dublin Bay. Pay careful attention to what the swimmers say about the Odyssey, Odysseus was missing, Bannons and the photo girl. presumed dead by most, for ten years after the end of the Trojan War, and Look for parallels between Stephen and his palace and wife in Ithaca were Hamlet, on one hand, and Telemachus, the beset by "suitors" who wanted to son of Odysseus, on the other. In the become king. Ulysses is a sequel to Joyce's A Portrait of the Artist as a Young Man, which is a bildungsroman starring Stephen Dedalus. That novel ended with Stephen graduating from University College, Dublin and heading off for Paris to launch his literary career. Two years later, he's back in Dublin, having been summoned home by his mother's illness. So he's something of an Icarus figure also, having tried to fly out of the labyrinth of Ireland to freed om, but having fallen, so to speak. -
Jacques-Louis David
Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Jacques-Louis David THE FAREWELL OF TELEMACHUS AND EUCHARIS Dorothy Johnson GETTY MUSEUM STUDIES ON ART Los ANGELES For my parents, Alice and John Winter, and for Johnny Christopher Hudson, Publisher Cover: Mark Greenberg, Managing Editor Jacques-Louis David (French, 1748 — 1825). The Farewell of Telemachus and Eucharis, 1818 Benedicte Gilman, Editor (detail). Oil on canvas, 87.2 x 103 cm (34% x 40/2 in.). Elizabeth Burke Kahn, Production Coordinator Los Angeles, The J. Paul Getty Museum (87.PA.27). Jeffrey Cohen, Designer Lou Meluso, Photographer Frontispiece: (Getty objects, 87.PA.27, 86.PA.740) Jacques-Louis David. Self-Portrait, 1794. Oil on canvas, 81 x 64 cm (31/8 x 25/4 in.). Paris, © 1997 The J. Paul Getty Museum Musee du Louvre (3705). © Photo R.M.N. 17985 Pacific Coast Highway Malibu, California 90265-5799 All works of art are reproduced (and photographs Mailing address: provided) courtesy of the owners, unless otherwise P.O. Box 2112 indicated. Santa Monica, California 90407-2112 Typography by G&S Typesetters, Inc., Library of Congress Austin, Texas Cataloging-in-Publication Data Printed by C & C Offset Printing Co., Ltd., Hong Kong Johnson, Dorothy. Jacques-Louis David, the Farewell of Telemachus and Eucharis / Dorothy Johnson, p. cm.—(Getty Museum studies on art) Includes bibliographical references (p. — ). ISBN 0-89236-236-7 i. David, Jacques Louis, 1748 — 1825. Farewell of Telemachus and Eucharis. 2. David, Jacques Louis, 1748-1825 Criticism and interpretation. 3. Telemachus (Greek mythology)—Art. 4. Eucharis (Greek mythology)—Art. I. Title. -
Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica
Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica Christina Marie Bartley A thesis submitted in partial fulfillment of the requirements for the Master’s degree in Classical Studies Department of Classics and Religious Studies Faculty of Arts University of Ottawa © Christina Marie Bartley, Ottawa, Canada, 2021 Table of Contents Abbreviations ..................................................................................................................... iii Abstract .............................................................................................................................. vi Acknowledgements ........................................................................................................... vii Introduction ..................................................................................................................... viii 1. The Structural Markers of the Aethiopica .......................................................................1 1.1.Homeric Strategies of Narration ..........................................................................................2 1.1.1. In Medias Res .................................................................................................................3 1.2. Narrative Voices .................................................................................................................8 1.2.1. The Anonymous Primary Narrator ................................................................................9 1.2.2. Calasiris........................................................................................................................10 -
Telemachus the Odyssey What We Know So Far
Telemachus The Odyssey What we know so far Telemachus: ● Has never met his father and has been raised by his mother and the maids ● No male role model to teach him how to be a Prince/King ● He has never fought in a war ● Needs father to give him the throne ● Young Suitors: ● In Ithaca for 4 years ● Feast all the time→ eating and drinking Odysseus’ food and wine ● They want to marry Penelope so they can become King ● Greedy ● Selfish ● Rude/Disrespectful ● Have “right” to be in Ithaca Telemachus’ speech ● Tells everyone that what suitors are doing is wrong ○ “plaguing my mother” ○ “insolent suitors” ● Tells them that they have to leave his palace ● Tells them to go feast somewhere else and eat their own food ● Realizes that he does not have the power to stop them ○ “I’d swing to attack if I had the power in me” ● Tells suitors that they should be ashamed of themselves for what they are doing ● Says that they should all fear the gods- they also see that this is wrong ● Reminds everyone that Odysseus never did anything against them Suitors’ Response ● They blame Penelope for what they are doing ○ she has been leading them on ○ she has been promising to choose for years ○ bring up the weaving trick ● They ask Telemachus to send mom back to her father’s house and have him choose new husband ● They refuse to leave- they have the right to be here ● They will continue to do as they are doing until she chooses ● They believe Odysseus is dead ● They believe that they can defeat him even if he shows up ● They do not fear Telemachus ○ “who is there -
Telemachus in Ithaca: Delimitation of Identity Frontiers in The
Global Journal of HUMAN SOCIAL SCIENCE Arts, Humanities & Psychology Volume 13 Issue 7 Version 1.0 Year 2013 Type: Double Blind Peer Reviewed International Research Journal Publisher: Global Journals Inc. (USA) Online ISSN: 2249-460x & Print ISSN: 0975-587X Telemachus in Ithaca: Delimitation of Identity Frontiers in the Ancient Iron Age (XII-VIII BC) By Ana Penha Gabrecht Universidade Federal do Espírito Santo, Brazil Abstract- In this article, we will try to understand how the description of space in Homer's Odyssey contributes to the delimitation of an Hellenic identity during the ancient Iron Age. We will first analyze the first book of the so-called Telemachia, part of the Odyssey that narrates the journey of Telemachus, Odysseus' son, to the kingdoms of Sparta and Pylos in search of news of his missing father. We believe that the young Ithacan's journey will help us in our task of understanding the way through which the Greeks saw the place (topos) where they lived and what makes of it a place of identity (isotopia). Keywords: odyssey; homer; space; identity; isotopia. GJHSS-A Classification: FOR Code: 440115 Telemachus in Ithaca Delimitation of Identity Frontiers in the Ancient Iron Age XII-VIII BC Strictly as per the compliance and regulations of: © 2013. Ana Penha Gabrecht. This is a research/review paper, distributed under the terms of the Creative Commons Attribution- Noncommercial 3.0 Unported License http://creativecommons.org/licenses/by-nc/3.0/), permitting all non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. Telemachus in Ithaca: Delimitation of Identity Frontiers in the Ancient Iron Age (XII-VIII BC) Ana Penha Gabrecht Abstract- In this article, we will try to understand how the According to Buxton (1994, p.155, 212), the description of space in Homer's Odyssey contributes to the Odyssey allows us to understand the “Hellenicity” by 3 delimitation of an Hellenic identity during the ancient Iron Age. -
The Entelechy of Telemachy 237
2 : The Entelechy of Telemachy 237 AI tel 2:02 P.M. 14/ 2: The Entelechy of Telemachy B-sides riding storys ware he-rows disap- pear INT.0 Himalayus, Ulysses also had a strange propensity for space travel. Left < = a door painting Us made in late ‘80s, prior to his trans-Sibeerun trip, a piece dat god d-stroyed in the apartment fire after witch he renounces painting + 2D art + turnt 2 ‘conceptual’ art + making objets + writing, nada perishable. In anudder of his storeys entitled “FA(R)THER FROM THE TRUTH”: a lone man out in space is working on a broken solar panel outside of the USS CONSTITUTION space stay- shun when there’s an xplosion + the probe he’s in spins off out of orebit. Dare ain’t nada no 1 can do. Contack is kept w/ hym for 3 hrs before his damedged communecake- shun unit kaputs. Ground cuntrol observes the probe for 3 days before it disappears from vu. Sighingtists estimate dat the sub- jet [Ulysses]122 cd of survived for 6 hrs [ Apollo 14 (on riserve enurgey from probes soler pan- FEBruary 1971 ] els) b4 he froze to deaf. 5 yrs + 20 dayz later the probe returns... as in a prior “Stranger in a Strange Land” tail we endid last edisope on, Us d-tales ∀ll sorts of hand- waving tech- + politickle jargon (clocks in at over 6 pgs, single spaced) + this probe defies all expectations of modurn sighence by returning to earth in a cuntrolled calm manner, creating an intl scandul dat again almost sparks WWIII. -
Illinois Classical Studies
LIBRARY OF THE UNIVERSITY OF ILLINOIS AT URBANA-CHAMPAIGN 880 V.2 Classics renew phaH=«= SS^S^jco The person charging this material is re- sponsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University. UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN m\ k m OCT IS 386 Air, 1 ? i!;88 WOV 1 5 988 FEB 19 19! i^f' i;^ idi2 CLASSICS L161 — O-1096 ILLINOIS CLASSICAL STUDIES VOLUME II •977 Miroslav Marcovich, Editor UNIVERSITY OF ILLINOIS PRESS Urbana Chicago London 1 1977 by the Board of Trustees of the University of Illinois Manufactured in the United States of America ISBN :o-252-oo629- O ^ Xl^ Preface Volume II (1977) o( Illinois Classical Studies is a contribution of the clas- sicists from the University of Illinois to the celebration of the Bicentennial of the American Revolution (1776-1976). It comprises twenty-one select contributions by classical scholars from Ann Arbor, Berkeley, Cambridge (England), Cambridge (Massachusetts), Chicago, London, New York, Philadelphia, Providence, St. Andrews, Stanford, Swarthmore, Toronto, Urbana and Zurich. The publication of this volume was possible thanks to generous grants by Dean Robert W. Rogers (Urbana-Champaign) and Dean Elmer B. Hadley (Chicago Circle). Urbana, 4 July 1975 Miroslav Marcovich, Editor .. : Contents 1 The Nature of Homeric Composition i G. p. GOOLD 2. The Mare, the Vixen, and the Bee: Sophrosyne as the Virtue of Women in Antiquity 35 HELEN F. -
Françoise Létoublon We Shall Here Study the Possible Coherence Or
Brolly. Journal of Social Sciences 1 (2) 2018 LIVING IN IRON, DRESSED IN BRONZE: METAL FORMULAS AND THE CHRONOLOGY OF AGES1 Françoise Létoublon UFR LLASIC University Grenoble-Alpes, France [email protected] Abstract. Names of important metals such as gold, silver, iron, and bronze occur many times in the Homeric Epics. We intend to look at them within the framework of oral poetry, with the purpose to determine if they form a more or less coherent set of “formulas”, in the sense defined by Milman Parry and the Oral Poetry Theory2, and to test a possible link with the stages of the evolution of humankind. Though several specialists criticized some excess in Parry’s and Lord’s definitions of the formula, we deem the theory still valuable in its great lines and feel no need to discuss it for the present study3. The frequent use of bronze in epical formulas for arms, while the actual heroes fight their battles with iron equipment, and the emphasis of gold in the descriptions of wealth may reflect a deep-seated linguistic memory within the archaic mindset of the Ages of Mankind. With Homer’s language as our best witness, metal formulas testify to the importance of the tradition of the Ages of Mankind in understanding the thought patterns and value-systems, as well as some linguistic usages of the Homeric Epics. Keywords: oral poetry, the Myth of Ages, metals, gold, bronze, iron, metaphors, anthropology We shall here study the possible coherence or opposition between linguistic and literary artefacts in Homer and Hesiod on one hand, and archaeological or historical data on the other. -
World of the Hero: Homer's Odyssey
World of the Hero: Homer’s Odyssey Pavlos Avlamis [email protected] FOCUS: The contrast between the civilised, human, Greek world (Ithacan books 13-24, and ‘Telemachy’ 1-4) and the world of the ‘adventures’ (bks 5-12) This is a central conceptual and structuring device in the poem, attention to which helps enrich appreciation of: • Literary technique (structure, plot, language) • Cultural context • Characterisation and ‘heroism’ [The above three intersect with a variety of OCR’s aims for WotH] I will: 1. Set up the contrast between civilisation and its opposite in the poem. 2. Show some ways in which the Odyssey’s fictional worlds have been contextualised from the external context of the poem (cultural context) and from within the poem (plot, poetics). 3. Suggest further reading (electronic access to selections of material to follow). The Odyssey is divided between three worlds: 1. The ‘wild’, uncivilised world of the adventures ‘out there’ (bks 5: Calypso/Ogygia, and bks 9-12: the adventures between the storm that follows the departure from Troy and Odysseus’ arrival on Ogygia) 2. The civilised Greek world of Ithaca and other cities (Pylos, Sparta) in books 1-4 and 13-24. 3. The in-between world of the Phaeacians (bks 6-9 and beginning of 13) which combines elements of both worlds and is at once both a familiar community and a strange one. The Phaeacians transport Odysseus from the mythical world to human reality. What makes the world of the adventures non-human? • physically monstrous characters (Scylla, Cyclopes, etc), • lack of agriculture • no sacrifices • no cooking – cannibalism [think: Polyphemus] • no hospitality (think: Polyphemus, but also the suitors back home [reversal]) The story of the Odyssey: Man returns from war but his boat is blown away by storm. -
Odyssey Translated Byrobertfitzgerald Homer from the Xenia, Wasveryimportantingreek NOTES from the ANCHOR TEXT|EPICPOEM Odyssey, Part2 MULTIMEDIA SCAN FOR
ANCHOR TEXT | EPIC POEM from the Odyssey Homer translated by Robert Fitzgerald Part 2 The Return of Odysseus BACKGROUND The Greek concept of hospitality, xenia, was very important in Greek SCAN FOR culture and plays a role in Odysseus’ tale. Some scholars believe that MULTIMEDIA this value is based on Greek religious belief. Since the Greek gods could take multiple earthly forms, there was always the possibility that the stranger at the door was a god in disguise. Thus, Greeks opened their homes to strangers. In Part 2, as Odysseus returns home, it is clear that this cultural practice has created some problems. “Twenty years gone, and I am back again . .” NOTES Odysseus has finished telling his story to the Phaeacians. The next day, young Phaeacian noblemen conduct him home by ship. He arrives in Ithaca after an absence of twenty years. The goddess Athena appears and informs him of the situation © Pearson Education, Inc., or its affiliates. All rights reserved. or its affiliates. Inc., Education, © Pearson at home. Numerous suitors, believing Odysseus to be dead, have been continually seeking the hand of his wife, Penelope, in marriage, while overrunning Odysseus’ palace and enjoying themselves at Penelope’s expense. Moreover, they are plotting to from the Odyssey, Part 2 595 murder Odysseus’ son, Telemachus, before he can inherit his father’s NOTES lands. Telemachus, who, like Penelope, still hopes for his father’s return, has journeyed to Pylos and Sparta to learn what he can about 1. Eumaeus (yoo MEE uhs) his father’s fate. Athena disguises Odysseus as a beggar and directs him to the hut of Eumaeus,1 his old and faithful swineherd. -
Myth, Modernism and Mentorship: Examining François Fénelon's Influence on James Joyce's Ulysses by Robert Curran a Thesis
Myth, Modernism and Mentorship: Examining François Fénelon’s Influence on James Joyce’s Ulysses by Robert Curran A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Robert Curran ii Myth, Modernism and Mentorship: Examining Francois Fenelon’s Influence on James Joyce’s Ulysses by Robert Curran This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Julieann V. Ulin, Department of English, and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: 1/ u~ Jujjeann V. Ulin, Ph D. Thesis Advisor Mary FarftciFar/ci, Ph D. John C. Leeds, Ph D. Eric L. Berlatsky, Ph D. Chair, Department of English Heather Coltman, D.M.A. Dean, Dorothy F. Schmidt College of Arts and Letters crt is/a.ou,» Jpfborah L. Floyd, Ed.D. Date / Dean, Graduate College iii ACKNOWLEDGEMENTS The author wishes to express sincere gratitude to his committee members for all of their guidance and support. I am deeply indebted to my committee chair, Professor Ulin, whose mentorship made this thesis a reality. Professor Leeds provided me with an important understanding of literary criticism. I am indebted to Professor Faraci for igniting my passion for literature. The author is grateful for the help and assistance he received from the Harry Ransom Center, University of Texas at Austin, as well as from Florida Atlantic University’s Marvin and Sybil Weiner Spirit of America Collection. -
Structure As Interpretation in the Homeric Odyssey
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 2014 Structure as Interpretation in the Homeric Odyssey Erwin F. Cook Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Cook, E. F. (2014). Structure as interpretation in the Homeric odyssey. In D. Cairns & R. Scodel (Ed.), Defining Greek narrative (pp. 75-101). Edinburgh University Press. This Contribution to Book is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Structure as Interpretation in the Odyssey ‘Defining Greek Literature’ poses an interesting challenge for Homerists, like myself, committed to the proposition that the epics reflect the compositional practices of oral poetry the world over.1 In terms of formal approaches, many scholars, including contributors to this volume, have found it productive to apply narratology to elucidate Homer, a methodology with greater universalizing assumptions than oral theory. Nevertheless, an aspect of the epics that I believe is distinctive, and in certain respects unique, is the ways in which they manipulate traditional conventions so as to guide reception. Although Scodel rightly cautions against assuming homogenous