DOCSLIB.ORG

{FREE} the Iliad and the Odyssey Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{FREE} the Iliad and the Odyssey Ebook THE ILIAD AND THE ODYSSEY PDF, EPUB, EBOOK Homer,Jan Parker,George Chapman,Tom Griffith | 976 pages | 01 Aug 2000 | Wordsworth Editions Ltd | 9781840221176 | English | Herts, United Kingdom The Iliad and Odyssey Linguistic analysis suggests that the Iliad was composed slightly before the Odyssey , and that Homeric formulae preserve older features than other parts of the poems. The Homeric poems were composed in unrhymed dactylic hexameter ; ancient Greek metre was quantity-based rather than stress-based. These habits aid the extemporizing bard, and are characteristic of oral poetry. For instance, the main words of a Homeric sentence are generally placed towards the beginning, whereas literate poets like Virgil or Milton use longer and more complicated syntactical structures. Homer then expands on these ideas in subsequent clauses; this technique is called parataxis. The so-called ' type scenes ' typische Scenen , were named by Walter Arend in He noted that Homer often, when describing frequently recurring activities such as eating, praying , fighting and dressing, used blocks of set phrases in sequence that were then elaborated by the poet. The 'Analyst' school had considered these repetitions as un-Homeric, whereas Arend interpreted them philosophically. Parry and Lord noted that these conventions are found in many other cultures. C, B, A has been observed in the Homeric epics. Opinion differs as to whether these occurrences are a conscious artistic device, a mnemonic aid or a spontaneous feature of human storytelling. Both of the Homeric poems begin with an invocation to the Muse. The orally transmitted Homeric poems were put into written form at some point between the eighth and sixth centuries BC. Some scholars believe that they were dictated to a scribe by the poet and that our inherited versions of the Iliad and Odyssey were in origin orally-dictated texts. Other scholars hold that, after the poems were created in the eighth century, they continued to be orally transmitted with considerable revision until they were written down in the sixth century. Most scholars attribute the book divisions to the Hellenistic scholars of Alexandria, in Egypt. After the establishment of the Library of Alexandria , Homeric scholars such as Zenodotus of Ephesus, Aristophanes of Byzantium and in particular Aristarchus of Samothrace helped establish a canonical text. The first printed edition of Homer was produced in in Milan, Italy. Today scholars use medieval manuscripts, papyri and other sources; some argue for a "multi-text" view, rather than seeking a single definitive text. The nineteenth-century edition of Arthur Ludwich mainly follows Aristarchus's work, whereas van Thiel's , follows the medieval vulgate. Others, such as Martin West — or T. Allen, fall somewhere between these two extremes. From Wikipedia, the free encyclopedia. This is the latest accepted revision , reviewed on 20 October For other uses, see Homer disambiguation. For other uses, see Homeric disambiguation and Homerus disambiguation. It is not to be confused with Homerian. Further information: Ancient accounts of Homer. Further information: Homeric scholarship and Homeric Question. Main article: Historicity of the Homeric epics. Main article: Homeric Greek. Ancient Greece portal Poetry portal Literature portal. The British Museum. Encyclopedia of Ancient Greece. Retrieved 22 November A Short History of Greek Literature. University of Chicago Press. Cambridge University Press. Classical Literature: An Introduction. Retrieved 23 November A Companion to Greek Literature. Gary Walter de Gruyter. The Odyssey Re-formed. Cornell University Press. Homer, His Art and His World. University of Michigan Press. The Idea of the Library in the Ancient World. OUP Oxford. Oxford University Press. Archived from the original on 30 June The Homer Encyclopedia. Homer: The Resonance of Epic. The Lives of the Greek Poets. December Proceedings of the American Philosophical Society. The Classical Tradition. Cambridge, England: Cambridge University Press. The Oxford History of the Classical World. Oxford, England: Oxford University Press. Indiana University Press. Classical Quarterly. Douglas De Gruyter. Homer and the Odyssey. The Cambridge Companion to Homer. JHU Press. Homer and the Origins of the Greek Alphabet. Hellenicity: Between Ethnicity and Culture. Oxford: Clarendon Press. The World of Odysseus. War and Violence in Ancient Greece. Classical Antiquity. A Companion to Greek Mythology. Encyclopedia of the Ancient Greek World. Infobase Publishing. A New Companion to Homer. In Search of the Trojan War. Berkeley, California: University of California Press. Retrieved 1 September The Mycenaeans. Los Angeles, California: The J. Paul Getty Museum. Brimscombe Port: The History Press. A Companion to the Ancient Greek Language. Edwards, Mark Bristol Classical Press. Oral Tradition. Princeton University Press. Vergil's Empire: Political Thought in the Aeneid. Homer and the Oral Tradition. Poetry as Performance: Homer and Beyond. Pfeiffer, History of Classical Scholarship Oxford, Stanley, The Shield of Homer Princeton, 37, ff. The Homeric Question and the Oral- formulaic Theory. Homer is definitely a master of the Greek It's a damn Greek tragedy! Homer is definitely a master of the Greek epic. His writing resembles that of a playwright of modern day and even harkens back to a bit of Shakespearean feeling in the emotion of the characters. This is definitely a classic for the ages and in my opinion one that should be read once by everyone. I am reading this to two sets of students and it never gets old. My only complaint is that the Provensons left out Argos. I do believe it is the best children's Homer I have read. I love the chapter breakdowns which are almost parallel to the poems. The Provensons never disappoint, do they? May 05, 1marcus rated it it was amazing. The adventure, mystery, and the understanding of pre-history are great for anyone who wants to read this book. All these things made me want to read the book over again and even write a book review on it. First the adventure is wild from the start. Fighting the Cyclopes and winning made me think that no matter what the size of the person or object I can win if I put my mind to it and want it bad enough. Adventure keeps me reading the book. Never will you have to do that with this book. Last the understanding of the pre-history is good for one if they are trying to learn about ancient history. We hope that you find Homer's "Odyssey" enjoyable whether you are reading it for school, for study, or for pleasure. What will you do View 1 comment. Well, after hearing of the Iliad and the Odyssey for my entire life through the miasma of culture, media, and that one primary school teacher who, to my memory, taught me nothing but greek myth big up Miss Fahey , I finally got around to reading them. Well, kind of. Reading stories this old is like saying you finally heard Bohemian Rhapsody, but it was played by some guy in a pub who heard another guy describe it admitantly, really well on the radio from the time his dad played it for him aft Well, after hearing of the Iliad and the Odyssey for my entire life through the miasma of culture, media, and that one primary school teacher who, to my memory, taught me nothing but greek myth big up Miss Fahey , I finally got around to reading them. Reading stories this old is like saying you finally heard Bohemian Rhapsody, but it was played by some guy in a pub who heard another guy describe it admitantly, really well on the radio from the time his dad played it for him after hearing a woman sing it in a talent show after she heard it from etc. How much of Homer was the OG Homer? Do we even know if any of Homer's words even survived the subsequent changes the other Homers added to the text? And what about the text? Do we count the person who first put it to paper as a 'Homer'? Or are they just counted as translators? And what about translators?? These are too many questions to sift through and I'm no where near qualified enough to answer any of them so I'm not getting involved in that whole nebulous "oral tradition" malarky, it's irrelevant as I can only judge what I have read in this here collection of words that made up two long but brilliant poems. All the points I have about these epics, positive and negative, stem from the literary collection that I imbibed. So here is what I think of that pysical thing that I bought which had two epic poems called The Iliad and The Odyssey, which were both written down onto the page by some guy other than Homer, then Translated by another dude who also wasn't Homer, and read by a guy who really isn't Homer. I'm talking about that. And to make it even more confusing, I listened to them via audiobook. Yeah, this review is already a mess They're all save for the wooden horse alluded to, foreshadowed, and set up throughout the poem, but they're not described or shown. Long story short; no pay off. The poem ends before any of that occurs. Now I hear you say, "but Tom, that's not what the Iliad was about! It was about Achilles, his argument with Agamemnon, and his rage at the death of Patroclus. Everyone knows all of that is going to happen anyhow, you don't need to show it. BUT The structure and time given to the overarching plot of the war, its soldiers and its greater surroundings, not to mention the battle between the gods, is left unfinished. For HUGE swathes of the poem, we were brought inside battles, raids, plans for tearing down walls, loss of naval escape routes, people's families back home and debts that are forever left unpaid and crimes that are left unresolved due to the actions and the bloodshed of the trojan war.
Load more

Recommended publications
  • SCS Plenary Session Saturday January 4, 2020 151St Annual
    SCS Plenary Session Saturday January 4, 2020 151st Annual Meeting Below you will find the complete versions of all award citations. Abbreviated citations may be read at the session: Precollegiate Teaching Award (This year the Precollegiate Teaching Award winners have elected to receive their prizes at the ACL Institute.) William Lee The Committee is delighted to bestow the SCS Award for Excellence in Teaching at the Precollegiate Level on William Lee. Since 2003 Mr. Lee has taught at Tom C. Clark High School, in San Antonio, where he has grown the program from a half-time teacher with fewer than 100 students to two full-time teachers of over 300 students in one of the largest Latin programs in Texas. His current and former students are effusive in their praise of his technologically innovative class activities as well as his dedication to rigorous Latin exercises while still making sure every student feels like they belong. A recurrent theme of letters on his behalf is the “family-like” atmosphere and “friendship” Mr. Lee cultivates in Latin classes and in the Latin club. In a school with a large and diverse student body in San Antonio, Mr. Lee creates a space where Latin speaks to everyone and everyone has a place. Mr. Lee is well-known for his work at the state and national levels of the Junior Classical League, serving as NJCL Certamen Chair and Communications Chair for lengthy tenures, and as State Co-Chair of the TSJCL continually since 2006. His students regularly bring home top regional, state, and national awards and, under his patient but firm guidance, all the certamen teams representing Texas since 2000 have finished in the top six places with four National Championships.
    [Show full text]
  • Complete Issue
    _____________________________________________________________ Volume 16 March 2001 Number 1 _____________________________________________________________ Editor Editorial Assistants John Miles Foley Michael Barnes Adam Dubé Associate Editor Kristin Funk John Zemke Heather Hignite Heather Maring Marjorie Rubright Slavica Publishers, Inc. For a complete catalog of books from Slavica, with prices and ordering information, write to: Slavica Publishers, Inc. Indiana University 2611 E. 10th St. Bloomington, IN 47408-2603 ISSN: 0883-5365 Each contribution copyright © 2001 by its author. All rights reserved. The editor and the publisher assume no responsibility for statements of fact or opinion by the authors. Oral Tradition seeks to provide a comparative and interdisciplinary focus for studies in oral literature and related fields by publishing research and scholarship on the creation, transmission, and interpretation of all forms of oral traditional expression. As well as essays treating certifiably oral traditions, OT presents investigations of the relationships between oral and written traditions, as well as brief accounts of important fieldwork, a Symposium section (in which scholars may reply at some length to prior essays), review articles, occasional transcriptions and translations of oral texts, a digest of work in progress, and a regular column for notices of conferences and other matters of interest. In addition, occasional issues will include an ongoing annotated bibliography of relevant research and the annual Albert Lord and Milman Parry Lectures on Oral Tradition. OT welcomes contributions on all oral literatures, on all literatures directly influenced by oral traditions, and on non-literary oral traditions. Submissions must follow the list-of reference format (style sheet available on request) and must be accompanied by a stamped, self-addressed envelope for return or for mailing of proofs; all quotations of primary materials must be made in the original language(s) with following English translations.
    [Show full text]
  • The Iliad and the Odyssey Free
    FREE THE ILIAD AND THE ODYSSEY PDF Homer,Jan Parker,George Chapman,Tom Griffith | 976 pages | 01 Aug 2000 | Wordsworth Editions Ltd | 9781840221176 | English | Herts, United Kingdom Homer - Wikipedia The Iliad and Odyssey: Historical Background. See our timeline. These "Greeks" are relative late-comers to the area we now call "Greece" and likely originated to the East of Black Sea, around the area now called the Caucasus between the Black and Caspian seas, where Russia, Turkey and N. Iran meet. The story of Prometheus -- shackled to mount Caucus -- shows strong connections between their original culture and that of the Sumerians etc. So these Mycenaean people were both influenced by and influenced other great civilizations even before there was written The Iliad and the Odyssey or, for that matter, writing. Before the Mycenaeans arrived in the region, earlier "Greek" cultures worshipped ancient fertility goddesses probably related to Ishtar, Aphrodite, even Athena and Hera, and appear to have lived a rather peaceable, agricultural lifestyle we assume this because archeological digs show these pre-Mycenaean people lived without military weapons or fortifications From this perspective, The Iliad is a work of military propaganda that justifies Mycenaen control of the most valuable sea passage of age the Bosporusand The Odyssey justifies colonizing Italy and Sicily to the West. These Ancient and even Classical Greeks are best viewed as a culture rather than as a unified people or "nation". Achilles is a king in his own right, as is Odysseus, Menaleaus, Agamemnon etc. This distinction is important to understanding the Iliad : Achilles rightfully sees himself as Agamemnon's equal.
    [Show full text]
  • Handbook of Women Biblical Interpreters
    HANDBOOK OF WOMEN BIBLICAL INTERPRETERS (Unpublished manuscript—copyright protected Baker Publishing Group) _Taylor_HandbkOfWomen_BKB_djm.indd i 7/6/12 10:32 AM _Taylor_HandbkOfWomen_BKB_djm.indd ii 7/6/12 10:32 AM HANDBOOK OF WOMEN BIBLICAL INTERPRETERS A Historical and Biographical Guide MARION ANN TAYLOR, EDITOR AGNES CHOI, ASSOCIATE EDITOR K (Unpublished manuscript—copyright protected Baker Publishing Group) _Taylor_HandbkOfWomen_BKB_djm.indd iii 7/6/12 10:32 AM © 2012 by Baker Publishing Group Published by Baker Academic a division of Baker Publishing Group P.O. Box 6287, Grand Rapids, MI 49516-6287 www.bakeracademic.com Printed in the United States of America 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—for example, electronic, photocopy, recording—without the prior written permission of the publisher. The only exception is brief quotations in printed reviews. Library of Congress Cataloging-in-Publication Data Handbook of women Biblical interpreters : a historical and biographical guide / Marion Ann Taylor, editor; Agnes Choi, associate editor. p. cm. Includes bibliographical references and index. ISBN 978-0-8010-3356-8 (cloth) 1. Women Biblical scholars. 2. Bible—Criticism, interpretation, etc.—History. I. Taylor, Marion Ann. II. Choi, Agnes. BS501.A1H36 2012 220.6092 52—dc23 2012009033 Unless otherwise labeled, Scripture quotations are from the King James Version (KJV) of the Bible or paraphrased by the writer. Scripture quotations labeled NASB are from the New American Standard Bible®, copyright © 1960, 1962, 1963, 1968, 1971, 1972, 1973, 1975, 1977, 1995 by The Lockman Foundation. Used by permission. Scripture quotations labeled NIV are from the Holy Bible, New International Version®.
    [Show full text]
  • Homeric Emulation and Epic Reinvention in Nonnos' Dionysiaka
    i Homeric Emulation and Epic Reinvention in Nonnos’ Dionysiaka A thesis submitted by Christopher David Parkinson in partial fulfillment of the requirements for the degree of Master of Arts in Classics Tufts University August 2017 Adviser: Professor Marie-Claire Beaulieu ii Abstract The AD 5th century epic, the Dionysiaka, by Nonnos of Panopolis contains substantial allusions to earlier works, most notably the works of Homer. The following study examines elements in the Dionysiaka which emulate Homer and argues that the purpose of this emulation was to compete, and ultimately supplant, the Homeric Cycle. This work further argues that this goal was a result of the late period in which Nonnos wrote. It proposes that the Dionysiaka aims to outdo Homer’s scenes and style mechanically but thematically it departs from Homer and attempts to reframe the traditional pagan epic to fit the culture of the 5th century. Ultimately, this thesis argues that Nonnos was part of a failed movement in late antiquity to rectify no longer operative but still prevalent pre-Christian culture with Christian and Neo-Platonic ideas. iii Acknowledgments I would like to acknowledge a number of people who have helped drive this project to completion. I would like to thank Professor Marie-Claire Beaulieu and Professor Steven Hirsch for their guidance and edits on this project as well as Professor David Proctor for serving on my defense committee. I would like to give my thanks and love to my partner, Natalie, for her perpetual patience, support, and editing assistance. I am further grateful to my friends Adam, Corey, and Tianran who each, in their own ways, showed their constant support.
    [Show full text]
  • X Erox U Niversity M Icrofilms
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original subm itted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until com plete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • Untitled Nag Hammadi Document Known As on the Origin of the World – Presents Us with an Even More Subversive Stance
    INNEHÅLL 3 PROLOG RAPPORTER 5 Collegium Patristicum Lundense 6 Forum for Patristik 6 Societas Patristica Fennica 6 Forskningsprojekten i Lund kring tidig monastisk litteratur 8 Center for Studiet av Antikken og Kristendommen 9 Den Kristne Orient 10 Johannesakademin 11 Masterprogrammet Religious Roots of Europe i Lund 12 Konferenser och seminarier 14 Övrigt NYA PUBLIKATIONER 17 Nya avhandlingar 17 Studier 30 Översättningar ARTIKLAR 33 Ville Vuolanto, Parenting in Late Antiquity: Gendered Roles in Ideo- logy and Everyday Life 59 Anna Rebecca Solevåg, Monsteret Judas: Papias’ beskrivelse av Judas’ død 69 Maria Sturesson, Evangeliet enligt Homeros: Från Eva till Maria 97 Jonathan Cahana, Creating Sex: From Ovid’s Hermaphrodite to the Gnostic Eve RECENSIONER OCH BOKANMÄLNINGAR 123 Juliette Day, Raimo Hakola, Maijastina Kahlos & Ulla Terva- hauta (red.), Spaces in Late Antiquity 125 Anne Hege Grung, Marianne Bjelland Kartzow & Anna Rebecca Solevåg (red.), Bodies, Borders, Believers 129 Christer Hedin, Läran om den helige Ande hos Gregorios av Nyssa 131 Olof Heilo, Eastern Rome and the Rise of Islam 134 Uffe Holmsgaard Eriksen, Drama in the Kontakia of Romanos the Melodist 138 Irenaeus, Mot heresierna 139 Ståle Johannes Kristiansen & Peder K. Solberg (red.), Gud er all- tid større 143 Hugo Lundhaug & Lance Jenott, The Monastic Origins of the Nag Hammadi Codices 147 Samuel Rubenson, Det tidiga klosterväsendet och den antika bild- ningen 151 Stephen J. Shoemaker, Mary in Early Christian Faith and Devotion PROLOG Detta nummer av PNA är vigt åt det vi inte hör. Historien själv är ett tystnadens rike, en stilla närvaro ibland oss, en skugga som vi inte märker – eller bara förnimmer – förrän någon blåser liv i den.
    [Show full text]
  • Maria Sturesson ([email protected]) Lunds Universitet
    EVANGELIET ENLIGT HOMEROS: FRÅN EVA TILL MARIA Maria Sturesson ([email protected]) Lunds universitet Abstract: This article presents and discusses the so-called Homeric centos attributed to the fifth-century Byzantine empress Eudocia. More specifically it looks at the passages about Eve and Mary, whose length in this Gospel narrative far exceed those of the New Testament texts. Eve and Mary frame the story of Jesus’ life and death and can therefore be seen as an interpretative framework for this narrative. The Homeric centos, or Homerocentones, rewrite the Gospel story using verses from the Homeric epics and in the presentation of the two aforementioned characters the history of salvation is revealed. Eve allows, although unwittingly, sin to enter the world. And through Mary the word of salvation spreads as she receives the announcement of the resurrection. In the presentation of Mary, the cento dwells on the motif of grief. Similes and verses from Homer describing grief build up a character, whose accumulated grief in this narrative becomes something of a virtue. The elaboration of their char- acters in a Gospel narrative, and the interconnectedness of the two in the cento, thus inform an interpretation of Gospel stories in relation to classical literature. Keywords: Mary as Mother, Eve, Homerocentones, Aelia Eudocia PNA 31/2016 69 ARTIKLAR Introduktion Omskrivningar, parafraser och poetiska bearbetningar av de nytesta- mentliga evangelierna är en företeelse som tar sig olika uttryck i olika tider, där litterära gestaltningar av bibliska karaktärer, teologier och föreställningar med olika form och syfte breder ut sig på en kyrko- och litteraturhistorisk karta.
    [Show full text]
  • The Batrachomachia Die Homerische Batrachomachia Des Karers Pigres Nebst Scholien Und Paraphrase
    The Classical Review http://journals.cambridge.org/CAR Additional services for The Classical Review: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Batrachomachia Die homerische Batrachomachia des Karers Pigres nebst Scholien und Paraphrase. Herausgegeben und erläutert von Arthur Ludwich. Leipzig, Teubner. 1896. M.20. Thomas W. Allen The Classical Review / Volume 11 / Issue 03 / April 1897, pp 165 - 167 DOI: 10.1017/S0009840X00026597, Published online: 27 October 2009 Link to this article: http://journals.cambridge.org/abstract_S0009840X00026597 How to cite this article: Thomas W. Allen (1897). The Classical Review, 11, pp 165-167 doi:10.1017/ S0009840X00026597 Request Permissions : Click here Downloaded from http://journals.cambridge.org/CAR, IP address: 130.88.90.140 on 05 May 2015 THE CLASSICAL REVIEW. 165 THE BATRACHOMACHIA. Die homerische Batrachomachia des Karers the language of the poem, and by the com- Pigres nebst Scholien wnd Paraphrase. parison of the parodic epic literature from Herausgegeben und erlautert von AETHUE Hipponax downwards, of which the chief 1 LUDWICH. Leipzig, Teubner. 1896. M.20. representatives are the fourth and third century gastronomic writers Matro and JUSTICE cannot be done to this monument Archestratus. These form a terminus ad of learning in the limits of a review. The quem, in contrast to which the style of the pretty poem of 303 lines in which the fates Batr. (when purged of its Byzantine accre- of the Frogs and Mice are recounted is tions) suits well with the literary circle of furnished with 483 pages of evidence and Panyasis and Herodotus.
    [Show full text]
  • Homer and Rhapsodic Competition in Performance1
    Oral Tradition, 16/1 (2001): 129-167 Homer and Rhapsodic Competition in Performance1 Derek Collins Introduction One legacy of Homeric studies since the pathbreaking work of Milman Parry, Albert Lord, Gregory Nagy, and John Miles Foley has been an emphasis on the earliest stages of composition and performance. These scholars have shown in detail how poet-singers compose while they perform, and perform while they compose epic poetry. However, we have yet to apply the valuable insights gained from their research to later stages of a poetic tradition, particularly after the poetic “texts” have become stable and written down, while live performances of these “texts” continue. The time has now come to attempt such an application, but with important qualifications. This is because a performance tradition that takes place against a body of fixed texts is governed by different rules, as it were, than one that is as yet in a more fluid stage. For one, audience expectation will be different, and greater allusive precision may be achieved by live performers who modify and improvise textual elements to surprise, shock, or delight their audiences. It is important to stress at the outset that a fixed text need not be an impediment, and indeed it may be an impetus, to the contingent and improvisational demands of live poetic performance. Scholars are only beginning to apply these insights to the long tradition of rhapsodic performances of Homeric poetry.2 Although rhapsodes have received increasing attention in recent scholarship,3 there has 1 Earlier versions of this paper were given at the annual meeting of the American Philological Association (December 1998), and before audiences at the Universities of Michigan, Iowa, and Missouri.
    [Show full text]