An Iliad Based on Homer’S the Iliad, Translated by Robert Fagles Directed by Julia Rodriguez-Elliott September 12–October 3, 2021 STUDY GUIDES from a NOISE WITHIN
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Read Ebook {PDF EPUB} Shipmates by Rick Jackson Shipmates
Read Ebook {PDF EPUB} Shipmates by Rick Jackson Shipmates. Sign up for our newsletter for a chance to win $50 in free books! Collecting the Civil Rights Movement. The Civil Rights Movement of the 1960s and '70s was an explosive time in American history, and it inspired explosive literature. From Malcolm X to Martin Luther King, Jr., browse some of the most collectible books from and about that era. What did people buy in 2020? Plague journals, escapist literature, political history: explore our year in review, where we share rare book trends and a gallery of some of the most beautiful and interesting books sold in 2020. Shipmates by Rick Jackson. Robbers? he wondered. Bandits? Pirates? Polyphemus ran to get Hercules. Together they searched the area. Hercules was so distraught about his missing sidekick that he forgot all about his mission, the Argo and his crewmates, who were waiting. Back at the beach, Jason started to get worried. The sun was going down and the landing team still wasn’t back. He sent out a search party, but all they found were pottery shards by a stream. There were no signs of Hercules, Polyphemus or Hylas. The next day, the Argonauts searched again for their comrades. They had no luck. The ship’s prow had no advice to offer. Finally, as the sun was setting, Jason announced that the Argo would have to leave in the morning. ‘We have to assume that Hercules and the others are lost. We must keep sailing.’ The crew didn’t like that. You don’t just sail away from Hercules. -
General Index
GENERAL INDEX A.GILIM, and n. Aesopic tradition, , and abstractions, n. nn. –, Acarnania, Aetna, , Acastus, Aetna, n. Accius, and n. Agamemnon, n. , , , accusative, , n. , –, , –, , – Agdistis, Achelous, Agenor, Achilles, , , , , , , , ages, myth of, see races, myth of –, , , , , Agias of Troezen, , Acontius, , n. , , agriculture, , , , , , – and n. , , , , , –, Actaeon, n. , , , , n. , –, ; Actor, agriculture section in Works and Acusilaus of Argos, and n. , Days, , , –, and n. Agrius, Adad, aidos, n. , ; personified, , adamant, adjective(s), , , Aietes, Admonitions of Ipuwar,andn. Aigipan, Adodos, ainos, , –, Adrasteia, Aither, and n. Adriatic (sea), Aithon, , n. Aegean (sea), , , aitiology, , , nn. –, Aegimius, – and n. , , , and Aegle, , n. , , , , Aelian Ajax son of Oileus, Historical miscellany, , Ajax son of Telamon, , , – and n. Aeolic dialect, , –, , Akkadian, n. , n. , , , , –; East Al Mina, , or Asiatic Aeolic, –, Alalu, , n. , , Alcaeus, , , n. Aeolids, , , Alcidamas, , , , , , Aeolis, Eastern, , , –, , n. Aeolism, , , , Alcinous, , n. , n. , Aeolus, –, , , , Aeschines, Alcmaeonidae, Aeschylus, , , , and Alcmaeonis, n. , Alcman, n. , and n. , Prometheus Bound, n. , and n. n. Alcmaon, – general index Alcmene, –, –, Antoninus Liberalis, , , n. , , , Anu, –, , –, –, aoidos see singer Alcyone, , , , aorist, , –, Alexander Aetolus, , n. apate, ; personified, Alexander the Great, n. , Aphrodite, , , n. , and n. , n. , and n. , -
Excerpts from Iliad Six (Hector Is the Oldest Son of Troy's King Priam, And
EXCERPTS FROM HOMER Excerpts from Iliad Six (Hector is the oldest son of Troy’s King Priam, and the chief defender of the city. He leaves battle temporarily to return to the city.) Focus questions: 1. What are the main roles of women in this section – i.e., what are the actions of the Trojan women, Theano, Hecuba (the queen, Hector’s mother) and Andromache? 2. How do women’s roles support the survival of the city – or do they? 3. In what ways do women contribute to or detract from a man’s honor? 4. Hector and Andromache’s relationship is perfect in Greek terms – how do they relate to one another? What is the balance of “power”? What roles does each play in the family? Now when Hector reached the Scaean gates and the oak tree, the wives and daughters of the Trojans came running towards him to ask after their sons, brothers, kinsmen, and husbands: he told them to set about praying to the gods, and many were made sorrowful as they heard him. Presently he reached the splendid palace of King Priam, adorned with colonnades of hewn stone. In it there were fifty bedchambers- all of hewn stone- built near one another, where the sons of Priam slept, each with his wedded wife. Opposite these, on the other side the courtyard, there were twelve upper rooms also of hewn stone for Priam's daughters, built near one another, where his sons-in-law slept with their wives. When Hector got there, his fond mother came up to him with Laodice the fairest of her daughters. -
Greek Religion and the Tradition of Myth Religion
Greek Religion and The Tradition of Myth Religion • Religion • An institutionalized system of rituals. • An institution is a “system of ideas whose object is to explain the world” (Durkheim, 1965: 476). • Spiritualism • A belief in forces that exist outside of space and time but that can act within those domains Culture and Belief • “Religion is sociologically interesting not because, as vulgar positivism would have it, it describes the social order...but because... it shapes it” (Geertz 1973, 119). • “The social function of myth is to bind together social groups as wholes or, in other words, to establish a social consensus” (Halpern 1961, 137). Mythos • Archaic Greek: a story, speech, utterance. • Essentially declarative in nature • Classical Greek: An unsubstantiated claim • Mythographos • Logographos • Logopoios Modern Definitions • “…Myth is defined as a complex of traditional tales in which significant human situations are united in fantastic combinations to form a polyvalent semiotic system which is used in multifarious ways to illuminate reality…” • (Burkert 1985: 120). • “A traditional story with collective importance” • (Powell, 2009: 2) Logos • An argument • A statement or story based on comparative evaluation or collection of data • The result of a process • A study • Bio-logy, Socio-logy, mytho-logy • Powell: • logos is defined by authorship, it has a known origin, • mythos is anonymous, it exists in a social milieu undefined by its origin Truth and Falsehood • “The poet and the historian differ not by writing in verse or in prose… The true difference is that one relates what has happened, the other what may happen. Poetry, therefore, is a more philosophical and a higher thing than history: for poetry tends to express the universal, history the particular.” • (Aristotle Poetics 1451a. -
Helen and Pandora: a Comparative Study with Emphasis on the Eidolon Theme As a Concept of Eris
SOTEROULA CONSTANTINIDOU HELEN AND PANDORA: A COMPARATIVE STUDY WITH EMPHASIS ON THE EIDOLON THEME AS A CONCEPT OF ERIS "In a small-scale society myth tends to be viewed as the encoding of that society’s concept of truth; at the same time, from the viewpoint of We stern civilization, myth has become the opposite of fact, the antithesis of truth” (Gregory Nagy, Foreword to R.P. Martin, The Language of Heroes. Speech and Performance in the Iliad, Ithaca and London 1989, ix) *. This work is a comparative study of the myths of Helen and Pan dora* 1 with emphasis on the eidolon theme as a concept of eris and on the interaction between mytkos and logos. My aim is to read this theme in a different perspective, i.e. as a device of strife; as such, the eidolon- eris concept is personified in Helen’s heroic figure and gives heioic saga a stimulating version about the Cause of the Trojan War! More over, the idea of the association of Helen and Pandora is put forward here, as both figures acquired the mythical details of an image, of a phantom, although each one with essential discrepancies: for example, Pandora’s existence was confined to that of a phantom, a false creation rather than a human being, from the very beginning, whereas Helen’s ccanti-myth” makes her trespass from the world of the real to that of the eidola, of the imitation of the real. Thus, the two mythologi ♦ I wish to thank Professors Deborah Boedeker and Kurt Raaflaub for their useful comments on a much earlier and brief version of this work presented at the Center for Hellenic Studies in Washington D.C., in the summer of 1999. -
The Odyssey and the Desires of Traditional Narrative
The Odyssey and the Desires of Traditional Narrative David F. Elmer* udk: 82.0-3 Harvard University udk: 821.14-13 [email protected] Original scientific paper Taking its inspiration from Peter Brooks’ discussion of the “narrative desire” that structures novels, this paper seeks to articulate a specific form of narrative desire that would be applicable to traditional oral narratives, the plots of which are generally known in advance by audience members. Thematic and structural features of theOdyssey are discussed as evidence for the dynamics of such a “traditional narrative desire”. Keywords: Narrative desire, Peter Brooks, Odyssey, oral tradition, oral literature In a landmark 1984 essay entitled “Narrative Desire”, Peter Brooks argued that every literary plot is structured in some way by desire.1 In his view, the desires of a plot’s protagonist, whether these are a matter of ambition, greed, lust, or even simply the will to survive, determine the plot’s very readability or intelligibility. Moreover, for Brooks the various desires represented within narrative figure the desires that drive the production and consumption of narrative. He finds within the narrative representation of desire reflections of the desire that compels readers to read on, to keep turning pages, and ultimately of an even more fundamental desire, a “primary human drive” that consists simply in the “need to tell” (Brooks 1984, 61). The “reading of plot,” he writes, is “a form of desire that carries us forward, onward, through the text” (Brooks 1984, 37). When he speaks of “plot”, Brooks has in mind a particular literary form: the novel, especially as exemplified by 19th-century French realists like Honoré de Balzac and Émile Zola. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
The Piercing of Glaucus Iliad 16.508-16.547 Jason Steranko
the piercing of glaucus Iliad 16.508-16.547 Jason Steranko, ‘17 terrible grief seized glaucus when he heard the dying voice, his heart was struck he could not save Sarpedon. he grasped his own throbbing arm and pressed hard, his wound wearying, the wound that teucer had dealt when from the high wall he let his arrow fly, defending his comrades from the lycian attacker. glaucus prayed to far-shooting apollo: ‘hear me, lord, wherever you may be, back in rich lycia, or here at troy: you are a god who hears from all directions the cries of grieving men: grief has come to me. a grievous wound overwhelms my arm, too deep to dry. it weighs down my shoulder and deadens my hand, too weak to take up my spear, too weak to avenge Sarpedon. he, our best man, the son of zeus, lies dead on the ground, abandoned by his father. lord apollo, heal this mighty wound of mine, lull my pains and grant me might that i may fight and marshal the scattered lycians and that i may guard whatoncewas Sarpedon.’ he spoke his prayer and apollo listened. he soothed the throbbing arm and dried black the dark and deep wound with his gleaming hand. the aching heart of glaucus surged with strength. the mortal knew it was the touch of the god, the quick touch of apollo, who heard his prayer. glaucus arose and inspired the leaders of lycia, gathered from across the battlefield, to surround their prostrate king, fallen Sarpedon. with purpose he marched to the trojan troop, to polydamas, son of panthous, and shining agenor. -
The Feminine Other in Euripides' Hecuba: Exploring Tensions in the Masculine Classical Polis
The feminine Other in Euripides’ Hecuba: exploring tensions in the masculine classical polis by Thandi Welman Thesis presented in fulfilment of the requirements for the degree of Master of Arts in the Faculty of Humanities at Stellenbosch University Supervisor: Dr Samantha Masters March 2013 Stellenbosch University http://scholar.sun.ac.za Declaration By submitting this thesis/dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: March 2013 Copyright © 2013 Stellenbosch University All rights reserved Stellenbosch University http://scholar.sun.ac.za Abstract This thesis explores how the feminine Other is used by Euripides in the Hecuba to highlight certain tensions between an aristocratic ideal of manliness and a classical democratic masculinity in the fifth century Athenian polis. The first chapter will establish the masculine nature of the Athenian polis and discuss the different elements which highlight the inherent masculinity of Athenian society. The second chapter provides a socio-political context for the position of women in fifth century Athens and explores the otherness of the feminine in the masculine polis. Chapter three explores the problematic nature of speech in the democratic state and uses the feminine Other in the Hecuba to examine possible tensions between an outmoded aristocratic ethos and the democratic ideal of manliness. -
Homer's Use of Myth Françoise Létoublon
Homer’s Use of Myth Françoise Létoublon Epic and Mythology The Homeric Epics are probably the oldest Greek literary texts that we have,1 and their subject is select episodes from the Trojan War. The Iliad deals with a short period in the tenth year of the war;2 the Odyssey is set in the period covered by Odysseus’ return from the war to his homeland of Ithaca, beginning with his departure from Calypso’s island after a 7-year stay. The Trojan War was actually the material for a large body of legend that formed a major part of Greek myth (see Introduction). But the narrative itself cannot be taken as a mythographic one, unlike the narrative of Hesiod (see ch. 1.3) - its purpose is not to narrate myth. Epic and myth may be closely linked, but they are not identical (see Introduction), and the distance between the two poses a particular difficulty for us as we try to negotiate the the mythological material that the narrative on the one hand tells and on the other hand only alludes to. Allusion will become a key term as we progress. The Trojan War, as a whole then, was the material dealt with in the collection of epics known as the ‘Epic Cycle’, but which the Iliad and Odyssey allude to. The Epic Cycle however does not survive except for a few fragments and short summaries by a late author, but it was an important source for classical tragedy, and for later epics that aimed to fill in the gaps left by Homer, whether in Greek - the Posthomerica of Quintus of Smyrna (maybe 3 c AD), and the Capture of Troy of Tryphiodoros (3 c AD) - or in Latin - Virgil’s Aeneid (1 c BC), or Ovid’s ‘Iliad’ in the Metamorphoses (1 c AD). -
University of Groningen Greek Religion, Hades, Hera And
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Groningen University of Groningen Greek Religion, Hades, Hera and Scapegoat, and Transmigration Bremmer, J.N. Published in: EPRINTS-BOOK-TITLE IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2005 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Bremmer, J. N. (2005). Greek Religion, Hades, Hera and Scapegoat, and Transmigration. In EPRINTS- BOOK-TITLE Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 12-11-2019 GREEK RELIGION has long been the most important religion for Western European scholars who attempted to gain a better understanding of the phenomenon of religion. Great historians of religion, from Vico and Herder to Friedrich Max Müller, Jane Ellen Harrison and Frazer of The Golden Bough , all steeped themselves in the religious legacy of the Greeks whom they considered superior to all other nations of the past. -
Sphinx: 4. Jupiter. the Luck of Troy
Fellowship of Isis - Online Liturgy http://www.fellowshipofisis.com Sphinx, Goddess Myths and Mysteries By: Olivia Robertson 4. JUPITER. THE LUCK OF TROY. ORACLE OF THE GODDESS NEMESIS Invocation: I invoke the aid of the Goddess Nemesis, worshipped as Fate in Attica, foster-mother of Helen of Sparta, Mistress even of the Gods. How may we obey the Divine Decrees of reward and retribution when we lack wisdom? We fight over what is good and what is evil. Veiled Nemesis, have pity on our blindness! Oracle: Look within yourself and you will find the Divine Law of Goodness written in your soul. No one may escape Fate, whether he be god or human, animal or tree. This earth is a careful game created by the deities. Each creature learns through the experiences of joy and pain; love and hate; life and death. Evolving animals and plants discover where to grow, what to eat, how to survive. All nature follows the path of love which reproduces itself through desire. Strength is developed for defence against predators. It is not always the mighty that exist the longest! Powerful reptiles perished through immobility inflicted by heavy armour, while lively little mammals learnt to evade capture through swiftness. This skill at survival leads to wisdom, which is not restricted to philosophers! The migration of birds over the oceans is directed by necessity and the lesson is well learnt. No human state is as organised as an ant-hill. Animals, plants and even rocks cooperate with the Deities Who are guardians and gardeners of this planet.