DOCSLIB.ORG

ACROSS LANDS FORLORN: the EPIC JOURNEY of the HERO, from HOMER to CHANDLER Volume One Sergio Sergi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ACROSS LANDS FORLORN: the EPIC JOURNEY of the HERO, from HOMER to CHANDLER Volume One Sergio Sergi ACROSS LANDS FORLORN: THE EPIC JOURNEY OF THE HERO, FROM HOMER TO CHANDLER Volume One Sergio Sergi ACROSS LANDS FORLORN: THE EPIC JOURNEY OF THE HERO, FROM HOMER TO CHANDLER. SERGIO SERGI B.A. University of Adelaide M.A. University of Ottawa M.A University of Sydney A thesis submitted for the Degree of Doctor of Philosophy University of Canberra. March 2006 i Certificate of authorship of thesis. Except where clearly acknowledged in footnotes, quotations and the bibliography, I certify that I am the sole author of the thesis submitted today entitled ‘Across lands forlorn: The epic journey of the hero from Homer to Chandler.’ I further certify that to the best of my knowledge the thesis contains no material previously published or written by another person except where due reference is made in the text of the thesis. The material in this thesis has not been the basis of an award of any other degree or diploma except where due reference is made in the text of the thesis. This thesis complies with University requirements for a thesis as set out in http://www.canberra.edu.au/secretariat/goldbook/forms/thesisrqmt. pdf …………………………. Signature of Candidate …………………………. Signature of Chair of the supervisory panel Date: ……………………………. Acknowledgements I acknowledge a number of people who have helped with the realization of this thesis which was begun at the University of New England. Professor Peter Toohey, before he left that University, listened to my ideas about the hero and encouraged me to develop them into this thesis. I am most grateful to him for the confidence he placed in my abilities to conduct a complex study. At the University of New England, Professor John Ryan was my principal supervisor. Dr Charles Tesoriero, my co-supervisor, provided invaluable assistance, criticism and advice on the classical literature sections particularly, and on the overall thesis as well. He also offered friendship and his untimely passing is acknowledged for the tragedy that it was: vale Charles! I am also thankful for the encouragement provided by Professor Greg Horsely and Professor Ron Bedford, also from the University of New England. Dr. Trish Payne of the University of Canberra was the first of many who made me welcome at that University. Professor Jen Webb read the first draft and saw merit in persevering with the work, her encouragement was much appreciated. An excellent supervisor was found for me, Dr. Greg Battye and it was he who helped to give the thesis its present shape and who ensured that this study saw the light of day. I express my sincere gratitude to him and to Dr. Jordan Williams for their incisive comments and for insisting on rigour and on meticulous research. I am indebted to them also for the kindness and patience they showed me. Every one at the University of Canberra has been kind and has always provided help, particularly Louise Cooper in the Library. I am grateful towards my parents, Antonino and Eleonora Sergi who read me tales of heroes when I was very young; Pecos Bill still lives in my imagination. I was inspired by the many boys to whom I taught Latin, who never failed to be moved by the heroism of the aquilifer of Caesar’s Legion at the landing at Deal. I dedicate this thesis to my wife Leigh Stewart Sergi who is the sine qua non of anything worthwhile in my life. She is truly conjunx dilectissima. Sergio Sergi Armidale and Canberra ii Across lands forlorn: the epic journey of the hero from Homer to Chandler. CHAPTER OUTLINES Preface: Niccolo Machiavelli described men not as they should be but as they are. The character of the hero in the Western epic is the exact opposite. This fictional creation of classical antiquity has provided a mould into which each succeeding generation has poured its aspirations and ideals. The epic hero has endured for two principal reasons: first, he serves a moral didactic purpose, he shows men as they could be. Secondly, the hero helps us escape from our imperfect world to a golden age full of enchantment, hope, and promise where we learn self-trust, the very essence of heroism. CHAPTER I: Introduction; Naming the Parts • This is a military expression for labeling the component parts of a weapon after it has been disassembled. The term is appropriate for describing the nomenclature of the language of epic and its essential component, the hero. The methodology for the presentation of the material contained in this study is outlined in the ‘Preface’. • The following terms are glossed: hero; knight; private eye; adventurer; champion; outsider; epic; quest; bounty; onomastics /pedigree; nostos /nostalgia; ruina; ubi sunt and the heroic imagination. • What is the purpose in the Western tradition of writing epics with the hero at their centre? The two types of epic, primary and secondary are considered. Excluded from the discussion are, • (a) epics not part of the Western tradition, such as the horse epics of the Mongols, as this is not a comparative study but one that follows a sequence of epics in one tradition. • (b) drama: the link between the two genres is noted (Aristotle). However, the hero is presented on stage by his actions rather than by his ‘voice’. In addition, the genre is vast and thus merits its own analysis of the representation of the hero. There is some mention of the iv representation of some heroes in Greek classical drama because of its proximity with epic such as using the same characters as those in epic. • Films are included principally to show the effect of the transformations of epic stories from the original mode of communication of the oral/printed to a visual mode. Also discussed are several ‘performances’ by actors, thus delineating the presentation for audiences of a specific hero ,e.g. Humphrey Bogart as Philip Marlowe. • Focus for the geographic location of these epics is on Greece, Rome, Western Europe, and the U.S.A. as these are the cornerstones of the western literary tradition. • Explanation of the social /cultural/moral context for the key texts. ( Iliad/ Odyssey; Aeneid; Le Morte DArthur; the Philip Marlowe novels of Raymond Chandler.) • Identification of the distinct literary genres: Greek, Roman, Late Mediaeval, Modern. • Also examined are concepts of masculinity; benefit for society, the safe haven, patriotism/patriarchy; gender bias; honour; moral conflict (earthly/divine).Epic as a microcosm of human existence. • Audience: males ‘reading’ from a masculine stance within the context of actual historical heroes. The Iliad may be read as an expression of the futility of war and of the warrior as hero. • Epics as part of the formal education of males. • Conflict between Hero and King. Have all the physically challenging adventures been done? While space travel relies on technology, the Apollo13 mission was saved with a slide rule and human ingenuity. • Women in epic, wives and mothers of heroes; Psyche as ‘hero.’ • Foils to the domestic woman; femme fatale, sorceress, temptress. CHAPTER II: From Force to Cunning: how the warrior became a leader. (Achilles) Part a), i Homeric epic • The Iliad; focus on Achilles; Odysseus and Aeneas introduced. The nature of epic and of its hero. • Part a), ii Proud-hearted Achilles • Characteristics of the hero and the concepts of honour and glory in the epics of antiquity. How the construct of the hero as character has become the template for the ideal of the male v • Part b), the code and combat. • Weapons, tactics, and the fighting style of the hero. • Part c), Kings and Captains, Greek and Trojan. Heroes and their foils • Part d), The hero’s women • Women as adjuncts to the hero. (Helen; Andromache; Thetis; Brisseis.) • Patriarchy as a social mores. The absent father; father substitutes, mentors, significant male friendships; agape. • Part e), Άριστεία (aristeia) • Ceremonies, the expression of grief, Funeral Games. The culture of shame (aidos), the effects of the code of the hero (aristeia). CHAPTER III: From Rage to Duty; how the chieftain became a statesman (Odysseus.) • The focus on Odysseus and the quest motif; nostos; cunning; curiosity, maturity. Telemachus as tyro, a hero in waiting. • Variations of the hero; feasting, the Bard, the end of grieving. • Women: Penelope, Calypso, Nausicaa; slaves/serving women • Transformation of the epic and the hero, how Odysseus becomes Ulysses. CHAPTER IV: From antiquity to Christianity: how Aeneas became Arthur. Part a), the Trojan Prince. • The precursors and the heirs of Virgil. Ennius, Navius, Lucan, Silus Italicus, the hero in the Georgics. • Aeneid; focus on Aeneas and Turnus, responsibility for the homeland, the warrior as statesman. • Aeneas as Homeric and as Virgilian epic hero. The metamorphosis of Aeneas into Arthur. The political usefulness of the hero. • Dido and Lavinia. • Part b), The Matter of Arthur • The precursors of Malory. vi • The harvesting of the Arthur material by Malory and his writing of an ‘Arthuriad’ • The Winchester Manuscript and William Caxton’s version of 1485. The concept of worthies. The Morte, Episodes of a unified tale or separate ‘Works’? CHAPTER V: From King to Gentle: how the hero and the king are in conflict (Arthur and Lancelot). • Sir Thomas Malory’s heroic imagination; the characteristics of the Christian hero in Malory’s writings. • The shift in focus from Arthur to Lancelot as the hero. Conflict between hero and king. • The characteristics of heroism and chivalry explored through secondary characters (Gawaine, Bors, Galahad et al.) • The effect of printed versus the manuscript versions of the Morte on audiences. Didactic purpose ‘to do good and leave off evil’. The ‘faire ladies’; Guinevere as a protagonist in the Morte. Morgan le Fay and Elaine. CHAPTER VI: From Gentle to Champion; How the epic was revived (Milton to Tennyson) • Transformations briefly mentioned.
Load more

Recommended publications
  • HOMERIC-ILIAD.Pdf
    Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs.
    [Show full text]
  • A Critical History English L'iterature
    A Critical History of English L'iterature VOLUME I DAVID DAICHES A Critical History of English Literature IN TWO VOLUMES ~~ VOLUME I ~~, London SEeKER & WARBURG 1961 Prinud in Great BriJlJin by Morrison & Gibb Ltd., Lrmdall alld Edillburgh and published in Great Britain b_lI klartin Seeker & Warhurg Ltd. 7 John Street, London W.C.l Copycight © J 960 by THE RONALD PRESS COMPANY First pllblished September 1960 Reprin ted December 1960 Reprinted February 1961 To my former students • on both sides of the Atlantic pero pur va ed andanda asealta Preface TillS IS AN AGE of specialist .schoiars, and for one man to attempt a complete history of English literature is now both rash and unusual. I cannot claim to be a specialist in all the periods on which I have written, nor, in spite of my best attempts, have I been able to keep abreast of all new developments in English studies. But I have been reading English literature continuously and closely ever since I be­ gan my studies at Edinburgh University in 1930, and I have long felt the urge to describe the whole scene as I see it. This, therefore, is one man's history of English literature; it is intended less as a work of reference than as a. work of description, explanation, and critical interpretation. It is not meant to be looked up, but to be read. I have given myself generous space in dealing with major figures such as Shakespeare and Milton, without bothering whether, in strict terms of relative greatness, they deserve so much more than I have given to some other writers.
    [Show full text]
  • Astrocladistics of the Jovian Trojan Swarms
    MNRAS 000,1–26 (2020) Preprint 23 March 2021 Compiled using MNRAS LATEX style file v3.0 Astrocladistics of the Jovian Trojan Swarms Timothy R. Holt,1,2¢ Jonathan Horner,1 David Nesvorný,2 Rachel King,1 Marcel Popescu,3 Brad D. Carter,1 and Christopher C. E. Tylor,1 1Centre for Astrophysics, University of Southern Queensland, Toowoomba, QLD, Australia 2Department of Space Studies, Southwest Research Institute, Boulder, CO. USA. 3Astronomical Institute of the Romanian Academy, Bucharest, Romania. Accepted XXX. Received YYY; in original form ZZZ ABSTRACT The Jovian Trojans are two swarms of small objects that share Jupiter’s orbit, clustered around the leading and trailing Lagrange points, L4 and L5. In this work, we investigate the Jovian Trojan population using the technique of astrocladistics, an adaptation of the ‘tree of life’ approach used in biology. We combine colour data from WISE, SDSS, Gaia DR2 and MOVIS surveys with knowledge of the physical and orbital characteristics of the Trojans, to generate a classification tree composed of clans with distinctive characteristics. We identify 48 clans, indicating groups of objects that possibly share a common origin. Amongst these are several that contain members of the known collisional families, though our work identifies subtleties in that classification that bear future investigation. Our clans are often broken into subclans, and most can be grouped into 10 superclans, reflecting the hierarchical nature of the population. Outcomes from this project include the identification of several high priority objects for additional observations and as well as providing context for the objects to be visited by the forthcoming Lucy mission.
    [Show full text]
  • Brothers Fighting Together in the Iliad
    BROTHERS FIGHTING TOGETHER IN THE ILIAD I We find in the Iliad numerous pairs of brothers (or half­ brothers on the father's side, or first cousins on the father's side) fighting together on foot or in the combination of chario­ teer-paraibates 1). And this is not confined to the men who are said to have taken part in the Trojan war, but it embraces the "mythical world of the past" 2), that of the demigods 3), the rivers 4) and even the gods 5). Moreover, if we turn to the leaders of the various groups of Greeks and Trojans, as given in book 11, we find that a 1). Such for example are: Ajax Telarnonius and Teucer (the Atav'ts, cf. p. 291), Mynes and Epistrophus (II 692f.), Phegeus and Idaeus (V 10f.), Echemon and Chromios (V 159 f.), Krethon and Orsilochus (V 542 f,), Aesepus and Pedasus (VI 21 f.), Hector and Alexander (VI 514 f., cf. VII 1 f.), Ascalaphus and lalmenus (IX 82f., cf. II 512), Peisandrus and Hip­ polochus (XI 122 f.), Hippodamus and Hypeirochus (XI 328 f.), Charops and Socus (XI 426 f.), the Molione (XI 750, 709 f.; XXIII 638 f.), Polybus, Agenor and Akarnas (XI 59 f.), Helenos and Deiphobus (XII 94 f,), Archelochus and Akamas (XIV 463 f.), Hector and Cebriones (XII 86 f.), Deiphobus and Polites (XIII 533 f.), Podarces and Iphiclus (XIII 693 f,), Deiphohus and Helenos (XIII 780 f.), Ascanius and Morys (XIII 792 f.), Atymnius and Maris (XVI 317 f.), Antilochus and Thrasymedes (XVI 322; XVII 377 f.; XVII 705), Euphorbus and Polydamas (XVII 1 f.), Chromius and Aretus (XVII 492 f.), Aretus and Hector (XVII 516), Polydorus and Hector (XX 407 f,), Laogonus and Dardanus (XX 460 f.), or Deiphobus and Hector (XXII 226 f.).
    [Show full text]
  • Volume 1, #1 2021 May 14 Published on Behalf of the International Astronomical Union by the WG Small Bodies Nomenclature
    Volume 1, #1 2021 May 14 Published on behalf of the International Astronomical Union by the WG Small Bodies Nomenclature. ISSN <applied for> Cover image: Navigation image of (1) Ceres, obtained by the DAWN mission. Courtesy NASA/JPL-CALTECH. WGSBN Bull. 1, #1 Table of Contents Editorial Notice.....................................................................................................................8 New Names of Minor Planets...............................................................................................8 (3708) Socus = 1974 FV1...............................................................................................9 (4035) Thestor = 1986 WD1...........................................................................................9 (4489) Dracius = 1988 AK..............................................................................................9 (4715) Medesicaste = 1989 TS1.....................................................................................9 (5258) Rhoeo = 1989 AU1..............................................................................................9 (5311) Rutherford = 1981 GD1.......................................................................................9 (5346) Benedetti = 1981 QE3.........................................................................................9 (5648) Axius = 1990 VU1...............................................................................................9 (5766) Carmelofalco = 1986 QR3..................................................................................9
    [Show full text]
  • The Book of Quests
    THE BOOK OF QUESTS uests are the driving force in the life of every noble Knight. So it should Qbe no surprise to find Quests at the very heart of Shadows over Camelot. While the content of the Rules Booklet should be familiar to every aspiring Knight, the Book of Quests is primarily a reference, written for inquisitive Knights in search of insight, or the scheming Traitor looking for a lethal edge. In the back of this book you will find two appendices. The first, unearthed from , old manuscripts, offers a glimpse of each Knight s personality. The second is a detailed manifest of each card used in the game. In this booklet, page numbers given in reference point to the corresponding entries in the Rules booklet, unless indicated otherwise. nnnnnnnnnn THE QUESTS nnnnnnnnnn There are several “Standard” Quests in Camelot’s immediate vicinity: N The Tournament against the Black Knight N The Quest for Lancelot N The Dragon’s Quest N The Quest for Excalibur N The Quest for the Holy Grail N The Pict and Saxon Wars each with its own entry in the Book of Quests. For each Quest won or lost, new Swords are laid onto the Round Table. As the game progresses, the Swords show which side currently has the advantage. There are also two “Special” Quests within Camelot proper, where a defeat spells immediate doom for the Loyal Knights: • The Siege of Camelot, which is lost if 12 Siege Engines ever surround Camelot; • and The Quest of the Round Table, where the outcome of the game is decided in favor of whichever color Swords have the majority, once 12 or more have been laid down.
    [Show full text]
  • The Use of the Arthurian Legend by the Pre-Raphaelites
    University of Colorado, Boulder CU Scholar University Libraries Digitized Theses 189x-20xx University Libraries Summer 6-1-1905 The seU of the Arthurian Legend Matilda Krebs University of Colorado Boulder Follow this and additional works at: http://scholar.colorado.edu/print_theses Recommended Citation Krebs, Matilda, "The sU e of the Arthurian Legend" (1905). University Libraries Digitized Theses 189x-20xx. 2. http://scholar.colorado.edu/print_theses/2 This Dissertation is brought to you for free and open access by University Libraries at CU Scholar. It has been accepted for inclusion in University Libraries Digitized Theses 189x-20xx by an authorized administrator of CU Scholar. For more information, please contact [email protected]. University Archives THE USE OF THE ARTHURIAN LEGEND BY THE PRE-RAPHAELITES A THESIS PRESENTED TO THE FACULTY OF THE UNIVERSITY OF COLORADO BY MATILDA KREBS A Candidate for the Degree of Master of Arts BOULDER, COLORADO JUNE, 1905 PREFACE. The following pages are the result of many happy hours spent in the library, in an earnest endeavor to become better acquainted with Truth and Beauty. The author does not pose as a critic for she has little knowledge of literary art either theoretical or practical, and none of pic- torial. Should this self-imposed task prove to be of even the slightest benefit to other students, the pleasure to the writer would be multiplied many fold. M ATILDA KREBS. OUTLINE OF THESIS. I. The Arthuriad. 1. The origin of the Arthuriad. 2. Development of the Arthuriad. 3. Use of the Arthuriad by early writers. 4. Revival of interest in the Arthuriad through Rossetti's “ King Arthur's Tomb.” II.
    [Show full text]
  • Mordred, a Tragedy
    MORDRED, A TRAGEDY HENRY NEWBOLT MORDRED, A TRAGEDY Table of Contents MORDRED, A TRAGEDY......................................................................................................................................1 HENRY NEWBOLT.....................................................................................................................................1 ACT I..........................................................................................................................................................................2 SCENE I.........................................................................................................................................................2 SCENE II.......................................................................................................................................................6 ACT II.......................................................................................................................................................................11 SCENE I.......................................................................................................................................................11 SCENE II.....................................................................................................................................................15 SCENE III....................................................................................................................................................18 SCENE IV....................................................................................................................................................22
    [Show full text]
  • Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens Jessica Grady [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 1-1-2009 Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens Jessica Grady [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the Other Classics Commons Recommended Citation Grady, Jessica, "Power, Courtly Love, and a Lack of Heirs : Guinevere and Medieval Queens" (2009). Theses, Dissertations and Capstones. Paper 69. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected]. Power, Courtly Love, and a Lack of Heirs: Guinevere and Medieval Queens Thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in History by Jessica Grady Dr. Laura Michele Diener, Ph.D., Committee Chairperson Dr. David Winter, Ph.D. Dr. William Palmer, Ph.D. Marshall University December 2009 ABSTRACT Power, Courtly Love, and a Lack of Heirs: Guinevere and Medieval Queens by Jessica Grady Authors have given Queen Guinevere of the Arthurian stories a wide variety of personalities; she has been varyingly portrayed as seductive, faithful, “fallen,” powerful, powerless, weak-willed, strong-willed, even as an inheritor of a matriarchal tradition. These personalities span eight centuries and are the products of their respective times and authors much more so than of any historical Guinevere. Despite this, however, threads of similarity run throughout many of the portrayals: she had power in some areas and none in others; she was involved in a courtly romance; and she did not produce an heir to the throne.
    [Show full text]
  • Friday, 28-07-2017
    Friday, 28.07.2017 09:00-10:30 Artusrezeption in Spätmittelalter und Früher Neuzeit Head: Mathias Herweg Room 2 Unsere Sektion zum Rahmenthema "Nachmittelalterlicher Artus: Druck und andere Medien" befasst sich mit dem Weiterleben des Artusstoffs und der Artusfiguren im Spätmittelalter und der Frühen Neuzeit. Das Spektrum reicht vom 13. bis zum 16. Jahrhundert (mit einem Schwerpunkt im 15./16. Jh.) und deckt die deutsche, französische, italienische und niederländische Literatur ab. Beleuchtet wird einerseits, wie Figuren der matière de Bretagne in verschiedenen Gattungen rezipiert werden (in längeren und kürzeren Erzähltexten, in verschiedenen lyrischen Gattungen und auf der Bühne), andererseits, welche Rolle dabei verschiedene Medienwechsel (Buchdruck, Text/Bild, Bühne) spielen. DIE FRÜHEN DRUCKE DER FRANZÖSISCHEN ARTUSROMANE Brigitte Burrichter Im ausgehenden 15. und frühen 16. Jahrhundert wurden mehrere französische Artusromane des 13. Jahrhunderts gedruckt. Gegenstand des Vortrags wird der Umgang der Drucker mit den mittelalterlichen Romanen sein (Modernisierung der Sprache, Vorworte). RÜCKBLICK AUF DES KÖNIG ARTUS ZEIT. ARTUS-ERWÄHNUNGEN IM HÖFISCH-GALANTEN ROMAN DES 15./16. JAHRHUNDERTS Cora Dietl In der höfisch-galanten Erzählliteratur des späteren 15. und 16. Jahrhunderts lässt sich zunehmend eine historische Distanz zur arthurischen Welt erkennen. Wenn ritterliche Romane dieser Zeit in England oder Frankreich spielen, dann ist es meist das nacharthurische Britannien, in dem sich zwar Konstellationen aus der Artusliteratur wiederholen, aber keine Artusritter mehr auftreten. Sie werden trotzdem als Exempel genannt – und das häufig zu Beginn der Handlung, um beim Rezipienten das entsprechende literarische Muster aufzurufen und die Rezipientenerwartung entsprechend zu lenken. Diesem Phänomen werde ich an verschiedenen Beispieltexten nachgehen (u.a. Pontus und Sidonia, Ritter Galmy, Amadis), um nach der Funktion des Arthurischen im nichtarthurischen höfisch-galanten Roman um 1500 generell zu fragen.
    [Show full text]
  • Classical Reception in Contemporary Women's
    CLASSICAL RECEPTION IN CONTEMPORARY WOMEN’S WRITING: EMERGING STRATEGIES FROM RESISTANCE TO INDETERMINACY by POLLY STOKER A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Classics, Ancient History, and Archaeology School of History and Cultures College of Arts and Law University of Birmingham April 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The reader who rewrites remains a vital interlocutor between the classical past and the modern classicist. However, the neglect of the female reader in classical reception studies is an omission that becomes ever more conspicuous, and surely less sustainable, as women writers continue to dominate the contemporary creative field. This thesis makes the first steps towards fashioning a new aesthetic model for the female reader based on irony, ambivalence, and indeterminacy. I consider works by Virginia Woolf, Alice Oswald, Elizabeth Cook, and Yael Farber, all of whom largely abandon ‘resistance’ as a strategy of rereading and demand a new theoretical framework that can engage with and recognize the multivalence of women’s reading and rewriting.
    [Show full text]
  • Homer's Iliad: a Discussion Guide
    Homer’s Iliad: A Discussion Guide By David Bruce SMASHWORDS EDITION Copyright 2013 by Bruce D. Bruce Thank you for downloading this book. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you enjoyed this book, please return to Smashwords.com to discover other works by this author. Thank you for your support. Preface The purpose of this book is educational. I have read, studied and taught Homer’s Iliad, and I wish to pass on what I have learned to other people who are interested in studying Homer’s Iliad. In particular, I think that the readers of this introduction to Homer’s Iliad will be bright high school seniors and college first-year students, as well as intelligent adults who simply wish to study the Iliad despite not being literature majors. This book uses a question-and-answer format. It poses, then answers, relevant questions about Homer, background information, and the Iliad. This book goes through the Iliad book by book. I recommend that you read the relevant section of the Iliad, then read my comments, then go back and re-read the relevant section of the Iliad. However, do what works for you. Teachers may find this book useful as a discussion guide for the epic poem. Teachers can have students read books from the epic poem, then teachers can ask students selected questions from this study guide. It helps to know something about Homer’s Odyssey, Virgil’s Aeneid, Greek and Roman mythology, and Ovid’s Metamorphoses, but this background reading is not strictly necessary.
    [Show full text]