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Trojan Women: Introduction
Trojan Women: Introduction 1. Gods in the Trojan Women Two gods take the stage in the prologue to Trojan Women. Are these gods real or abstract? In the prologue, with its monologue by Poseidon followed by a dialogue between the master of the sea and Athena, we see them as real, as actors (perhaps statelier than us, and accoutered with their traditional props, a trident for the sea god, a helmet for Zeus’ daughter). They are otherwise quite ordinary people with their loves and hates and with their infernal flexibility whether moral or emotional. They keep their emotional side removed from humans, distance which will soon become physical. Poseidon cannot stay in Troy, because the citizens don’t worship him any longer. He may feel sadness or regret, but not mourning for the people who once worshiped but now are dead or soon to be dispersed. He is not present for the destruction of the towers that signal his final absence and the diaspora of his Phrygians. He takes pride in the building of the walls, perfected by the use of mason’s rules. After the divine departures, the play proceeds to the inanition of his and Apollo’s labor, with one more use for the towers before they are wiped from the face of the earth. Nothing will be left. It is true, as Hecuba claims, her last vestige of pride, the name of Troy remains, but the place wandered about throughout antiquity and into the modern age. At the end of his monologue Poseidon can still say farewell to the towers. -
Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Senecan Tragedy and Virgil's Aeneid: Repetition and Reversal Timothy Hanford Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/427 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by TIMOTHY HANFORD A dissertation submitted to the Graduate Faculty in Classics in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ©2014 TIMOTHY HANFORD All Rights Reserved ii This dissertation has been read and accepted by the Graduate Faculty in Classics in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Ronnie Ancona ________________ _______________________________ Date Chair of Examining Committee Dee L. Clayman ________________ _______________________________ Date Executive Officer James Ker Joel Lidov Craig Williams Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract SENECAN TRAGEDY AND VIRGIL’S AENEID: REPETITION AND REVERSAL by Timothy Hanford Advisor: Professor Ronnie Ancona This dissertation explores the relationship between Senecan tragedy and Virgil’s Aeneid, both on close linguistic as well as larger thematic levels. Senecan tragic characters and choruses often echo the language of Virgil’s epic in provocative ways; these constitute a contrastive reworking of the original Virgilian contents and context, one that has not to date been fully considered by scholars. -
The Sacrifice of Polyxena
The Sacrifice of Polyxena Melissa Natividade The Sacrifice of Polyxena By Charles Le Brun 1619–1690 Paris Date: 1647 Accession Number: 2013.183 Much has been discussed in great detail throughout this semester but naturally much more happened during the Trojan War than can be discussed in the three hours of class each week. Polyxena is one of those subjects that was touched upon but never truly explored in detail, making the painting recounting her sacrifice at the Metropolitan Museum of Art quite surprising and intriguing. Though there are discrepancies regarding details in the setup of the painting, The Sacrifice of Polyxena by Charles Le Brun successfully used specific iconography to capture and reconstruct the exact moment in the Trojan War that he wished to portray to his audience. At first glance, it was clear that the painting was a sacrifice of a young woman, leaving little room for debate on the possible identity of the subject of the painting. With minimal knowledge of the Trojan War, the subject of the sacrifice could be narrowed down to either the sacrifice of Iphigenia at Aulis or the sacrifice of Polyxena at Troy. One object, Achilles’ tomb, in the background of the painting immediately clarifies the circumstance as being the sacrifice of Polyxena. Achilles was the only great warrior that would have gotten such a proper burial and though that did not happen in the Homer’s original works, Le Brun represents Achilles’ tomb as being quite grand to invoke Achilles’ presence in the situation despite his physical absence. Other characters specific to this scene in Ovid’s “Metamorphoses” are Hecuba and Neoptolemus, who has substantial iconography in the painting. -
ABSTRACT a Director's Approach to Euripides' Hecuba Christopher F. Peck, M.F.A. Mentor: Deanna Toten Beard, Ph.D. This Thesi
ABSTRACT A Director’s Approach to Euripides’ Hecuba Christopher F. Peck, M.F.A. Mentor: DeAnna Toten Beard, Ph.D. This thesis explores a production of Euripides’ Hecuba as it was directed by Christopher Peck. Chapter One articulates a unique Euripidean dramatic structure to demonstrate the contemporary viability of Euripides’ play. Chapter Two utilizes this dramatic structure as the basis for an aggressive analysis of themes inherent in the production. Chapter Three is devoted to the conceptualization of this particular production and the relationship between the director and the designers in pursuit of this concept. Chapter Four catalogs the rehearsal process and how the director and actors worked together to realize the dramatic needs of the production. Finally Chapter Five is a postmortem of the production emphasizing the strengths and weaknesses of the final product of Baylor University’s Hecuba. A Director's Approach to Euripides' Hecuba by Christopher F. Peck, B.F.A A Thesis Approved by the Department of Theatre Arts Stan C. Denman, Ph.D., Chairperson Submitted to the Graduate Faculty of Baylor University in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts Approved by the Thesis Committee DeAnna Toten Beard, Ph.D., Chairperson David J. Jortner, Ph.D. Marion D. Castleberry, Ph.D. Steven C. Pounders, M.F.A. Christopher J. Hansen, M.F.A. Accepted by the Graduate School May 2013 J. Larry Lyon, Ph.D., Dean Page bearing signatures is kept on file in the Graduate School. Copyright © 2013 by Christopher F. Peck -
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 Polyxena Pattern
J. Weiner / PsyArt 20 (2016) 104–115 The Polyxena Pattern Jeffrey Weiner UC Davis Abstract The title of this article is based on Seneca's description of the sacrifice of Polyxena in "The Trojan Women." The fear, desire, and transcendence that the sacrificed maiden elicits in the audience put the feminine at the center of an experience of fear and wonder that characterizes Shakespearean romance. This paper explores the paradoxical, early modern concept of "amazement" in relation to traumatic wounding and gender. Focusing on Shakespeare's late romances, especially Cymbeline and The Winter's Tale, I link the experience of terror to a traumatizing "evil queen" archetype. This fantasy inspires a sense of amazement as terror and results in the punishment of another archetypal character, the sacrificed maiden. When the female figure returns as the redeeming maiden at the end of Shakespeare's romances, she allows the male spectator to approach the terror and desire that the feminine inspire in him by providing him with an escape into fantasy. Keywords Early modern, theory of the soul, amazement, terror, romance, transformation To cite as Weiner, J., 2016, ‘The Polyxena Pattern’, PsyArt 20, pp. 104–115. In Shakespeare’s Pericles, Cymbeline, and The Winter’s Tale the men succumb to their fantasies of feminine threat and allure. If we think of Shakespeare’s plays chronologically, this is not surprising given the sharpening polarization of female characters in his late tragedies, which directly precede the romances: the malevolent sisters and the misunderstood, sacrificed daughter in King Lear; maligned Desdemona, who in Othello’s mind flutters between irresistible goodness and repugnant evil; the polar opposite wives, Lady Macbeth and Lady Macduff; and, of course, the seductive, but debauched temptress Cleopatra and the self-sacrificing, chaste Octavia. -
The Wooden Horse
THE WOODEN HORSE 0. THE WOODEN HORSE - Story Preface 1. ACHILLES 2. HELEN AND PARIS 3. THE TROJAN WAR 4. THE PLOT THICKENS 5. DEATH OF HECTOR 6. DEATH OF ACHILLES 7. THE WOODEN HORSE 8. RUINS OF TROY AND MYCENAE This vase—from about 675-650 BC—depicts a horse on wheels. If you look closely, you can also see something else: Greeks inside (and outside) the object. Image copyright Mykonos Archeological Museum, all rights reserved, and online via Beazley Archive at Oxford University. Provided here as fair use for educational purposes. Still unable to subdue the Trojans, Odysseus and the Greeks (Achaeans) needed to find a way to surreptitiously enter the fortified town. They learned, from Helenus—a Trojan seer—that in order to defeat Troy, Neoptolemus (Achilles’ son) would have to join the Achaean forces. Helenus also told the Greeks they would not win the war unless they stole the sacred Palladium—a wooden statue of Athena (called Minerva by the Romans)—which was said to have fallen from heaven. As long as that statue stood in Troy, the Greeks could not take the city take the city. On a dark night, Diomedes (with the help of Odysseus) climbed a wall of Troy. Once inside the city, Diomedes stole the Palladium, thereby weakening Troy’s defenses. Epeios (it is said) created a wooden horse big enough to hide many Greek warriors. Leaving the horse outside the gates of Troy, and moving their ships out of view, the Greeks fooled Priam and his subjects into believing their enemies had given up. -
Trojan War - Wikipedia, the Free Encyclopedia Trojan War from Wikipedia, the Free Encyclopedia for the 1997 Film, See Trojan War (Film)
5/14/2014 Trojan War - Wikipedia, the free encyclopedia Trojan War From Wikipedia, the free encyclopedia For the 1997 film, see Trojan War (film). In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen Trojan War from her husband Menelaus king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homer's Iliad. The Iliad relates a part of the last year of the siege of Troy; its sequel, the Odyssey describes Odysseus's journey home. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful Achilles tending the wounded Patroclus of all women and wife of Menelaus, fall in love with Paris, who (Attic red-figure kylix, c. 500 BC) took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean The war troops to Troy and besieged the city for ten years because of Paris' Setting: Troy (modern Hisarlik, Turkey) insult. -
The Untold Death of Laertes. Revaluating Odysseus's Meeting
The untold death of Laertes. Revaluating Odysseus’s meeting with his father Abstract This article discusses the narrative function and symbolism of the Laertes scene in the twenty- fourth book of the Odyssey. By pointing out the scene’s connections to other passages (the story of Penelope’s web, the first and second nekuia , the farewellto the Phaeaceans, the Argus scene, but also the twenty-fourth book of the Iliad) and by tackling some of the textualproblems that it poses (the apparent cruelty of Odysseus’s lies to his father, the double layers of meaning in his fictions, the significance of the sèma of the trees), this article aims to point out how the Laertes scene is tightly woven into the larger thematic and symbolicaltissue of the Odyssey. Odysseus’s reunion with his father is conclusive to the treatment of some important themes such as death and burial, reciprocalsense of love and duty and the succession of generations. It willbe argued that the untold death of Laertes becomes paradigmatic for the fate Odysseus himself chooses, and for the way in which the epic as a whole deals with the problem of mortality. Keywords Odyssey, Laertes, symbolism, mortality, burial, reciprocity Laertes, the old father of Odysseus, is a somewhat forgotten character. He is mostly considered to be of minor importance to the plot of the Odyssey, and his reunion with his son in the twenty-fourth book is often seen as a more or less dispensable addendum to the realclimax, the recognition scene with Penelope. In this article, I aim to readjust this view by exploring the context and significance of this final meeting. -
List of Characters
Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information List of characters GHOST OF POLYDORUS son of Priam and Hecuba HECUBA widow of Priam, king of Troy CHORUS captured Trojan women, fellow slaves of Hecuba POLYXENA Hecuba’s daughter, a captured slave ODYSSEUS son of Laertes, lord of Ithaca, a prominent fighter at Troy TALTHYBIUS Greek herald SERVANT old Trojan woman, now a slave AGAMEMNON King of Argos/Mycenae, commander of the Greek army POLYMESTOR lord of the Thracian Chersonese 1 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-67825-4 - Euripides: Hecuba John Harrison Excerpt More information PROLOGUE (1–92) The Prologue is the part of a Greek play which preceded the entry of the Chorus. Some plays, especially those by Sophocles, begin with a dialogue. Euripides preferred, as here, to have a single character introduce himself or herself and explain the dramatic situation. Setting of the play The action takes place soon after the end of the Trojan War. See page vi and map, page vii. 3 Hades … Polydorus … Hecuba Hades is the god of the underworld. In classical ‘theology’, after the overthrow of Cronos and his fellow Titans power was shared between Zeus and his two brothers. Zeus became supreme ruler on Mount Olympus, Poseidon took control of the seas, and Hades ruled over the dead in the underworld. Polydorus, a ghost (see ‘Ghosts’, page 6) tells us (13–15) that he was too young to fight at Troy. In Homer’s Iliad (where his mother was Laothoe, not Hecuba), against his father Priam’s (4) wishes he ran impetuously into battle and was killed by Achilles (Iliad xx and xxii). -
HECUBA by Euripides
HECUBA by Euripides translated by Jay Kardan and Laura-Gray Street POLYDORUS HECUBA CHORUS POLYXENA ODYSSEUS TALTHYBIUS THERAPAINA AGAMEMNON POLYMESTOR Script copyright Jay Kardan and Laura-Gray Street. Apply to the authors for performance permissions. Hecuba — translated by Kardan and Street — in Didaskalia 8 (2011) 32 POLYDORUS I come from bleakest darkness, where corpses lurk and Hades lives apart from other gods. I am Polydorus, youngest son of Hecuba and Priam. My father, worried Troy might fall to Greek offensives, sent me here, to Thrace, my mother’s father’s home and land of his friend Polymestor, who controls this rich plain of the Chersonese and its people with his spear. My father sent a large stash of gold with me, to insure that, if Ilium’s walls indeed (10) were toppled, I’d be provided for. He did all this because I was too young to wear armor, my arms too gangly to carry a lance. As long as the towers of Troy remained intact, and the stones that marked our boundaries stood upright, and my brother Hector was lucky with his spear, I thrived living here with my father’s Thracian friend, like some hapless sapling. (20) But once Troy was shattered—Hector dead, our home eviscerated, and my father himself slaughtered on Apollo’s altar by Achilles’ murderous son— then Polymester killed me. This “friend” tossed me dead into the ocean for the sake of gold, so he could keep Priam’s wealth for himself. My lifeless body washes ashore and washes back to sea with the waves’ endless ebb and flow, and remains unmourned, unburied. -
A Dictionary of Mythology —
Ex-libris Ernest Rudge 22500629148 CASSELL’S POCKET REFERENCE LIBRARY A Dictionary of Mythology — Cassell’s Pocket Reference Library The first Six Volumes are : English Dictionary Poetical Quotations Proverbs and Maxims Dictionary of Mythology Gazetteer of the British Isles The Pocket Doctor Others are in active preparation In two Bindings—Cloth and Leather A DICTIONARY MYTHOLOGYOF BEING A CONCISE GUIDE TO THE MYTHS OF GREECE AND ROME, BABYLONIA, EGYPT, AMERICA, SCANDINAVIA, & GREAT BRITAIN BY LEWIS SPENCE, M.A. Author of “ The Mythologies of Ancient Mexico and Peru,” etc. i CASSELL AND COMPANY, LTD. London, New York, Toronto and Melbourne 1910 ca') zz-^y . a k. WELLCOME INS77Tint \ LIBRARY Coll. W^iMOmeo Coll. No. _Zv_^ _ii ALL RIGHTS RESERVED INTRODUCTION Our grandfathers regarded the study of mythology as a necessary adjunct to a polite education, without a knowledge of which neither the classical nor the more modem poets could be read with understanding. But it is now recognised that upon mythology and folklore rests the basis of the new science of Comparative Religion. The evolution of religion from mythology has now been made plain. It is a law of evolution that, though the parent types which precede certain forms are doomed to perish, they yet bequeath to their descendants certain of their characteristics ; and although mythology has perished (in the civilised world, at least), it has left an indelible stamp not only upon modem religions, but also upon local and national custom. The work of Fruger, Lang, Immerwahr, and others has revolutionised mythology, and has evolved from the unexplained mass of tales of forty years ago a definite and systematic science.