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1186 B.C.E. the Trojan War Greece
1186 B.C.E. The Trojan War Greece The events in the myth of The Judgement of Paris started a period of war called the Trojan War, in which the city of Troy and its allies fought the citystate of Sparta and its allies. Most of what we know of the Trojan War comes from epics such as Homer’s Iliad and O dyssey, but there is evidence that the Trojan War was a real event; the problem is that we don’t know exactly how much of what is described in the Iliad is true. For example, the Iliad features Gods and Goddesses not present in modern society or belief, as well as people that may have been idealized as war heroes. The following is what we know about the events of the Trojan War from the Iliad. Menelaus, the king of Sparta, was so angry that Paris had taken his wife that he set out to wage war with Paris and the city of Troy. To do so, he sent out for certain people to help, such as Odysseus, the hero of the Odyssey, and Achilles, who a seer said the war would not be won without. The Greeks first attacked nearby kingdoms that were supplying Troy, destroying the Trojan economy, killing Trojan hero Hector and looting spoils of war. However, the Greeks couldn’t break down the wall that surrounded Troy, so Odysseus devised a plan now known as the Trojan Horse. The Greeks hid inside a giant wooden horse that they tricked the Trojans to let inside their walls. -
MYTHOLOGY MAY 2018 Detail of Copy After Arpino's Perseus and Andromeda
HOMESCHOOL THIRD THURSDAYS MYTHOLOGY MAY 2018 Detail of Copy after Arpino's Perseus and Andromeda Workshop of Giuseppe Cesari (Italian), 1602-03. Oil on canvas. Bequest of John Ringling, 1936. Creature Creation Today, we challenge you to create your own mythological creature out of Crayola’s Model Magic! Open your packet of Model Magic and begin creating. If you need inspiration, take a look at the back of this sheet. MYTHOLOGICAL Try to incorporate basic features of animals – eyes, mouths, legs, etc.- while also combining part of CREATURES different creatures. Some works of art that we are featuring for Once you’ve finished sculpting, today’s Homeschool Third Thursday include come up with a unique name for creatures like the sea monster. Many of these your creature. Does your creature mythological creatures consist of various human have any special powers or and animal parts combined into a single creature- abilities? for example, a centaur has the body of a horse and the torso of a man. Other times the creatures come entirely from the imagination, like the sea monster shown above. Some of these creatures also have supernatural powers, some good and some evil. Mythological Creatures: Continued Greco-Roman mythology features many types of mythological creatures. Here are some ideas to get your project started! Sphinxes are wise, riddle- loving creatures with bodies of lions and heads of women. Greek hero Perseus rides a flying horse named Pegasus. Sphinx Centaurs are Greco- Pegasus Roman mythological creatures with torsos of men and legs of horses. Satyrs are creatures with the torsos of men and the legs of goats. -
From the Odyssey, Part 1: the Adventures of Odysseus
from The Odyssey, Part 1: The Adventures of Odysseus Homer, translated by Robert Fitzgerald ANCHOR TEXT | EPIC POEM Archivart/Alamy Stock Photo Archivart/Alamy This version of the selection alternates original text The poet, Homer, begins his epic by asking a Muse1 to help him tell the story of with summarized passages. Odysseus. Odysseus, Homer says, is famous for fighting in the Trojan War and for Dotted lines appear next to surviving a difficult journey home from Troy.2 Odysseus saw many places and met many the summarized passages. people in his travels. He tried to return his shipmates safely to their families, but they 3 made the mistake of killing the cattle of Helios, for which they paid with their lives. NOTES Homer once again asks the Muse to help him tell the tale. The next section of the poem takes place 10 years after the Trojan War. Odysseus arrives in an island kingdom called Phaeacia, which is ruled by Alcinous. Alcinous asks Odysseus to tell him the story of his travels. I am Laertes’4 son, Odysseus. Men hold me formidable for guile5 in peace and war: this fame has gone abroad to the sky’s rim. My home is on the peaked sea-mark of Ithaca6 under Mount Neion’s wind-blown robe of leaves, in sight of other islands—Dulichium, Same, wooded Zacynthus—Ithaca being most lofty in that coastal sea, and northwest, while the rest lie east and south. A rocky isle, but good for a boy’s training; I shall not see on earth a place more dear, though I have been detained long by Calypso,7 loveliest among goddesses, who held me in her smooth caves to be her heart’s delight, as Circe of Aeaea,8 the enchantress, desired me, and detained me in her hall. -
The Legend of the Trojan Horse
The Legend of the Trojan horse Once upon a time, a long time ago, there was an ancient city named Troy. Troy was on the coast of Asia, across the sea from the Greek city-state of Sparta. In those days people used to build walls around their city to help protect them with a gate. In times of war, the gates could be closed and locked to stop intruders from getting inside. The walls around Troy were very high and very strong. According to the legend of the Trojan Horse, for ten long years the Greeks had been trying to get over the wall around the city of Troy. But the Greeks could not get over the wall. And the Trojans could not drive the Greeks away. Year after year they fought. And year after year neither side won. One day, a Greek general, Odysseus had a tricky idea. “Let’s pretend to sail away”, he suggested. “We’ll leave a gift for Troy, a gift to announce the end of the war, a wooden a horse with 30 men hidden inside. At night, these men can sneak out and open the gate of Troy!” That was the way things were done back then. When you admitted defeat, you supplied a gift. It made sense to leave a gift of art. The Greek were famous for their art. The Greeks thought it was a brilliant idea. They had their best artists build the horse and it was magnificent. When it was ready, the Greeks brought the wooden horse close to the gates of Troy and pretended to sail away. -
The Cyclops in the Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts
THE CYCLOPS IN THE ODYSSEY, ULYSSES, AND ASTERIOS POLYP: HOW ALLUSIONS AFFECT MODERN NARRATIVES AND THEIR HYPOTEXTS by DELLEN N. MILLER A THESIS Presented to the Department of English and the Robert D. Clark Honors College in partial fulfillment of the requirements for the degree of Bachelor of Arts December 2016 An Abstract of the Thesis of Dellen N. Miller for the degree of Bachelor of Arts in the Department of English to be taken December 2016 Title: The Cyclops in The Odyssey, Ulysses, and Asterios Polyp: How Allusions Affect Modern Narratives and Their Hypotexts Approved: _________________________________________ Paul Peppis The Odyssey circulates throughout Western society due to its foundation of Western literature. The epic poem thrives not only through new editions and translations but also through allusions from other works. Texts incorporate allusions to add meaning to modern narratives, but allusions also complicate the original text. By tying two stories together, allusion preserves historical works and places them in conversation with modern literature. Ulysses and Asterios Polyp demonstrate the prevalence of allusions in books and comic books. Through allusions to both Polyphemus and Odysseus, Joyce and Mazzucchelli provide new ways to read both their characters and the ancient Greek characters they allude to. ii Acknowledgements I would like to sincerely thank Professors Peppis, Fickle, and Bishop for your wonderful insight and assistance with my thesis. Thank you for your engaging courses and enthusiastic approaches to close reading literature and graphic literature. I am honored that I may discuss Ulysses and Asterios Polyp under the close reading practices you helped me develop. -
' “Always the Foremost Argive Champion”? The
Scheijnen T. (2015); ‘ “Always the Foremost Argive Champion”? The Representation of Neoptolemus in Quintus of Smyrna’s Posthomerica’ Rosetta 17.5: 93 – 110 http://www.rosetta.bham.ac.uk/issue17.5/Scheijnen.pdf ‘Always the Foremost Argive Champion’? The Representation of Neoptolemus in Quintus of Smyrna’s Posthomerica Tine Scheijnen Abstract: Neoptolemus rather seldom figures in Ancient Greek literature. The Posthomerica of Quintus of Smyrna is one of the scarce examples in which the son of Achilles is staged as a hero on the battlefield. This paper investigates the representation of Neoptolemus as the successor of his father in the Trojan War. The vigorous youth who takes Achilles’ place as the principal Achaean champion is repeatedly recognised as latter’s heir. Various narrative techniques reinforce this profound assimilation, which proves crucial to determine Neoptolemus’ identity as a warrior. The image that is thus created of the young hero clearly enters into dialogue with the Homeric epics, in which the post-Achilles episode of the Trojan War is only indirectly treated. To complete what his father has left unfinished, Neoptolemus finds inspiration in his rich inheritance. ‘And in truth, as often as we took counsel around the city of Troy, he was always the first to speak, and never erred in his words; godlike Nestor and I alone surpassed him. But as often as we fought with the bronze on the Trojan plain, he would never remain behind in the throng or press of men, but would run forward far to the front, yielding to none in his prowess; and many men he slew in dreadful combat.’ (Odysseus: Odyssey 11, 510-516)1 During his visit to the Underworld in Odyssey 11, Odysseus encounters Achilles and describes to him how his son Neoptolemus became a worthy champion in the Trojan War. -
The Cyclops Cave
“The Cyclops” from the Odyssey by Homer In ancient Greece, heroes in epic poems like the Odyssey represented the highest values of Greek civilization. In Homer’s day, heroes were thought of as a special class of men, somewhere between the gods and ordinary human beings. As you read “The Cyclops,” see how Odysseus uses his special qualities to save himself and his men from becoming a monster’s meal. LITERARY FOCUS: HEROES AT LARGE Epics are long narrative poems that tell of the great deeds of a hero. In an epic, the main character is the hero. (In many epics the hero’s enemy is also a major character.) Heroes usually represent qualities that their society admires. Some people today, for example, see sports stars, popular singers, great scientists, or firefighters as their heroes. In epics told long ago, the heroes are often superhuman warriors, who set off on journeys to win something of great value for themselves and for their people. The conflicts, or struggles between opposing forces, in an epic are usually external, as the heroes battle armies, monsters, or the forces of nature. Epic heroes can also face internal conflicts—caused by fear, doubt, weakness, and so on. • First, read “The Cyclops” for enjoyment. Then, consider what the adven- ture reveals about the values of the ancient Greeks. READING SKILLS: MONITOR YOUR COMPREHENSION Good readers pause occasionally to make sure they understand what they have read. When you read a long, action-filled poem such as this one, it is Literary Skills important to stay on top of events—to understand what is happening. -
THE CYCLOPS) PHILOSOPHY on First Glance, This Story Appears to Be the Least Yielding When It Comes to Finding Philosophy for Discussion
NOBODY'S HOME (THE CYCLOPS) PHILOSOPHY On first glance, this story appears to be the least yielding when it comes to finding philosophy for discussion. But take a closer look and the philosophy starts to materialise from nothing. I say 'materialise from nothing' because I have found the most successful philosophical discussion emerging from this session to be about non-existent entities. This topic emerges from both the content of the story (i.e. his use of the word 'nobody' to trick the Cyclops – 'nobody' seeming to be a referring term for someone that isn't there) and a feature of the story (i.e. that it contains a famous mythical creature – mythical creatures being perfect examples of non-existent entities). So, how can something that doesn't exist have certain qualities or features? Does our collective reference to a Cyclops somehow give it existence, perhaps in our minds, in our culture, or in some other way? Some philosophers have thought so. If so, what kind of existence would this be? It's certainly not the kind of existence something like a rabbit has. Or is it simply that a Cyclops does not exist in any way? But if this is the case, how can you meaningfully speak about one - how can you tell the story you are about to tell? Note: this story contains a clear example of a key Ancient Greek theme and one that runs throughout the Odyssey: hubris, 'downfall brought about by excessive pride'. Odysseus' announcement revealing his true identity to Polyphemus from the prow of his ship endangers both himself and his crew by inciting the wrath of the god Poseidon no less. -
Trojan Horses
Trojan Horses The most famous story of a Trojan horse involved Odysseus of Homer’s epic poem, the Odyssey. The Greek siege of Troy had lasted for ten years. The Greeks devised a new ruse: a giant hollow wooden horse. It was built by Epeius and filled with Greek warriors led by Odysseus. The Trojans were convinced by a Greek spy, Sinon, to bring the horse into the defended city. The Trojans hugely celebrated the end of the siege, so that, when the Greeks emerged from the horse, the city was in a drunken stupor. The Greek warriors opened the city gates to allow the rest of the army to enter, and the city was pillaged ruthlessly, all the men were killed, and all the women and children were taken into slavery. Def: A Trojan horse is a program with an overt, documented or known, effect and a covery,undocumented or unexpected, effect The term Trojan horse was first used in 1974 when talking about computer malware. A simple example of a Trojan horse would be a program named “waterfalls.scr” claiming to be a free waterfall screensaver which, when run, instead would allow access to the user’s computer remotely. Trojan horses can make copies of themselves. One of the earliest Trojan horses was a version of the game animal. When the game was played,it would create an extra copy of itself. These copies spread, taking up much room. Def: A propagating Trojan horse, also called a replicating Trojan horse, is a Trojan horse that creates a copy of itself. -
Meerkats' Class Assembly Odysseus and the Cyclops
Meerkats’ Class Assembly Odysseus and the Cyclops Cast and costume ideas/ props needed Cast – Props Odysseus: blue toga, sword kept in his belt. Sohail Cyclops: red toga face painted eye on forehead Abdulmajid Ship – Saba’s assembly ship Neighbour 1: red toga Adam All soldiers to Tree (tube from Miss L’s cellar) Neighbour 2 red toga Abdi wear a white Neighbour 3: red toga Saba Cardboard sheep Homer: White toga with gold. Scroll to read from Archie toga. Wine -Large bottle to be filled with blackcurrant Soldier 1: Taela Cardboard cheese Soldier 2: Veen They could Solider 3: Summer Glasses Soldier 4: Faisal wear 1 Cardboard fire Soldier 5: Destiny additional Soldier 6: Josh R Scroll Soldier 7: Zahra accessory Facepaint Soldier 8: Cameron (sword/ Soldier 9: Aydane Soldier 10: Josh S shield/ etc…) Flipchart Soldier 11: Igor Slide 1 – Island Soldier 12: Mustafa attached to a Soldier 13: Marci belt. Slide 2 – Cave with boulder Soldier 14: Ane Slide 3 - Island Soldier 15: Mehreen Soldier 16: Adiyan Soldier 17: Bradley Homer: (stepping to the front of the stage) Hello. My name is Homer, the great author of this tale, Odysseus and the Cyclops. I will be the narrator for this story. Scene 1 Odysseus and his crew are on board a ship looking tired and hungry. Homer It took 10 years for the Trojan war to end. Now, it was finally over. Odysseus, the proud hero, returned onto his ship with his brave soldiers, and were ready to return home. Before they reached home, they saw an island up ahead. -
"There and Back Again" ~ Odysseus and Bilbo Baggins
Volume 14 Number 3 Article 1 Spring 3-15-1988 "There and Back Again" ~ Odysseus and Bilbo Baggins Kenneth J. Reckford Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Reckford, Kenneth J. (1988) ""There and Back Again" ~ Odysseus and Bilbo Baggins," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 3 , Article 1. Available at: https://dc.swosu.edu/mythlore/vol14/iss3/1 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Sees parallels between incidents in The Odyssey and The Hobbit. Bilbo and Odysseus also share similar development as heroes during their respective journeys. Additional Keywords Homer—Characters—Odysseus—Relation to Bilbo; Homer. The Odyssey—Influence on J.R.R. olkien;T Tolkien, J.R.R.—Characters—Bilbo—Relation to Odysseus; Tolkien, J.R.R. -
Back in the Cave of the Cyclops
%DFNLQWKH&DYHRIWKH&\FORSV $XWKRU V 3XUD1LHWR+HUQ£QGH] 6RXUFH7KH$PHULFDQ-RXUQDORI3KLORORJ\9RO1R $XWXPQ SS 3XEOLVKHGE\7KH-RKQV+RSNLQV8QLYHUVLW\3UHVV 6WDEOH85/http://www.jstor.org/stable/1561773 . $FFHVVHG Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to The American Journal of Philology. http://www.jstor.org This content downloaded from 132.198.157.39 on Sun, 31 Aug 2014 12:20:00 PM All use subject to JSTOR Terms and Conditions AMERICAN JOURNAL OF PHILOLOGY BACK IN THE CAVE OF THE CYCLOPS PURA NlETO HERNANDEZ It is many years now since Denys Page (1955) demonstrated how the story of the Cyclops, as presented in book 9 of the Odyssey, is the prod? uct of a conflation of two distinct folklore themes that are weil attested over a wide geographical area: on the one hand, that of the ogre-type giant who devours human flesh and is, in the end, blinded, and, on the other hand, the "No-man" theme. In his study Page highlighted certain details in which the Odyssey differs from its possible sources: examples are the substitution of a wooden stake for the metal skewer as the in- strument with which the hero blinds the monster, and the use of wine to put the giant to sleep.