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A Philosophical Inquiry Into the Development of the Notion of Kalos Kagathos from Homer to Aristotle
The University of Notre Dame Australia ResearchOnline@ND Theses 2006 A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle Geoffrey Coad University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Philosophy Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Coad, G. (2006). A philosophical inquiry into the development of the notion of kalos kagathos from Homer to Aristotle (Master of Philosophy (MPhil)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/13 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. A PHILOSOPHICAL INQUIRY INTO THE DEVELOPMENT OF THE NOTION OF KALOS KAGATHOS FROM HOMER TO ARISTOTLE Dissertation submitted for the Degree of Master of Philosophy Geoffrey John Coad School of Philosophy and Theology University of Notre Dame, Australia December 2006 TABLE OF CONTENTS Abstract iv Declaration v Acknowledgements vi INTRODUCTION 1 CHAPTER 1: The Fish Hook and Some Other Examples 6 The Sun – The Source of Beauty 7 Some Instances of Lack of Beauty: Adolf Hitler and Sharp Practices in Court 9 The Kitchen Knife and the Samurai Sword 10 CHAPTER 2: Homer 17 An Historical Analysis of the Phrase Kalos Kagathos 17 Herman Wankel 17 Felix Bourriott 18 Walter Donlan 19 An Analysis of the Terms Agathos, Arete and Other Related Terms of Value in Homer 19 Homer’s Purpose in Writing the Iliad 22 Alasdair MacIntyre 23 E. -
Eris and Epos Composition, Competition, and the Domestication of Strife
Eris and Epos Composition, Competition, and the Domestication of Strife Joel P. Christensen Brandeis University [email protected] Abstract This article examines the development of the theme of eris in Hesiod and Homer. Start- ing from the relationship between the destructive strife in the Theogony (225) and the two versions invoked in the Works and Days (11–12), I argue that considering the two forms of strife as echoing zero and positive sum games helps us to identify the cultural and compositional force of eris as cooperative competition. After establishing eris as a compositional theme from the perspective of oral poetics, I then argue that it develops from the perspective of cosmic history, that is, from the creation of the universe in Hes- iod’s Theogony through the Homeric epics and into its double definition in the Works and Days.To explore and emphasize how this complementarity is itself a manifestation of eris, I survey its deployment in our major extant epic poems. Keywords eris – competition – conflict – poetics – rivalry In Cypria fr. 1, Zeus fans “the flames of the great strife of the Trojan war / to lighten the [earth’s] burden with death” (ῥιπίσσας πολέμου μεγάλην ἔριν Ἰλιακοῖο, 5).* Similarly, in Hesiod (fr. 204 M-W), when strife divides the gods at the birth of Hermione—“all the gods were of two minds / because of the strife” (πάν- τες δὲ θεοὶ δίχα θυμὸν ἔθεντο / ἐξ ἔριδος, 94–95)—Zeus hastens the destruction of the Heroes: “And then he hastened to extinguish the great race of human * A version of this article was given at the Heartland Graduate Conference in Ancient Stud- ies at the University of Missouri in 2015. -
The Name of Penelope Whallon, William Greek, Roman and Byzantine Studies; Jan 1, 1960; 3, 2; Proquest Pg
The Name of Penelope Whallon, William Greek, Roman and Byzantine Studies; Jan 1, 1960; 3, 2; ProQuest pg. 57 The Name of Penelope William W hallon T HE TALE OF ODYSSEUS' RETURN would have been very different if his wife had not been known as Penelope. For the Homeric poems came from an age of aural etymologizing,l the minstrels who perfected the poems throughout centuries of storytelling found proper nouns as meaningful as common nouns, and certain phonetic associations at first fortuitous became inevitable. Shakespeare's Juli et by any other name than Capulet would have had greater fortune in love, but Penelope's name is even more vitally related to her biography. Now it is an obvious fact that a language built upon a rather small number of phonemes is almost necessarily going to include homonyms, and correspondence of sound alone is insufficient to indicate words as cognate. In present-day Norwegian, for example, the word for the duck, Anda (where the dental stop is no longer pronounced), does not compel any kind of dark reminiscence of the girl named Anna, and likewise the duck 7TTJVEAoljl need not be thought germane to Penelope,2 unless in the similarity there is a remnant from the dawn of time, when in a beast epic Penelope might actually have been a duck, Athene an owl, Hera a heifer, and Apollo a wolf. In the Homeric poems we possess, the 7TTJv€Aoljl and Penelope have no semantic relationship, and the coincidence of identical syllables is unimportant. Another word, however, has been commonly observed as apparently akin to the name of Pe nelope, and may have had a crucial bearing upon her career: this IMost notably in Od. -
Supplemental Content: Monuments on the Dromos of the Sanctuary Of
AJA OPEN ACCESS: APPENDIX www.ajaonline.org Monuments on the Dromos of the Sanctuary of Apollo on Delos An appendix to “Honorific Practices and the Politics of Space on Hellenistic Delos: Portrait Statue Monuments Along the Dromos,” by Sheila Dillon and Elizabeth Palmer Baltes (AJA 117 [2013] 207–46). Base numbers follow Vallois 1923 (see fig. 3 in the AJA print-published article). Bases without numbers were recorded as having been found in the area but were not marked on Vallois’ plan. Base No. Monument Type Honorand(s) Dedicator(s) Reason(s) for Honor Dedicated to Sculptor(s) Reference(s) Bases set up ca. 250–200 5 equestrian statue Epigenes, son of Andron, the King Attalos I – Apollo – IG 11 4 1109 Pergamene general 8 single statue Donax, son of Apollonios – – – – IG 11 4 1202 16 group monument Aischylo(. .) and his father, Mennis, son of Nikarchos – – – IG 11 4 1168 Nikarchos 19 single statue female, Hellenistic queen? the Delians – – Thoinias IG 11 4 1088 20 single statue Autokles, son of Ainesidemos, Autokles, his son – Apollo – IG 11 4 1194 from Chalcidia 117.2) 25 single statue Phildemos, son of Pythermos Eumedes, his son – – – IG 11 4 1193 of Chalcedon 27 exedra family group demos of the Delians – – – IG 11 4 1090 33 exedra family group of Jason, Eukleia, – – – – IG 11 4 1203 Timokleia, Straton, Timokleia, Sillis 41 victory monument Gallic dedication Attalos I(?) victory over Gauls Apollo (. .)epoiei IG 11 4 1110 50c single statue Aichmokritos demos of the Delians – – – IG 11 4 1094 American Journal of Archaeology American 53 -
Trevino Uchicago 0330D 14659.Pdf
THE UNIVERSITY OF CHICAGO INSPIRATION AND NARRATIVE IN THE HOMERIC ODYSSEY A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CLASSICS BY NATALIE TREVINO CHICAGO, ILLINOIS MARCH 2019 Contents LIST OF TABLES ......................................................................................................................... iv ACKNOWLEDGEMENTS ............................................................................................................ v ABSTRACT .................................................................................................................................. vii INTRODUCTION .......................................................................................................................... 1 I.1 Innovation, Aberration, and Metanarrative ............................................................................ 1 I.2 Scholarly Opinions, A History of Devaluation ...................................................................... 2 I.3 Decoding the Inscrutable: Genre, Inspiration, and The Poet ................................................. 6 I.4 Methodology: Studies in the Inspiration of Poets and Prophets, and Narratology .............. 14 I.5 Chapter Summaries .............................................................................................................. 18 I.6 Glossary .............................................................................................................................. -
THE LAND of MYTH MECHANICS: This Adventure Was Designed As a ‘One Shot’ (I.E
2 3 ἄνδρα µοι ἔννεπε, µοῦσα, πολύτροπον, ὃς µάλα πολλὰ πλάγχθη, ἐπεὶ Τροίης ἱερὸν πτολίεθρον ἔπερσεν· πολλῶν δ᾽ ἀνθρώπων ἴδεν ἄστεα καὶ νόον ἔγνω, πολλὰ δ᾽ ὅ γ᾽ ἐν πόντῳ πάθεν ἄλγεα ὃν κατὰ θυµόν, ἀρνύµενος ἥν τε ψυχὴν καὶ νόστον ἑταίρων. Homer’s Odyssey, Book 1, Lines 1-5 (ΟΜΗΡΟΥ ΟΔΥΣΣΕΙΑ, ΡΑΨΟΔΙΑ 1, ΣΤΙΧΟΙ 1-5) CREDITS INDEX Credits – The Land of Myth™ Team Written & Designed by: John R. Haygood Art Direction: George Skodras, Ali Dogramaci Who We Are .............................................................................................. 6 Cover Art: Ali Dogramaci What is this Product ................................................................................. 6 Proofreading & Editing: Vi Huntsman (MRC) This is a product created by Seven Thebes in collaboration with the Getty Museum Introduction ................................................................................................ 7 in Los Angeles, USA. Special thanks for the many hours of game testing and brainstorming: Safety and Consent .................................................................................. 10 Thanasis Giannopoulos, Alexandros Stivaktakis, Markos Spanoudakis About This Adventure Module .............................................................. 12 First Edition First Release: November 2020 Telemachos and His Quest ................................................................... 24 Character Sheets ...................................................................................... 26 Playtest Material V0.3 Please note that this -
The Odyssey Homer's
Excerpt terms and conditions This excerpt is available to assist you in the play selection process. You may view, print and download any of our excerpts for perusal purposes. Excerpts are not intended for performance, classroom or other academic use. In any of these cases you will need to purchase playbooks via our website or by phone, fax or mail. A short excerpt is not always indicative of the entire work, and we strongly suggest reading the whole play before planning a production or ordering a cast quantity. HOMER’S THE ODYSSEY Drama by GREGORY A. FALLS and KURT BEATTIE ph: 800-448-7469 www.dramaticpublishing.com The Odyssey (Falls and Beattie) © Dramatic Publishing Company Odyssey (Falls and Beattie - O77) OUTSIDE COVER.indd 1 10/20/2011 4:45:41 PM THE ODYSSEY TYA/USA Outstanding Play Award Winner Produced at the John F. Kennedy Center for the Performing Arts and nationally applauded in professional productions, this is an action-filled adaptation of Homer’s classic, entertaining to children and adults alike. Suitable for a versatile ensemble cast implementing masks, songs, mime and percussive instruments for theatrical effect. Drama. Adapted by Gregory A. Falls and Kurt Beattie. From Homer’s The Odyssey. Cast: 6m., 2w., with doubling, or up to 36 (6m., 2w., 28 either gender). As the goddess Athena introduces the story of Odysseus’ epic journey home from the Trojan War, we see his beautiful wife, Penelope, fending off impatient, would-be suitors. Athena, disguised as an old man, brings news of Odysseus’ journey as the play’s action segues to his adventure. -
A Ring Composition in Odyssey 17-22
Oral Tradition, 10/1 (1995): 207-229 The Three Circuits of the Suitors: A Ring Composition in Odyssey 17-22 Steve Reece Many that are first will be last, and last first. (Mark 10:31) Introduction On three occasions in the Odyssey, Homer draws attention to the arrangement of the suitors as they sit in the hall of Odysseus’ palace: first, when the disguised Odysseus passes from suitor to suitor begging for food; again, when each suitor in turn attempts to string Odysseus’ bow; and, finally, when the suitors are slaughtered in succession at the hands of Odysseus and his small band of followers. On all three occasions—the description of which spans a long stretch of narrative (Books 17-22)— Homer seems to have precisely the same arrangement of suitors in mind. But whereas the sequence in which the suitors are mentioned is the same in the first two circuits, it is exactly reversed in the third. The few meticulous scholars who have noticed this pattern have marshaled it as evidence for their hypothetical reconstructions of the layout of Odysseus’ palace. But Homer’s description of the layout of the palace is ambiguous, and the notorious failure of these scholars, both ancient and modern, to come to a consensus suggests that topographical verisimilitude was not Homer’s primary concern here. Rather, I believe this pattern is an exceptionally well-crafted example of a type of patterning, pervasive in orally composed narrative, known to Hellenists as hysteron-proteron or ring composition. This is not to say that the pattern is merely a mnemonic aid, a means by which the poet may more easily arrange his material and store it in his mind; admittedly, such patterning held a practical function for an orally composing poet, but it also came to have an aesthetic value, providing for the audience a pleasing sense of recognition and ultimately a 208 STEVE REECE satisfying sense of completion. -
Durham E-Theses
Durham E-Theses `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 RICHARDS, FRANCESCA,MARIA How to cite: RICHARDS, FRANCESCA,MARIA (2016) `Dangerous Creatures': Selected children's versions of Homer's Odyssey in English 16992014 , Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/11522/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 ‘Dangerous Creatures’: Selected children’s versions of Homer’s Odyssey in English 1699–2014 Abstract This thesis considers how the Odyssey was adapted for children, as a specific readership, in English literature 1699-2014. It thus traces both the emergence of children’s literature as a publishing category and the transformation of the Odyssey into a tale of adventure – a perception of the Odyssey which is still widely accepted today (and not only among children) but which is not, for example, how Aristotle understood the poem. -
Lecture 34 Good Morning and Welcome to LLT121 Classical Mythology
Lecture 34 Good morning and welcome to LLT121 Classical Mythology. Thank you for turning in your papers. When last we left off—this is going to be a short one—we were talking about how Agamemnon, king of Mycenae, was presented with a dilemma. If you’ll recall, at the very beginning of the Trojan War, all 1,000 ships of the Greek fleet were bottle up in the port city of Elis. They could not get out of the port because there was no wind. There was no wind because, as it turned out, the goddess Artemis was angry. Why? I don’t know that kind of a day. Agamemnon found out that he could get out of the city of Elis on one condition, if he offered his daughter Iphigenia as a sacrifice. Iphigenia, you will recall is one of the three children of Agamemnon and his loving wife Clytemnestra. To Agamemnon this was a no-brainer. To Agamemnon, obviously, he had to send for his daughter Iphigenia and sacrifice her so that he and his manly men and ships could get out of the port of Elis and kick Trojan you know what. Take Helen back, because, if he didn’t, Agamemnon would have been found lacking in arete. This is the first of two buzzwords I’m going to give you today. These are going to show up on all future examinations. Learn them, live them. Arete is the ancient Greek word for virtue. Interestingly enough, arete is the Greek word, the Latin virtue. Both are derived from the word for manliness. -
Divine Riddles: a Sourcebook for Greek and Roman Mythology March, 2014
Divine Riddles: A Sourcebook for Greek and Roman Mythology March, 2014 E. Edward Garvin, Editor What follows is a collection of excerpts from Greek literary sources in translation. The intent is to give students an overview of Greek mythology as expressed by the Greeks themselves. But any such collection is inherently flawed: the process of selection and abridgement produces a falsehood because both the narrative and meta-narrative are destroyed when the continuity of the composition is interrupted. Nevertheless, this seems the most expedient way to expose students to a wide range of primary source information. I have tried to keep my voice out of it as much as possible and will intervene as editor (in this Times New Roman font) only to give background or exegesis to the text. All of the texts in Goudy Old Style are excerpts from Greek or Latin texts (primary sources) that have been translated into English. Ancient Texts In the field of Classics, we refer to texts by Author, name of the book, book number, chapter number and line number.1 Every text, regardless of language, uses the same numbering system. Homer’s Iliad, for example, is divided into 24 books and the lines in each book are numbered. Hesiod’s Theogony is much shorter so no book divisions are necessary but the lines are numbered. Below is an example from Homer’s Iliad, Book One, showing the English translation on the left and the Greek original on the right. When citing this text we might say that Achilles is first mentioned by Homer in Iliad 1.7 (i.7 is also acceptable). -
Homer's Odysseus and Ovid's Perseus
Vol. 4, No. 1 The Pulse 1 HOMER’S ODYSSEUS AND OVID’S PERSEUS: A COMPARISON OF HEROIC VALUES By Andrew Nordin The myths of ancient Greece are full of great battles in which gallant heroes combat hordes of vicious enemies. Only these kinds of grandiose battles are worthy of the epic heroes of mythology. Odysseus and Perseus are two mythic heroes famous for fighting both mortal and immortal enemies in the course of their extensive travels. In the Odyssey, Homer illustrates Odysseus’s battle against the suitors to regain his wife and household. Similarly, Ovid narrates the story of Perseus’s fight to gain a bride in his Metamorphoses. Although the two scenes contain some similarities, Homer’s depiction of Odysseus’s battle ultimately contrasts with Ovid’s description of Perseus’s battle in that Homer upholds the traditional virtues of the Greek hero, whereas Ovid mocks and critiques these values. These two episodes are similar in several aspects, and viewing these similarities is critical in highlighting the differences between the poets’ viewpoints. Both battles occur at celebratory events, which are relatively peaceful before the fighting begins. Perseus’s feast is so abruptly disturbed by Phineas’s arrival that Ovid compares it to “a calm sea rudely disturbed by a violent, howling gale” (Met. V.6). The arrival of Andromeda’s ex-fiancé disrupts this serene scene with the violent intensity of a hurricane: Phineas is full of rage and out of control. Similarly, Odysseus’ fight to regain his house and wife begins in a peaceful context; however, Odysseus attacks the suitors so suddenly that he causes them to run “in a panic through the hall” (Ody.