Polyphemus: a Palaeolithic Tale? Julien D’Huy
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Intertextuality in James Joyce's Ulysses
Intertextuality in James Joyce's Ulysses Assistant Teacher Haider Ghazi Jassim AL_Jaberi AL.Musawi University of Babylon College of Education Dept. of English Language and Literature [email protected] Abstract Technically accounting, Intertextuality designates the interdependence of a literary text on any literary one in structure, themes, imagery and so forth. As a matter of fact, the term is first coined by Julia Kristeva in 1966 whose contention was that a literary text is not an isolated entity but is made up of a mosaic of quotations, and that any text is the " absorption, and transformation of another"1.She defies traditional notions of the literary influence, saying that Intertextuality denotes a transposition of one or several sign systems into another or others. Transposition is a Freudian term, and Kristeva is pointing not merely to the way texts echo each other but to the way that discourses or sign systems are transposed into one another-so that meanings in one kind of discourses are heaped with meanings from another kind of discourse. It is a kind of "new articulation2". For kriszreve the idea is a part of a wider psychoanalytical theory which questions the stability of the subject, and her views about Intertextuality are very different from those of Roland North and others3. Besides, the term "Intertextuality" describes the reception process whereby in the mind of the reader texts already inculcated interact with the text currently being skimmed. Modern writers such as Canadian satirist W. P. Kinsella in The Grecian Urn4 and playwright Ann-Marie MacDonald in Goodnight Desdemona (Good Morning Juliet) have learned how to manipulate this phenomenon by deliberately and continually alluding to previous literary works well known to educated readers, namely John Keats's Ode on a Grecian Urn, and Shakespeare's tragedies Romeo and Juliet and Othello respectively. -
Myths and Legends of the New York State Iroquois
.»>.. The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924055492973 CORNELL UNIVERSITY LIBRARY 924 055 492 973 Education Department Bulletin Published fortnightly by the University of the State of New York Entered as second-class matter June 24, i!)o8, at the Post Office at Albany, N. Y., under the act of July 16, 1894 No; 437 ALBANY, N. Y. December is, 1908 New York State Museum John M. Clarke, Director Museum bulletin 125 MYTHS AND LEGENDS OF THE NEW YORK STATE IROQUOIS BY HARRIET MAXWELL CONVERSE (Ya-ie-wa-noh) EDITED AND ANNOTATED BY ARTHUR CASWELL PARKER (Ga-wa-so-wa-neh) PAGE PAGE Prefatory note S Neh Ho-noh-tci-noh-gah, the Introduction 7 Guardians of the Little Waters, Biography of Harriet Maxwell a Seneca Medicine Society. A. Converse 14 C. Parker : 149 Pt I Iroquois Mythsand Legends. Appendix A. Origin of Good and Harriet Maxwell Converse. 31 Evil 184 Pt 2 Myths and Legends. Har- Appendix B. The Stone Giants. 185 riet Maxwell Converse (Re- Appendix C. The De-o-ha-ko.. 185 vised from rough drafts) 93 Appendix D. The Legendary Pt 3 . Miscellaneous papers. Har- Origin of Wampum 187 riet Maxwell Converse 128 Index igi ALBANY - UNIVERSITY OF THE STATE OF. NEW YORK. 1908 M2ozr-Je8-3ooo 1 STATE OF NEW YORK EDUCATION DEPARTMENT Regents of the University Witll years when terms expire 191.3 Whitelaw Reid M.A. LL.D. -
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. -
On Program and Abstracts
INTERNATIONAL ASSOCIATION FOR COMPARATIVE MYTHOLOGY & MASARYK UNIVERSITY, BRNO, CZECH REPUBLIC TENTH ANNUAL INTERNATIONAL CONFERENCE ON COMPARATIVE MYTHOLOGY TIME AND MYTH: THE TEMPORAL AND THE ETERNAL PROGRAM AND ABSTRACTS May 26-28, 2016 Masaryk University Brno, Czech Republic Conference Venue: Filozofická Fakulta Masarykovy University Arne Nováka 1, 60200 Brno PROGRAM THURSDAY, MAY 26 08:30 – 09:00 PARTICIPANTS REGISTRATION 09:00 – 09:30 OPENING ADDRESSES VÁCLAV BLAŽEK Masaryk University, Brno, Czech Republic MICHAEL WITZEL Harvard University, USA; IACM THURSDAY MORNING SESSION: MYTHOLOGY OF TIME AND CALENDAR CHAIR: VÁCLAV BLAŽEK 09:30 –10:00 YURI BEREZKIN Museum of Anthropology and Ethnography & European University, St. Petersburg, Russia OLD WOMAN OF THE WINTER AND OTHER STORIES: NEOLITHIC SURVIVALS? 10:00 – 10:30 WIM VAN BINSBERGEN African Studies Centre, Leiden, the Netherlands 'FORTUNATELY HE HAD STEPPED ASIDE JUST IN TIME' 10:30 – 11:00 LOUISE MILNE University of Edinburgh, UK THE TIME OF THE DREAM IN MYTHIC THOUGHT AND CULTURE 11:00 – 11:30 Coffee Break 11:30 – 12:00 GÖSTA GABRIEL Georg-August-Universität Göttingen, Germany THE RHYTHM OF HISTORY – APPROACHING THE TEMPORAL CONCEPT OF THE MYTHO-HISTORIOGRAPHIC SUMERIAN KING LIST 2 12:00 – 12:30 VLADIMIR V. EMELIANOV St. Petersburg State University, Russia CULTIC CALENDAR AND PSYCHOLOGY OF TIME: ELEMENTS OF COMMON SEMANTICS IN EXPLANATORY AND ASTROLOGICAL TEXTS OF ANCIENT MESOPOTAMIA 12:30 – 13:00 ATTILA MÁTÉFFY Hacettepe University, Ankara, Turkey & Georg-August-Universität Göttingen, -
Leg Child Revised TRES
van Binsbergen, Wim M.J., 2020, The leg child in global cultural history: A distributional exercise in comparative mythology, at: http://www.quest- journal.net/shikanda/topicalities/leg_child,pdf In this paper we shall address an interessting and wide-spread mytheme that nonetheless is little known outside the circle of comparative mythologists: the leg child. In comparative mythology, the leg child is a mythical anthropomorphic figure born from a human body otherwise than via the normal birth channel; cf . van Binsbergen 2018: 417, where I wrote approximately (text considerably adapted): .... the mytheme of the leg child (NarCom 12b). This is a common motif, indicating a mythical figure who was born, not by passing through the normal birth channel, but through a thigh, armpit, waist, occiput or any other part of the human body except the birth channel. The type case is from Ancient Greek mythology, where Dionysus was sewn into his father Zeus's thigh, and born from there, after his mother Semele had been burned to death under the hot splendour of Zeus' lightning.(...) Quite a few mythical protagonists worldwide appear as leg children, including Ancient Egyptian Seth born from his mother's side, Thoth from his father's skull (Bonnet 1952: 702 f.), cf. Greek Athena from her father's skull (and when Hephaestus – who incidentally, as a smith was the very one to split Zeus’s skull on that occasion – in sexual arousal ejaculated against Athena's thigh who in disgust wiped off the sperm with a handful of wool and cast it to the Earth, who immediately responded by producing Erichthonius [ – by an ancient popular etymology, ‘Wool-Earthy’ – , ] this makes the latter also a leg child although he was reputedly borne by Gaia / Earth). -
Myths and Legends: Odysseus and His Odyssey, the Short Version by Caroline H
Myths and Legends: Odysseus and his odyssey, the short version By Caroline H. Harding and Samuel B. Harding, adapted by Newsela staff on 01.10.17 Word Count 1,415 Level 1030L Escaping from the island of the Cyclopes — one-eyed, ill-tempered giants — the hero Odysseus calls back to the shore, taunting the Cyclops Polyphemus, who heaves a boulder at the ship. Painting by Arnold Böcklin in 1896. SECOND: A drawing of a cyclops, courtesy of CSA Images/B&W Engrave Ink Collection and Getty Images. Greek mythology began thousands of years ago because there was a need to explain natural events, disasters, and events in history. Myths were created about gods and goddesses who had supernatural powers, human feelings and looked human. These ideas were passed down in beliefs and stories. The following stories are about Odysseus, the son of the king of the Greek island of Ithaca and a hero, who was described to be as wise as Zeus, king of the gods. For 10 years, the Greek army battled the Trojans in the walled city of Troy, but could not get over, under or through the walls that protected it. Finally, Odysseus came up with the idea of a large hollow, wooden horse, that would be filled with Greek soldiers. The people of Troy woke one morning and found that no army surrounded the city, so they thought the enemy had returned to their ships and were finally sailing back to Greece. A great horse had been left This article is available at 5 reading levels at https://newsela.com. -
SETTLER COLONIALISM and UTOPIANISM by Karl
UNSETTLING HOPE: SETTLER COLONIALISM AND UTOPIANISM by Karl Joseph Hardy A thesis submitted to the Cultural Studies Graduate Program In conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada June 10, 2015 Copyright © Karl Joseph Hardy, 2015 Abstract This dissertation locates the manifold concept of utopia as imbricated with the project of English settler colonialism in the New World and the succeeding settler colonial societies of Canada and the US. I situate Thomas More’s Utopia as an early modern narrative that was mobilized to articulate notions of transcendental progress and universal rationality commensurate with Christian Humanism, which served to justify expropriation of Indigenous lands. I further locate contemporary Indigenous critical theoretical interventions into longstanding scholarly theories of nation and peoplehood. I argue that Indigenous critical theory, literary studies, and works of Indigenous speculative fiction serve an immanent critique to the settler utopian traditions of Canada and the US, which both reflect and further the naturalization of settler colonialism as an enduring force which frames the contemporary experience of globalization. This immanent critique is also applied to contemporary utopian studies discourses, including emergent discussions of “Non-Western” and “postcolonial” utopias. I proceed to an exploration of contemporary speculative narratives of Indigenous, racialized non-Native, and white settler peoples concerned with varying notions of indigneity. I argue such narratives propose desirable social change in ways that further naturalize or resist settler colonialism in their respective envisages of the future. ii Acknowledgements I am deeply grateful to all of my family, friends, teachers, and colleagues who have challenged and supported me throughout my time as a doctoral student, especially my supervisor, Scott Morgensen. -
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. -
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. -
EME Revisited – the Story of Odysseus Script by Olivia Armstrong – April 8Th 2020
EME Revisited – The Story of Odysseus Script by Olivia Armstrong – April 8th 2020 Introduction Hello. I am Olivia – I tell stories, Stories that are big and stories that are small. You can listen quietly or you can join in. If you are going to join in, there are some things you will need! Ordinary household things that should be easy to find. I am going to tell you what you need and then why don’t you pause the story while you and your grown-ups go and find them? Don’t worry if you don’t have everything on the list. Whatever you have, there will still be plenty for you to join in with. Are you ready to write these down? Okay – number one – a handful of uncooked rice emptied onto a baking tray. Two – a sheet, or a piece of cloth. Three – some torn up paper or newspaper in a plastic bag. Three – a piece of tin foil. Four – a small piece of fruit or your favourite snack. Five – a cushion or pillow. Six – a couple of sticks of raw celery and a few strands of uncooked spaghetti. Seven – a small handful of cooked pasta in a bowl. And eight – any shakers or drums or bells you might have. Go and gather those things now. Don’t forget to pause the story! [ Pause here while you collect props ] Story begins Hello! Are you back? Lay all the things out in front of you, within easy reach. Your grown can help you keep everything tidy! One of my favourite places to tell stories is the magical British Museum. -
Every Creation Story
Every Creation Story Creation from chaos Chaos (cosmogony) Enûma Eliš (Babylonian creation myth) Genesis creation myth (Judaism, Christianity and Islam) Greek cosmogonical myth Jamshid Korean creation narratives Kumulipo Leviathan (Book of Job 38–41 creation myth) Mandé creation myth Pangu Raven in Creation Serer creation myth Sumerian creation myth Tungusic creation myth Unkulunkulu Väinämöinen Viracocha Earth diver Earth-diver Ainu creation myth Cherokee creation myth Iroquois creation myth Väinämöinen Yoruba creation myth Ob-Ugric creation myth Emergence Emergence Hopi creation myth Maya creation of the world myth Diné Bahaneʼ (Navajo) Zuni creation myth ( creation of self ) Ex nihilo Debate between sheep and grain Barton cylinder Ancient Egyptian creation myths Kabezya-Mpungu Māori myths Mbombo Ngai Popol Vuh World parent World parent Coatlicue Enûma Eliš Greek cosmogonical myth Greek cosmogonical myth Heliopolis creation myth Hiranyagarbha creation myth Kumulipo Rangi and Papa Völuspá Divine twins Divine twins Proto-Indo-European creation myths Regional Africa Ancient Egyptian creation myths Fon creation myth Kaang creation story (Bushmen) Kintu myth (Bugandan) Mandé creation myth Mbombo (Kuba, Bakuba or Bushongo/Boshongo) Ngai (Kamba, Kikuyu and Maasai ) Serer creation myth (cosmogony of the Serer people of Senegal, the Gambia and Mauritania) Unkulunkulu (Zulu) Yoruba creation Americas Mesoamerica Coatlicue (Aztec) Maya creation of the world myth Popol Vuh (Quiché Mayan) Mid North America Anishinaabeg creation stories Cherokee creation -
Troy Myth and Reality
Part 1 Large print exhibition text Troy myth and reality Please do not remove from the exhibition This two-part guide provides all the exhibition text in large print. There are further resources available for blind and partially sighted people: Audio described tours for blind and partially sighted visitors, led by the exhibition curator and a trained audio describer will explore highlight objects from the exhibition. Tours are accompanied by a handling session. Booking is essential (£7.50 members and access companions go free) please contact: Email: [email protected] Telephone: 020 7323 8971 Thursday 12 December 2019 14.00–17.00 and Saturday 11 January 2020 14.00–17.00 1 There is also an object handling desk at the exhibition entrance that is open daily from 11.00 to 16.00. For any queries about access at the British Museum please email [email protected] 2 Sponsor’sThe Trojan statement War For more than a century BP has been providing energy to advance human progress. Today we are delighted to help you learn more about the city of Troy through extraordinary artefacts and works of art, inspired by the stories of the Trojan War. Explore the myth, archaeology and legacy of this legendary city. BP believes that access to arts and culture helps to build a more inspired and creative society. That’s why, through 23 years of partnership with the British Museum, we’ve helped nearly five million people gain a deeper understanding of world cultures with BP exhibitions, displays and performances. Our support for the arts forms part of our wider contribution to UK society and we hope you enjoy this exhibition.