Symbolism in Wolfgang Petersen's Troy
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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. -
Essay 2 Sample Responses
Classics / WAGS 23: Second Essay Responses Grading: I replaced names with a two-letter code (A or B followed by another letter) so that I could read the essays anonymously. I grouped essays by levels of success and cross-read those groups to check that the rankings were consistent. Comments on the assignment: Writers found all manner of things to focus on: Night, crying, hospitality, the return of princes from the dead (Hector, Odysseus), and the exchange of bodies (Hector, Penelope). Here are four interesting and quite different responses: Essay #1: Substitution I Am That I Am: The Nature of Identity in the Iliad and the Odyssey The last book of the Iliad, and the penultimate book of the Odyssey, both deal with the issue of substitution; specifically, of accepting a substitute for a lost loved one. Priam and Achilles become substitutes for each others' absent father and dead son. In contrast, Odysseus's journey is fraught with instances of him refusing to take a substitute for Penelope, and in the end Penelope makes the ultimate verification that Odysseus is not one of the many substitutes that she has been offered over the years. In their contrasting depictions of substitution, the endings of the Iliad and the Odyssey offer insights into each epic's depiction of identity in general. Questions of identity are in the foreground throughout much of the Iliad; one need only try to unravel the symbolism and consequences of Patroclus’ donning Achilles' armor to see how this is so. In the interaction between Achilles and Priam, however, they are particularly poignant. -
Miscellanea Paris/Alexandros in Homer
MISCELLANEA PARIS/ALEXANDROS IN HOMER AND EURIPIDES The origins of the two names used by Homer for Paris/Alexandros (henceforth 'P/A') have been much discussed by scholars'). The purpose of the present article is not to contribute to the debate about the origins of the two names, but to investigate whether there is any difference in their significance either in Homer or in Euripides. I. J. F. de Jong has argued in a recent issue of this journal that, in the Iliad, Homer consistently uses 'Paris' as P/A's Trojan name and 'Alexan- dros' as his international name2). She writes: "the Greeks and the gods call P/A 'Alexandros', the Trojans 'Paris', except when they are address- ing Greeks. In the narrator text, we find 'Alexandros' when a Greek or divine point of view, 'Paris' when a Trojan point of view is represented. Speaking from his own point of view the narrator mainly uses 'Alexan- dros', but occasionally turns to 'Paris' when he wishes to draw attention to some particular aspect of his character: his Trojan nationality, his per- sonal point of view or his position as son of Priamos"3). The facts are as follows. The name 'Alexandros' is used 45 times altogether in the Iliad, 19 times in direct speech. 'Paris' is used 11 times, twice in direct speech. The compound 'Dusparis' is used twice, both times in direct speech. In direct speech, 'Alexandros' is used ten times by Greeks, six times by Trojans, and three times by gods. All four uses of 'Paris' (including 'Dusparis') in direct speech are by Hector (3.39; 6.280; 13.769; 22.359). -
Owen Glendower and the Failure of Historical Romance
52 53 Yankee puritanism and Southern aristocracy, was evinced in American literature as early as the works of James Fenimore Cooper. More recently, revisionist historical works, such as Stephen Saunders Webb, 1676: The End of American Independence (New York: Knopf, 1984) and Francis Jennings, The Invasion of America, have The Mythology of Escape: Owen expanded on the Cooper vision of the upstate New York-native Glendower and the Failure of American connection. These works have enhanced the sense of the Historical Romance native Americans as historical actors, not just passive primitives. This is far more Powysian in spirit than a view of the Indians as noble, poetic savages, transatlantic "Celts." Ian Duncan 12 Powys's interest in this area was, as usual, clairvoyant and prophetic; it went unmatched in any visible American literary production until the recent appearance of William Least Heat Owen Glendower, so melancholy in its Moon's PriaryErth, (Boston: Houghton Mifflin, 1991). preoccupation with lost origins, was the novel of John Cowper Powys's "homecoming." In 1934, Powys imposed a deceptive narrative closure upon the first sixty years of his life in the great Autobiography, and left America, where he had written his Wessex romances, to return to Britain, eventually settling in Wales in 1936. Powys's Welsh essays, collected in Obstinate Cymric (1947), record the identification of his "philosophy up-to-date" with "the idea of Wales" as a configuration of landscape, mythology and race.l Yet Powys had never lived there; the place of -
Ransom Is a Story of Vengeance Clashing with Grief.’ Discuss
‘Ransom is a story of vengeance clashing with grief.’ Discuss. In his lyrical novel, Ransom, David Malouf reimagines the final book of The Iliad, and in doing so, highlights the futility of countering grief with vengeance. He asserts the pointlessness of such vengeful actions, examines the role of the ‘rough world of men’ in creating it, and notes its cyclic nature, leaving many readers disheartened. However, Malouf also demonstrates how grief can be overcome with honourable actions. Malouf demonstrates to readers the uselessness of trying to assuage grief with acts of revenge. He introduces this concept right from the outset of the novel through his characterisation of Achilles. Malouf moves away from the traditional portrayal of Achilles as the most formidable of the Greeks and instead describes him as hollow and like a dead man. This new perspective of Achilles depicts him as lacking balance and feeling trapped in a clogging grey web due to his grief over the death of his soulmate Patroclus. Once Malouf describes Achilles’ barbaric actions in dragging around the corpse of Patroclus’ killer, Hector, it becomes clear to readers that Achilles is attempting to assuage his grief with violence and brutal, callous actions. Malouf uses imagery to depict Achilles as already dead himself as he continues to desecrate Hector’s body, by describing him as caked with dust like a man who has walked out of his grave. Thus, Malouf asserts how Achilles’ act of revenge has only wasted his spirit and left him feeling that it was never enough; being unable to overcome his pain at the loss of his friend. -
Introduction
Abstract: This essay looks at the interconnections between the cultural industry of popular romance and best-selling novels set in an Irish historical context. In particular, it examines two best-selling novels by North American author Karen Robards, which have not yet been examined in academia: Dark of the Moon (1988) and Forbidden Love (2013; originally published in 1983). Although this small selection constitutes only a preliminary study of an expanding popular genre, it is my hope that it will serve as a relevant example of how Ireland is exoticised in the transnational cultural industry of romance. Drawing on several studies on popular romance (Radway 1984; Strehle and Carden 2009; and Roach 2016), and on specific sources devoted to the study of historical romance, in particular when set in exotic locations (Hughes 2005; Philips 2011; Teo 2012; 2016), I intend to demonstrate how these novels by Karen Robards follow the clichés and conventions of the typical romances produced in the 1980s. As I show, the popularity that Robards’ novels still enjoy reflects the supremacy of the genre and the wide reception of this kind of fiction in the global market. Keywords: Cultural industry; popular romance; Irish context; market. Introduction In her semi-academic, ethnographic study Happily-Ever-After, Catherine Roach (4) identifies romance as “the prime cultural narrative of the modern Western world”. This is a best-selling genre which dominates the publishing industry, particularly in North America and other Western European countries. It is generally a woman-centred genre, as most authors and readers are female (110). The basic plot of the (heterosexual) romance narrative revolves around a hero and a heroine, who fall in love, work through many trials and tribulations and end up happily. -
Gillian Bevan Is an Actor Who Has Played a Wide Variety of Roles in West End and Regional Theatre
Gillian Bevan is an actor who has played a wide variety of roles in West End and regional theatre. Among these roles, she was Dorothy in the Royal Shakespeare Company revival of The Wizard of Oz, Mrs Wilkinson, the dance teacher, in the West End production of Billy Elliot, and Mrs Lovett in the West Yorkshire Playhouse production of Stephen Sondheim’s Sweeney Todd, the Demon Barber of Fleet Street. Gillian has regularly played roles in other Sondheim productions, including Follies, Merrily We Roll Along and Road Show, and she sang at the 80th birthday tribute concert of Company for Stephen Sondheim (Donmar Warehouse). Gillian spent three years with Alan Ayckbourn’s theatre-in-the-round in Scarborough, and her Shakespearian roles include Polonius (Polonia) in the Manchester Royal Exchange Theatre production of Hamlet (Autumn, 2014) with Maxine Peake in the title role. Gillian’s many television credits have included Teachers (Channel 4) in which she played Clare Hunter, the Headmistress, and Holby City (BBC1) in which she gave an acclaimed performance as Gina Hope, a sufferer from Motor Neurone Disease, who ends her own life in an assisted suicide clinic. During the early part of 2014, Gillian completed filming London Road, directed by Rufus Norris, the new Artistic Director of the National Theatre. In the summer of 2014 Gillian played the role of Hera, the Queen of the Gods, in The Last Days of Troy by the poet and playwright Simon Armitage. The play, a re-working of The Iliad, had its world premiere at the Manchester Royal Exchange Theatre and then transferred to Shakespeare’s Globe Theatre, London. -
Homer's Iliad Via the Movie Troy (2004)
23 November 2017 Homer’s Iliad via the Movie Troy (2004) PROFESSOR EDITH HALL One of the most successful movies of 2004 was Troy, directed by Wolfgang Petersen and starring Brad Pitt as Achilles. Troy made more than $497 million worldwide and was the 8th- highest-grossing film of 2004. The rolling credits proudly claim that the movie is inspired by the ancient Greek Homeric epic, the Iliad. This was, for classical scholars, an exciting claim. There have been blockbuster movies telling the story of Troy before, notably the 1956 glamorous blockbuster Helen of Troy starring Rossana Podestà, and a television two-episode miniseries which came out in 2003, directed by John Kent Harrison. But there has never been a feature film announcing such a close relationship to the Iliad, the greatest classical heroic action epic. The movie eagerly anticipated by those of us who teach Homer for a living because Petersen is a respected director. He has made some serious and important films. These range from Die Konsequenz (The Consequence), a radical story of homosexual love (1977), to In the Line of Fire (1993) and Air Force One (1997), political thrillers starring Clint Eastwood and Harrison Ford respectively. The Perfect Storm (2000) showed that cataclysmic natural disaster and special effects spectacle were also part of Petersen’s repertoire. His most celebrated film has probably been Das Boot (The Boat) of 1981, the story of the crew of a German U- boat during the Battle of the Atlantic in 1941. The finely judged and politically impartial portrayal of ordinary men, caught up in the terror and tedium of war, suggested that Petersen, if anyone, might be able to do some justice to the Homeric depiction of the Trojan War in the Iliad. -
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. -
Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation
Faculteit Letteren & Wijsbegeerte Dares Phrygius' De Excidio Trojae Historia: Philological Commentary and Translation Jonathan Cornil Scriptie voorgedragen tot het bekomen van de graad van Master in de Taal- en letterkunde (Latijn – Engels) 2011-2012 Promotor: Prof. Dr. W. Verbaal ii Table of Contents Table of Contents iii Foreword v Introduction vii Chapter I. De Excidio Trojae Historia: Philological and Historical Comments 1 A. Dares and His Historia: Shrouded in Mystery 2 1. Who Was ‘Dares the Phrygian’? 2 2. The Role of Cornelius Nepos 6 3. Time of Origin and Literary Environment 9 4. Analysing the Formal Characteristics 11 B. Dares as an Example of ‘Rewriting’ 15 1. Homeric Criticism and the Trojan Legacy in the Middle Ages 15 2. Dares’ Problematic Connection with Dictys Cretensis 20 3. Comments on the ‘Lost Greek Original’ 27 4. Conclusion 31 Chapter II. Translations 33 A. Translating Dares: Frustra Laborat, Qui Omnibus Placere Studet 34 1. Investigating DETH’s Style 34 2. My Own Translations: a Brief Comparison 39 3. A Concise Analysis of R.M. Frazer’s Translation 42 B. Translation I 50 C. Translation II 73 D. Notes 94 Bibliography 95 Appendix: the Latin DETH 99 iii iv Foreword About two years ago, I happened to be researching Cornelius Nepos’ biography of Miltiades as part of an assignment for a class devoted to the study of translating Greek and Latin texts. After heaping together everything I could find about him in the library, I came to the conclusion that I still needed more information. So I decided to embrace my identity as a loyal member of the ‘Internet generation’ and began my virtual journey through the World Wide Web in search of articles on Nepos. -
CONQUEST BOOK 1: Daughter of the Last King by Tracey Warr
CONQUEST BOOK 1: Daughter of the Last King By Tracey Warr 1093. The three sons of William the Conqueror – Robert Duke of Normandy, William II King of England and Count Henry – fight with each other for control of the Anglo-Norman kingdom created by their father’s conquest. Meanwhile, Nesta ferch Rhys, the daughter of the last independent Welsh king, is captured during the Norman assault of her lands. Raised with her captors, the powerful Montgommery family, Nes- ta is educated to be the wife of Arnulf of Montgommery, in spite of her pre-existing betrothal to a Welsh prince. Who will Nesta marry and can the Welsh rebels oust the Normans? Daughter of the Last King is the first in the Conquest Trilogy. Published: 1 Sept 2016 ISBN: 9781907605819 Price: £9.99 Category: Historical fiction, historical romance, medieval All marketing and publicity enquiries: [email protected] Author Bio Tracey Warr is a writer based in Wales and France, and has published novels and books on contemporary art. She was Senior Lecturer, teaching and researching on art history and theory of the 20th and 21st centuries, at Oxford Brookes Universi- ty, Bauhaus University and Dartington College of Arts. Her first novel, Almodis: The Peaceweaver (Impress, 2011), is set in 11th century France and Spain, and was shortlisted for the Impress Prize for New Fiction and the Rome Film Festival Book Initiative and received a Santander Research Award. Her second historical novel, The Viking Hostage (Impress, 2014), is set in 10th century France and Wales. She received a Literature Wales Writer’s Bursary for work on her new trilogy, Con- quest, set in 12th century Wales, England and Normandy. -
The Treatment of Gender in Twentieth-Century Scottish Women’S Historical Fiction
The Treatment of Gender in Twentieth-century Scottish Women’s Historical Fiction Amanda J. McLeod University of Glasgow March 2001 Submitted for the degree of MLit . ProQuest Number: 13833905 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13833905 Published by ProQuest LLC(2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 f GLASGOW UNIVERSITY LIBRARY: 12300-O ? I 2 Contents • Abstract..............................................................................................................................3 • Acknowledgements ...........................................................................................................5 • List of Abbreviations .........................................................................................................6 • Introduction: Women’s Historical Fiction: A Contradiction in Terms? ........................ 7 • Chapter 1: Unchallenging Histories: Early Historical Fiction and Later Historical Romance by Scottish Women .......................................................................................