Introduction to Homer R. C. J
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Summaries of the Trojan Cycle Search the GML Advanced
Document belonging to the Greek Mythology Link, a web site created by Carlos Parada, author of Genealogical Guide to Greek Mythology Characters • Places • Topics • Images • Bibliography • PDF Editions About • Copyright © 1997 Carlos Parada and Maicar Förlag. Summaries of the Trojan Cycle Search the GML advanced Sections in this Page Introduction Trojan Cycle: Cypria Iliad (Synopsis) Aethiopis Little Iliad Sack of Ilium Returns Odyssey (Synopsis) Telegony Other works on the Trojan War Bibliography Introduction and Definition of terms The so called Epic Cycle is sometimes referred to with the term Epic Fragments since just fragments is all that remain of them. Some of these fragments contain details about the Theban wars (the war of the SEVEN and that of the EPIGONI), others about the prowesses of Heracles 1 and Theseus, others about the origin of the gods, and still others about events related to the Trojan War. The latter, called Trojan Cycle, narrate events that occurred before the war (Cypria), during the war (Aethiopis, Little Iliad, and Sack of Ilium ), and after the war (Returns, and Telegony). The term epic (derived from Greek épos = word, song) is generally applied to narrative poems which describe the deeds of heroes in war, an astounding process of mutual destruction that periodically and frequently affects mankind. This kind of poetry was composed in early times, being chanted by minstrels during the 'Dark Ages'—before 800 BC—and later written down during the Archaic period— from c. 700 BC). Greek Epic is the earliest surviving form of Greek (and therefore "Western") literature, and precedes lyric poetry, elegy, drama, history, philosophy, mythography, etc. -
Heroes of Troy by Neil Richards. Part 2
School Radio Heroes of Troy by Neil Richards. Part 2 So, King Menelaus comes home grinning from ear to ear and all raring to give his beloved Helen a big hello – and what he gets is me standing there with one of those good-news bad-news moments. Bad news your majesty – your beloved Helen is gone. And good news – we know who took her. Not surprisingly, my light-hearted way of easing him into the idea doesn’t go down too well. In the end it could have been worse – he only kicks me round the room twice and he stops short of killing me, which cheers me up no end. After that he smoulders for a while. And then it goes very cold. Soon he’s drawing up war plans faster than the scribes can write. Now here’s the interesting bit: before he married Helen, half the kings in Greece were after her hand. And when Helen’s dad decided Menelaus was the lucky guy, he made all the other losers sign a pact that they’d help the old fella out if anyone should run off with the bride. So Menelaus doesn’t waste any time calling in the promises… First out of the traps is King Agamemnon, Menelaus’s brother. Now Agamemnon’s pretty much top dog in the whole of Greece when it comes to military stuff so it’s obvious he’s going to take charge of the whole show. Menelaus assigns me to work with him. Soon we’ve got the army sorted and on the road and we all head off to this big old port called Aulis – which, if you’re going to attack Troy is about the best place to start. -
The Herodotos Project (OSU-Ugent): Studies in Ancient Ethnography
Faculty of Literature and Philosophy Julie Boeten The Herodotos Project (OSU-UGent): Studies in Ancient Ethnography Barbarians in Strabo’s ‘Geography’ (Abii-Ionians) With a case-study: the Cappadocians Master thesis submitted in fulfilment of the requirements for the degree of Master in Linguistics and Literature, Greek and Latin. 2015 Promotor: Prof. Dr. Mark Janse UGent Department of Greek Linguistics Co-Promotores: Prof. Brian Joseph Ohio State University Dr. Christopher Brown Ohio State University ACKNOWLEDGMENT In this acknowledgment I would like to thank everybody who has in some way been a part of this master thesis. First and foremost I want to thank my promotor Prof. Janse for giving me the opportunity to write my thesis in the context of the Herodotos Project, and for giving me suggestions and answering my questions. I am also grateful to Prof. Joseph and Dr. Brown, who have given Anke and me the chance to be a part of the Herodotos Project and who have consented into being our co- promotores. On a whole other level I wish to express my thanks to my parents, without whom I would not have been able to study at all. They have also supported me throughout the writing process and have read parts of the draft. Finally, I would also like to thank Kenneth, for being there for me and for correcting some passages of the thesis. Julie Boeten NEDERLANDSE SAMENVATTING Deze scriptie is geschreven in het kader van het Herodotos Project, een onderneming van de Ohio State University in samenwerking met UGent. De doelstelling van het project is het aanleggen van een databank met alle volkeren die gekend waren in de oudheid. -
'Thejpurnal of Medieval and Renaissance Studies
'TheJPurnal of Medieval and Renaissance studies MANAGINGEDITOR:Mareel Tetel, Duke University AsSOCIATEEDITORS:Arthur B. Ferguson, Duke University Edmund Reiss, Duke University ADVISORYBOARD:Rino Avesani, Biblioteca Vaticana Hersehel Baker, Harvard University Andre Chastel, Unioersite de Paris Myron P. Gilmore, Villa I Tatti O. B. Hardison, Jr., Folger Shakespeare Library William S. Heckscher, Duke University Hans J. Hillerbrand, City University of New York Gordon Leff, University of York Franco Simone, Unioersitä di Torino R. W. Southern, Oxford University Eugene Vinaver, University of Manchester Bruee W. Wardropper, Duke University Volume 3 Durham, North Carolina Duke University Press 1973 Melanchthon and Dürer: the search for the simple style DONALD B.KUSPIT, University of North Carolina, Chapel Hill I The intensity of the living tie between Albrecht Dürer and Philipp Mel- anchthon must have reached its climax in 1525-26, when Melanchthon was resident in Nuremberg and Dürer portrayed him," but at the time Me1anchthon had little to say that we know of about Dürer's signi- ficance for him. Even at Dürer's death (1528), apart from expressing shock," he had little response to Dürer's art or person. Instead of issuing encomiums, as Dürer's friend Willibald Pirckheimer and the humanist poet Helius Eobanus Hessus did," or participating with Joachim Camerarius in the translation of Dürer's works into Latin," Melanchthon remains peculiarly silent about Dürer; peculiarly, because it was the custom of the day to mark the death of a great man with eulogies, but more particularly because of Melanch- thon's known enthusiasm for Dürer as a great German." It was only in mid-career, in the 1540'S that Melanchthon, under the pressure of his own purposes, praised Dürer specifically in his capacity as an artist rather than for the reflected glory he gave his surroundings. -
Caitlin Mckevitt EFRT 449 Greek Mythology Lesson Plan Day 1
Caitlin McKevitt EFRT 449 Greek Mythology Lesson Plan Day 1 Discuss with the students Aphrodite, Apollo and Ares. Aphrodite o Family: As one of the twelve main gods, Aphrodite’s relatives and offspring appear in many well-known myths. Below are the beginnings of a chart of Aphrodite's family, including her children by various mortals and gods. Students can then use this chart to learn about Aphrodite and her family and to create a family tree for the goddess. Family Member Relation Uranus Father Zeus Father Dione Mother Erinyes Sisters Giants Brother/Sister Aeneas by Anchises Son Lyrus by Anchises Son Eros Son Priapus Son Harmonia by Ares Daughter o The Many Faces of Aphrodite: As the goddess of Love, Aphrodite has a reputation in ancient Greek texts as both a positive and a negative force. The anthropomorphic version of Aphrodite possesses all manner of allurements that can be both good and bad. Aphrodite could represent purity and what the Greeks considered the common act of sexual intercourse. Students should look at following primary text entries for Aphrodite and investigate the many aspects of Aphrodite’s “personality.” o Associated Items & Beings: A god or goddess alone is inadequately defined since the people, beings, animals and things associate with a god or goddess say a lot about them. Through visual aids and texts, students can learn about the whole god or goddess by the items, people, beings, animals, and things that accompany them or that are used in their exploits. o Epithets: The names of gods and goddesses are often accompanied by a finite number of traditional epithets that describe the personality or associations of the divinity. -
(Eponymous) Heroes
is is a version of an electronic document, part of the series, Dēmos: Clas- sical Athenian Democracy, a publicationpublication ofof e Stoa: a consortium for electronic publication in the humanities [www.stoa.org]. e electronic version of this article off ers contextual information intended to make the study of Athenian democracy more accessible to a wide audience. Please visit the site at http:// www.stoa.org/projects/demos/home. Athenian Political Art from the fi h and fourth centuries: Images of Tribal (Eponymous) Heroes S e Cleisthenic reforms of /, which fi rmly established democracy at Ath- ens, imposed a new division of Attica into ten tribes, each of which consti- tuted a new political and military unit, but included citizens from each of the three geographical regions of Attica – the city, the coast, and the inland. En- rollment in a tribe (according to heredity) was a manda- tory prerequisite for citizenship. As usual in ancient Athenian aff airs, politics and reli- gion came hand in hand and, a er due consultation with Apollo’s oracle at Delphi, each new tribe was assigned to a particular hero a er whom the tribe was named; the ten Amy C. Smith, “Athenian Political Art from the Fi h and Fourth Centuries : Images of Tribal (Eponymous) Heroes,” in C. Blackwell, ed., Dēmos: Classical Athenian Democracy (A.(A. MahoneyMahoney andand R.R. Scaife,Scaife, edd.,edd., e Stoa: a consortium for electronic publication in the humanities [www.stoa.org], . © , A.C. Smith. tribal heroes are thus known as the eponymous (or name giving) heroes. T : Aristotle indicates that each hero already received worship by the time of the Cleisthenic reforms, although little evi- dence as to the nature of the worship of each hero is now known (Aristot. -
The Limits of Communication Between Mortals and Immortals in the Homeric Hymns
Body Language: The Limits of Communication between Mortals and Immortals in the Homeric Hymns. Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Bridget Susan Buchholz, M.A. Graduate Program in Greek and Latin The Ohio State University 2009 Dissertation Committee: Sarah Iles Johnston Fritz Graf Carolina López-Ruiz Copyright by Bridget Susan Buchholz 2009 Abstract This project explores issues of communication as represented in the Homeric Hymns. Drawing on a cognitive model, which provides certain parameters and expectations for the representations of the gods, in particular, for the physical representations their bodies, I examine the anthropomorphic representation of the gods. I show how the narratives of the Homeric Hymns represent communication as based upon false assumptions between the mortals and immortals about the body. I argue that two methods are used to create and maintain the commonality between mortal bodies and immortal bodies; the allocation of skills among many gods and the transference of displays of power to tools used by the gods. However, despite these techniques, the texts represent communication based upon assumptions about the body as unsuccessful. Next, I analyze the instances in which the assumed body of the god is recognized by mortals, within a narrative. This recognition is not based upon physical attributes, but upon the spoken self identification by the god. Finally, I demonstrate how successful communication occurs, within the text, after the god has been recognized. Successful communication is represented as occurring in the presence of ritual references. -
1 Reading Athenaios' Epigraphical Hymn to Apollo: Critical Edition And
Reading Athenaios’ Epigraphical Hymn to Apollo: Critical Edition and Commentaries DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Corey M. Hackworth Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Fritz Graf, Advisor Benjamin Acosta-Hughes Carolina López-Ruiz 1 Copyright by Corey M. Hackworth 2015 2 Abstract This dissertation is a study of the Epigraphical Hymn to Apollo that was found at Delphi in 1893, and since attributed to Athenaios. It is believed to have been performed as part of the Athenian Pythaïdes festival in the year 128/7 BCE. After a brief introduction to the hymn, I provide a survey and history of the most important editions of the text. I offer a new critical edition equipped with a detailed apparatus. This is followed by an extended epigraphical commentary which aims to describe the history of, and arguments for and and against, readings of the text as well as proposed supplements and restorations. The guiding principle of this edition is a conservative one—to indicate where there is uncertainty, and to avoid relying on other, similar, texts as a resource for textual restoration. A commentary follows, which traces word usage and history, in an attempt to explore how an audience might have responded to the various choices of vocabulary employed throughout the text. Emphasis is placed on Athenaios’ predilection to utilize new words, as well as words that are non-traditional for Apolline narrative. The commentary considers what role prior word usage (texts) may have played as intertexts, or sources of poetic resonance in the ears of an audience. -
Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica
Calasiris the Pseudo-Greek Hero: Odyssean Allusions in Heliodorus' Aethiopica Christina Marie Bartley A thesis submitted in partial fulfillment of the requirements for the Master’s degree in Classical Studies Department of Classics and Religious Studies Faculty of Arts University of Ottawa © Christina Marie Bartley, Ottawa, Canada, 2021 Table of Contents Abbreviations ..................................................................................................................... iii Abstract .............................................................................................................................. vi Acknowledgements ........................................................................................................... vii Introduction ..................................................................................................................... viii 1. The Structural Markers of the Aethiopica .......................................................................1 1.1.Homeric Strategies of Narration ..........................................................................................2 1.1.1. In Medias Res .................................................................................................................3 1.2. Narrative Voices .................................................................................................................8 1.2.1. The Anonymous Primary Narrator ................................................................................9 1.2.2. Calasiris........................................................................................................................10 -
Open Skoutelas Thesis.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF CLASSICS & ANCIENT MEDITERRANEAN STUDIES THE CARTOGRAPHY OF POWER IN GREEK EPIC: HOMER’S ODYSSEY & THE RECEPTION OF HOMERIC GEOGRAPHIES IN THE HELLENISTIC AND IMPERIAL PERIODS CHARISSA SKOUTELAS SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Classics & Ancient Mediterranean Studies and Global & International Studies with honors in Classics & Ancient Mediterranean Studies Reviewed and approved* by the following: Anna Peterson Tombros Early Career Professor of Classical Studies and Assistant Professor of Classics and Ancient Mediterranean Studies Thesis Supervisor Erin Hanses Lecturer in Classics and Ancient Mediterranean Studies Honors Adviser * Electronic approvals are on file. i ABSTRACT As modern scholarship has transitioned from analyzing literature in terms of its temporal components towards a focus on narrative spaces, scholars like Alex Purves and Donald Lateiner have applied this framework also to ancient Greek literature. Homer’s Odyssey provides a critical recipient for such inquiry, and Purves has explored the construction of space in the poem with relation to its implications on Greek epic as a genre. This paper seeks to expand upon the spatial discourse on Homer’s Odyssey by pinpointing the modern geographic concept of power, tracing a term inspired by Michael Foucault, or a “cartography of power,” in the poem. In Chapter 2 I employ a narratological approach to examine power dynamics played out over specific spaces of Odysseus’ wanderings, and then on Ithaca, analyzing the intersection of space, power, knowledge, and deception. The second half of this chapter discusses the threshold of Odysseus’ palace and flows of power across spheres of gender and class. -
Camerarius Extended Bibliography
Bibliography "Jahresbericht Über Die Fortschritte Der Klassischen Altertumswissenschaft." Jahresbericht Über Die Fortschritte Der Klassischen Altertumswissenschaft. (1873). "Retiarius." s.n.]. Ayres, Philip. Mythologia Ethica, Or, Three Centuries of Sopian Fables in English Prose. [Electronic Resource]., edited by Aesop. Early English Books Online Text Creation Partnership: [Ann Arbor, Mich.],. Baron, Frank. Joachim Camerarius (1500-1574) : Beiträge Zur Geschichte Des Humanismus Im Zeitalter Der Reformation = Essays on the History of Humanism during the Reformation. München: W. Fink, 1978. Baron, Frank and Eckhard Bernstein. "Review of: Die Literatur Des Deutschen Frühhumanismus." German Quarterly 51, no. 4 (1978): 525-526. Bayerische Akademie der Wissenschaften. Historische Kommission. and Bayerische Staatsbibliothek. ADB & NDB-Gesamtregister. Berlin: Duncker & Humblot, 2003. Becker, Reinhard P., ed. German Humanism and Reformation. The German Library ; v. 6; German Library ; v. 6. New York: Continuum, 1982. Bernstein, Eckhard. Die Literatur Des Deutschen Frühhumanismus. Stuttgart: Metzler, 1978. Bietenholz, Peter G. Encounters with a Radical Erasmus : Erasmus' Work as a Source of Radical Thought in Early Modern Europe. Toronto Ont. ; Tonawanda, N.Y: University of Toronto Press, 2009. ———. History and Biography in the Work of Erasmus of Rotterdam. Genève: Droz, 1966. Bietenholz, Peter G., Thomas Brian Deutscher, and Desiderius Erasmus d.1536.Works.English. 1974, eds. Contemporaries of Erasmus : A Biographical Register of the Renaissance and Reformation. Toronto ; Buffalo: University of Toronto Press. Borchardt, Frank L., Frank Baron, and Frank Baron. "Review of Doctor Faustus: From History to Legend (Humanistische Bibliothek, Reihe I: Abhandlungen, Bd. 27)." German Quarterly 52, no. 3 (1979): 401-402. Borchardt, Frank L. and Eckhard Bernstein. "Review of German Humanism." German Quarterly 58, no. -
Highlights from the Plaster Cast Collection
Fairfield University DigitalCommons@Fairfield Gifts from Athens - Ephemera Gifts From Athens 9-2010 Highlights from the Plaster Cast Collection Katherine Schwab Fairfield University, [email protected] Jill J. Deupi Fairfield University, [email protected] Follow this and additional works at: https://digitalcommons.fairfield.edu/gifts-from-athens-ephemera Recommended Citation Schwab, Katherine and Deupi, Jill J., "Highlights from the Plaster Cast Collection" (2010). Gifts from Athens - Ephemera. 1. https://digitalcommons.fairfield.edu/gifts-from-athens-ephemera/1 This item has been accepted for inclusion in DigitalCommons@Fairfield by an authorized administrator of DigitalCommons@Fairfield. It is brought to you by DigitalCommons@Fairfield with permission from the rights- holder(s) and is protected by copyright and/or related rights. You are free to use this item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses, you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. Highlights from the Plaster Cast Collection 1 Plaster Casts Technical Notes Plaster casts are replicas of other works of art. While the methods used to create casts vary, most commonly a mould is created by applying plaster of Paris, gelatin, silicone rubber or polyurethane to the original artifact. After the mould dries, it is removed, retaining an impression of the source object on its interior surfaces. Wet plaster is then poured into the resulting cavity. When this is dry, the mould is removed and the new cast is revealed.