Introduction: Homer; Analysis and Influence
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Ethel the Aardvark #209
Number 209 – May 2021 Meetings:- St Augustine’s Anglican Church Hall, 100 Sydney Rd, Coburg, Vic. Getting there: Tram No 19 North Coburg, from Elizabeth St in the city, or Tram no 8, Moreland Rd from Glenferrie Rd, Toorak, to Stop 132. Upfield train line to Moreland Station. On street parking. Space on the road next to it, which is closed to through driving. Melway Ref 29 H3. Cyclists can use the Upfield bicycle path. Meetings of the Melbourne Science Fiction Club take place on the third Friday Night of the month. Unless it is Good Friday. All attendees must Since 1952 sign in. The MSFC is a place where people who enjoy science fiction and fantasy meet to discuss their love of books, TV, film and Most Club Nights – Gold coin for members, $5 for non-members. coffee. Some nights may cost an extra fee, such as Trivia Nights. CONTACTING THE MSFC. Premises open at 8pm on the third Friday of the month, events start at 8.30pm. Lights out at 11pm. General enquiries. [email protected] Sustenance - Hot food, cold snacks, coffee and hot chocolate are available. Clubzine. Editor: LynC ANNUAL MEMBERSHIP DISCOUNTS FOR MEMBERS [email protected] Single membership $35 Website Ask us for an MSFC membership card Family or household $45 www.msfc.sf.org.au before asking for these benefits. Interstate Ethel the Aardvark email subscription $25* Our Facebook page: https://www.facebook.com/Mel 5% off books and magazines at: bourneSFClub *plus $10 for interstate subscribers Minotaur wishing a hardcopy Ethel subscription. Our open Facebook group: 121 Elizabeth St https://www.facebook.com/ (Hard copy not available O/S) Melb 3000 groups/4658278007 www.minotaur.com.au All denominations are in Australian phone 9670 5414 Postal address dollars. -
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting
The Myth of Helen of Troy: Reinterpreting the Archetypes of the Myth in Solo and Collaborative Forms of Playwriting. Volume One of Two Submitted by Ioannis Souris to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Performance Practice In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract In this practice-based thesis I examine how I interpreted the myth of Helen of Troy in solo and collaborative forms of playwriting. For the interpretation of Helen’s myth in solo playwriting, I wrote a script that contextualised in a contemporary world the most significant characters of Helen’s myth which are: Helen, Menelaus, Hermione, Paris, Hecuba, Priam. This first practical research project investigated how characters that were contemporary reconstructions of Menelaus, Hermione, Paris , Hecuba, Priam, Telemachus were affected by Helen as an absent figure, a figure that was not present on stage but was remembered and discussed by characters. For the interpretation of Helen’s myth in collaborative playwriting, I asked three female performers to analyse the character of Helen and then conceptualise and write their own Helen character. The performers’ analyses and rewritings of Helen inspired me to write a script whose story evolved around three Helen characters that were dead and interacted with one another in a space of death. -
Trojan War - Wikipedia, the Free Encyclopedia Trojan War from Wikipedia, the Free Encyclopedia for the 1997 Film, See Trojan War (Film)
5/14/2014 Trojan War - Wikipedia, the free encyclopedia Trojan War From Wikipedia, the free encyclopedia For the 1997 film, see Trojan War (film). In Greek mythology, the Trojan War was waged against the city of Troy by the Achaeans (Greeks) after Paris of Troy took Helen Trojan War from her husband Menelaus king of Sparta. The war is one of the most important events in Greek mythology and has been narrated through many works of Greek literature, most notably through Homer's Iliad. The Iliad relates a part of the last year of the siege of Troy; its sequel, the Odyssey describes Odysseus's journey home. Other parts of the war are described in a cycle of epic poems, which have survived through fragments. Episodes from the war provided material for Greek tragedy and other works of Greek literature, and for Roman poets including Virgil and Ovid. The war originated from a quarrel between the goddesses Athena, Hera, and Aphrodite, after Eris, the goddess of strife and discord, gave them a golden apple, sometimes known as the Apple of Discord, marked "for the fairest". Zeus sent the goddesses to Paris, who judged that Aphrodite, as the "fairest", should receive the apple. In exchange, Aphrodite made Helen, the most beautiful Achilles tending the wounded Patroclus of all women and wife of Menelaus, fall in love with Paris, who (Attic red-figure kylix, c. 500 BC) took her to Troy. Agamemnon, king of Mycenae and the brother of Helen's husband Menelaus, led an expedition of Achaean The war troops to Troy and besieged the city for ten years because of Paris' Setting: Troy (modern Hisarlik, Turkey) insult. -
Dan Simmons's Summer of Night As Horror Novel
DAN SIMMONS’S SUMMER OF NIGHT AS HORROR NOVEL KASABE SOMNATH DEVIDAS Research Scholar, Department of English, Shivaji University, Kolhapur MS (INDIA) There is some debate as to whether "horror" is a genre or, like "adventure," an aspect that may be found in several genres. Horror is a certain mood or atmosphere that might be found in a variety of places. Traditionally, horror was associated with certain archetypes such as demons, witches, ghosts, vampires and the like. However, this can be found in other genres, especially fantasy. If horror is a genre, then it deals with a protagonist dealing with overwhelming dark and evil forces. The key ingredient in horror fiction is its ability to provoke fear or terror in readers, usually via something demonic. There should be a sense of dread, unease, anxiety, or foreboding. Some critics have noted that experiencing horror fiction is like reading about your worst nightmares. Summer Of night was more about the "secrets and silences of childhood" than it was about monsters. Here are a few snapshots from that summer of 1960 in the "real" Elm Haven - Brimfield, Illinois - with a kid brother and some true friends who may (or may not) bear a close resemblance to some of the characters in Summer Of Night. Key Words- Horror, Novel, Summer of Night. Introduction- Dan Simmons was born in Peoria, Illinois, in 1948, and grew up in various cities and small towns in the Midwest. Since his first published short story won the Rod Serling Memorial Award in the 1982 Twilight Zone Magazine Short Fiction contest, Dan Simmons has won some of the top awards in science fiction, horror, fantasy, and thriller genres, as well as honors for his mainstream fiction. -
New Member Mentor Guide
New Member Program Mentor Guide Faculty Association Suffolk Community College Southampton Bldg, Room 224J Selden, New York 11784-2899 (631) 451-4151 www.fascc.org The Story of the Mentor The story of the Mentor comes from Homer’s Odyssey. When Odysseus, King of Ithaca, leaves to fight in the Trojan War, he entrusts his household to Mentor, who serves as teacher and overseer to Odysseus’ son, Telemachus. After the war, Odysseus is condemned to wander vainly for 10 years in his attempt to return home. In time, Telemachus now grown, goes in search of his father. Athena, Goddess of War, patroness of the arts and industry, assumes the form of Mentor and accompanies Telemachus on his quest. Eventually, father and son are reunited and together they cast down would-be usurpers of Odysseus’s throne and of Telemachus’s birthright. In time, the word mentor became synonymous with trusted advisor, friend teacher, and wise person. History offers many examples of helpful mentoring relationships such as Socrates and Plato, Haydn and Beethoven, and Freud and Jung. Mentoring is a fundamental form of human development where one person invest time, energy and personal know-how assisting the growth and ability of another person. History and legend record deeds of princes and kings, but in a democracy each of us also has a birthright, which is to be all that we can be. Mentors are the special people in our lives who, through their deeds and work, help us to move toward fulfilling that potential. (Adapted From Mentoring, Gordon F. Shea) 2 Faculty Association of Suffolk Community College New Member Mentoring Program Statement of Purpose The New Member Mentoring Program focuses on identifying professional and work-related needs of new members by pairing them up with faculty members who will serve as positive role models, guides, and supports. -
Trojan War Bklt.Qxp
ARCHAEOLOGY AND THE ILIAD: THE TROJAN WAR IN HOMER AND HISTORY COURSE GUIDE Professor Eric H. Cline THE GEORGE WASHINGTON UNIVERSITY Archaeology and the Ilia d: The Trojan War in Homer and History Professor Eric H. Cline The George Washington University Recorded Books ™ is a trademark of Recorded Books, LLC. All rights reserved. Archaeology and the Iliad : The Trojan War in Homer and History Professor Eric H. Cline Executive Producer John J. Alexander Executive Editor Donna F. Carnahan RECORDING Producer - David Markowitz Director - Matthew Cavnar COURSE GUIDE Editor - James Gallagher Contributing Editor - Karen Sparrough Design - Edward White Lecture content ©2006 by Eric H. Cline Course guide ©2006 by Recorded Books, LLC 72006 by Recorded Books, LLC Cover image: © Clipart.com #UT077 ISBN: 978-1-4193-8701-2 All beliefs and opinions expressed in this audio/video program and accompanying course guide are those of the author and not of Recorded Books, LLC, or its employees. Course Syllabus Archaeology and the Iliad : The Trojan War in Homer and History About Your Professor ................................................................................................... 4 Introduction ................................................................................................................... 5 Lecture 1 The Tale of the Trojan War: Introduction and Overview ....................... 6 Lecture 2 The Mycenaeans ................................................................................. 10 Lecture 3 The Hittites .......................................................................................... -
The Art of the Graphic Novel
Eric Shanower The Art of the Graphic Novel Adapted from an address delivered at the 2004 ALAN Workshop. Mr. Shanower accompanied his talk with a beautiful slide show and refers to the slides in this address. raphic novel” is an and, for better or for worse, it awkward term. The seems we’re stuck with it. “G “graphic” part is I’m here to speak to you okay, graphic novels always have about the art of the graphic novel. graphics. It’s the “novel” part When you hear the phrase, the that’s a problem, because graphic art of the graphic novel, you likely novels aren’t always novels told think of the drawings, rather than with drawings. They can be the story. But I bet most of you works of non-fiction or collec will agree that writing is an art tions of short stories or, really, just as drawing is. I’m going to anything you can think of that talk about both. consists of drawings that convey Let’s forget about graphic narrative between two substan novels for a moment and think tial covers. about what I call cartooning. Or The term “graphic novel” you can call it “comic art” or isn’t much better or more “sequential art.” Cartooning is the accurate a description than the art of telling a story in pictures, term “comic book.” But “comic often using written words as in book” has pejorative connota integral part of the drawing. The tions, and many people seem history of cartooning starts a bit either embarrassed or dismissive nebulously. -
In Moments Like These, We Need Mentors April 26, 2010 the SYDNEY MORNING HERALD
In moments like these, we need mentors April 26, 2010 THE SYDNEY MORNING HERALD The young man's home is besieged by rude, crude, older men all trying to marry his mother, who is locked in her room. His father has been abroad for 20 years. His mother's suitors pillage his home and insult him. He protests, but no one listens. He's not confident and he's inexperienced. Who can help? This is the mythical story of Telemachus, the son of Odysseus. The goddess Athena takes the form of Mentor, an old man of Ithaca, to assist Telemachus. Mentor urges Telemachus to go abroad to find news of his father; to seek the counsel of kings and soldiers - an act of intelligence and insight that enhances the boy's independent spirit. His name has passed from ancient Greece to us, yet mentors can be all too rare at work. Many people enter adulthood without any guidance in private life. Younger workers may miss out because of short-term contracts, high staff turnover or competition for advancement. And professional mentoring can easily decline into formalised, cynical or clumsy networking. At best, mentors are vital for development - particularly in families like Telemachus's, where parents cannot help. They stop us from squandering our gifts and impoverishing our minds. The word is important because it reminds us of the mentor's distinctive role: not simply teacher, role model or friend, but something singular. The job of a teacher is chiefly to relay information; to teach skills, or pass on facts. The best teachers do more than this, and even to achieve the basics they need to be aware of the student's character; to adjust lessons and goals to the vicissitudes of a child's psyche. -
Publisher's Note
PUBLISHER’S NOTE Graphic novels have spawned a body of literary criti- the graphic novel landscape. It contains works that are FLVPVLQFHWKHLUHPHUJHQFHDVDVSHFL¿FFDWHJRU\LQWKH self-published or are from independent houses. The SXEOLVKLQJ¿HOGDWWDLQLQJDOHYHORIUHVSHFWDQGSHUPD- entries in this encyclopedic set also cover a wide range nence in academia previously held by their counterparts RISHULRGVDQGWUHQGVLQWKHPHGLXPIURPWKHLQÀXHQ- in prose. Salem Press’s Critical Survey of Graphic tial early twentieth-century woodcuts—“novels in Novels series aims to collect the preeminent graphic pictures”—of Frans Masereel to the alternative comics novels and core comics series that form today’s canon revolution of the 1980’s, spearheaded by such works for academic coursework and library collection devel- as Love and Rockets by the Hernandez brothers; from RSPHQWR൵HULQJFOHDUFRQFLVHDQGDFFHVVLEOHDQDO\VLV WKHDQWKURSRPRUSKLFKLVWRULFDO¿FWLRQRIMaus, which of not only the historic and current landscape of the in- attempted to humanize the full weight of the Holo- terdisciplinary medium and its consumption, but the caust, to the unglamorous autobiographical American wide range of genres, themes, devices, and techniques Splendor series and its celebration of the mundane; that the graphic novel medium encompasses. and from Robert Crumb’s faithful and scholarly illus- The combination of visual images and text, the em- trative interpretation of the Book of Genesis, to the phasis of art over written description, the coupling of tongue-in-cheek subversiveness of the genre -
Following Helen from Troy to Chicago
Bridgewater State University Virtual Commons - Bridgewater State University Master’s Theses and Projects College of Graduate Studies 2019 “Closer to the Objective”: Following Helen from Troy to Chicago Jillian Boger Bridgewater State University Follow this and additional works at: https://vc.bridgew.edu/theses Part of the Military, War, and Peace Commons, and the Women's History Commons Recommended Citation Boger, Jillian. (2019). “Closer to the Objective”: Following Helen from Troy to Chicago. In BSU Master’s Theses and Projects. Item 66. Available at https://vc.bridgew.edu/theses/66 Copyright © 2019 Jillian Boger This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. i “Closer to the Objective”: Following Helen from Troy to Chicago A Thesis Presented by JILLIAN BOGER MAY 2019 Approved as to style and content by: Signature:_______________________________________________________ John Mulrooney, Chair Date Signature:_______________________________________________________ Dr. Elizabeth Veisz, Member Date Signature:_______________________________________________________ Dr. Kevin Kalish, Member Date ii “Closer to the Objective”: Following Helen from Troy to Chicago A Thesis Presented by JILLIAN BOGER Submitted to the College of Graduate Studies Bridgewater State University Bridgewater, Massachusetts in partial fulfillment of the requirements for the Degree of Master of Arts in English MAY 2019 iii © 2019, Jillian C. Boger iv ABSTRACT “Closer to the Objective”: Following Helen from Troy to Chicago looks at the function of women in war and war-adjacent texts. Women are contextualized against the figure of Helen of Troy, who sets the standard for how women in war narratives have historically been treated in literature in film. -
Myth, Modernism and Mentorship: Examining François Fénelon's Influence on James Joyce's Ulysses by Robert Curran a Thesis
Myth, Modernism and Mentorship: Examining François Fénelon’s Influence on James Joyce’s Ulysses by Robert Curran A Thesis Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL May 2016 Copyright 2016 by Robert Curran ii Myth, Modernism and Mentorship: Examining Francois Fenelon’s Influence on James Joyce’s Ulysses by Robert Curran This thesis was prepared under the direction of the candidate’s thesis advisor, Dr. Julieann V. Ulin, Department of English, and has been approved by the members of his supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Master of Arts. SUPERVISORY COMMITTEE: 1/ u~ Jujjeann V. Ulin, Ph D. Thesis Advisor Mary FarftciFar/ci, Ph D. John C. Leeds, Ph D. Eric L. Berlatsky, Ph D. Chair, Department of English Heather Coltman, D.M.A. Dean, Dorothy F. Schmidt College of Arts and Letters crt is/a.ou,» Jpfborah L. Floyd, Ed.D. Date / Dean, Graduate College iii ACKNOWLEDGEMENTS The author wishes to express sincere gratitude to his committee members for all of their guidance and support. I am deeply indebted to my committee chair, Professor Ulin, whose mentorship made this thesis a reality. Professor Leeds provided me with an important understanding of literary criticism. I am indebted to Professor Faraci for igniting my passion for literature. The author is grateful for the help and assistance he received from the Harry Ransom Center, University of Texas at Austin, as well as from Florida Atlantic University’s Marvin and Sybil Weiner Spirit of America Collection. -
The Greek Age of Bronze - Armour
The Greek Age of Bronze - Armour http://www.salimbeti.com/micenei/weapons1.htm Home Armour Weapons Shields Helmets Chariots/Ships Troy / Sea people Art / Links etc. Swords/Daggers In contrast to Anatolia and Near East, the earliest stages in the development of Mediterranean metallurgy appear only after about 5500 BC. During the late Neolithic of Aegean (ca. 5500-4500 BC) pins of copper turn up at Dikili Tash, Paradeissos, and Kitsos Cave, while two small daggers have been recovered from Aya Marina in Phocis. It was only during the following, Final Neolithic period (ca. 4500-3700 BC) however that Aegean metallurgy began to flourish. Copper, Gold, silver and lead artifacts have been recovered at least twelve different sites of this period, including large assemblages of metal finds at sites such as Zas Cave on Naxos and copper daggers from Dimini and Sesklo. The early swords of the Aegean Bronze Age are some of the most striking artefacts from this epoch in terms of craftsmanship and opulence. Their perceived role has at various times ranged from their being ritual objects, to being restricted in terms of modes and environments of use, to their being perfectly serviceable tools of war. The early swords evolving out of the dagger. Before bronze, stone was used as primary material for cutting edged tools and weapons. Stone is however very fragile, and therefore not practical to be used as swords. With the introduction of copper, and eventually bronze the daggers could be made longer, and evolved into swords. The earliest Aegean/Anatolian swords were found at Arslantepe, Turkey, dating to ca.