Zero to Hero, Hero to Zero
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Brothers Fighting Together in the Iliad
BROTHERS FIGHTING TOGETHER IN THE ILIAD I We find in the Iliad numerous pairs of brothers (or half brothers on the father's side, or first cousins on the father's side) fighting together on foot or in the combination of chario teer-paraibates 1). And this is not confined to the men who are said to have taken part in the Trojan war, but it embraces the "mythical world of the past" 2), that of the demigods 3), the rivers 4) and even the gods 5). Moreover, if we turn to the leaders of the various groups of Greeks and Trojans, as given in book 11, we find that a 1). Such for example are: Ajax Telarnonius and Teucer (the Atav'ts, cf. p. 291), Mynes and Epistrophus (II 692f.), Phegeus and Idaeus (V 10f.), Echemon and Chromios (V 159 f.), Krethon and Orsilochus (V 542 f,), Aesepus and Pedasus (VI 21 f.), Hector and Alexander (VI 514 f., cf. VII 1 f.), Ascalaphus and lalmenus (IX 82f., cf. II 512), Peisandrus and Hip polochus (XI 122 f.), Hippodamus and Hypeirochus (XI 328 f.), Charops and Socus (XI 426 f.), the Molione (XI 750, 709 f.; XXIII 638 f.), Polybus, Agenor and Akarnas (XI 59 f.), Helenos and Deiphobus (XII 94 f,), Archelochus and Akamas (XIV 463 f.), Hector and Cebriones (XII 86 f.), Deiphobus and Polites (XIII 533 f.), Podarces and Iphiclus (XIII 693 f,), Deiphohus and Helenos (XIII 780 f.), Ascanius and Morys (XIII 792 f.), Atymnius and Maris (XVI 317 f.), Antilochus and Thrasymedes (XVI 322; XVII 377 f.; XVII 705), Euphorbus and Polydamas (XVII 1 f.), Chromius and Aretus (XVII 492 f.), Aretus and Hector (XVII 516), Polydorus and Hector (XX 407 f,), Laogonus and Dardanus (XX 460 f.), or Deiphobus and Hector (XXII 226 f.). -
Poetry Catalog 2021
TIN HOUSE POETRY CATALOG NEW TITLES & ESSENTIAL BACKLIST 2021 Contents All The Names Given ..................................................... 1 My Darling from the Lions.................................................. 2 Superdoom: Selected Poems ................................................. 3 Other People’s Comfort Keeps Me Up at Night ................................ 4 The Perseverance ......................................................... 5 Negotiations ............................................................. 6 Resistencia: Poems of Protest and Revolution ................................ 7 Anodyne ................................................................. 8 My Baby First Birthday .................................................... 9 Good Boys .............................................................. 10 A Sand Book ............................................................. 11 Feed ..................................................................... 12 A Fortune for Your Disaster ................................................. 13 Whitman Illuminated: Song of Myself ........................................ 14 Magical Negro ........................................................... 15 When Rap Spoke Straight to God............................................ 16 Junk ..................................................................... 17 The Möbius Strip Club of Grief ............................................. 18 Nature Poem ............................................................ 19 There Are -
(Tom) Palaima Department
CC 303 Intro to Classical Mythology 32925 MWF 12-1:00 JGB 2.324 Palaima, Thomas G. Professor Thomas (Tom) Palaima Department: Classics WAG 123 Mail Code: C3400 Office: Waggener 14AA Office Hours: M 3:30-4:30pm W 10-11:00 am and by appt [email protected] Campus Phone: 471-8837 fax: 471-4111 Dept. 471-5742 Assistant Instructors William (Bill) Farris Dept: Classics WAG 123 Mail Code: C3400 Office: Waggener 11 Office Hours: T 10-11am TH 12:30-1:30pm and by appt [email protected] Campus Phone: NONE fax: 471-4111 Dept. 471-5742 Samantha (Sam) Meyer Department: Classics WAG 123 Mail Code: C3400 Office: Waggener 13 Office Hours: M 9-10am F 1-2pm and by appt [email protected] Campus Phone: NONE fax: 471-4111 Dept. 471-5742 SI sessions: Mondays 5-6pm in CBA 4.330 Thursdays 6-7pm in MEZ 1.210 Supplemental Instruction (SI) consists of weekly voluntary discussion sessions that are aimed at helping students learn and practice study strategies with the course materials. Two sessions are offered each week (while you are absolutely welcome to come to both, you do not need to attend both). These sessions are facilitated by the SI leader, but primarily they are a space for collaborative, student-driven discussion and review. Please let Sam know if you have any questions! Course Description: Greek mythology is mainly a public performance literature embedded in a still primarily oral culture. Ancient Greek mythmakers (the word muthos means simply “something uttered,” i.e., what we call a “story”) used their stories in public settings to make sense of their world and to entertain, instruct, ask questions and provoke discussion among people who lived mainly in “continual fear and danger of violent death, [in historical periods when] the life of man [was] solitary, poor, nasty, brutish, and short” (Thomas Hobbes). -
A Game of Thrones a Song of Ice and Fire by George R.R. Martin
A Game of Thrones A Song of Ice and Fire by George R.R. Martin Book One: A Game of Thrones Book Two: A Clash of Kings Book Three: A Storm of Swords Book Four: A Feast for Crows Book Five: A Dance with Dragons Book Six: The Winds of Winter (being written) Book Seven: A Dream of Spring “ Fire – Dragons, Targaryens Lord of Light Ice – Winter, Starks, the Wall White Walkers Spoilers!! Humans as meaning-makers – Jerome Bruner Humans as story-tellers – narrative theory Humans as mythopoeic–Carl G. Jung, Joseph Campbell The mythic themes in A Song of Ice and Fire are ancient Carl Jung: Archetypes are powerful & primordial images & symbols Collective unconscious Carl Jung’s archetypes Great Mother; Father; Hero; Savior… Joseph Campbell – The Power of Myth The Hero’s Journey Carole Pearson – the 12 archetypes Ego stage: Innocent; Orphan; Caretaker; Warrior Soul transformation: Seeker; Destroyer; Lover; Creator; Self: Ruler; Magician; Sage; Fool Maureen Murdock – The Heroine’s Journey The Great Mother (& Maiden, & Crone), the Great Father, the child, the Shadow, the wise old man, the trickster, the hero…. In the mystery of the cycle of seasons In ancient gods & goddesses In myth, fairy tale & fantasy & the Seven in A Game of Thrones The Gods: The Old Gods The Seven (Norse mythology): Maiden, Mother, Crone Father, Warrior, Smith Stranger (neither male or female) R’hilor (Lord of light) Others: The Drowned God, Mother Rhoyne The family sigils Stark - Direwolf Baratheon – Stag Lannister – Lion Targaryen -
The Tale of Troy
THE TALE OF TROY WITH THE PUBLISHERS' COMPLIMENTS. THE TALE OF TROY DONE INTO ENGLISH BY AUBREY STEWART, M.A. LATE FELLOW OF TRINITY COLLEGE, CAMBRIDGE. ^London MACMILLAN AND CO. AND NEW YORK 1886 D CONTENTS CHAP. PAGE i. How Paris carried off Helen . i ii. How the Heroes gathered at Aulis 13 in. How Achilles quarrelled with Agamemnon . 27 iv. How Paris fought Menelaus . 45 v. How Hector fought Ajax . .61 vi. How Hector tried to burn the Ships 87 vii. How Patroclus lost the Arms of Achilles . .109 vni. How Achilles slew Hector . .129 ix. How the Greeksfought the Amazons 147 x. How Paris slew Achilles . .167 xi. How Philoctetes slew Paris . 193 xn. How the Greeks took Troy . .215 HOW PARIS CARRIED OFF HELEN B CHAPTER I g earned off upon a time there lived a king ONCEand queen, named Tyndareus and Leda. Their home was Sparta, in the plea- sant vale of Laconia, beside the river Eurotas. They had four children, and these were so beautiful that men doubted whether they were indeed born of mortal parents. Their two sons were named Castor and Polydeuces. As they grew up, Castor became a famous horseman, and Polydeuces was the best boxer of his time. Their elder daughter, Clytem- nestra, was wedded to Agamemnon the son of Atreus, king of Mycenae, who was the greatest prince of his age throughout all the land of Hellas. Her sister Helen was the The Tale of Troy CHAP. loveliest woman ever seen upon earth, and every prince in Hellas wooed her for his bride; yet was her beauty fated to bring sorrow and destruction upon all who looked upon her. -
The Arms of Achilles: Re-Exchange in the Iliad
The Arms of Achilles: Re-Exchange in the Iliad by Eirene Seiradaki A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of Classics University of Toronto © Copyright by Eirene Seiradaki (2014) “The Arms of Achilles: Re-Exchange in the Iliad ” Eirene Seiradaki Doctor of Philosophy Department of Classics University of Toronto 2014 Abstract This dissertation offers an interpretation of the re-exchange of the first set of Achilles’ arms in the Iliad by gift, loan, capture, and re-capture. Each transfer of the arms is examined in relation to the poem’s dramatic action, characterisation, and representation of social institutions and ethical values. Modern anthropological and economic approaches are employed in order to elucidate standard elements surrounding certain types of exchange. Nevertheless, the study primarily involves textual analysis of the Iliadic narratives recounting the circulation-process of Achilles’ arms, with frequent reference to the general context of Homeric exchange and re-exchange. The origin of the armour as a wedding gift to Peleus for his marriage to Thetis and its consequent bequest to Achilles signifies it as the hero’s inalienable possession and marks it as the symbol of his fate in the Iliad . Similarly to the armour, the spear, a gift of Cheiron to Peleus, is later inherited by his son. Achilles’ own bond to Cheiron makes this weapon another inalienable possession of the hero. As the centaur’s legacy to his pupil, the spear symbolises Achilles’ awareness of his coming death. In the present time of the Iliad , ii Achilles lends his armour to Patroclus under conditions that indicate his continuing ownership over his panoply and ensure the safe use of the divine weapons by his friend. -
The Neurotic Superhero
THE NEUROTIC SUPERHERO From Comic Book to Catharsis There’s a historical pattern around the popularity of the superhero—he or she is most needed during dark times in the real world. In Captain America: The First Avenger, when Steve Rogers/Captain America (Chris Evans) visits the US troops to boost morale, it’s more than mere fiction; it’s art imitating life. Sales of comic books actually increased during the Second World War. Service men and women needed such stories of bravery and triumph as an inspiration, to which they could also escape. Comics were portable, easy to share and inexpensive. The Golden Age of Comics began during the Great Depression, and it’s perhaps no coincidence that the game-changing movie for our current generation of superheroes, Christopher Nolan’s The Dark Knight, was released in 2008—the same year that saw the worst global economic crisis since the 1930s. We needed a hero; 2008 also happened to be the year that President Obama was first elected into office. The Dark Knight paved the way for the superhero shows and movies we’re still watching, a decade later. Of course, it wasn’t the first edgy, darker iteration of !1 the comic book superhero—Sam Raimi’s Spider-Man series and Tim Burton’s version of Batman had started to push the boundaries, together with the X-Men franchise, which focuses on the persecution and genocide of minority “mutant” superheroes. But it is Nolan’s Bruce Wayne/Batman (Christian Bale) who crosses that line: he’s not just heroic but deeply flawed. -
200 Jaar Militaire Willems-Orde N De Relatie Tussen Fysieke En Morele Moed N an Evolutionary Perspective on War Heroism
Jaargang 184 nummer 3 - 2015 MILITAIRE SPECTATOR 200 jaar Militaire Willems-Orde n De relatie tussen fysieke en morele moed n An Evolutionary Perspective on War Heroism De Militaire Spectator vanaf nu ook digitaal www.militairespectator.nl THEMANUMMER MEDEDELING Masteropleiding Military Strategic Studies aan de NLDA De Faculteit Militaire Wetenschappen verzorgt een modulaire Engelstalige wetenschappelijke masteropleiding. Deze erkende en geaccrediteerde opleiding, Military Strategic Studies, start weer in september 2015. De breed opgezette master bestudeert de rol van het militaire instrument binnen de context van hedendaagse veiligheidspolitieke vraagstukken. De master bestaat uit vier verplichte courses. Daarnaast dient men een keuze te maken uit een van de drie afstudeerrichtingen (tracks) van elk vier courses: - War Studies - Intelligence & Security - Military Management & Logistics De tracks worden gecompleteerd met een elective. Het volgen van een of meer losse courses (elk 5 EC) is ook mogelijk. Na positieve afronding ontvangt de student een certificaat. De inhoud De master geeft een grondig inzicht in de functie van krijgsmachten in diverse soorten contemporaine conflicten. Het gaat om conventionele oorlogen zoals Iraqi Freedom, etnische conflicten en burgeroorlogen zoals in de Balkan, optreden als onderdeel van een diplomatiek offensief zoals tijdens Allied Force boven Kosovo, of inzet ten behoeve van statebuilding zoals in Afghanistan. Daarbij komen de politieke, maat- schappelijke en wetenschappelijke analyses, debatten en theorievorming aan de orde, evenals de juridische en ethische vraagstukken rond legitimering van militair optreden. Verder besteedt de studie aandacht aan de interne managementdynamiek van defensieorganisaties en de positie van krijgsmachten binnen moderne westerse maatschappijen. Naast logistieke thema’s wordt ook stilgestaan bij de economische en psychologische dimensie van het krijgsbedrijf. -
Ideology and the Reluctant Hero in American Movies Kendra Greene Lake Forest College
Lake Forest College Lake Forest College Publications All-College Writing Contest 5-1-2001 Speak Softly and Carry a Big Stick: Ideology and the Reluctant Hero in American Movies Kendra Greene Lake Forest College Follow this and additional works at: http://publications.lakeforest.edu/allcollege_writing_contest Part of the American Film Studies Commons Recommended Citation Greene, Kendra, "Speak Softly nda Carry a Big Stick: Ideology and the Reluctant Hero in American Movies" (2001). All-College Writing Contest. http://publications.lakeforest.edu/allcollege_writing_contest/19 This Article is brought to you for free and open access by Lake Forest College Publications. It has been accepted for inclusion in All-College Writing Contest by an authorized administrator of Lake Forest College Publications. For more information, please contact [email protected]. Lake Forest Papers Winner 2001 Kendra Greene Words from Kendra: When Joseph Yeh and I started discussing the possibility of doing a tutorial in the two spring months before I left to study in Greece and Turkey, we began with the idea of spending time in Chicago and watching good movies. Lacanian theory was a natural addition and all at once I found myself a student of ideology and pop culture. The reluctant hero is my name for a character type I noticed while contemplating the motive behind the American exaltation of the underdog. Like other cinematic standards, the reluctant hero marks an intersection of film and philosophy that speaks to what the members of a culture believe and what they would like to think they believe. Enjoy. Speak Softly and Carry a Big Stick: Ideology and the Reluctant Hero in American Movies I. -
Comic Books Vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S
University of Texas at Tyler Scholar Works at UT Tyler English Department Theses Literature and Languages Spring 4-30-2012 Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar Andrew S. Latham Follow this and additional works at: https://scholarworks.uttyler.edu/english_grad Part of the English Language and Literature Commons Recommended Citation Latham, Andrew S., "Comic Books vs. Greek Mythology: the Ultimate Crossover for the Classical Scholar" (2012). English Department Theses. Paper 1. http://hdl.handle.net/10950/73 This Thesis is brought to you for free and open access by the Literature and Languages at Scholar Works at UT Tyler. It has been accepted for inclusion in English Department Theses by an authorized administrator of Scholar Works at UT Tyler. For more information, please contact [email protected]. COMIC BOOKS VS. GREEK MYTHOLOGY: THE ULTIMATE CROSSOVER FOR THE CLASSICAL SCHOLAR by ANDREW S. LATHAM A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English Department of Literature and Languages Paul Streufert, Ph.D., Committee Chair College of Arts and Sciences The University of Texas at Tyler May 2012 Acknowledgements There are entirely too many people I have to thank for the successful completion of this thesis, and I cannot stress enough how thankful I am that these people are in my life. In no particular order, I would like to dedicate this thesis to the following people… This thesis is dedicated to my mother and father, Mark and Seba, who always believe in me, despite all evidence to the contrary. -
200 Jaar Moed, Beleid En Trouw De Militaire
Mejan EN KamPHUIS 200 jaar Moed, Beleid en Trouw De Militaire Willems-Orde en ons decoratiestelsel in beweging (1815 – 2015) Op 4 december 2014 ontving majoor Gijs Tuinman op het Binnenhof te Den Haag de ridderslag behorend bij Nederlands hoogste dapperheidsonderscheiding, de Militaire Willems-Orde (MWO). Al eerder was hem voor zijn moedige en beleidvolle daden in Afghanistan de Bronzen Leeuw, de één na hoogste dapperheids- onderscheiding, ten deel gevallen. Na de ridderslag voegde deze officier van het Korps Commandotroepen zich bij het illustere gezelschap van 200 personen die sinds het uitbreken van de Tweede Wereldoorlog begiftigd werden met de MWO. Deze bijdrage gaat in op het belang van zichtbaar onderscheiden en op het fenomeen ‘moed’, dat lastig te definiëren valt. Vervolgens komt de instelling van de MWO aan de orde, evenals de wijze van toekenning en de problemen die zich bij de beoordeling en toekenning van voordrachten kunnen voordoen. Th. P. Mejan MA en drs. P.H. Kamphuis* n een interview bij RTL Late Night vertelde vormt een goede aanleiding om het fenomeen ITuinman dat hij zijn ridderkruis het liefst in dapperheidsonderscheidingen eens nader te honderd stukjes had willen hakken omdat ‘zijn beschouwen. mannen’ de onderscheiding net zozeer verdien- den als hij.1 De andere ‘jonge’ ridder, majoor De behoefte om te kunnen differentiëren leidde Marco Kroon, had zich een dag eerder in met de Tweede Wereldoorlog als katalysator tot soortgelijke bewoordingen uitgelaten over het de instelling van meerdere dapperheidsonder- belang van het team. scheidingen, met als gevolg dat de MWO exclusiever is geworden. Als ontvangers zelf het belang van het team benadrukken, waarom onderscheiden wij als Het belang van zichtbaar samenleving dan individuen? Waarom belonen onderscheiden wij überhaupt? En wat houdt het begrip ‘moed’ eigenlijk in? De viering van het tweehonderd- Om de ontwikkeling van ons decoratiestelsel te jarig bestaan van de Militaire Willems-Orde kunnen onderzoeken, is het nuttig eerst het ‘waarom’ van onderscheidingen te beschou- wen. -
Wayward Sons: Modern Mythology in Supernatural
Siggard 1 Alison Siggard BYU English Symposium 20 March 2014 Wayward Sons: Modern Mythology in Supernatural “The core notion behind Supernatural was to make a series about urban legends. I think they’re this incredibly rich mythology about the United States,” show creator Eric Kripke said in an interview promoting the show’s two hundredth episode (“Supernatural” at 200”). Since 2005, the cult television show has grown to be something of an underground phenomenon, with legions of dedicated fans. The story of two brothers travelling the country in search of monsters, demons, and ghosts has taken viewers on a ten season long journey of emotional upheavals, social commentary, and dramatic storytelling. As explained by Kripke, the show is set in a world of mythology and urban legends. However, the use of and modification of these motifs leads to something different about Supernatural : it becomes a legend of its own, telling the tale of the Winchester brothers as heroes. Through its use of mythological and folkloric motifs and retellings, Supernatural creates its own mythology, reflecting old archetypes into an epic for a modern age. “Dad wants us to pick up where he left off”: Character Archetypes in Two Heroes’ Journeys Contrary to most heroic stories, the show focuses on two heroes, Sam and Dean Winchester. However, they are two very different types of heroes. Their stories start the same. Twenty-two years before the events of the show begin, the brothers’ mother, Mary, was killed in a mysterious fire in Sam’s nursery. Her death causes John Winchester, the boys’ father, to embark on a journey to discover what killed his wife and to get revenge.